In summary
The second-generation update to OM Systems’ latest ‘adventure’ camera improves the handling and capabilities of its current entry-level model for photographers at all levels.
A combination of compact size, light weight, and a host of sophisticated features based on in-camera processing presents a compelling argument at its price point.
Full review
The latest addition to OM Systems’ current range, a second-generation update to the OM-5, slots into the vacant entry-level position offering a combination of compact size, light weight, improved handling and a host of sophisticated features based on in-camera processing to present a compelling argument at its price point. The OM-5 Mark II is the third model to be released since OM Digital Solutions separated from Olympus sold its imaging division to Japan Industrial Partners (JIP) in 2020. Since the company hasn’t yet released an OM-10 model to replace the former entry-level OM-D E-M10 Mark IV, the OM-5 Mark II occupies the entry level slot in the line-up although, on the basis of its features, it is far from being an ‘entry-level’ camera.
Angled view of the new OM-5 Mark II camera, Sand Beige edition, with the 12-45mm f/4 PRO kit lens. (Source: OM Digital Solutions.)
The first OM-branded cameras were the OM-1 (launched in February 2022) and the OM-5 (which followed in the August of that year). The OM-1 was updated with the launch of the OM-1 Mark II I January 2020, followed by the release of the intermediate OM-3 model in February 2025. The former entry-level model, the OM-D E-M10 IV, was announced in August 2020.
The OM-5 Mark II will be offered in three colours: Silver, Black and Sand Beige. We received a Sand Beige unit for this review and, since it was an early production-standard camera, we have been able to carry out our full range of tests, for which we used our M.Zuiko Digital ED 12-100mm f/4.0 IS PRO lens.
Who’s it For?
The differences between the three models in the current OM line-up appear small at first encounter – although they are quite significant and do affect the price you’ll pay for each camera. The table below highlights the main differences between them.
| Feature | OM-1 II | OM-3 | OM-5 Mark II |
| Image sensor / effective resolution | 17.4 x 13 mm Stacked BSI Live MOS | 17.4 x 13 mm Live MOS | |
| Media slots | 2 for SD UHS-I/II cards | Single SD slot for UHS-I / UHS-II cards | |
| Image processor | TruePic X Dual Quad Core Processor | TruePic IX | |
| Synch IS stabilisation | 8.5 stops | 7.5 stops | |
| ISO range | 80-25600 (expands to 80-102400) | 200-25600 (expands to 80-102400) | 200 – 6400 (expands to 64-25600) |
| White balance settings | 6 presets, 4 custom options | 8 presets, 4 custom options | |
| AF points | 1053 (all cross type) | 121 (all cross-type) | |
| Subject detection AF | Face & eye, cars, motorcycles, trains aircraft, birds, dogs, cats | Face & eye with eye selection | |
| Max. burst recording | 120 frames/sec. in silent mode with electronic shutter | 30 fps with focus and exposure locked | |
| Pre-capture shooting | Up to 50 fps for 99 frames with up to 120 fps frame rates selectable | Up to 30 fps with selectable 15, 20, 30 fps | |
| Bracketing options | ISO, WB, flash, Art Filters, focus (supports focus stacking) | Focus (supports focus stacking), ISO, WB, Flash, Art Filter, HDR | |
| Max. video resolution/frame rate | 4096 x 2160 @ 60p, H.265 | 4096 x 2160 @ 24p, H.264 | |
| OM-Log Picture Mode | Flat, OM-Log400 and HLG modes | Flat & OM-Log400 | |
| Viewfinder | 5,760,000-dot OLED EVF; 21mm eyepoint | 2,360,000-dot OLED EVF; 21mm eyepoint | 2,360,000-dot OLED EVF; 27mm eyepoint |
| Monitor | 3-inch Vari-angle touch-screen TFT LCD with 1,620,000 dots | 3-inch Vari-angle touch-screen TFT LCD with 1,037,000 dots | |
| Interface ports | USB 3.0 (5 GBit/sec); Micro HDMI; microphone & headphone jacks | USB-C, Micro HDMI (type D), 3.5 mm mini jack | |
| Battery / capacity | BLX-1 / 520 shots per charge | BLX-1 / 500 shots/charge | BLS-50 / 310 shots per charge |
| Dimensions (w x h x d) | 134.8 x 91.6 x 72.7 mm | 139.3 x 88.9 x 45.8 mm | 125.3 x 85.2 x 52.0 mm |
| Weight (with battery & card) | 599 grams | 496 grams | 418 grams |
| RRP (body only) | AU$3799 | AU$3,199 | AU$1699 |
All three models have the following features in common:
– The maximum image size they can produce is 5184 x 3888 pixels with the default setting or a choice between 10368 x 7776, 8160 x 6120 and 5760 x 4320 pixels in one of the High-Res image computational shooting modes.
