Olympus PEN-F

In summary
The entire design concept behind the PEN-F is aimed at JPEG shooters who are active on social media. There’s nothing wrong with this as it enables a traditionally-styled camera to meet the needs of the modern user.
The addition of a decent EVF, which is built into the camera (rather than offered as an add-on) makes the PEN-F the first ‘serious’ camera in the PEN range. Hitherto, PEN cameras have been essentially snapshooters’ cameras, albeit at a ‘prestige’ level.
Most of the new functions make it easy to create colour or B&W photos at the touch of a switch, add lots of different special effects quickly and easily and link the camera to a smart device so the end results can be posted in blogs and/or shared via a wide range of social media. If those are your priorities, you’ll have few things to complain about in the PEN-F.
Full review
This review supplements the PEN-F First Look article we published in January 2016, adding comments about our experiences using the new camera plus the results of our standard tests. Use the links to jump between the two reports. The camera we received was a silver model; it will also be offered in black. The review camera was supplied with the M.Zuiko Digital 25mm f/1.8 lens, which we reviewed in March 2014. Olympus also supplied the ECG-4 External Grip with the review camera.

Angled view of the new PEN-F, silver version, fitted with the M.Zuiko Digital 17mm f/1.8 lens. (Source: Olympus.)
As discussed in our original report, the 20.3-megapixel PEN-F has the highest resolution to date of any Olympus M4/3 camera. It also provides most of the features a serious photographer might require and a similar suite of video functions to the OM-D E-M5 Mark II. Like the OM-D cameras, the PEN-F is highly customisable.
We’ve covered most of the factors associated with the camera’s build quality and ergonomics as well as the new features it offers in our First Look article. We’ve also discussed the types of photographers and photography best suited to this camera. This report will concentrate on the sensor and still picture and movie recording capabilities of the camera as well as its imaging performance, based upon Imatest testing and shooting in a wide range of conditions.
Handling
Having received a production unit, we are now in a position to comment on how the PEN-F handles and our impressions are mostly favourable. The camera body is labelled ‘Made in Vietnam). Build quality is very good with a high percentage of metal.
The camera comes elegantly packaged in a black presentation box with separate compartments for the camera body, flash, neck strap and battery charger and cables. The printed Basic Manual, software CD and other documentation are in a separate sleeve that sits on top of the camera. The box is enclosed in another box made from lighter cardboard. It all looks very smart.
In the silver model we received, the top and base plates are low-gloss metal while the front panel and part of the rear panel have a wrap-around cladding of black textures leatherette. The overall impression is classy and refined.

Front view of the PEN-F, silver version, with no lens fitted. (Source: Olympus.)

Back view of the PEN-F with the monitor reversed. (Source: Olympus.)

