Introduction
The OM System OM-5 is a new Micro Four Thirds mirrorless camera that replaces the 3-year-old E-M5 Mark III model.
It brings some of the more advanced imaging technologies from the flagship O-M1 into a more compact, lightweight and IP-53 rated weather-sealed camera body, and at a significantly lower price-point.
The OM5 is a classically styled camera that has exactly the same 20.4 megapixel Live MOS sensor found in the previous E-M5 Mark III camera, and the same dual phase- and contrast-based auto-focus system, with 121 cross-type AF points for both.
The OM-5 does have a new processor, though, in the TruePic IX, which promises to improve the image quality compared to the older EM5 III with its previous-generation TruePic VIII processor.
It offers a very effective effective 5-axis image stabilisation system which is now rated for up to 6.5-stops of compensation with any lens that’s fitted to it, and 7.5 stops when using the stabilized M.Zuiko Digital ED 12-100mm F4 IS PRO zoom lens.
In the High Resolution mode, the 5-axis image stabilisation system can create a 25 or 50 megapixel JPEG or an 80 megapixel JPEG or RAW file by moving the sensor between each shot and merging eight single exposures into one during the course of 1 second.
New to the OM-5 is the 50MP Handheld High Res Shot mode which creates a 25 megapixel JPEG or a 50 megapixel JPEG or RAW file whilst hand-holding the camera.
The new OM-5 offers a number of AI-driven features which the older model does not have. These include the Live ND, Starry Sky AF and Handheld High Res Shot modes.
On the video side, the Olympus OM-5 continues to offer Cine 4K recording at 24p and 4K 30p recording, plus Full HD 120p slow-motion, with a dedicated 3.5mm Mic jack for better sound recording.
It also now offers unlimited recording times, the ability to create vertical videos for social media, and the OM-Log400 picture profile for easier colour grading.
Other key features include a 3-inch touch-sensitive, vari-angle LCD screen, 2.36 million-dot OLED electronic viewfinder with eye-detection, 10 frames per second burst shooting with AF/AE tracking, a sensitivity range of ISO 64-25600, Live Composite, Pro Capture, Focus Stacking and USB charging.
The OM System O-M5 is available in silver or black priced at £1199 / $1199 body-only, and also in different lens kit versions. It is designed in Japan and made in Vietnam.
Ease of Use
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Three years is a long time in the fast moving world of photography, and at first glance you’d be hard-pressed to spot any differences at all between the new OM-1 and 2019’s E-M5 Mark III model.
In fact, that’s because there have been no significant changes made to the camera’s exterior and controls, other than to the two name badges on the front, which now read OM System and OM-5.
The OM System OM-5 is virtually identical to its predecessor – “if it ain’t broke, don’t fix it”seems to have been the design team’s mantra. So owners of the previous EM-5 III model will feel right at home with using the new OM-5 if they decide to upgrade.
Perhaps more disappointingly, the OM5 also continues to use the older Olympus menu system, rather than the newer, much clearer one that made its welcome debut on the O-M1 model.
We would really have expected the new model to use the same updated menus as the other OM-branded camera in the range.
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On top of the camera, the dedicated shooting mode dial is over on the right and the the power switch and customizable drive and display buttons are on the left.
There is a dedicated ISO button just above the rear thumb-rest, along with a Mode 1/2 switch that incorporates an AEL/AFL button within it.
Unfortunately there is still one pretty big step back in terms of the OM-5’s external design.
It continues to be constructed of polycarbonate to help keep both the weight and price down, rather than the magnesium-alloy used in 2015’s E-M5 II, which could prove to be a deal-breaker for some.
In practice, the OM System OM-5 still feels well-built, just not quite as solid as the Mark II model, which is a shame given that the new version’s launch price is actually higher than its predecessor’s was back in 2019.
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Despite this, the new OM-5 is now rated dust and splash-proof to the IP-53 standard, which makes it best in class for this specific feature at the time of writing.
Olympus say that it can safely be used in a heavy rain storm with no adverse effects, and it also offers freezeproof protection down to -10°C.
The older EM5 III is “only” rated dust and splash-proof to the IPX1 standard, which is still impressive, but it can’t match the extra ruggedness of the newer model.
The OM-5’s dimensions are 125.3 x 85.2 x 49.7mm, exactly the same as the EM-5 III version, with a body-only weight of 366g, again exactly the same, which is impressive given the extra degree of weather-proofing on offer.
Starting from the front, the OM System OM-5 has a re-programmable depth-of-field preview button located to the bottom-left of the lens mount, a round lens release button to the right, plus an AF assist lamp above.
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Sadly there is still no flash sync terminal, just like its predecessor, which makes this camera less well-suited to life in a studio environment.
The OM-5’s handgrip features a protruding design and the use of a leather-like texture, with just enough room vertically to accommodate three fingers.
Over the years Olympus have developed and refined a class-leading image stabilization mechanism that corrects for horizontal shift, vertical shift and rotary motion (rolling) for both still images and movies.
The OM System OM-5 now offers 6.5-stops of compensation complete with auto panning detection, with Olympus claiming that handheld shutter-speeds as low as 1/8th second are easily obtainable.
Even better, by synchronizing the in-lens IS of supported lenses, such as the M.Zuiko Digital ED 12-100mm F4 IS PRO zoom, with the camera body’s sync IS, the OMD EM5 Mark IIII offers up to an incredible 7.5 shutter speed steps of compensation.
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The OM System OM-5 can create a 50 megapixel JPEG or an 80 megapixel RAW file in the High Resolution mode. This is achieved by shifting the sensor in half-pixel steps and capturing eight images over a period of one second.