– They also have hybrid AF modes that combine phase detection and contrast detection, although the number of focus points differs between models.
– Shutter speed settings range from 60-1/8000 second with up to 1/32,000 second available with the electronic shutter in silent mode. Bulb exposures are also supported.
– All three models can record vertical video for posting on social media.
Sensor and Image Processing
The table above shows the image sensor and processor are probably the same as the chips used in the original OM-5. This means the new camera offers the same maximum resolution as its current siblings, although it lacks the advantages provided by the Stacked BSI technology used in the OM-3 and OM-1 II.
Interestingly, the minimum ISO setting in the OM-5 II is ISO 64, whereas the other two cameras can’t be set below ISO 80. The difference between these settings is small enough to be insignificant, particularly since all three cameras include built-in ND filters that let users shoot at the default ISO 200 setting, which delivers the highest resolution.
All three cameras record images at a maximum resolution of 5184 x 3888 pixels and also provide High-Res Shot options, with the option of recording 80-megapixel (10368 x 7776 pixels) images in the Tripod mode or 50 megapixels in the Handheld mode when shooting raw files. However, when shooting JPEGs, the OM-5 II has a maximum resolution of 50 megapixels (8160 x 6120 pixels) in tripod mode or 25 megapixels (5760 x 4320 pixels). Raw file capture is supported in both modes but the OM-3 and OM-1 II support 14-bit recording, while the OM-5 II is limited to 12 bits.
Video
On the video front, the default setting records movies at 4K 30p with an ISO range of 200 to 6400 and Program AE exposure mode. Like its siblings, the OM-5 II is restricted to a maximum movie resolution of C4K (4096 x 2160 pixels), although the maximum frame rate is 24fps, whereas the other two cameras can record at 60 fps.
PAL system users can access four resolution/frame rate settings via the Quick menu: C4K at 24p, 4K (3840 x 2160 pixels) at 25p and Full HD (1920 x 1080 pixels) at 50p or 25p. All these settings us Long GOP compression, although ALL-Intra compression is available if you opt to record FHD video at 25p.
You can also decide between recording rates of 48kHz/16-bit and 96kHz/24-bit without substantially reducing the available recording times. Slow & quick movie recording is also supported with sensor frame rates as slow as 1 fps at all resolutions and as fast as 120 fps for Full HD recordings (all frame rates).
Log recording is supported in the new camera, just like its siblings, although it doesn’t appear to include HLG recording. The new camera also claims ‘limitless recording time’ – although that would likely depend upon the memory card capacity.
The camera can be set to operate silently while recording movies, as long as it’s not using a sensor frame rate of 120 fps. You’ll need a UHS speed class of 3 or higher for recording C4K or 4K UHD clips in ALL-I mode.
Build and Ergonomics
The OM-5 II is robustly constructed with a magnesium alloy frame covered by a glass-reinforced polycarbonate outer shell. This has the advantages of being robust yet light in weight as well as able to provide the IP53 level weather resistance that’s a feature of this camera.
Front view of the OM-5 II body (silver version) with no lens fitted. (Source: OM Digital Solutions.)
As far as handling is concerned, the OM-5 II has a grip moulding on its front panel, which makes it more comfortable to hold and operate than the flat-fronted OM-3. Aside from that, the front panel has only three components: to the left of the lens mount are the lens release button and LED for the self-timer, AF illuminator and movie tally lamp with a tiny preview button, which doubles as a magnifier in movie mode, low down between the lens mount and the grip.
The top panel of the OM-5 II with no lens fitted. (Source: OM Digital Solutions.)
On the top panel, the OM-5 II sits the on/off switch on top of a pair of button controls, the front one of which selects the drive/self-timer modes while the rear one turns the EVF eye sensor on and off. The mode dial to the right of the EVF housing carries settings for the main exposure modes (auto, P, A, S, M, Bulb, Custom [only one memory slot], Movie, Art filters and SCn [scene selections]).
The front and rear dials perform the same functions as in previous OM System cameras, while the Fn button on the OM-3 is replaced with a CP button that provides direct access to the computational photography modes (High-Res Shot, Live ND, focus stacking, HDR, and multiple exposure). Behind it is the movie record button, which is clearly identified with a red dot.