Top view of the PEN-F with the M.Zuiko Digital 17mm f/1.8 lens. (Source: Olympus.)
One thing we didn’t note in our First Look is that the PEN-F is neither dustproof nor splashproof. We couldn’t see any sealing rings on the battery compartment of any of the ports. so this camera shouldn’t be used in drizzle or mist. (Interestingly, the bundled flash claims to be dust- and splash-proof.)
We don’t think the integrates stabilisation system is as effective with the higher-resolution sensor as it is with the 16-megapixel sensor used in the other Olympus M4/3 cameras. Shots taken with our longer lenses didn’t look quite as sharp as those taken with our E-M1 camera. But this is just a ‘gut feeling’ as we have no objective way to make comparative measurements.
A feature that didn’t impress is locating the memory card in the battery compartment, which is a common practice with consumer-level cameras. Even without the optional grip attached there’s not much space in the compartment, making it difficult to extract the SD card. Attaching the grip limits how far the compartment door can open, making a tricky situation worse.
Another relatively minor gripe concerns the strap lugs, which have large D-rings through which the neck strap is threaded. The size of the D-rings and the positioning of the lugs puts them right below the balls of your first and middle fingers, which isn’t particularly comfortable.
The viewfinder eyecup isn’t ideal for anyone who requires glasses. It’s small and close to the rear panel, which means it’s not comfortable to use. If the -4 to +2 dioptre adjustment fits into your unaided vision requirements, you’ll be able to dispense with glasses. If not, you will find the eye sensor sometimes doesn’t detect and switch the ‘finder on when you raise it to your eye.
Aside from these ‘niggles’ we found the PEN-F comfortable to use with both the supplied 25mm f/1.8 lens and our other M-Zuiko lenses, most of which are compact and light in weight. The optional ECG-4 grip would provide additional balance and stability when larger lenses were fitted and worked well with our 12-40mm f/2.8 PRO lens.
The articulated LCD includes the same touch screen controls as Olympus’s OM-D cameras but you can also use it to move the AF point while holding the camera up to your eye. The PEN-F also offers a similar degree of customisation to the OM-D cameras, although we feel most potential users will probably stick with the factory default settings, which are rational.
Sensor and Image Processing
The new 17.4 x 13.0 mm Live MOS sensor in the PEN F has the highest resolution so far in an Olympus mirrorless camera. Its effective resolution is 20.3 megapixels (21.77 million photosites), compared with 16.1 megapixels and 17.2 million photosites, respectively in the PEN E-PL7.
Although the Record mode and file size/number of storable still pictures page of the user manual implies the PEN-F lets you choose between uncompressed and compressed raw files, there were no instructions about how to make the actual selection. Raw image data (*.ORF files) is described on page 59 of the manual as ‘unprocessed’ and the camera’s menu only provides one raw setting, so we assume that’s all there is.
The maximum image size is 5184 x 3888 pixels, compared with 4608 x 3456 pixels in the PEN E-PL7. In the High Res. Shot mode, this increases to 8160 x 6120 pixels for JPEG images. With raw files, the camera delivers a resolution of 10368 x 7776 pixels.
The TruePic VII image processor has been used in Olympus mirrorless cameras since the OM-D E-M1. Like the Olympus OM-D cameras, the PEN-F offers four aspect ratio settings: the sensor’s native 4:3 plus 3:2, 16:9 and 1:1. The table below shows typical file sizes for the 4:3 aspect ratio.
|
Pixels |
Typical file size |
||
SF |
F |
N |
||
Raw+SLF |
10368 x 7776 |
81MB |
||
SLF (JPEG) |
8160 x 6120 |
47MB |
||
Raw |
5184 x 3888 |
24.7MB |
||
RAW+L-SF |
5184 x 3888 |
42.1MB |
||
Large [L] |
5184 x 3888 |
15.9MB |
11.0MB |
5.9MB |
Middle [M] |
3200 x 2400 |
6.5MB |
3.9MB |
2.0MB |
2560 x 1920 |
3.7MB |
2.6MB |
1.3MB |
|
1920 x 1440 |
2.1MB |
1.5MB |
0.8MB |
|
1600 x 1200 |
1.5MB |
1.0MB |
0.5MB |
|
Small [S] |
1280 x 960 |
1.0MB |
0.6MB |
0.4MB |
1024 x 768 |