New to the OM-5 is the Handheld High Res Shot mode which allows you to hand-hold the camera and create either a 25 megapixel JPEG or a 50 megapixel JPEG or RAW file.
As its name suggests, this mode allows you to hand-hold the camera whilst it’s taking the sequence of 8 shots and still get sharp results, although it’s still best suited to stationary subjects.
Previously, Olympus always advised that you mount the camera on a tripod or other stable surface to obtain sharp results and also that your subject should be static, so the new handheld option makes the High Re Shot mode a lot more versatile than before.
The new model continues to use exactly the same dual phase- and contrast-based auto-focus system with 121 selectable AF points which are all cross-type as the E-M5 III.
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The new OM-5 offers a couple of notable improvements to its auto-focus system, including better detection of smaller faces in the frame and if the face is turned sideways away from the camera.
You can also now quickly switch between multiple detected faces in the frame and you can toggle face detection on and offer via the push of a button.
The continuous shooting speed is the same too, offering 10fps shooting with full time AF/AE tracking.
This new model also inherits the Pro Capture mode from the previous model.
In this special shooting mode the camera takes a 30fps burst, with 15 of those frames saved before you actually pressed the shutter, helping to ensure that you don’t miss that vital moment.
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Manual focus enthusiasts will be delighted to learn that the Olympus OM-5 has a focus peaking feature, which enables precise focusing even without magnifying into the live view feed, with multiple options available for the outline colour.
The power switch is still positioned on the left-hand side of the flash hotshoe. The placement of the on/off switch might well raise a few eyebrows as it means you will almost always need to use your left hand to turn on the camera, which is hardly an ideal solution.
Actually, this is a design nod to the Olympus OM-1 film camera that had its power switch in virtually the same location – which is all well and good, but we’d still prefer it to be in a position where you can easily reach it with your right thumb or forefinger.
There are also two raised semi-circular buttons which provide quick access to two sets of settings.
Press the top one and you can adjust the camera’s drive modes and self-timer settings with the rear and front control dials, respectively.
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Hit the bottom button and you can cycle through the various display modes offered by the camera.
Also on the top of the camera is a vacant flash hotshoe that sits directly above the lens. There is no pop-up flash on this camera.
There’s a shooting mode dial on the right hand-side when viewed from the rear, complete with a lock button in the centre.
On most other cameras that have a lockable dial, you need to hold down the centered button while turning the dial – on the OM System OM-5, the mode dial locks with one press of the locking pin and unlocks with a second press, which is a clever idea.
The shooting mode options remain largely the same as the original E-M5’s, being program, aperture priority, shutter priority, manual, video, Art Filters, scene modes, and – the most obviously highlighted of all in green – iAuto mode.
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There are also two other modes on the shooting mode dial – Bulb for Live Composite long exposures and Custom for quickly accessing your own customised settings.
Also over on the the right of the external flash hotshoe are a small-ish shutter release button, with the OM System OM-5 readying itself for action in a second or so.
Squeeze down halfway on the shutter release and the OM-5 very quickly responds thanks to the new TruePic IX processor, with the AF point flashing up in green with an accompanying bleep of confirmation (if AF is enabled).
The shutter release is encircled by the first of two command dials. The Olympus OM-D E-M5 Mark I inherits the 2×2 Dual Control system first seen way back on the Pen E-P5.
This comprises two top-mounted control wheels and a function lever on the rear that’s easy to reach with your right thumb.
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The function lever has two settings. In the first position, moving the control dial on the front of the camera adjusts the aperture while the dial on the back adjusts the shutter speed.
On the second setting, the dials change the ISO value and white balance respectively. You can also configure the switch’s operation too – for example, you can turn it into a handy AF/MF toggle if that makes more sense to you.
The native sensitivity range of the OM System OM-5 and the E-M5 III is identical – ISO 200-25600, which can be expanded down to ISO 64.
Completing the EM-5’s top-plate are an exposure compensation dial and a red video record button.
The OM System OM-5 can now record cine-standard 4K videos at 24fps with a bit rate of up to 237Mbps in the DCI 4K mode (4096 x 2160 pixels) or UHD 4K footage at 30fps and a 102Mbps bit-rate. Full HD 1080p and HD 720p recording is also supported, plus Full HD 120p slow-motion.
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It can use its excellent 5-axis sensor-shift image stabiliser which translates into surprisingly smooth hand-held footage, even when using a medium telephoto lens.
Manual exposure can be enabled for videos, although you do have to rotate the mode dial to the Movie position to take advantage of this. You can start filming in practically any other shooting mode too, but in that case, videos will always be recorded with auto exposure.
It also has a dedicated 3.5mm Mic jack on the body for better sound recording for vlogging, a very welcome inclusion.
You can also use the OM5 as a webcam straight out of the box simply by connecting it to a computer via USB, with no additional software required.
Moving to the rear of the OM-5, there’s a built-in electronic viewfinder complete with diopter control to the left.
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The Olympus E-M5 has a pretty decent OLED viewfinder offering a 2.36-million-dot resolution, 1.37x magnification and a 27mm eyepoint. The magnification is a little low, although the eyepoint is greater, making it better for glasses-wearers.
There’s the same 3-inch articulated rear LCD screen as seen on the EM5 Mark III, with a resolution of 1037K dots and capacitive touchscreen technology.
As the monitor is side-mounted, it’s a fully articulated vari-angle display that can be rotated to the front for easier selfies and closed against the rear of the camera to protect the screen.