The rear panel of the OM-5 II showing the smaller control layout with the articulating monitor screen reversed for easy viewing. (Source: OM Digital Solutions.)
Like its siblings, the OM-5 II has a fully-articulated 3-inch touch screen monitor, although its resolution is only 1,037,000 dots, the same as the original OM-5’s. The OLED EVF’s resolution is the same as the OM-3’s, at 2,360,000 dots, although its eyepoint is a few millimetres higher.
A separate compartment on the right-hand side panel is provided for the single SD card slot, which accepts all types of standard-sized SD cards and is UHS-I and UHS-II compatible. Two lift-up flaps are located on the left-hand side panel, the upper one covering the microphone jack and remote control cable terminal, while the lower one protects the type D HDMI and USB Type C (High-Speed) terminals.
The built-in Wi-Fi (IEEE 802.11b/g/n) is similar to the other models but the new camera includes low-energy Bluetooth (Ver 5.2), which can connect the camera to a smartphone via the Olympus Image Share app. This lets users transfer images to the smart device and use the device to operate the camera remotely.
Playback functions are essentially the same as with previous models and owners can download the standard OM Systems software and user manuals from the Support pages of the company’s website.
Performance
In the absence of one of the kit lenses, we carried out all our tests with the M.Zuiko Digital ED 12-100mm f/4.0 IS PRO lens, which we have used for testing previous cameras from OM Digital Solutions. Unfortunately, the OM-3 is not yet supported by Adobe Camera Raw, our preferred raw file converter, although we evaluated some of the raw files in our test series after converting them into 16-bit TIFF format with the manufacturer’s software, OM Workspace. Since we found the end results were slightly lower in resolution than the JPEGs straight from the camera, we decides against reporting on raw file performance.
Interestingly, an examination of the JPEG results showed the OM-5 II applied much less in-camera sharpening than the OM-3 we tested in February 2025.
Where sharpening was applied, it tended to be very modest and most of the files we evaluated were slightly under-sharpened.
The results we obtained from different ISO settings suggested users should keep sensitivity setting at or below ISO 1600 when they require optimal image quality. The graph above plots the test results we obtained across the camera’s ISO range. We’ve superimposed a red line on it to mark settings that delivered resolutions that were at or just above the optimal level for the camera’s 20-megapixel sensor.
Despite the small range of frame sizes and rates the camera offers, video performance was generally good and similar to the results we obtained from the OM-3. Clips at the 4K resolutions are recorded at full-frame width – unless you opt for the digital telephoto mode or electronic stabilisation, the latter applying a 1.18x frame width crop. Auto exposure adjustments were also fast when zooming and/or panning, once focus was acquired – and we didn’t see any rolling shutter effects in the clips we recorded.
The AF system worked well for both stills and movie shooting in normal lighting with very little apparent hunting. It also managed focus in low light situations with the ability to lock onto subjects instantly in more than 80% of the shots we took. Aided by the excellent in-camera and in-lens stabilisation systems, moving subjects could be smoothly tracked when the camera was used hand-held as well as during steady pans,. Soundtracks recorded by the internal microphones were relatively clean, given the limitations of the system, although the wind filter failed to completely eliminate wind noise.
Our timing tests were carried out with a 64GB Lexar Professional SDHC II / V60 card with a claimed speed of 250MB/s. The review camera took roughly half a second to power up, which is a little faster than the OM-3 we tested recently camera.
Capture lag averaged 0.1 second, regardless of whether the shot was triggered with the shutter button or by touching the monitor screen. Shot-to-shot times averaged 0.45 seconds, which was a little slower than the OM-3.
Like the OM-3, the OM-5 II only indicates processing is occurring with a small orange dot in the top left corner of the monitor. Using it we found image processing speeds were too fast to measure when recording individual JPEG or ORF.RAW files, although it was usable for measuring burst processing times.
With the high-speed sequential shooting mode, we recorded a burst of 104 Large/ Super Fine JPEGs in 10.2 seconds without hesitating. This is very close to the specified 10 fps. Processing was completed within 4.6 seconds of the last frame captured.
The frame rate was slightly slower with ORF.RAW files, where the camera captured 79 frames in 10.2 seconds, which equates to almost 7.5 fps. It took 4.5 seconds to clear the buffer memory.
Comments
At a local RRP of $1699 for the body alone, the OM-5 Mark II is $200 less than the launch price of the original OM-5 camera it replaces, although that camera is now selling for between $1265 and $1439. The kit price for the original camera with the 12-45mm f/4 PRO lens is between $1727 and $1910, compared with $2199 for the new camera with the same lens.