0.7MB |
0.5MB |
0.2MB |
|
640 x 480 |
0.2MB |
0.2MB |
0.1MB |
Any JPEG file can be combined with an ORF.RAW file and, because the aspect ratio setting is recorded as EXIF metadata, JPEG images can also be produced in-camera from raw files with the selected aspect ratio.
Video
The PEN-F draws upon the video functions introduced in the OM-D E-M5 Mark II and, like that camera supports a maximum movie resolution of Full HD 1080p. There are also lower 720p HD and VGA/SD resolutions available, along with a High Speed 120 fps setting for slow-motion movie clips. The table below shows the available recording settings for regular movie clips.
Recording format |
Pixels |
Quality |
Frame rate |
MOV |
1920 x 1080 |
SF |
50p |
F |
|||
F |
25p |
||
N |
|||
M-JPEG |
1280 x 720 |
HD |
25p |
640 x 480 |
SD |
Movie clips recorded in the MOV codec can be up to 29 minutes in length or 4GB in size. Clips recorded in M-JPEG format can be up to 2GB in size. Time coding is supported in the MOV format but not for M-JPEG movies or High Speed 120 fps clips.
The Time Code Mode in the Custom > Movie sub-menu provides the same three settings as the E-M5 Mark II: Drop Frame (DF), Count U)P and Starting Time. You can also set time code with the Manual Input settings. The PEN-F also offers clean HDMI out with time code support.
Four banks of Movie Specification Settings are available for storing combinations of movie image size and compression format/bit rate. These are similar to the image size/quality settings for still images but cover the following:
For Image Size: FDH and HD
For Compression/Bit Rate: A-I (All-Intra), SF (Super Fine), F (Fine) and N (Normal).
According to Olympus data, All-I tops provides the highest bit rate of 77Mbps, the SuperFine bit rate is approximately 52Mbps and Fine is around 30Mbps. The IPB compression scheme is used by default unless A-I has been selected.
The only 4K video support comes with the Timelapse Movie function, which was introduced in the OM-D E-M10 Mark II and enables the camera to record at up to 5 fps with 4K UHD resolution. Also carried over from previous cameras is the My Clips mode, which records short movie clips that can be combined to create a quick video record of an event or a day’s shooting. Six types of Art Effects can be applied to My Clips movies in-camera.
Users can capture still images while recording movies when the camera is in the Movie+Photo Mode. Two settings are available: Mode 1, which doesn’t interrupt recording and Mode 2, which does. The camera defaults to Mode 2 when the M-JPEG recording format is selected.
Soundtracks are recorded in Wave format audio with16-bit Stereo linear soundtracks and PCM (pulse-code modulation) at a sampling frequency of 48 kHz. No provisions are made for adding an external microphone or headphone to the camera.
Playback and Software
The PEN-F provides the same playback settings as other Olympus cameras. Pressing the Info button lets you choose between image only, as simplified display and a data-rich display with a thumbnail plus histogram (RBG and brightness) and detailed exposure information.
Image viewing options include single-frame and index (4, 9 or 25 frames) display, My clips playback and Calendar display, 2x to 14x playback zoom and slideshow with background music. Movie clips can be included in slideshows.
In-camera editing functions cover Raw to JPEG conversion plus Picture Mode adjustments for JPEG files covering contrast, sharpness, saturation and gradation. Other JPEG edits include changing aspect ratios, shadow adjustment, red-eye fix, cropping and resizing plus B&W and sepia conversion and e-Portrait processing. Voice annotation (up to 30 seconds) and image overlay (up to 3 images) are also available.
The software disk contains the proprietary Olympus Viewer 3 application for organising and editing images and processing ORF.RAW files. A copy of the full user manual in PDF format is provided on the disk, along with a link to online user registration for the camera.
The ECG-4 Grip
The ECG-4 grip is an optional extra that was supplied with the review camera. It carries the label ‘China’ but is made from solid matte black moulded metal and it priced at AU$179 or NZD$209 RRP.