The OM5 features touch screen operation, although if you’re not a fan you can for the most part get away without using it much at all, as there are a plethora of physical buttons which are either dedicated to specific functions or can be customized to suit.
Dragging a finger to move the AF point around the screen is a quick and easy way of following the subject, though inadvertently subsequently tapping it will cause the shutter to fire. This facility can be deactivated by prodding the relevant shutter button icon on the touch screen, but it’s just as easy to accidentally turn it on again.
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To the right of the EVF is the function lever for the 2×2 Dual Control system with the AEL/AFL button at its centre.
Just below this control and the usefully protruding, textured thumb-rest are dedicated and self-explanatory Menu and Info buttons, the latter toggling through the various LCD views.
Underneath again is a option-less 4-way navigation controller with a central OK button – pressing this accesses the OM-5’s quick menu system, a handy onscreen grid of icons that provide quick access to most of the camera’s main settings.
In conjunction with the camera’s plethora of external controls and its customisable buttons, this makes the OM-5 a pleasure to use. The final controls on the rear are the Delete button and Playback buttons.
Chunky lugs for attaching the supplied shoulder strap hang at either side of the camera, thankfully out of the way of fingers and controls.
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On the left hand flank, when viewing the camera from the back, are three covered ports for a standard 3.5mm stereo microphone jack, remote control, and a shared cover for the mini HDMI output and mini USB ports.
You can charge the camera on the go via the USB port, a great feature that is appearing in more and more new cameras, although the micro USB port is disappointing to see on a 2022 device.
On the right is a sliding plastic cover protecting the single UHS-II memory card slot, which help the camera keep up with all those high-speed bursts.
On the bottom of the EM-5 Mark IIII is a screw thread for attaching a tripod, with the lockable battery compartment alongside.
The BLS-50 rechargeable lithium-ion battery supplied with the OM-5 is good for around 310 shots or 60 mins of video recording, the same as on the E-M5 Mark III.
Image Quality
All of the sample images in this review were taken using the 20.4 megapixel Super Fine JPEG setting, which gives an average image size of around 8Mb.
The OM System OM-5 produced images of excellent quality during the review period. It produces noise-free images at ISO 64 up to 1600, with limited noise starting to appear at ISO 3200.
ISO 6400 exhibits quite visible noise and loss of fine detail, and the fastest settings of ISO 12800 and 25600 are even noisier but still usable for small prints and web use. The corresponding raw files are inevitably more noisy at lower ISOs.
The image stabilisation system works excellently for both stills and video, even when hand-holding the camera at very slow shutter speeds.
The High resolution mode can create a 50 megapixel JPEG or an 80 megapixel RAW file, although it only really works for non-moving subjects.
The various Art Filters and Picture Styles produce special effects that would otherwise require you to spend a lot of time in the digital darkroom.
Noise
There are 9 ISO settings available on the OM System OM-5. The base sensitivity is ISO 200 but there is an expanded low sensitivity setting equivalent to ISO 64.
Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and the RAW equivalent on the right.
| JPEG | RAW |
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ISO 64 (100% Crop) |
ISO 64 (100% Crop) |
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ISO 200 (100% Crop) |
ISO 200 (100% Crop) |
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ISO 200 (100% Crop) |
ISO 200 (100% Crop) |
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ISO 400 (100% Crop) |
ISO 400 (100% Crop) |
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ISO 800 (100% Crop) |
ISO 800 (100% Crop) |
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ISO 1600 (100% Crop) |
ISO 1600 (100% Crop) |
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ISO 3200 (100% Crop) |
ISO 3200 (100% Crop) |
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ISO 6400 (100% Crop) |
ISO 6400 (100% Crop) |
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ISO 12800 (100% Crop) |
ISO 12800 (100% Crop) |
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ISO 25600 (100% Crop) |
ISO 25600 (100% Crop) |
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File Quality
The file quality settings available on the OM System OM-5 include Normal, Fine and Superfine for JPEGs, and you can also shoot in Olympus’s proprietary ORF raw file format.
| RAW (100% Crop) | SuperFine (100% Crop) |
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| Fine (100% Crop) | Normal (100% Crop) |
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Long Exposures
The OM System OM-5 lets you dial in shutter speeds of up to 60 seconds and has a Bulb mode as well for exposure times as long as 30 minutes, which is very good news if you are seriously interested in long exposure photography.
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Night |
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High Resolution Mode
The OM System OM-5 can create a 50 megapixel JPEG or an 80 megapixel RAW file in the High Resolution Shot mode, achieved by shifting the sensor in half-pixel steps and capturing eight images over a period of one second.
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Off (100% Crop) |
On (100% Crop) |
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Picture Modes
Olympus’ Picture Modes are essentially pre-set combinations of saturation, contrast and sharpness, except for the i-Enhance mode that aims to optimise each photo individually. You can tailor each Picture Mode to your needs. The following examples demonstrate the differences across the available Picture Modes.
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i-Enhance |
Vivid |
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Natural |
Muted |
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Portrait |
Monochrome |
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Art Filters
The OM System OM-5 offers 16 different Art Filters, which allow you to quickly apply an artistic effect to a photo before taking it (JPEG images only).
Note that applying the Art Filters slows the camera down somewhat as the camera takes several seconds to process and save the image.
Sample Images
This is a selection of sample images from the OM System OM-5 camera, which were all taken using the 20.4 megapixel Superfine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.
Sample RAW Images
The OM System OM-5 enables users to capture RAW and JPEG format files. We’ve provided some OM System RAW (ORF) samples for you to download (thumbnail images shown below are not 100% representative).
Sample Movies & Video
This is a sample 4K movie at the quality setting of 3840×2160 pixels at 30 frames per second. Please note that this 18 second movie is 213Mb in size.