Given the seemingly small differences between them, potential buyers should think carefully about whether it’s worth paying more for the updated model when the sensor and processor remain unchanged, along with the EVF and monitor specs. However, it’s worth recognising the advantages provided by the improvements to the grip moulding in the new camera and the revised menu system, which makes it easier to locate and apply critical controls.
The new computational photography (CP) button provides a faster and easier way to engage the camera’s Live ND, Live GND, High Res Shot, HDR, Focus Stacking and multiple Exposure modes, while Pro Capture, Night Vision and Hand Held Assist will all provide quantifiable benefits. The new additions to video capture will be less significant to stills shooters but the ability to use the camera as a webcam and recharge the battery via a simple cable connection via its new USB-C interface could certainly come in handy.
OM Digital Solutions has gained a strong reputation for its cameras among outdoor photographers, in part because of their compact sizes and weather resistance, which is unparalleled among competitors. The company also offers a comprehensive suite of high-performance lenses to match its cameras, allowing it to claim the OM-5 Mark II as ‘the best adventure camera out there’.
SPECS
Image sensor: 17.4 x 13.0 mm 4/3 Live MOS sensor with 21.77 million photosites (20.37 megapixels effective)
Image processor: TruePic IX
Lens mount: Micro Four Thirds
Focal length crop factor: 2x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 3.0), ORF.RAW (12-bit lossless compression), RAW+JPEG; Movies: MPEG-4AVC / H.264 with linear PCM/16-bit stereo audio
Audio: Built-in stereo microphones; (Stereo linear PCM/24-bit, Sampling frequency 48kHz or 96kHz)
Image Sizes: Stills – 5184 x 3888 to 1024 x 768 pixels; High-Res modes – 10368 x 7776 / 8160 x 6120 / 5760 x 4320; Movies: C4K (4096 x 2160 pixels, 24p), 4K UHD (3840 x 2160 pixels, 30p, 25p, 24p), FHD 1080 (50p, 60p, 30p, 25p, 24p frame rates available), Flat & OM-Log400 picture modes
Aspect ratios: 4:3, 3:2, 16:9, 1:1, 3:4
Image Stabilisation: Built-in 5-axis sensor-shift image stabilisation for movie and still photos; up to 6.5 stops of shake correction, depending on lens (7.5EV correction with Synch IS); 4 modes – S-IS Auto, S-IS1, S-IS2, S-IS3, off
Dust removal: Supersonic Wave Filter
Shutter (speed range): Computerised focal plane shutter 60-1/8000 seconds plus B & T; flash synch at 1/250 sec.
Exposure Compensation: +/- 5EV in 1, 1/2 or 1/3EV steps
Exposure bracketing: 2 / 3 / 5 frames ( +/- 1/3, 2/3, 1 EV steps ); 7 frames ( +/- 1/3, 1/2, 2/3 EV steps )
Other bracketing options: Focus (10 levels, up to 999 shots) with support for focus stacking, ISO, WB, Flash, Art Filter (3 frames for each), HDR (Auto composite)
Multiple exposures: 2 frames / auto gain adjustment, exposure on recorded picture (RAW)
Self-timer: 2 or 10 seconds delay plus Custom (wait time: 1-30sec., shot interval: 0.5 / 1 / 2 / 3sec.
