Olympus OM-D E-M10 Mark II
The OM-D E-M10 was a great little camera that combined excellent performance with innovative features and was offered at a very competitive price.
The E-M10 Mark II is at least as impressive, upping the ante in a number of important ways without significantly boosting the price tag.
Improvements to the stabilisation system, EVF and movie recording will be welcomed by anyone who values one or all of these functions and make the new camera an attractive extra body for photographers who want to expand an existing Olympus OM-D or PEN-based system.
For newcomers to Olympus, the E-M10 Mark II presents an attractive combination of processor-driven in-camera effects and manual controls that will have a broad appeal. This is a camera that beginners can ‘grow with’.
After updating its original OM-D E-M5 in February, Olympus has now tackled the entry-level model with the release of the OM-D E-M10 Mark II. It has the same 16-megapixel sensor and TruePic VII processor as the original model but boasts an improved body design, expanded movie capabilities and similar five-axis stabilisation to the other OM-D models, the flagship E-M1 and recently revised E-M5 Mark II.
Angled view of the OM-D E-M10 Mark II with the flash raised and the M.Zuiko 14-42mm f/3.5-5.6 EZ ‘pancake-style’ kitlens fitted. (Source: Olympus.)
Currently, it seems, the E-M10 Mark II is not viewed as a direct replacement of the E-M10, which is still listed on the Olympus websites worldwide. Price- and feature-wise, however, it is positioned between the E-M10 and E-M5 Mark II.
Who’s it for?
Like the original E-M10, the Mark II has been designed to attract photographers upgrading from a compact digicam or looking to replace their DSLR with a smaller, lighter camera. It provides plenty of DSLR-like controls and features in a compact and affordably-priced camera body.
Equipped with a proper mode dial as well as twin dial controls for making adjustments to different shooting parameters, it also provides plenty of scope to customise dials and buttons to suit users’ requirements. It also offers decent ergonomics and handling and there are plenty of excellent lenses to choose from.
However, despite having a nice metal body, unlike the E-M1 and E-M5 Mark II models, the E-M10 Mark II is not weather sealed. And when it comes to video, it doesn’t compete with rivals in the Panasonic camp, most of which support 4K movie recording. Instead you get1080p video at 50, 30, or 24 frames per second, admittedly with the ALL-I and IPB compression options, using the MOV (MPEG-4AVC/H.264) format.
Olympus is offering the E-M10 Mark II in all-black and silver/black colours as body-only or with the M.Zuiko Digital14-42mm III lens as well as in a twin-lens kit that adds the M.Zuiko Digital 40-150 f/4-5.6 R lens.
Build and Ergonomics
Like its OM-D siblings, the E-M10 Mark II has a metal body, made from lightweight magnesium alloy. It’s slightly larger than the original E-M10 but also marginally lighter.
The front panel is almost identical to the E-M10’s and some people will find the grip a bit too shallow. A solution is available in the ECG-3 add-on grip, which is purpose-built for the E-M10 Mark II and has an RRP of AU$89.
Front view of the E-M10 Mark II (black version) with no lens fitted. (Source: Olympus.)
Noticeable improvements to the top panel design are the larger, more accessible top panel dials, which stick up higher and have rougher texturing around them. This makes the easier to identify as well as quicker to adjust. All three are now clustered on the right hand side of the panel.
The top panel of the E-M10 Mark II (silver version). (Source: Olympus.)
This has released space for moving the power on/off switch to the top panel, just as it is in the E-M1 and E-M5 Mark II. However, the switch in the E-M10 Mark II has an additional role in raising the pop-up flash.
The shutter button, while still mounted on the front control dial, is higher and easier to reach and there’s been some shuffling of the Function (Fn) buttons. The Fn1 button has moved back to sit atop the thumb rest, which has been enlarged to provide a more comfortable and secure grip.