This is a sample C4K movie at the quality setting of 3840×2160 pixels at 24 frames per second. Please note that this 22 second movie is 563Mb in size.
This is a sample 1080p movie at the quality setting of 1920×1080 pixels at 60 frames per second. Please note that this 19 second movie is 129Mb in size.
This is a sample 1080p HS movie at the quality setting of 1920×1080 pixels at 60 frames per second. Please note that this 33 second movie is 212Mb in size.
Product Images
Conclusion
The new OM System OM-5 is a rather modest upgrade of the three-year-old EM-5, which is perhaps no bad thing as we loved that camera when it was released back in 2019.
Still, if you were expecting a similar boost in performance as offered by the recent OM System OM-1 when compared to its predecessor, you’ll be somewhat underwhelmed by the more modest ambitions of the OM5.
The new OM5 retains a lot of the same core technologies as its predecessor, making the ahead-of-its-time three-year-old E-M5 III still worth considering if you can find one.
Whilst outwardly the OM5 is nigh-on identical to the EM5 Mark III, inside there are a number of notable improvements that do mark a small step forwards for this series.
It doesn’t offer any more resolution than the previous model, with the new owner of Olympus cameras resolutely sticking to 20 megapixels, and it still has the same now outdated menu system, but the new hand-held high res shooting mode makes it a lot more versatile, removing the need to always have a tripod with you.
The video specs and all-round performance have also seen a welcome boost, and the image stabilisation and weather-proofing are even better than before, which is no mean feat given how class-leading they already were.
While it may lack the magnesium-alloy body of the EM5 II and the battery life and micro-USB port are at best lacklustre for 2022, the inclusion of so many different computational photography modes (LiveND, ProCapture, Starry AF, HDR, Live Composite, Live Bulb, and Focus Stacking) certainly make the OM5 stand out from the crowd.
Olympus are hoping that the new OM-5 will find a place in the backpack of adventurers the world over, and we’d certainly agree that the OM5 makes a fine choice as a rugged, portable, go anywhere camera that is a pleasure to shoot with.
| Ratings (out of 5) | |
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| Design | 5 |
| Features | 4.5 |
| Ease-of-use | 5 |
| Image quality | 4.5 |
| Value for money | 4 |
Main Rivals
Listed below are some of the rivals of the OM System OM-5.
The Canon EOS R10 is a tiny new mirrorless camera with an APS-C sensor that can shoot at up to 23fps and record 4K/60p video. Can the R10 compete with the likes of the Fujifilm X-S10, Nikon Z50 and Sony A6400? Find out now by reading our in-depth Canon R10 review…
Canon is back in the APS-C game with the much-anticipated launch of the EOS R7, a very capable prosumer camera with a clear focus on speed. Billed as the mirrorless successor to the much loved EOS 7D Mark II DSLR, does the new R7 have what it takes to compete against the likes of Fujifilm and Sony? Find out now by reading our in-depth Canon R7 review…
The Fujifilm X-S10 mirrorless camera aims to bring the renowned X-series image quality and colour science to a wider audience by being smaller, easier to use and cheaper than the company’s flagship cameras. Does it strike the right balance between simplicity and accessibility? Find out now by reading our in-depth Fuji XS10 review…
The X-T30 II is the latest mid-range mirrorless camera from Fujifilm, boasting a 26 megapixel APS-C sensor, 4K/30p video recording, 30fps burst shooting and a stylish retro look and feel. Is the replacement for the two-year-old X-T30 worth considering? Find out now by reading our XT30 II review complete with full size sample photos…
Nikon have introduced their second APS-C, cropped-sensor mirrorless camera with the launch of the Z fc. Almost identical to the Z50 model in terms of its key specifications, the new Z fc offers a much more retro, classic design. Read our in-depth Nikon Z fc review to find out if it’s the perfect blend of old and new…
The new Z30 is Nikon’s third APS-C cropped-sensor mirrorless camera, following in the footsteps of the Z50 and Z fc models. This time around, though, it’s primarily targeted at vloggers and content creators. Find out what it has to offer by reading our in-depth Nikon Z30 review complete with full-size sample photos and videos…
Nikon have introduced their first APS-C, cropped-sensor mirrorless camera with the launch of the Z50, accompanied by two kit zoom lenses. Can the Z50 take on the likes of the well established Sony A6000-series and Canon EOS-M range, not to mention Fujifilm with its line-up of excellent APS-C bodies and lenses? Find out now by reading our in-depth Nikon Z50 review.
Olympus have finally updated their enthusiast camera model with the launch of the new Olympus OM-D E-M5 Mark III, but is is any good? Find out now by reading our review of the E-M5 Mark III mirrorless camera, complete with full-size sample images and videos.
The new OM-1 flagship is both the last ever Olympus camera and the first ever OM System camera. Confused? Well no need to worry, as we take an in-depth look at what this new Micro Four Thirds flagship has to offer in our OM System OM-1 review, complete with full-size sample photos and videos…
The mid-range interchangeable lens camera market is fiercely fought, with a huge array of formats on offer from all the major camera manufacturers. Enter stage left Panasonic with the new Lumix G90 / G95, a camera that aims to satisfy both photographers and videographers alike. Can it pull off this tricky feat? Read our in-depth Panasonic Lumix G90 / G95 review to find out…
The Sony A6400 is a new mirrorless camera with an APS-C size sensor and a cutting-edge auto-focusing system. With 24.2 megapixels, 4K movie recording, a touchscreen 180-degree LCD touchscreen, 11fps burst shooting, electronic viewfinder, built-in flash, and Wi-fi / Bluetooth / NFC connectivity, is this the best APS-C camera on the market? Read our Sony Alpha A6400 review to find out…
The A6600 is the new all-singing, all-dancing flagship camera in Sony’s extensive range of APS-C mirrorless cameras, but does it offer enough to out-gun both its main rivals and its cheaper siblings? Find out now by reading our in-depth Sony A6600 review, complete with full-size sample images and videos.
