Olympus Tough TG-5

      Photo Review 9

      In summary

      From the dual viewpoints of features and performance, the TG-5 is arguably one of the best rugged, waterproof cameras currently available.  Olympus has reduced the resolution to a sensible 12 megapixels, which is appropriate for the 1/2.3-inch sensor, and the availability of a 4K movie setting is a decided plus.

      If you’re looking for a compact, take-anywhere camera for either travel or everyday shooting, the TG-5 is definitely worth a look.

      If you’re a traveller, it’s also worth considering the FCON-T01 Fisheye Converter, which will give you a useful wide perspective with minimal distortion.


      Full review

      Announced in mid-May 2017, the Olympus Tough TG-5 is the latest in a string of popular underwater cameras and probably the most versatile compact camera available today at a competitive price. Olympus has reduced the resolution to a sensible 12 megapixels, which is appropriate for the 1/2.3-inch sensor and the TG-5 includes features that will appeal to both snapshooters and photo enthusiasts. Available in black or red, it can fit snugly into a pocket and is waterproof to 15 metres.    


      The two colour options for the Olympus Tough TG-5. (Source: Olympus.)

      We haven’t reviewed an underwater camera for more than six years,  partly because we haven’t been offered one and partly because so few of them provide a raw file capture option (a requirement in the cameras we review). Since we needed a rugged camera that could be used underwater, we acquired the TG-5 that is used for this review. We also invested in the CLA-T01 Converter Adapter and the FCON-T01 Fisheye Converter ( details in the Accessories section below).

      Who’s it For?
       Anyone looking for a tough waterproof  camera that is versatile enough for general use will find the TG-5 meets most of their requirements.   On the ‘tough’ front, as well as being waterproof to 15 metres, it is dustproof rated to JIS/IEC protection class 6, freezeproof to -10℃, crushproof to 100 kgf (kilogram-force/square centimetre) and shockproof enough to withstand a drop of 2.1 metres.

      Photo enthusiasts will appreciate raw file support, which benefits from faster continuous shooting and a larger buffer memory. Movie shooters will welcome the introduction of 4K recording and improvements to the movie modes.

      Enthusiast users will also be pleased that the camera adopts the same menu configurations as the OM-D and PEN cameras, albeit adapted to the more compact, snapshooter format of the TG-5.  If you already use an Olympus interchangeable-lens camera, the transition to the TG-5 should be virtually seamless.

      But they’ll be less pleased to learn the aperture priority mode only allows for three f-stop settings, whichever focal length is used. At 4.5mm, you get f/2.0, f/2.8 and f/8, while at18mm, the range is f/4.9, f/6.3 and f/18. That’s the consequence of the small sensor.

      The Field Sensor System, which was introduced in the Stylus TG-Tracker and is included in the TG-5, is likely to appeal to many potential users. It takes data from a number of sensors to record tracking information simultaneously with images.


       Rear view of the TG-5 showing the Field Sensor System display. (Source: Olympus.)

      The GPS sensor acquires information from GPS, GLONASS/QZSS for highly accurate positioning. As well as location information covering latitude and longitude, there are sensors for tracking altitude (or depth), shooting direction and air or water temperature.

      Users can access the data by pressing the Info button and the display will appear on the monitor, regardless of whether the camera is switched on or off. Users can transfer this  tracking data to a smart device via the Olympus Image Track Version 2.2 smartphone app, which is easily set up by scanning the QR code displayed on the camera when establishing the Wi-Fi connection settings.

      Build and Ergonomics
       The general appearance of the camera body is similar to the earlier TG-4 model and the ‘tough’ specs are virtually identical to the TG-4’s. However, the body features hermetic sealing, a floating lens construction and double-lock covers for additional protection. There’s also a new ““ and very welcome ““ lock/release button on the front panel for securing the CLA-T01 Converter Adapter.  


      Front view of the Tough TG-5. (Source: Olympus.)