Fn button 2 remains in the same spot, just in front of the movie button, while a new Fn3 button has been added to the left hand side of the top panel. On the rear panel, the Playback button has been moved down to replace the on/off switch and the Menu and Info buttons are now level with each other.
Back view of the E-M10 Mark II (silver version). (Source: Olympus.)
The monitor’s resolution has been increased very slightly but it’s still a 3-inch tilting TFT colour LCD with capacitance touch-screen controls and brightness and colour temperature adjustments covering +/-7 levels. The resolution of the EVF has roughly doubled (see below).
Unfortunately, the memory card slot still shares the battery compartment ““ and it’s a pretty tight fit! Anyone with large fingers or limited dexterity will find it hard to remove the card.
Equally unfortunate is the decision by Olympus to use a different battery from the E-M10, which itself used a different battery from the E-M5 (both models) and E-M1 cameras. This can be frustrating for photographers developing a system based around one manufacturer’s bodies and lenses and can be a deal breaker for some potential buyers.
The main enhancements to the new camera are the new, higher-resolution viewfinder and the addition of 5-axis image stabilisation (up from 3-axis in the E-M10), bringing the E-M10 Mark II into line with the E-M1 and E-M5 Mark II. Interestingly, the E-M5 Mark II is rated as offering 5EV steps of stabilisation, while the E-M10 Mark II is rated at 4EV of compensation. We covered the 5-axis stabilisation system in our review of the original OM-D E-M5 back in May 2012.
The new EVF is slightly smaller than the ‘finders in the E-M5 Mark II and E-M1 but it has the same resolution of 2.36 million dots (compared with 1.44 million dots in the E-M10). It also has new optics and coatings for a sharper view with less fringing.
Its eyepoint is lower than the higher-specified cameras (19.2 mm vs 21 mm in the E-M5 Mark II and E-M1) but it offers the same dioptre adjustments and covers the entire image frame. The standard Live View preview with depth of field preview lock is supported, along with grid overlays and a level gauge. Adaptive Brightness Technology provides automatic adjustments to ambient lighting while seven levels of manual settings are also available.
With the default settings, the EVF image appears very sharp and quite contrasty in normal outdoor lighting, with colour rendition that is vivid but not over-saturated. In low light levels, brightness is adjusted automatically to an average level of brightness that enables you to see what’s in the scene.
For those who prefer using optical viewfinders, the new Simulated Optical Viewfinder technology encompasses a greater dynamic range. It includes brightness and white balance corrections to reproduce the view you’d see with an optical viewfinder. This function is disabled by default so it must be switched on in the custom setting (page J. Built-in EVF). You can assign it to one of the function buttons.
The E-M10 Mark II also introduced a new AF Targeting Pad function that lets photographers set and track a focusing point by touching the monitor screen with a thumb tip while looking through the viewfinder. The monitor remains off during the process but acts as a ‘track pad’ and you can see the AF point move on the EVF’s screen as you move your thumb tip.
Like the original E-M5, the OM-D E-M10 Mark II includes plenty of in-camera functions for capturing creative photos and the offerings have expended with successive generations of OM-D cameras. Accordingly, there are 14 Art Filters, most with subsidiary adjustments for tweaking the effect, along with nine Art Effects that can be used to vary the appearance of the Art Filters.
Photo Story (introduced in the PEN E-P5 and XZ-10) lets users capture a scene from multiple viewpoints and combine them into a single image to tell a story. Touch controls on the monitor can be used to change the composition and add accents to colours.
The Live Bulb and Live Time functions enable long exposure times that allow users to ‘paint’ subjects with light from a torch or draw light trails to create pictures. The monitor displays the effects of the light ‘painting’ as you work, making the process easier. The Live Bulb function keeps the shutter open while the shutter button is pressed, and closes the shutter when the button is released. The Live Time function opens the shutter when the shutter button is pressed and closes it when the shutter is pressed a second time.