Review Roundup
Reviews of the OM System OM-5 from around the web.
The OM System OM-5 is a magnificent midrange camera that offers flagship features and all-purpose performance in a compact, affordable package. It has been criticized in some quarters for not offering the same sea change as the OM-1, but for our money this offers the OM-1’s coolest tricks in a much more pocketable body – making this your perfect daily driver when you want to go on an adventure (or you want to be prepared for one) with a camera that’s there if you need it, and doesn’t compromise on quality.
Read the full review »
Priced at £1199 body only, and available in late November, the camera sits above the E-M10 range, and offers an IP53 weather-sealed camera body making it an ideal choice for those who want to travel light, and not worry about the weather.
Read the full review »
OM System is putting its own spin on the Olympus E-M5 series. The OM-5 ($1,199.99, body only) swaps out the old badge for new OM System branding, and upgrades the image processor for snappier response and more robust computational features. On the outside it’s a pretty camera, especially for retro tech fans, and its weather protection is a plus for outdoor photographers.
Read the full review »
Specifications
TYPE
Lens mount
Micro Four Thirds
IMAGE SENSOR
Type
4/3” Live MOS sensor
Effective pixels
20.4 Megapixels
Filter array
Primary colour filter (RGB)
Aspect ratio & area
4:3 / 17.3 x 13.0mm
Full resolution
21.8 Megapixels
ENGINE
Type
TruePic IX
FILTER
Dust reduction filter
Supersonic Wave Filter
VIEWFINDER
Type
OLED Electronic Viewfinder
Pixel number
2.360K dots
Diopter adjustment
Equipped ‑4.0 ‑ +2.0 diopters / built‑in type
Angle of view
Approx. 100%
Magnification
Max. 1.37x with a 50mm lens set to infinity at ‑1 dioptre (depending on selected viewfinder style)
Eye point
27mm at ‑1 dioptre from eyepiece lens
Style
3 styles selectable
Displayed information
Aperture value
Shutter speed
AF frame (super impose)
AF confirmation mark
AF lock
Auto bracket
Battery check
Exposure compensation indicator
Exposure compensation value indicator
Exposure level indicator
Exposure mode
Flash
FP flash
IS activating mode
Metering mode
Number of storable sequential pictures
White balance
Level Gauge
Highlight & Shadow
Live Pre-view function
Histogram
Correction of colour temperature
+/‑ 7 levels
S-OVF
Expands the Live View dynamic range
*Available in the EVF when in P, A, S and M modes. Art filter, WB and exposure are not reflected in EVF.
LIVE VIEW
Displayed information
Aperture
Shutter speed
Auto bracket
AE lock
Focus mode
Shooting mode
Battery check
IS activating mode
Face / Eye detection mode
Record mode
ISO
Sequential shooting mode
White Balance
Metering mode
Exposure compensation value
AF frame display
AF confirmation mark
Shooting information
Spot metering area
Super FP
Flash status
Touch Panel Condition
Focal length
Flash mode
Histogram
Level Gauge
Highlight & Shadow
Live ND
Focus peaking
Number of storable pictures
Custom
Face detection
Flash intensity
Wi-Fi
Field of view
Approx. 100%
Magnification levels
3 / 5 / 7 / 10 / 14x
Dynamic range expansion
When in HDR1 or HDR2
Display modes
Comparison
Grid (4 types)
Grid
Histogram
Level Gauge
Magnified View
Standard information
Off
IMAGE STABILISER
Type
Sensor shift
Modes
Five‑dimensional, vertical or horizontal activation, automatic
Effective Compensation Range
Up to 7.5 EV steps (Sync IS)
Up to 6.5 EV steps
Based on CIPA measurement conditions
Live View stabilisation
Available
Lens IS priority
Available
FOCUSING SYSTEM
Method
TTL phase difference detection system, contrast detection system (when non high‑speed contrast AF compatible lens is used, it works as MF assist)
Focus areas
121 points * /
121 points contrast AF
All target, single target (normal / small), group target (5‑area / 9‑area / 25‑area), custom target 1‑4 (AF area and its increment steps selectable)
* All cross type
AF lock
Available; Locked by first position of shutter release button in single AF mode, AE/AF lock button (customised)