      The lens has the same specifications as the TG-4’s, with the 4.5-18.0mm focal length providing the equivalent of 25-100mm in 35mm format and a variable f/2.0 to f/4.9 maximum aperture. But it’s now protected by dual panels of glass, which prevent fogging in changing temperatures and humidity levels.


       Cutaway view of the Tough TG-5 showing the dual-pane glass protecting the lens. (Source: Olympus.)

      A new control dial has been added to the top of the camera, replacing the TG-4’s slider switch. The zoom controller has also been re-configured and is now a conventional lever surrounding the shutter button.

      As in other cameras,  the control dial’s  function depends on the shooting mode. In the P, movie and microscope modes it controls exposure adjustments, while in the aperture priority mode it adjusts aperture settings.  


      Top view of the Tough TG-5. (Source: Olympus.)

      The control dial is used to adjust focus in manual focus mode, providing greater controls than the up/down buttons on the arrow pad (an alternative method. It can also be used for quick scrolling through images in playback mode.

      There’s also a new LOG switch, which engages the Field Sensor System, outlined above. When it’s switched on, the camera draws on the battery continuously to acquire location data.

      This data is saved to the memory card when the LOG switch is set to OFF and the camera displays a message that the log is being saved. Turning the switch to off will conserve battery power.


       Rear view of the Tough TG-5. (Source: Olympus.)

      Nothing much has changed on the rear panel, save for the mode dial, which now includes a movie mode setting. The monitor is the same as the TG-4’s and neither camera has a viewfinder, either built-in or attachable.

      As usual, the battery and memory card share a compartment that is accessed through the base plate. A locking cover on the left side protects the USB and HDMI ports and the camera supports USB charging.

      It’s worth noting that both points with access into the camera (the battery/card compartment and interface ports) have double locks. In both cases they comprise two sliders, which must both be moved when the compartment is opened or closed.

      Shooting Modes
      The mode dial carries nine settings, covering different shooting modes. As well as the normal full-auto, P and A modes there are two Custom modes for storing favourite combinations of settings, the Movie mode, an Underwater mode and a Microscope mode plus a Scene mode with 16 pre-sets.

      If you select the A mode you’ll find aperture adjustments are limited, due to the small sensor. At each focal length setting you get wide open, a stop down and the minimum aperture supported. The Auto mode favours the widest aperture settings.

      The Movie mode has three options: Standard (which records 1080p and 720p movies; 4K, which records 3840 x 2160 pixel frames at 30 or 25 fps and High-Speed, which records 1080p movies at 120 fps, 720p movies at 240 fps or VGA movies at 480 fps.

      The Underwater mode includes four options: Underwater Snapshot for general use under natural light; Underwater Wide and Underwater Macro, which are self-explanatory and Underwater HDR, which captures multiple images and combines them and is used for contrasty scenes.

      The Microscope Mode is designed for extreme close-ups and supports focusing to within a centimetre of the lens. In addition to the standard setting, it includes three additional pre-sets: Focus Stacking, Focus Bracketing and Microscope control, the latter allowing magnification to be adjusted via the right arrow pad button.


       Focus stacking with microscope mode. The top image shows a normal close-up while the bottom image results from focus stacking.

      The Scene presets include the Live Composite mode, introduced in the OM-D E-M10  as well as Panorama and Backlight HDR modes. Drive modes are selected via the down button on the arrow pad and include the self-timer settings plus single, sequential high (10 or 20 fps) and sequential low (5 fps) modes as well as the Pro Capture Mode, introduced in the OM-D E-M1 Mark II.

      The Pro Capture mode starts recording when you half-press the shutter button and will store up to four frames of the last frames captured when it is pressed all the way down. The capture rate is 10 frames/second to the limit of the buffer memory.

      The TG-5 also provides the standard Picture Mode and Art Filter settings found on all current Olympus cameras. In addition, the White Balance settings include the ‘Keep the warm colour’ option as well as a dedicated underwater setting that compensates for the loss of reds with depth.