Live Composite shooting, an image stacking feature introduced with the original E-M10, is designed for recording star trails. It can also be used for scenes that get too bright overall when using Live Bulb. During the exposure photographers can watch the scene build up on the monitor screen and terminate the exposure when the effect they want is achieved.
The built-in Wi-Fi is similar to the system in other Olympus cameras (including the original E-M10), with easy connection of devices via QR code. The Olympus Image Share (O.I. Share) smart-phone app enables users to share images and operate the camera wirelessly from a smart-phone or tablet, with image sharing to a maximum of four devices simultaneously. It also allows location information from the device’s GPS receiver to be added to image metadata.
Also unchanged is the Colour Creator, which allows users to adjust the hue and saturation of images in the viewfinder. Up to 30 steps of adjustment can be made for hues and eight steps for saturation.
The E-M10 Mark II also supports interval recording for time-lapse photography, with the ability to record up to 999 frames in a sequence. The interval time can be set between one second and 24 hours. The end result is a time-lapse movie. This function has been expended in the E-M10 Mark II with the addition of a 4K setting that plays back at five frames/second (fps), up from a maximum resolution of 1280 x 720 pixels at 10 fps.
The E-M10 also comes with a multiple exposure mode, which can superimpose a second frame on an existing raw frame. Auto gain adjusts exposure levels according to subject brightness.
Sensor and Image Processing
As mentioned, the E-M10 Mark II’s sensor and image processor are the same as in the E-M10, delivering a maximum image size of 4608 x 3456 pixels in the camera’s native 4:3 aspect ratio. (As in other OM-D cameras, 3:2, 16:9 and 1:1 aspect ratio settings are available and achieved by cropping the frame.) We’ve listed the available image and file sizes in our review of the OM-D E-M5 in May 2012.
ISO sensitivity ranges from Low (ISO 100) to ISO 25600, with adjustments in increments of 1/3 or 1EV steps. Continuous shooting is available at up to 8.5 frames/second and the buffer memory can hold up to 36 Large/Fine JPEGs or 22 ORF.RAW files.
Most of the video functions introduced in the E-M5 Mark II have been ported across to the E-M10 Mark II. Movies can be recorded by selecting the Movie mode on the mode dial or by simply pressing the movie button in any shooting mode except Photo Story.
Movies are recorded in the widely-used MOV (MPEG-4AVC/H.264) format, with AVI (Motion JPEG) used for low-resolution clips. The top resolution remains at 1920 x 1080 pixels (Full HD) and users can select from nine resolution/frame rate settings, which include a ‘My Clips’ mode that lets you shoot and link multiple short clips, and add effects and background music to produce a single movie. Recording times are available in 1, 2, 4, and 8 seconds (default setting is 4 sec.).
Like the E-M5 Mark II, the E-M10 Mark II supports both IPB encoding at up to 52 megabits/second (Mbit/s) and All-intraframe (ALL-I) encoding (which integrates with professional editing suites) at 77 Mbit/s, the latter with 24, 25 and 30 fps frame rates. Audio is recorded in Wave format audio with16-bit Stereo linear soundtracks and PCM (pulse-code modulation) at a sampling frequency of 48 kHz. Time coding is also available and the 5-axis stabilisation system works as well in movie mode as for still shooting.
Users can record still frames while shooting movie clips and apply most of the Art Filters and in-camera effects to movies. Missing are the microphone and headphone jacks for audio input and output that the E-M5 Mark II provides.
Since no lens was supplied with the camera, most of our test shots were taken with the M.Zuiko Digital 14-42mm f/3.5-5.6 EZ lens, although we used a few other lenses from our OM-D E-M1 kit, particularly the M.Zuiko Digital ED 40-150mm f/4.0-5.6 R. Subjective assessments of shots from the review camera showed them to be sharp, detailed and colour accurate and similar in most respects to shots taken with the original E-M10. This isn’t surprising as both cameras use the same sensor and image processor.