Modes
Manual focus
Single AF*
Continuous AF*
Preset MF**
AF* Tracking
Stacking
Starry Sky AF
* incl. manual override
** Distance setting values are rough estimates and only AF lenses can be used.
AF illuminator
Equipped
Manual focus
Available; with enlarged focusing area, focus peaking and focus indicator
Face Detection extension
Eye Detect AF: Off
Left side priority
Near side priority
Right side priority
Predictive AF
Available
AF tracking
Available; Available in continuous AF mode
Focus peaking
Colour selection
White, black, red, yellow
Intensity
High / Normal / Low
Back light effect
On / Off
Focus Bracketing Mode
Number of images
3 – 999 shots
Step size
10 levels
Compatible with: All Micro Four Thirds AF lenses
Focus Stacking Mode
Technology
8 shots are taken at different focus points and automatically composited together into a single image
Compatible with: 7‑14mm F2.8 PRO, 8‑25mm F4 PRO, 12‑40mm F2.8 PRO, 12‑40mm F2.8 PRO II, 12‑45mm F4 PRO, 12‑100mm F4 IS PRO, 40‑150mm F2.8 PRO 40‑150mm F4.0 PRO, 100‑400mm F5.0‑6.3 IS, 150‑400mm F4.5 TC1.25x IS PRO, 8mm F1.8 Fisheye PRO, 30mm F3.5 Macro, 60mm F2.8 Macro, 300mm F4 PRO
1.4x Teleconverter MC‑14, 2x Teleconverter MC‑20
Angle of view becomes slightly smaller
EXPOSURE SYSTEM
Modes
Programme automatic
Aperture priority
Shutter priority
Manual
Bulb
Time
Movie
HDR
Custom shooting
Exposure compensation
+/‑ 5 EV (1, 1/2, 1/3 steps)
Note: Monitor and EVF displays only up to ±3 EV.
Exposure bracketing
2 / 3 / 5 frames (+/‑ 1/3, 2/3, 1 EV steps)
7 frames (+/‑ 1/3, 1/2, 2/3 EV steps)
ISO bracketing
3 frames (1/3, 1/2, 1 EV steps)
AE lock
Available
My Mode
3 settings storable
Enhancement function
Shadow Adjustment Technology
Flicker Scan: Available for M, S and silent mode (can be confirmed in Live View)
In-Built LiveND
ND2, ND4, ND8, ND16 (+1, 2, 3 or 4 steps)
HDR bracketing
3 / 5 frames (+/‑ 2 / 3 EV steps)
7 frames (+/‑ 2 EV steps)
MULTI-EXPOSURE
Max. number of frames
2 frames (shooting)
3 frames (editing)
Auto gain control
Available
Frame assistance
Live View
LIGHT METERING
Method
TTL open aperture light metering
Zones
324 zones Multi‑pattern Sensing System
Detection range
‑2 ‑ 20 EV (17mm f2.8, ISO 100)
Modes
ESP light metering
Spot metering
Centre weighted metering
Highlight
Shadow
ART FILTER
Modes
Pop Art
Soft Focus
Pale & Light Colour
Light Tone
Grainy Film
Pin Hole
Diorama
Cross Process
Dramatic Tone
Gentle Sepia
Key Line
Water colour
Vintage
Partial Colour*
Bleach Bypass
Instant Film
Variation / Effect
Available
Art Filter bracketing
Art Filters selectable
* 18 colours selectable
SENSITIVITY
Auto
(customisable, default ISO LOW ‑ 6400)
Manual
ISO LOW ‑ 25600 in 1/3 or 1 EV ISO steps
SHUTTER
Shutter type
Computerised focal‑plane shutter
Self timer
2s / 12s / Custom
SHUTTER SPEEDS
Shutter speed range
1/8000 ‑ 60s (in 1/3, 1/2, 1 EV steps)
Bulb mode
Up to 30 minutes (selectable longest time in the menu, default: 8 minutes)
High res shot
Shutter type
Electronic shutter
Shutter speed
1/8000 ‑ 60s
Start delay
0, 1/8, 1/4, 1/2, 1, 2, 4, 8, 15. 30s
Resolution
JPEG: 10368×7776 / 8160 x 6120 / 5760 x 4320 RAW: 10368 x 7776
Equivalent to 80M / 50M / 25M pixel sensor (8 shots combined into a single JPEG using sensor shift)
Available in P/A/S/M mode
You need to install OM Workspace to develop on a PC.
Handheld High res shot
Shutter type
Electronic shutter
Shutter speed
1/8000 ‑ 60s
Resolution
JPEG: 8160 x 6120 / 5760 x 4320 RAW: 8160 x 6120
Equivalent to 50M / 25M pixel sensor (8 shots combined into a single JPEG using sensor shift)
Available in P/A/S/M mode
Flash can not be used
Anti-shock mode
Shutter type
Electronic first curtain shutter
Shutter speed
1/320* ‑ 60s
Start delay
0, 1/8, 1/4, 1/2, 1, 2, 4, 8, 15, 30s
* For speeds over 1/320 sec., mechanical shutter will automatically be selected.
Silent mode
Shutter type
Electronic shutter
Shutter speed
1/32000 ‑ 60s
Start delay
0, 1/8, 1/4, 1/2, 1, 2, 4, 8, 15. 30s
Flicker Scan
Stills
1/7634 ‑ 1/50s
Movies
1/250 ‑ 1/30s *
* Frame rates greater 30fps are limited to their reciprocal value
WHITE BALANCE
AUTO WB system
Advanced detection system with Live MOS sensor
Manual White balance (One-Touch)
Available
White balance bracketing
3 frames / +/‑ 2, 4, 6 mired steps
One-touch white balance
4 custom settings can be registered
Custom WB
1 setting can be registered at Kelvin temperature (2000K ‑ 14000K)
Preset values
Tungsten
Flourescent 1
Sunlight
Flash
Overcast
Shade
Underwater
Auto Flash adjustment
Off / Auto WB / Flash
Keep warm colour
On / Off
SEQUENCE SHOOTING
Speed (H)
Approx. 10fps
Max. number of frames: RAW 149 / JPG (LF): Up to card capacity
Speed (L)
6fps
Max. number of frames: RAW / JPG (LF): Up to card capacity
Silent mode
Speed (H)
Approx. 30fps
Max. number of frames: RAW 18 / JPG (LF): 20
Speed (L)
Approx. 10fps
Max. number of frames: RAW 138 / JPG (LF): Up to card capacity
Pro Capture mode
Speed (H)
Approx. 30fps
Speed (L)
Approx. 10fps
Pre-shutter Frames
0 – 14 frames (recorded by half release prior to full release)
Frame count limiter
1- 99 frames / Off (unlimited frames) (incl. pre‑shutter frames)
Conditions
Memory card: KIOXIA KSDXU‑A064G
When using the M.Zuiko Digital ED 12‑40mm F2.8 Pro
Maximum sequential shooting speed may be affected by several factors including lens used, brightness, aperture, shutter speed, and ISO setting.