The ECG-4 grip for the PEN-F. (Source: Olympus.)
The grip is attached via a screw to the tripod socket and an Allen key is supplied for fitting it. We actually found it easier to use a normal screwdriver. (Don’t try a coin as the head is recessed and moves deeper into the recess as it is fitted.)
The grip adds a 15mm deep moulding to the flat front of the camera in just the right position to allow you to place your index finger on the shutter button. The front of the moulding has a non-slip texture.
There’s a textured, rubber-like padding on the base that extends outwards for about 20 mm on either side of the screw and backwards to within a few millimetres of the trailing edge. This cushions the camera, preventing inadvertent scratching.
A large rectangle with rounded corners is cut out of the grip to allow the battery/card compartment to be opened without removing the grip. But, as mentioned above, while it doesn’t affect the ease with which the battery can be removed, it makes the already difficult-to-get at memory card hard to reach. There is no provision for extra batteries.
Performance
Our tests of the PEN-F were carried out with the M.Zuiko Digital 25mm f/1.8 lens, which we reviewed in March 2014. The PEN-F is clearly targeted at photographers who shoot to share via social media. Most users will take JPEGs, rather than raw files.
JPEG quality was well up to the normal Olympus standards and the 25mm lens was sharp with good reproduction of colours and details. Contrast was on the high side and there was a slight tendency to clip highlights and shadows in bright, sunny conditions, although tonal rendition was generally good in less demanding lighting.
The current version of Adobe Camera Raw doesn’t support ORF.RAW files from the PEN-F so we had to use Olympus Viewer 3 for converting these files into 16-bit TIFF format for processing with Imatest. This situation isn’t ideal since we can’t achieve results that parallel the processing of ACR, particularly with respect to image brightness and contrast. Consequently, it’s difficult to evaluate the dynamic range of the new sensor.
Imatest showed JPEG files taken at the standard Large/SuperFine resolution were able to meet expectations for the camera’s 20.2-megapixel sensor, while ORF.RAW files exceeded expectations comfortably. Meeting expectations for the High Res Shot mode was a much bigger ask, since so much more data is involved.
The 8160 x 6120-pixel JPEGs from the camera, taken with the same camera settings as the regular JPEGs failed to meet resolution expectations, although their resolution was significantly higher than the normal-sized JPEG files. However, OR1.RAW files converted into 16-bit TIFF files with the Olympus Viewer 3 could not be processed properly in the version of Imatest we use (the resolution appeared to be too high for the software to handle) so we’ve only provided the results for JPEGs.
Resolution remained relatively high across the camera’s ISO range, with shots taken at the Low ISO setting (equivalent to ISO 80) edging out those taken at the default ISO 200 sensitivity. The graph below shows the results of our Imatest tests.