      Sensor and Image Processing
       The TG-5 boasts a new 12-megapixel BSI-CMOS sensor coupled to the latest TruePic VIII processor, which is also used in the flagship   OMD EM1 Mark II camera.   Together, they provide high-quality images with low noise levels and build on the capabilities of the previous models.

      Olympus has reduced the resolution from 16 megapixels in the TG-4 to 12 megapixels in the TG-5, which means larger photosites with more light-gathering ability and a resulting improvement in image quality, especially noise levels. Users can adjust sensitivity across a range of ISO 100 to ISO 12800.

      Like the TG-4, the TG-5 supports both ORF.RAW and JPEG capture, with three sizes and four compression options available for the JPEGs. RAW+JPEG capture is available with all JPEG settings. Users can also choose from five aspect ratio settings: 4:3, 3:2, 16:9, 1:1   and the vertically-orientated 3:4 setting. The table below shows the options available in the default 4:3 aspect ratio.





      File format / compression

      Image size

      Typical file size

      Storable images on 8GB card


      4000 x 3000



      LSF JPEG



      LF JPEG



      LN JPEG



      LB JPEG



      MSF JPEG

      3200 x 2400



      MF JPEG



      MN JPEG



      MB JPEG



      SSF JPEG

      1280 x 960



      SF JPEG



      SN JPEG



      SB JPEG



       The addition of 4K movie recording is a major advance in the TG-5, which offers two frame rates (30 fps and 25 fps) at a frame resolution of 3840 x 2160 pixels. Individual clips can be up to five minutes long.

      PAL format users can choose from three frame rates for Full HD (1080p) movies at Super Fine quality and both 50p and 25p are supported with the Fine and Normal quality settings. The same quality settings are available for HD movies (720p).

      Clip lengths are determined by the resolution setting, with the Normal setting supporting up to 29 minutes of recording at all frame rates. Super Fine quality limits clip lengths to 10 minutes.   Clip lengths are unaffected by recording audio with the video footage.

      Both the 4K movie mode and the three High-speed movie settings must be accessed by pressing the left button on the arrow pad. The latter are restricted to 20 seconds in length. Options available are 1080p at 120 fps, 720p at 240 fps and VGA at 480 fps.

      The Olympus Image Share (OI Share) app lets you select movie mode and adjust aperture, exposure compensation, ISO and white balance. Unfortunately, you can’t select 4K resolution via the remote control; resolution defaults to 1080p at 30 fps. Nor can you re-adjust the focus (or pull-focus) while shooting movies remotely, although you can configure the timer to record a short movie of up to 16 seconds

      Playback and Software
       The TG-5’s playback button is conveniently located just above the arrow pad, which can also be used to scroll through images. We found it easier to use the control dial for this purpose since you can quickly move your finger across to the zoom level if you want to magnify a displayed shot.

      Playback modes are pretty standard with single, index and movie options plus the usual rotate function for vertical shots. Slideshows can be displayed with or without the ‘canned’ ‘Party Time’ background music. (Other tracks can be downloaded from the Olympus website.) You can also choose how long each frame is displayed from two to 10 seconds.

      The Edit menu covers in-camera raw file conversion to produce a JPEG copy (which can be further processed). JPEGs can be cropped and their aspect ratio can be changed. Shadow adjustment and Red-eye Fix are also available along with B&W and Sepia conversion and saturation adjustment.

      Movie clips can be trimmed and up to 30 seconds of audio can be added to still images. Image Overlay is also available but requires raw files. Up to three frames can be combined.

      No software is supplied with the camera but the manual includes details on downloading the Olympus Viewer 3 software for converting raw files. ORF.RAW files from the TG-5 are also supported in the latest version of Adobe Camera Raw, our preferred conversion software.

       Like the TG-4, the new camera accepts a number of useful accessories, including the FCON-T01 Fisheye Converter (RRP: AU$149) and TCON-T01 teleconverter (RRP: AU$129), which screw onto the lens via the CLA-T01 Converter Adapter (RRP: AU$29). Test shots taken with the FCON-T01 Fisheye Converter are included in the Image Samples section of this review.