Our Imatest tests were carried out with the M.Zuiko Digital 14-42mm f/3.5-5.6 EZ lens. Unfortunately, the current version of Adobe Camera Raw, our preferred raw file converter, was released at the end of July, well before the E-M10 Mark II was announced so we were forced to use the supplied Olympus Viewer 3, the browser/file conversion software, which is clunky and decidedly inferior.
Nevertheless, analysis of out-of-camera JPEGs showed they exceeded expectations for the sensor’s 16-megapixel resolution in the centre of the frame and came very close at the periphery. Raw files converted with the supplied software fared slightly better in resolution, as shown in the graph below, which plots shows the results of our tests across the camera’s sensitivity range.
Long exposures were effectively noise-free up to ISO 3200 and very little noise could be seen at ISO 6400. Noise became apparent in the two higher ISO samples, with distinct granularity being obvious at ISO 25600, although with very little loss of sharpness and no obvious colour changes. Shots taken at the top ISO settings were printable at small (snapshot-sized) output sizes.
Flash performance was similar to the E-M10’s and the low GN 8.2 (ISO200/m) built-in flash struggled to provide correct exposures at ISO settings lower than ISO 1600. Little noise was evident in flash shots right up to ISO 6400, while shots taken at the two highest sensitivity settings were slightly over-exposed and marginally softened but not otherwise noise-affected.
The low power of the flash became very apparent when using it to counteract backlighting. With the auto setting, the power of the flash on auto wasn’t enough to expose the subject correctly and we had to set the flash to full power and boost the exposure compensation by a full stop to reveal details.
White balance performance was similar to the E-M10’s. Only a slight warm cast remained in shots taken under incandescent lighting with the auto setting, while fluorescent and flash lighting produced very close to neutral colours. Both pre-sets over-corrected slightly but the camera provides plenty of adjustments to overcome biases and the manual measurement tools delivered cast-free shots with all three types of lighting.
Video quality was similar to the results obtained with the E-M5 Mark II and generally very good with the Full HD and HD formats. We recorded most clips with the M.Zuiko Digital 75-300mm f4.8-6.7 II lens and the results were sharp and smooth with good audio presence. The wind cut filter reduced, but didn’t totally eliminate, wind noise. We also noticed some improvements in the re-focusing speeds while recording movie clips, particularly for fast changes in focal length and pans.
Autofocusing was generally fast and accurate for still shots, including stills recorded while shooting movie clips, which are recorded at the selected still frame resolution but with the same 16:9 aspect ratio as the movie. We noticed a slight slowing in dim lighting and also in very low-contrast situations, although once an edge was found the contrast detection system locked on quickly enough.
We didn’t try the 3D shooting mode, having no suitable way to view stereo pairs. Nor were we able to test the new Live Composite shooting mode due to a combination of adverse weather conditions and relatively high levels of light pollution in the suburb where we live.
Our timing tests were carried out with an 8GB SanDisk Extreme Pro SDHC U1 memory card, one of the fastest commonly available. The review camera took roughly one second to power-up and extend the lens for the first shot.
We measured an average capture lag of less than 0.1 seconds, which was eliminated by pre-focusing. Shot-to-shot times averaged 0.6 seconds without flash and 4.0 seconds with. Image processing speeds were similar to the E-M10’s, with JPEG files taking less than a second, ORF.RAW files just on a second and RAW+JPEG pairs very little more.
In the high-speed sequential shooting mode, we recorded a burst of 26 Large/ Fine JPEGs in three seconds. It took 10 seconds to process this burst. With ORF.RAW files the capture rate slowed after 15 frames, which were recorded in 1.8 minutes. It took 13.4 seconds to clear the buffer memory. Fourteen RAW+JPEG pairs were recorded in 1.7 seconds before the frame rate slowed. It took 20 seconds to process this burst.