The actual shooting speed may become slower than the set shooting speed by a few frames per second. When using ISO Bracketing, performance will be affected at ISO 2000 or above.
Interval shooting
Interval: 1s ‑ 24h
Max. number of frames: 9999
Smoothing
IMAGE PROCESSING
Colour space
sRGB / AdobeRGB
Sharpness + Contrast
5 levels
Contrast
5 levels
Saturation
5 levels
Black & White filter
Yellow, Orange, Red, Green
Black & White toning
Sepia, Blue, Purple or Green in Black & White mode
Picture mode
Gradation
4 levels (auto, high key, normal, low key)
Engine
TruePic IX
Art Filter bracketing
Available
Tele converter effect
2x
Fisheye compensation
Available when M.Zuiko Digital ED 8mm Fisheye PRO is attached Angle of view adjustable in 3 levels Compensation automatically ON when using Underwater Modes, available (can be confirmed in Live View)
EXTERNAL FLASH CONTROL
X-sync speed
1/250s / 1/8000s (Super FP Mode)
Type
TTL AUTO, AUTO, MANUAL, FP TTL AUTO, FP MANUAL
Modes
Auto
Red-eye reduction
Slow synchronisation
2nd curtain and slow synchronisation
Fill-in for exclusive flash
Manual
Intensity
+/‑ 3 EV (1/3, 1/2, 1 EV steps)
Note: Some functions are only available if they are supported by the external flash.
Compatible external flash
FL‑14, FL‑20, FL‑36R, FL‑50R, FL‑300R, FL‑600R, FL‑700WR, FL‑900R, STF‑8
WIRELESS FLASH CONTROL
Number of channels
4 channels
Compatible external flash
FL‑36R, FL‑50R, FL‑300R, FL‑600R, FL‑700WR, FL‑900R
Control method
Triggered and controlled (Olympus Wireless RC Flash system)
Group setting
4 groups
Available when used together with cameras compatible with the Olympus wireless RC flash system.
Radio wireless control
Available
MONITOR
Monitor type
Vari‑angle LCD ‑ Touch Panel
Monitor size
7.6cm / 3.0” (3:2)
Resolution
1037K dots
Brightness adjustment
+/‑ 7 levels
Colour balance
+/‑ 7 levels Vivid (default) / Natural
Touch Control functions
AF area enlargement
AF area selection
Art Filter
Enlargement
Enlargement playback
Frame forward/backward
Live Guide
Scene Modes
Shooting mode
Shutter release
Super Control Panel
Wi-Fi connection
LEVEL GAUGE
Detection
2‑axis
Display
Rear display and viewfinder
SUPER CONTROL PANEL
Displayed information
Battery indicator
Record mode
Shutter speed
Aperture value
Exposure compensation indicator
ISO
AE bracketing
AF frame
Focus mode
AEL notification
Face detection
Number of storable frames
Metering mode
Exposure mode
Exposure level view
Flash compensation value
Colour space
Gradation
Colour saturation compensation value
Sharpness compensation value
Contrast compensation value
White balance
White balance compensation value
Noise reduction
Flash mode
Drive mode
Internal temperature warning
Histogram
RECORDING FORMATS
RAW
12bit
RAW & JPEG
Applied parallel recording
JPEG
Applied
Aspect ratio
4:3 / 3:2 / 16:9 / 6:6 / 3:4
IMAGE SIZE
RAW
5184 x 3888 compressed
5184 x 3888 Fine (compression: 1/4)
STILL IMAGE RECORDING
EXIF
2.3
DCF
Applied
RAW
Applied
MOVIE RECORDING SYSTEM
Recording format
MOV(MPEG‑4AVC/H.264)
Picture mode
Flat, OM‑Log400
Time code
Rec run / Free run
Drop frame / Non‑drop frame
Image Stabilisation Mode
Applied Sensor shift
M‑IS1 (Image sensor shift and electronic image stabilizer with multi motion IS)
M‑IS2 (Image sensor shift with multi motion IS)
4K Movie quality
4096 x 2160 (C4K) / 24p / IPB (approx. 237 Mbps)
3840 x 2160 (4K) / 30p, 25p, 24p / IPB (approx. 102 Mbps)
HD Movie quality
Full HD 1920 x 1080 (16:9) / 30p, 25p, 24p / ALL‑I (A‑I), IPB (SF, F, N) (MOV)
Full HD 1920 x 1080 (16:9) / 60p, 50p / IPB (SF, F, N) (MOV)
HD 1280 x 720 (16:9) / 60p, 50p, 30p, 25p, 24p / ALL‑I (A‑I), IPB (SF, F, N) (MOV)
ALL‑I: ~ 202 Mbps
FullHD IPB (SF: ~52Mbps, F: ~30Mbps)
HD IPB (SF: ~26Mbps, F: ~14Mbps, N: ~10Mbps)
Maximum Recording Time
Up to card capacity
Max. file size
4GB (AVCHD)
Exposure Modes
Aperture priority
Manual
Programme automatic
Shutter priority
* Frame rate may drop when using certain art filter
Class 10 or higher SD card is recommended for movie shooting
UHS‑II or UHS‑I U3 card is recommended for ALL‑I shooting
MOVIE SPECIALTIES
Rec Indicator
Red Recording Frame during shooting available
Vertical Video
Available
High-Speed Recording
1920×1080 (MOV) / 120fps
Time lapse
4k, 1080p, 720p (AVI Motion JPEG®)
Fast motion
Available
Slow motion
Available
Art Filter
Cross Process
Diorama
Dramatic Tone
Gentle Sepia
Grainy Film
Key Line
Light Tone
Pale & Light Colour
Pin Hole
Pop Art
Soft Focus
Vintage
Partial Colour*
Bleach Bypass
* 18 colours selectable
Frame rate limited to 30fps or lower
HDMI Live View
Monitor mode
Video signal and info display is processed
While recording, footage is simultaneously displayed on the HDMI monitor and on the camera, but the info display is shown only on either one of the two.