       The red version of the TG-5 with the FCON-T01 Fisheye Converter fitted. (Source: Olympus.)

      Olympus also offers a number of camera cases, among them a silicone jacket (RRP: AU$24), and a ‘sport holder’ that can clip onto a belt, backpack or diving harness (RRP: AU$59). The CHS-09 floating hand strap (RRP: AU$19.95)will prevent the camera from sinking if it’s dropped in the water.


       The black version of the TG-5 in the CSCH-123 Sport Holder. (Source: Olympus.)

      There’s also the LG-1 LED Light Guide (RRP: AU$59) and the FD-1 flash diffuser (RRP: AU$69) for taking close-ups where extra light is needed. For divers who need to go deeper than the camera’s specified operating depth, Olympus lists the PT-058 Underwater Case and the UFL-3 Underwater Flash on its website but they’re not listed in the camera’s manual.


      The black version of the camera with the LG-1 LED Light Guide. (Source: Olympus.)

       Like all small-sensor cameras (including smartphones), the TG-5 suffers from dynamic range issues. In bright, contrasty lighting great care must be taken with exposure control in order to record some details in highlights without blocking up shadows. Nevertheless, in JPEGs, some detail at the top and/or bottom of the brightness range is inevitably lost.

      Shooting raw files helps to retain the maximum dynamic range available, given the lighting conditions and the set exposure levels. We also found we needed to expose for the highlights and let the shadows take care of themselves. The two images below show the differences between JPEG and raw files when processed to optimise picture quality to illustrate when we mean.  


      The same scene photographed in   RAW+JPEG format to show the differing dynamic ranges recorded. Compare the blown-out highlights in the clouds in the JPEG file (the upper image) with the greater detail recorded in the ORF.RAW image below it. Note also the differences in brightness levels in the foreground scene.

      Another downside of the small sensor is image noise, which becomes obvious between ISO 800 and ISO 1600, depending on ambient lighting. Even with raw files, where noise is more controllable, you wouldn’t push sensitivity much higher.

      On the positive side, the small sensor provides plenty of depth-of-focus, which doesn’t put too much stress on the camera’s AF system and makes the inclusion of focus stacking relatively easy. We found the camera focused quickly in most situations for stills shots, although it could struggle when zoomed right in if light levels or subject contrast were low.

      JPEG images straight from the camera had modest contrast and saturation. This was confirmed by our Imatest tests, which showed colour accuracy to be good for a camera of this type.

      Imatest also showed JPEG images came close to meeting expectations for the 12-megapixel sensor and revealed acceptable levels of edge softening. ORF.RAW frames exceeded expectations in the central zone of the frame and came close towards the peripheries.

      Resolution remained acceptably high up to ISO 1600 but declined thereafter. JPEGs shot at the two highest sensitivity settings were affected by increasing softening and loss of colour saturation as well as blocked-up shadows. This was true of flash shots as well as ambient light exposures and is shown in the graph below.


       Graphing the lens performance was impossible because there are only three aperture settings at each focal length and they don’t necessarily coincide. The table below shows the results we obtained at four focal length settings.


       Diffraction had a profound effect upon resolution when the lens was stopped down at longer focal lengths. Lateral chromatic aberration ranged from low to moderate across the settings we recorded.

      The built-in flash under-exposed by more than a stop with the ISO 100 setting but produced evenly-exposed shots across the rest of the camera’s ISO range.The same loss of contrast and softening could be seen in flash shots at the highest ISO settings as we found for long exposures.

      White balance performance was typical of most cameras we’ve reviewed.  The review camera wasn’t quite able to eliminate the warm casts of incandescent and LED lighting but delivered close to neutral colours with fluorescent and flash lighting.  The incandescent and fluorescent presets over-corrected slightly, with the various fluorescent lighting settings imparting slightly different colour casts. Manual measurement produced neutral colour rendition.