In the low-speed sequential mode, we recorded 20 Large/ Fine JPEG frames in 3.8 seconds. Processing of these frames was completed within 9.2 seconds. With ORF.RAW files, 17 frames were recorded in 3.3 seconds and processed within 14.5 seconds. Fifteen RAW+JPEG pairs were recorded in 2.8 seconds and processed within 18 seconds of the last shot recorded.
The OM-D E-M10 was a great little camera that combined excellent performance with innovative features and was offered at a very competitive price. The E-M10 Mark II is at least as impressive, upping the ante in a number of important ways without significantly boosting the price tag (given the current value of the AU$). And it remains cheaper to buy locally than off-shore.
Improvements to the stabilisation system, EVF and movie recording will be welcomed by anyone who values one or all of these functions and make the new camera an attractive extra body for photographers who want to expand an existing Olympus OM-D or PEN-based system. For newcomers to Olympus, the E-M10 Mark II presents an attractive combination of processor-driven in-camera effects and manual controls that will have a broad appeal. This is a camera that beginners can ‘grow with’.
Since it was introduced with the OM-D E-M5, the OM-D system has held a lot of appeal for photographers looking to lighten their load. With smaller and lighter camera bodies plus small and competitively-priced, high-quality lenses, it presents an option to replace a bulky DSLR kit with one that weighs much less and is more portable but still delivers excellent image quality. What’s not to like?
Image sensor: 17.3 x 13.0 mm Live MOS sensor with 17.2 million photosites (16.1 megapixels effective)
Image processor: TruePic VII
Lens mount: Micro Four Thirds
Focal length crop factor: 2x
Image formats: Stills – JPEG (Exif, DCF, DPOF compatible); ORF.RAW (12-bit lossless compression), RAW+JPEG, MPO (3D still); Movies – MOV (MPEG-4AVC / H.264) , AVI (Motion JPEG) with Stereo Linear PCM audio / 16-bit, Sampling Frequency 48 kHz
Image Sizes: Stills ““ 4608 x 3456, 3200 x 2400, 1280 x 960; Movies: MOV format – 1920 x 1080: 50p / IPB (SF, F, N), 30p, 25p, 24p / ALL-I (A-I), IPB (SF, F, N); 1280 x 720 50p, 25p, 24p / ALL-I (A-I), IPB (SF, F, N); AVI format – 1280 x 720 and 640 x 480 at 30p; Time-lapse – 3840 x 2160(4K) at 5 fps, 1920 x 1080 at 5 fps, 10 fps, 15 fps, 1280 x 720 at 5 fps, 10 fps, 15 fps, 30 fps
Image Stabilisation: Built-in 5-axis sensor-shift for movie and still photos (4.0 EV steps stabilisation)
Dust removal: Supersonic Wave Filter (Image Sensor Dust Reduction System)
Shutter (speed range): 1/4000 – 60 sec., with selectable EV adjustment steps (1/3, 1/2, 1)
Bulb/Time: Selectable exposure time (1/2/4/8/15/20/25/30 min.), with 8-min. default setting; Flash synch at 1/250 sec.