Available light shots taken at night showed little evidence of noise at ISO settings up to 3200 (just like the OM-D E-M5 Mark II), after which noise became gradually more visible. Some softening could be seen at the two highest sensitivity settings, with slight blotchiness at ISO 25600.
Flash performance was similar to the E-M5 Mark II, which isn’t surprising since both cameras are supplied with the same FL-LM3 flash. We found very slight under-exposure at ISO 80 and ISO 200 with slight over-exposure increasing progressively from ISO 6400 to ISO 25600, where exposures were more than 1EV over-exposed. Flash shots taken at the two highest ISO settings were also slightly soft.
Autofocusing for still shots was generally fast and accurate and touch AF in the live view mode was quick to respond and spot-on in accuracy, even in low light levels. Continuous autofocusing in the movie mode locked onto and tracked moving subjects quite quickly.
Exposure metering was similar to the E-M5 Mark II and accurate under most lighting conditions, even relatively strong backlighting, where the Highlight/Shadow control became a real asset. The in-camera HDR functions delivered similar results as well.
White balance performance was similar to other Olympus cameras we’ve tested, with a slight warm cast remaining in shots taken under incandescent lighting with the auto setting. Colours were close to neutral with both flash and fluorescent lighting. The incandescent and fluorescent pre-sets over-corrected slightly but the flash pre-set introduced no colour changes. Plenty of in-camera adjustments are available to overcome biases and the manual measurement tools delivered cast-free shots.
We tried out some of the colour and monochrome settings provided via the new Creative Dial on the front panel of the camera but found them fairly limited. We feel these settings are only relevant to users who seldom or never take advantage of the camera’s raw capture capabilities.
An experienced digital photographer is unlikely to use these settings unless they need one of the stored profiles quickly. And, although you can create and store your own profiles (up to three profiles each for monochrome and colour), the adjustments are only applied to JPEGs. With an effective image editor and decent raw file converter there are many more colour and monochrome options available to explore than the settings on the camera alone could provide.
The same is true for the Art Filters, which are JPEG only. Although it can be fun to experiment with them ““ and some work well in certain situations ““ they lock you into a pre-determined adjustment which other photographers can also use (which takes away any sense of ‘uniqueness’ you might lay claim to). Making your own adjustments to images is more creative and, therefore, more satisfying overall.
Video performance was similar to the E-M5 Mark II’s, enabling the PEN-F to deliver usable footage was possible in a variety of lighting conditions. Most recordings contained an acceptably wide dynamic range, although the High Speed 120 fps setting’s resolution was too low to allow accurate assessments. The wind filter was able to suppress some wind noise, although it couldn’t completely eliminate it.
Our timing tests were carried out with a 64GB Lexar Professional SDXC Class 10 UHS-1I U3 card, the fastest in our collection. The review camera took roughly 1.5 seconds to power-up for the first shot. Shot-to-shot times were consistently 0.75 seconds without flash and capture lag averaged just over 0.1 seconds, provided the Art Filters were not used. It was eliminated with pre-focusing. When the flash was used, shot-to-shot times ranged between 5.8 and 7.2 seconds, depending on whether the flash capacitor had fully discharged between shots.
Image processing times were similar to the E-M1’s, with JPEG files taking less than a second, ORF.RAW files just over a second and RAW+JPEG pairs very little more. In the high-speed sequential shooting mode, the review camera was were able to record 44 Large/Superfine JPEGs in 4.3 seconds before capture rates slowed, which is true to the specified 10 fps frame rate. It took 11.4 seconds to process this burst.
Changing to ORF.RAW format, reduced the number of shots recorded before the capture rate slowed dropped to 38 frames, which were recorded in 3.7 seconds. It took 12.2 seconds to process this burst. With RAW+JPEG pairs, the buffer memory was full after 35 frames, which were recorded in 3.6 seconds. It took approximately 23.8 seconds to clear the buffer memory.
Conclusion
The entire design concept behind the PEN-F is aimed at JPEG shooters who are active on social media. There’s nothing wrong with this as it enables a traditionally-styled camera to meet the needs of the modern user.
The addition of a decent EVF, which is built into the camera (rather than offered as an add-on) makes the PEN-F the first ‘serious’ camera in the PEN range. Hitherto, PEN cameras have been essentially snapshooters’ cameras, albeit at a ‘prestige’ level.
Most of the new functions make it easy to create colour or B&W photos at the touch of a switch, add lots of different special effects quickly and easily and link the camera to a smart device so the end results can be posted in blogs and/or shared via a wide range of social media. If those are your priorities, you’ll have few things to complain about in the PEN-F.
Serious enthusiasts are more likely to welcome the arrival of the higher-resolution sensor, which matches the resolution of the Panasonic DMC-GX8, which we reviewed in September 2015. There’s a good change that both cameras use the same sensor chip since their specifications are almost identical. The introduction of this sensor suggests that it will be used in future OM-D cameras, with an EM-1 Mark II likely to be the first, whenever it appears.