      Movie quality was quite good, although not completely free from flaws. Even above water, fast-moving subjects in movie frames were often blurred and subject tracking could be slow and imprecise. And while the combined sensor-shift and electronic stabilisation usually kept backgrounds steady, this was made difficult when snorkelling due to camera movements. We obtained the best results when shooting underwater scenes through glass in an aquarium because at least it was possible to keep the camera steady.

      We didn’t try the high-speed settings due to a lack of suitable subjects in the time available.   Audio quality was good enough for amateur use but, while you can adjust the bit rate and recording volume, there’s no wind filter so wind noise could be a problem when shooting outdoors. Fortunately, the camera didn’t seem to pick up the operational noises when the lens was focusing or being zoomed.

      We carried out our timing tests with a 32GB Lexar Professional SDHC UHS-1I U3 card which has a maximum write speed of 300 MB/second and is fast enough to support 4K movie recording. The camera powered up in roughly 1.5 seconds.  We measured an average capture lag of approximately 0.2 seconds, which was cut to 0.1 seconds with pre-focusing. Shot-to-shot times averaged 0.7 seconds without flash and 5 seconds with flash.

      Going by the indicator icon on the monitor it took roughly 5 seconds for the Live View display to reappear after recording each JPEG file, 5.2 seconds for each ORF.RAW file and 5.3 seconds for each RAW+JPEG pair.

      In the continuous high-speed shooting mode, the TG-5 will record JPEGs to the card’s capacity. In our test, the review camera captured 25 high-resolution JPEGs  in 3.1 seconds, which equates to a rate of roughly eight frames/second. It took 5.1 seconds to process this burst.

      With raw files, the capture rate slowed after 19 frames, which were recorded in approximately one second. It took 6.1 seconds to process this burst. Shooting RAW+JPEG pairs reduced the buffer capacity to 14 frames, which were captured in approximately 0.7 seconds. Processing roughly doubled the capture time.

      From the dual viewpoints of features and performance, the TG-5 is arguably one of the best rugged, waterproof cameras currently available.  Olympus has reduced the resolution to a sensible 12 megapixels, which is appropriate for the 1/2.3-inch sensor, and the availability of a 4K movie setting is a decided plus.

      If you’re looking for a compact, take-anywhere camera for either travel or everyday shooting, the TG-5 is definitely worth a look. If you’re a traveller, it’s also worth considering the FCON-T01 Fisheye Converter, which will give you a useful wide perspective with minimal distortion.

      Even though the camera has been on sale for less than two months, discounting has begun, with most local re-sellers pricing the camera between AU$615 and $630, although a few still list the RRP ““ or slightly higher.  Clearly, shopping around is advisable since the camera appears to be in high demand.

      You can buy the FCON-T01 Fisheye Converter and required CLA-T01 Converter Adapter directly from Olympus via their website, although your favourite re-seller may be able to offer them at a slightly lower price, particularly if they’re bought with the camera. Unfortunately, some re-sellers don’t include them in the accessories list on their websites but if you search using the product name, they should be easy to find.

      Off-shore re-sellers may have a lower price listed for the TG-5 but by the time you add shipping costs you’ll be paying more from the camera than you would from a local re-seller. You may also require a license or other authorisation from the U.S. Government to export it from the United States, which will add to your hassles.