Exposure Compensation: +/-5 EV in 1/3EV, 1/2 EV or 1 EV steps (+/-3EV for movies)
Exposure bracketing: 2, 3 or 5 frames in 0.3 / 0.7 / 1.0EV steps selectable, 7 frames in 0.3 / 0.7EV steps selectable
Other bracketing options: ISO, White Balance, Flash, Art Filter, Focus (3 to 999 shots, Focus steps adjustable from 1 to 10), HDR
Self-timer: 2 or 12 seconds delay plus Custom (Wait time: 1-30sec., Shot interval: 0.5 / 1 / 2 / 3sec., Number of shots: 1-10, Every time AF: On / Off)
Focus system: High-speed Imager AF (contrast-based) with 81-area multiple AF/ All target, Group target area (9-area), Single target(normal), Single target (small) selection
Focus modes: Single AF, Continuous AF, Manual Focus plus S-AF + MF / AF tracking (C-AF + TR) plus Face / Eye Detection AF and AF Targeting Pad
Focusing aids: x3, x5, x7, x10 (Default), x14 magnification (frame selectable from > 800 AF points); peaking display (white, black, red, yellow)
Exposure metering: Digital ESP metering (324-area multi pattern metering), Centre-weighted average and Spot metering patterns plus Spot metering with highlight control, Spot metering with shadow control
Shooting modes: i Auto, Program AE (Program shift can be performed), Aperture priority AE, Shutter priority AE, Manual, Bulb, Time, Scene select AE, Art Filter,
Underwater wide / macro , My Set
Scene Presets: Portrait, e-Portrait, Landscape, Landscape + Portrait, Sport, Hand-held Starlight, Night scene, Night + Portrait, Children, High Key, Low Key, DIS mode, Macro, Nature Macro, Candle, Sunset, Documents, Panorama, Fireworks, Beach & Snow, Fisheye Conv., Wide Conv., Macro Conv., Panning, 3D
Creative Control: HDR1, HDR2 (Painting-like) shooting modes, i-Enhance, Vivid, Natural, Muted, Portrait, Monotone, Custom, e-Portrait, colour creator, Keystone correction, Live Composite
Art Filters: Pop Art (I, II / a. b. c. d. e. f), Soft Focus ( – / c.e), Pale & Light Colour (I, II / a. b. c. d. f), Light Tone ( – / d. f), Grainy Film (I, II / b. c. d. g. h), Pin Hole (I, II, III / d), Diorama ( I, II / d), Cross Process (I, II / b. c. d. f), Gentle Sepia ( – / a. b. c. d. f), Dramatic Tone (I / b. c. d. e. f) (II / b. c. d. e. f. g. h), Key Line (I, II / a. b. c. d. e), Watercolour (I, II / a. b. c. d), Vintage (I, II, III / a. b. c. d. e. f. i), Partial Colour (I, II, III / a. b. c. d. e. f)
Art Effects: Soft Focus, Pin Hole, White Edge, Frame, Star Light, Blur Effect (Top & bottom, Left & Right), B&W Effect (None, Yellow, Orange, Red, Green), Pict. Tone (None, Sepia, Blue, Purple, Green), Shade Effect (Top & bottom, Left & Right)
Colour space options: sRGB and Adobe RGB
ISO range: Auto ISO, Low (approx. 100) – 25600 (Customisable, Default: Low – 1600), adjustable in 1/3 or 1 EV steps
White balance: Auto WB, 7 Preset WBs, 4 Capture WBs, Custom WB (Kelvin setting)
Flash: Built-in TTL Flash, GN=5.8 (ISO100/m) / GN= 8.2 (ISO200/m)
Flash modes: Flash Auto, Redeye, Fill-in, Flash Off, Red-eye Slow sync.(1st curtain), Slow sync.(1st curtain), Slow sync.(2nd curtain), Manual(1/1(FULL)~1/64)
Flash exposure adjustment: +/-3EV in 1/3EV, 1/2 EV or 1 EV steps
Sequence shooting: Max. 8.5 shots/sec.