While playing movies, footage is simultaneously displayed on the HDMI monitor (normal size) and on the camera (normal size or enlarged).
Record mode
Only video signal is processed
Movie quality is set to YCbCr 4:2:2 (8 bit), frame rate follows movie setting (24p, 30p and 60p settings are not recommended.), and sound will be recorded.
Flicker Scan
Available in M mode (can be confirmed in Live View)
SOUND RECORDING SYSTEM
Speaker
Built‑in mono speaker
Internal microphone
Built‑in stereo microphones
External stereo microphone can be attached
Recording format
High quality sound recording (Stereo linear PCM/24‑bit, Sampling frequency 96kHz)
Stereo PCM/16bit, 48kHz, Wave Format Base
Image footage
30s
Microphone functions
Wind Noise Reduction
Recording Volume
Volume limiter
Audio Dubbing
Linking Olympus PCM Recorders
Functions
Slate Tone / Synchronised Audio Rec‑Movie Rec
Compatible with: LS‑100, LS‑P4, LS‑P5
VIEW IMAGES
Modes
Single
Index
Calendar
Zoom
Movie
Auto rotation
Available
Histogram in playback mode
Available
Shooting information
Off / On
Highlight/Shadow point warning
Available
ERASE / PROTECT / COPY FUNCTION
Erase modes
Single, All, Selected
Image protect mode
Single frame, Selected frames, All Frames, Release protect (Single/All selected)
IMAGE EDITING
Editing functions
RAW data edit
Red-eye reduction
Sepia
Black & White
Resize
Correction of saturation
Correction of brightness
Correction of colour balance
Shadow Adjustment
Trimming
e-Portrait
Aspect ratio
MENU
Menu languages in camera
English, French, German, Spanish, Italian, Russian, Czech, Dutch, Danish, Polish, Portuguese, Swedish, Norwegian, Finnish, Croatian, Slovenian, Hungarian, Greek, Turkish, Latvian, Estonian, Lithuanian, Ukrainian, Serbian
CUSTOMISATION OPTIONS
Fn Button
Equipped
My Mode
4 settings storable (Can be set to mode dial.)
Factory reset
Full / Basic
Programmable button
Equipped
INTERFACE
Media
SD Memory Card (SDHC, SDXC, UHS‑I, UHS‑II compatible) Class 10 or higher SD card is recommended for movie shooting UHS‑II or UHS‑I U3 card is recommended for 4K, C4K, ALL‑I shooting.
Hot shoe
Equipped
Microphone jack
3.5 ø mm mini‑jack (plug‑in power on/off)
HDMI™
Applied Micro connector (Type D) *
* “HDMI”, the HDMI logo and “High‑Definition Multimedia Interface” are trademarks or registered trademarks of HDMI Licensing LLC.
USB 2.0 High Speed
Applied
Wireless connectivity
Wi-Fi
Bluetooth®
Communication method
Bluetooth® Low Energy Ver.4.2
SAR
0.36W/kg
SAR quantifies the maximum level of exposure of the user to electromagnetic waves, when using the device close to the head.
SAR shall not exceed 2W/kg in accordance with regulations of France.
Wi‑Fi is a registered trademark of the Wi‑Fi Alliance.
The Bluetooth® word mark and logos are registered trademarks owned by the Bluetooth SIG, Inc. and any use of such marks by OLYMPUS CORPORATION is under license.
WI-FI FUNCTIONS
Easy Connection
QR code setting
Wireless Shooting
Live View
Power off
Rec View
Self timer
Touch AF & Shutter
P/A/S/M exposure modes
Bulb mode
Zoom
Movie recording
Live Composite
Short movie
OTHER FEATURES
WebCam
UVC (USB Video Class) / UAC (USB Audio Class)
POWER SUPPLY
Battery
BLS‑50 Lithium‑Ion Battery (included)
Sleep mode
1, 3, 5, 10 min. and off selectable.
Battery life
Image shooting
310 shots (using Toshiba SDHC UHS‑I Card Exceria with IS on, with no flashes attached , based on CIPA test standards)
Movie recording
60min (standard JEITA conditions) 110min (when zoom and other operational functions are not used)
USB charging
Built‑in battery can be charged with USB (when camera power is off)
Performance varies depending on different USB devices
ENVIRONMENT
Temperature
‑10 ‑ 40°C Operating temperature / ‑20 ‑ 60°C storage temperature
Humidity
30 ‑ 90% operation humidity / 10 ‑ 90% storage humidity
DIMENSIONS
Width
125.3mm
Height
85.2mm
Depth
49.7mm
Weight
414g (including battery and memory card)
366g (body only)
EXTERIOR
Available Colours
Black
Silver