       Image sensor: 6.17 x 4.55 mm BSI-CMOS sensor with 12.7   million photosites (12 megapixels  effective)
       Image processor: TruePic VIII
       A/D processing: 12-bit (lossless compression)
       Lens: 4.5-18.0mm f/2.0-4.9 zoom lens (25-100mm in 35mm format)
       Zoom ratio: 4x optical;   x2 / x4* digital zoom (*Microscope Control mode only)
       Stabilisation: Sensor-shift, up to 2.5 stops
       Image formats: Stills – JPEG  (DCF / Exif 2.3); Movies – MOV (MPEG-4AVC/H.264) with Stereo audio, linear PCM/16-bit, Sampling frequency 48kHz
       Aspect ratios: 4:3, 3:2, 16:9, 1:1
       Image Sizes: Stills – 4000 x 3000   1280 x 960; Movies – 3840 x 2160(4K) @ 30p, 25p (Bit rate: Approx. 102Mbps), 1920 x 1080 @ 50p, 325p, 1280 x 720 @ 25p; High Speed Movie: 1920 x 1080 (FHD) / 120fps, 1280 x 720 (HD) / 240fps, 640 x 360 (SD) / 480fps
       Shutter speed range: 1/2 to 1/2000 seconds (Night Scene, A mode: up to 4 sec.)
       Self-timer:   2 or 12 seconds delay plus Custom (Wait time: 1-30 sec., Number of shots: 1-10, Shot interval: 0.5 / 1 / 2 / 3 sec.)
       Exposure Compensation: +/- 2EV (in 1/3 EV steps)
       Bracketing: Focus bracketing with stacking, HDR auto composite, Live Composite mode, Interval timer
       Focus system/range:25 point CMOS contrast detection (with AF Illuminator) with   AF-S, AF Tracking and manual modes (with peaking and magnification); range:   1 cm to infinity; macro 1 cm   to 3 cm
       Focus area selection:   Face detection AF
       Exposure metering/control: Digital ESP and spot metering; range EV 2-20 (f/2.0 / ISO 100)
       Shooting modes: Intelligent Auto (iAUTO), Programme Auto (P), Aperture Priority (A), Custom1, Custom2, Underwater, Microscope, Scene Mode (SCN)
       Scene presets: Portrait, e-Portrait, Landscape, Portrait +Landscape, Hand-held Starlight”‹, Nightscape, Portrait + Nightscape, Children, Sport, Candlelight, Sunset, Fireworks, Beach & Snow, Panorama, Live Composite, Backlight HDR
       Picture Modes: i-Enhance, Vivid, Natural, Muted, Portrait, Monotone, Custom, e Portrait, Art Filters
       Gradation: Auto, Normal, High Key, Low Key [except when using i-Enhance, Underwater, Art Filters, Colour Creator]
       Colour space options: sRGB, Adobe RGB
       ISO range: Auto (ISO 100-1600), ISO 100-12800 selectable in 1/3 EV steps  
       White balance: Auto WB, 7 Preset WBs, 4 Capture WBs, Custom WB (Kelvin setting); +/- 7 steps of compensation along A-B / G-M axis
       Flash modes/range (ISO auto): Auto, Red Eye Reduction, Slow sync.(1st curtain), Red-eye Slow sync.(1st curtain), Fill-in, Manual(1/1(FULL)-1/64), Flash Off; wireless flash control with compatible Olympus flashguns
       Flash intensity control: Up to +/-2 EV in 1/3 EV steps
       Sequence shooting: Max. 20 frames/second with electronic shutter, 5 fps with mechanical shutter; Pro Capture mode max. approx. 10 fps
       Buffer memory depth: ‘unlimited’JPEGs, 14 or 40 raw files (electronic/mechanical shutter)
       Storage Media: Single slot for SD, SDHC, SDXC cards (UHS-I and Eye-Fi Card compatible)
       Viewfinder:   No
       LCD monitor: 3.0-inch colour LCD with   approx. 460,000 dots, 3:2 aspect ratio. +/- 7 levels of brightness adjustment
       Interface terminals/communications: USB 2.0 microB, Micro HDMI (type D),   IEEE 802.11 b / g / n Wi-Fi with GPS via smartphone GPS data; QR code setting
       Tough capabilities: Waterproof to 15m Equivalent to JIS/IEC protection class 8 (IPX8); dustproof equivalent to JIS/IEC protection class 6, freezeproof to -10℃, crushproof to 100 kgf, shockproof to 2.1 metres
       Other features: Field Sensor System: GPS (GLONASS,QZSS), compass, manometer, temperature sensor, acceleration sensor
       Power supply: LI-92B rechargeable lithium-ion battery; CIPA rated for approx. 340 shots / charge
       Dimensions (wxhxd): 113 x 66 x 31.9 mm (excludes protrusions)
       Weight: 250 grams (without battery and memory card)

       Distributor:Olympus Imaging Australia; 1300 659 678, www.olympus.com.au  



       Based on JPEG files:


       Based on ORF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw







       Auto white balance with incandescent lighting.