Buffer capacity: Max. 36 Large/Fine JPEGs, 22 RAW files
Storage Media: SD, SDHC, SDXC cards (UHS-I/II compatible, Eye-Fi card compatible – but not compatible with Endless Memory)
Viewfinder: Eye-level OLED viewfinder with 2,360,000 dots, 100%FOV coverage, approx 1.08x magnification. 19.2 mm eyepoint, Live View preview with depth of field preview lock, display grid, level gauge, adaptive brightness technology, S-OVF (simulated optical viewfinder)
LCD monitor: 3.0-inch tilting touch-screen monitor with 1,040,000 dots, 3:2 aspect ratio, +/- 7 levels of brightness and colour temperature control
Playback functions: Single-frame, Information Display (brightness/RGB histogram, highlight/shadow point warning, AF frame, shooting data), Index Display (4 / 9 / 25 / 100 frames), Clips, Calendar, Enlargement (2x – 14x), Movie (With sound, FF / REW / Pause), Picture Rotation (Auto), Slideshow (With sound including BGM, Slide Show Effects, Replaceable BGM), Light Box Display
Interface terminals: USB: USB 2.0 Hi-speed, Video: NTSC / PAL selectable, Optional Remote Cable RM-UC1 compatible; Micro HDMI (Type-D), Hot Shoe / Sync. terminal
Wi-Fi function: IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi with QR code setting, image sharing for JPEG & MOV files;
Power supply: BLS-50 rechargeable Li-ion battery pack; CIPA rated for approx. 350 shots/charge
Dimensions (wxhxd): Approx. 119.5 x 83.1 x 46.7 mm (excluding protrusions)
Weight: Approx. 342 grams (body only); 390 grams with battery and card
Based on JPEG files:
Based on normal ORF.RAW files converted into 16-bit TIFFs with Olympus Viewer 3:
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash lighting.
30-second exposure at ISO 100, 22mm focal length, f/3.5.
15-second exposure at ISO 400, 22mm focal length, f/4.3.
8-second exposure at ISO 1600, 22mm focal length, f/5.
4-second exposure at ISO 6400, 22mm focal length, f/7.1.
3.2-second exposure at ISO 12800, 22mm focal length, f/9.
2-second exposure at ISO 25600, 22mm focal length, f/10.
Flash exposure at ISO 100, 42mm focal length, 1/60 second at f/3.5.
Flash exposure at ISO 400, 42mm focal length, 1/60 second at f/3.5.
Flash exposure at ISO 1600, 42mm focal length, 1/60 second at f/3.5.
Flash exposure at ISO 6400, 42mm focal length, 1/60 second at f/3.5.
Flash exposure at ISO 12800, 42mm focal length, 1/60 second at f/4.
Flash exposure at ISO 25600, 42mm focal length, 1/60 second at f/4.5.
Backlit subject with flash fill, autoflash; 42mm focal length, ISO 200, 1/200 second at f/9.
Backlit subject with flash fill, full power at +1EV compensation; 42mm focal length, ISO 200, 1/250 second at f/9.
Close-up; 138mm focal length, ISO 400, 1/400 second at f/6.3.
Close-up; 42mm focal length, ISO 200, 1/160 second at f/7.1.
Low-contrast backlighting; 14mm focal length, ISO 800, 1/640 second at f/7.1.
33mm focal length, ISO 1600, 1/400 second at f/9.
42mm focal length, ISO 200, 1/100 second at f/5.6.
14mm focal length, ISO 100, 1/250 second at f/6.3.
14mm focal length, ISO 100, 1/100 second at f/5.6.
34mm focal length, ISO 100, 1/80 second at f/8.
Still frame captured while recording 1080p movie; 78mm focal length, ISO 640, 1/250 second at f/8.
Still frame from Full HD 1080p video clip recorded in the ‘My Clips’ mode
Still frame from Full HD 1080p video clip recorded with ALL-I compression format at 25 fps.
Still frame from Full HD 1080p video clip recorded in IPB format with SuperFine compression at 50 fps.
Still frame from Full HD 1080p video clip recorded in IPB format with SuperFine compression at 25 fps.
Still frame from Full HD 1080p video clip recorded in IPB format with Fine compression at 25 fps.
Still frame from HD 720p video clip recorded in M-JPEG format at 25 fps.
Still frame from VGA video clip recorded in M-JPEG format at 25 fps.
RRP: AU$799; US$650 (body only)
- Build: 9.0
- Ease of use: 8.8
- Autofocusing: 9.0
- Still image quality JPEG: 8.8
- Still image quality RAW: 8.8
- Video quality: 9.0