The PEN-F is currently being offered in Australian online imaging specialists’ websites for around AU$1800, give or take a dollar or two, which is in line with the official RRP of AU$1799 (NZD$2099). This is for the body only, which makes it quite a pricey camera for its type. A single-lens kit with the 14-42mm Electronic Zoom Lens is priced at $1,999 AUD ($2,299 NZD) or, if the 17mm f/1.8 Lens is selected at $2,199 AUD ($2,599 NZD). At current exchange rates, there is little to gain through buying the camera or its accessories offshore.
In contrast, Panasonic’s DMC-GX8 is selling for between AU$1150 and the RRP of AU$1399 for the body alone and for AU$1200 to $1499 with a 14-42mm kit lens. The GX8 has a larger, adjustable EVF and dust- and moisture-proof sealing and can record 4K video clips. It is also a little larger and heavier than the PEN-F and not quite as attractive to look at.
The PEN-F offers more digital filters and makes them easier to get at. Both cameras are equally Wi-Fi competent so potential buyers will need to decide where their priorities lie.
SPECS
Image sensor: 17.4 x 13.0 mm Live MOS sensor with 21.77 million photosites (20.3 megapixels effective)
Image processor: TruePic VII
A/D processing: 12-bit lossless compression
Lens mount: Micro Four Thirds
Focal length crop factor: 2x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver.2.3, MPF Baseline compliant), ORF.RAW, RAW+JPEG, MPO (3D still); Movies: MOV (MPEG-4AVC/H.264), AVI (Motion JPEG)
Image Sizes: Stills ““ 4:3 aspect: 5184 x 3888, 3200 x 2400, 2560 x 1920, 1920 x 1440, 1600 x 1200, 1280 x 960, 1024 x 768, 640 x 480; High-resolution mode: 10368 x 7776, 8160 x 6120; Movies: [Full HD] 1920 x 1080: 30p/25p/24p (ALL-I or IPB); 1920 x 1080: 60p/50p (IPB); [HD] 1280 x 720 60p/50p/30p/25p; 640×480(SD) at 30p
Image Stabilisation: Built-in 5-Axis VCM Image Stabilisation with up to 5 EV correction
Dust removal: Supersonic Wave Filter sensor vibration
Shutter (speed range): Mechanical focal-plane shutter: 60 to 1/8000 second plus Bulb/Time (selectable 1 to 30 minutes) Composite maximum shooting time 3 hours; Electronic shutter (Silent mode): 1/16000 – 60 sec
Exposure Compensation: Max. +/- 5EV in 1/3EV 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, Focus Stacking
Self-timer: 2 or 12 seconds delay, 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 with 81-area multiple AF, group target area (9-area), single target(standard), single target(small)
Focus modes: Full-time AF: Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF) / S-AF + MF / AF tracking (C-AF + TR), Selectable magnification: x3, x5, x7, x10 (Default), x14 Super Spot AF, Face detection AF / Eye detection AF (nearer-, right- or left-eye priority); focus peaking available when in S-AF+MF or MF mode
Exposure metering: Digital ESP 324-area multi pattern metering , Centre-weighted and Spot metering patterns; spot metering with highlight or shadow control; AF target spot metering
Shooting modes: i-Auto (with Live Guide), Program AE (with Program shift), Aperture priority AE, Shutter priority AE, Manual (Live Bulb, Live Time and Live Composite are available), Custom(x4), Photo Story, Scene select AE (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 )
Picture Modes: i-Enhance, Vivid, Natural, Muted, Portrait, Monotone, Custom, e Portrait, Colour Creator, Art Filters, Colour Profile Control, Monochrome Profile Control
Art Filters: Pop Art, Soft Focus, Pale & Light Colour, Light Tone, Grainy Film, Pin Hole, Diorama, Cross Process, Gentle Sepia, Dramatic Tone, Key Line, Watercolour, Vintage, Partial Colour
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), Picture Tone (None, Sepia, Blue, Purple, Green), Shade Effect (Top & bottom, Left & Right)
Colour space options: sRGB and Adobe RGB
ISO range: Auto, LOW (approx.80) to ISO 25600
White balance: Auto, 7 Preset WBs, 4 Capture WBs, Custom WB (Kelvin setting); +/- 7 steps of adjustment along A-B / G-M axis (except in Custom WB mode)
Flash: Bundled standard flash: FL-LM3; GN – 9.1 (ISO100/m), Bounce Capability: up and down: 45, 60, 75, 90 degree / left and right: 30, 60, 90, 120, 150, 180 degree
Flash modes: Auto, Redeye, Fill-in, Flash Off, Red-eye Slow sync.(1st curtain), Slow sync. – 1st/ 2nd curtain, Manual: Full power to 1/64 power
Flash exposure adjustment: +/- 3EV in 1/3, 1/2 or 1EV steps
Sequence shooting: Max. 10 shots/sec.; max. 5 fps with AF/AE
Buffer capacity: Max. 45 Large/Fine JPEGs, 39 RAW files for 10 fps; max. 250 RAW files or unlimited JPEGs for 5 fps
Storage Media: SD, SDHC, SDXC cards (Compatible with UHS-I/II standard and Eye-Fi Cards)
Viewfinder: Eye-level OLED electronic viewfinder, approx. 2.36M dots, Approx. 100% field of view coverage, 20 mm eyepoint, -4 to +2 dioptre adjustment
LCD monitor: 3.0-inch vari-angle 3:2 aspect ratio monitor with approx.1037k dots and electrostatic capacitance touch panel
Playback functions: Single-frame, information display (brightness/RGB histogram, Highlight/Shadow point warning, AF frame, shooting data, off), 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; post-capture editing and raw file conversion
Interface terminals: Dedicated multi-connector (USB2.0 Hi-Speed, video: NTSC/PAL selectable, optional remote cable RM-UC1 compatible), Micro HDMI (Type-D)
Wi-Fi function: IEEE 802.11b/g/n; Easy Connection QR code setting
Power supply: BLN-1 rechargeable Li-ion battery pack; CIPA rated for approx. 330 shots/charge
Dimensions (wxhxd): Approx. 124.8 x 72.1 x 37.3 mm (excluding protrusions)
Weight: Approx. 373 grams (body only); 427 grams with battery and card
TESTS
Based on JPEG files captured with the M.Zuiko Digital 25mm f/1.8 lens.