       Auto white balance with fluorescent lighting.



      Auto white balance with LED   lighting.



      Auto white balance with flash lighting.



      4.5mm focal length, ISO 100, 1/100 second at f/8.



      18mm focal length, ISO 100, 1/50 second at f/6.3.



      4.5mm focal length with FCON-T01 Fisheye Converter, ISO 100, 1/100 second at f/2.8.


      Close-up with 4.5mm focal length, ISO 100, 1/400 second at f/2.0.


      Close-up with 18mm focal length, ISO 125, 1/200 second at f/4.9.


      4-second exposure at ISO 100, 7mm focal length, f/4.


      1-second exposure at ISO 400, 7mm focal length, f/4.


      1/4-second exposure at ISO 1600, 7mm focal length, f/4.


      1/8-second exposure at ISO 3200, 7mm focal length, f/4.


      1/15-second exposure at ISO 6400, 7mm focal length, f/4.


      1/30-second exposure at ISO 12800, 7mm focal length, f/4.


      Flash exposure at ISO 100, 18mm focal length, 1/100 second at   f/4.9.


      Flash exposure at ISO 400, 18mm focal length, 1/100 second at   f/4.9.


      Flash exposure at ISO 1600, 18mm focal length, 1/100 second at   f/4.9.


      Flash exposure at ISO 3200, 34mm focal length, 1/100 second at   f/4.9.


      Flash exposure at ISO 6400, 34mm focal length, 1/100 second at   f/4.9.


      Flash exposure at ISO 12800, 34mm focal length, 1/100 second at   f/4.9.


      16:9 aspect ratio; 4.5mm focal length, ISO 100, 1/320 second at f/8.


      4:3 aspect ratio; 4.5mm  focal length, ISO 100, 1/250 second at f/8.


      3:2 aspect ratio; 4.5mm  focal length, ISO 100, 1/320 second at f/8.


      1:1 aspect ratio; 4.5mm  focal length, ISO 100, 1/320 second at f/8.



      3:4 aspect ratio;4.5mm focal length, ISO 100, 1/320 second at f/8.


      4.5mm focal length, ISO 400, 1/640 second at f/8.


      4.5mm focal length, ISO 400, 1/50 second at f/8.



      4.5mm focal length, ISO 200, 1/100 second at f/2.8.


      6mm focal length, ISO 500, 1/100 second at f/3.5.



      6mm focal length, ISO 800, 1/100 second at f/3.5



      12mm focal length, ISO 200, 1/100 second at f/6.3.


      4.5mm focal length with FCON-T01 Fisheye Converter, ISO 100, 1/100 second at f/8.


      4.5mm focal length, ISO 100, 1/1600 second at f/2.0.


      16mm focal length, ISO 100, 1/200 second at f/4.7.


      6mm focal length, ISO 1600, 1/5 second at f/10.



      P mode; 8mm focal length, ISO 800, 1/15 second at f/11.


      P mode; 12mm focal length, ISO 400, 1/20 second at f/6.3.


      Still frame from a 4K video clip recorded at 25p.


      Still frame from FHD MP4 video clip recorded at 50p.


      Still frame from FHD MP4 video clip recorded at 25p.


      Still frame from HD 720p MP4 video clip recorded at 50p.


      RRP: AU$649; US$449

      • Ease of use: 8.8
      • Autofocusing: 8.8
      • Image quality JPEG: 8.5
      • Image quality RAW: 8.8
      • Video quality: 8.6