Based on ORF.RAW files captured at the same time and converted with Olympus Viewer 3





Hi-Res Shot mode – JPEG.



SAMPLES
All test shots taken with the M.Zuiko Digital 25mm f/1.8 lens.

Auto white balance with incandescent lighting.

Auto white balance with fluorescent lighting.

Auto white balance with flash lighting.

60-second exposure at ISO 80, f/5.

30-second exposure at ISO 200, f/5.6.

8-second exposure at ISO 3200, f/8.

5-second exposure at ISO 6400, f/9.

4-second exposure at ISO 12800, f/11.

2.5-second exposure at ISO 25600, f/11.

Flash exposure at ISO 80, 1/60 second at f/1.8.

Flash exposure at ISO 200, 1/60 second at f/1.8.

Flash exposure at ISO 3200, 1/60 second at f/2.8.

Flash exposure at ISO 6400, 1/60 second at f/3.5.

Flash exposure at ISO 12800, 1/100 second at f/4.

Flash exposure at ISO 25600, 1/250 second at f/4.

Close-up;1/8000 second at f/1.8, ISO 80.

Strong backlighting;1/1600 second at f/8, ISO 200.

1/20 second at f/5.6, ISO 200.

1/200 second at f/4.5, ISO 80.

1/60 second at f/8, ISO 200.

1/200 second at f/5, ISO 200.

1/250 second at f/7.1, ISO 400.

1/500 second at f/4.5, ISO 200.

Colour Profile 1; 1/100 second at f/5.6, ISO 80.

Colour Profile 2; 1/320 second at f/4, ISO 200.

Colour Profile 3; 1/250 second at f/3.5, ISO 200.

Monochrome Profile 1; 1/800 second at f/5, ISO 200.

Monochrome Profile 2; 1/200 second at f/6.3, ISO 200.

Still frame from Full HD video clip recorded in MOV mode with the SF 50p setting.

Still frame from Full HD video clip recorded in MOV mode with the F 50p setting.

Still frame from Full HD video clip recorded in MOV mode with the F 25p setting.

Still frame from Full HD video clip recorded in MOV mode with the N 25p setting.

Still frame from HD video clip recorded in M-JPEG mode with the HD resolution.

Still frame from video clip recorded in M-JPEG mode with VGA resolution.

Still frame from High Speed video clip recorded at 120 fps.
Rating
RRP: AU$1799; US$1200 (body only)
- Build: 8.9
- Ease of use: 8.9
- Autofocusing: 8.8
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.1
- Video quality: 8.5