Interval recording: Yes, Max 9999 frames, 1 sec. – 24 hours intervals for time-lapse recording
Focus system: High-speed imager AF with TTL 121-point all cross-type On-chip Phase Detection sensor plus 121-point contrast detection (works as MF assist with slower AF compatible lenses); -3.5EV to 20EV working range
AF selection: All target, single target (normal / small), group target (5-area / 9-area / 25-area), custom target 1-4 (AF area and steps selectable); sup Spot AF; Face & Eye Detect AF: Off, Left side priority, Near side priority, Right side priority; Predictive AF
Focus modes: Manual focus, Single AF*, Continuous AF*, Preset MF (AF lenses only), AF* Tracking, Stacking, Starry Sky AF (* – with manual over-ride)
Exposure metering: Digital ESP 324-zone TTL open aperture metering with Multi-pattern ESP, Centre-weighted average and spot metering patterns plus Highlight / Shadow metering; -2EV to 20EV working range
Shooting modes: AUTO (Live Guide can be used), Program AE (with program shift), Aperture Priority AE, Shutter Priority AE, Manual Exposure; Bulb (Live Bulb, Live Time & Live Composite are available), Custom, Scene Select AE, Art Filter
Picture modes: i-Finish, Vivid, Natural, Flat, Portrait, Monotone, Custom, e-Portrait, Underwater, Colour Creator plus 4 types of gradations (Auto, Normal, High Key, Low Key)
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 (18 colours available), Bleach Bypass, Instant Film
In-camera Processing modes: Keystone compensation. Fisheye compensation, Live ND (factors of 2, 4, 8, 16)
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 200 – 6400; with expansion to ISO 64, ISO 100, ISO 25600
White balance: AWB, Keep warm colour ON/Off, Tungsten, Fluorescent 1, Sunlight, Flash, Overcast, Shade, Underwater, Custom (x 4), Colour temperature setting (x 1)
Flash: External flashguns only (compatible with FL-900R, FL-700WR, STF-8 models)
Flash modes: TTL-Auto AUTO, Manual, Manual (Full, 1/4, 1/16, 1/64), 1st/2nd curtain synchronisation available, Red-eye reduction, Fill-in, Flash Off, Slow synch,
Flash exposure adjustment: +/- 3EV in 1/3, 1/2 or 1 EV steps
Sequence shooting: Max. 10 frames/sec. with focus & exposure locked on first frame
Pro Capture: Up to 30 fps with selectable 15, 20, 30 fps (flash cannot be used); focus and exposure are fixed at first frame
Buffer capacity: JPEGs and ORF.RAW files to card capacity
Storage Media: Single slot for SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class 3 standard compatible)
Viewfinder: 2,360,000-dot OLED EVF with 100% frame coverage, 27mm eyepoint, 1.37x magnification with 50mm lens, -4 to +2 dpt adjustment, 3 styles selectable
LCD monitor: 3-inch Vari-angle touch-screen TFT LCD with 1,037,000 dots, +/- 7 levels of brightness and colour balance adjustment
Interface terminals: USB (Type C), Micro HDMI (type D), 3.5 mm stereo mini jack (for microphone & plug-in power on/off), 2.5 mm mini jack for remote cable
Wi-Fi function: Built-in Wi-Fi (IEEE 802.11b/g/n) with GPS info via smartphone connection; Bluetooth v5.2 (Bluetooth Low Energy)
Power supply: BLS-50 rechargeable Li-ion battery; CIPA rated for approx. 310 shots/charge or 60 minutes of movie recording; supports USB charging
Weather resistance: IEC Standard publication 60529 IP53 with splash-proof with IP53 lens, (when used with an IPX1 lens, performance becomes IPX1.)
Dimensions (wxhxd): Approx. 125.3 x 85.2 x 52.0 mm
Weight: Approx. 418 grams with battery and SD card
Distributor: OM Digital Solutions Australia Pty Ltd
TESTS
All images were recorded as Large/Superfine JPEGs with the M.Zuiko Digital ED 12-100mm f/4 IS PRO lens.
Normal resolution:
High-res shot 50M:
High-res shot 25M:
SAMPLES
All images and videos were recorded with the M.Zuiko Digital ED 12-100mm f/4 IS PRO lens, using the camera hand-held.
1/2 second exposure at ISO 6400; 23mm focal length, f/4.
1/4 second exposure at ISO 12800; 23mm focal length, f/4.
1/8 second exposure at ISO 25600; 23mm focal length, f/4.
28mm focal length, ISO 6400, 1/40 second at f/4.
23mm focal length, ISO 3200, 1/30 second at f/5.6.
80mm focal length, ISO 6400, 1/3 second at f/4.5
31mm focal length, ISO 6400, 1/2 second at f/4.5.
25mm focal length, ISO 6400, 1/30 second at f/6.3.
86mm focal length, ISO 3200, 1/15 second at f/5.
20mm focal length. ISO 200, 1/124 second at f/5.6.
12mm focal length, ISO 2000, 1/50 second at f/8.
57mm focal length. ISO 200, 1/160 second at f/4.5.
60mm focal length, ISO 320, 1/100 second at f/4.
80mm focal length, ISO 800, 1/160 second at f/4.
50mm focal length, ISO 200, 1/200 second at f/5.
41mm focal length, ISO 500, 1/80 second at f/4.5.
20mm focal length, ISO 400, 1/60 second at f/4.
20mm focal length, ISO 200, 1/400 second at f/10.
Still frame from C4K (4096 x 2160) video clip recorded at 24p (approx. 327Mbps)
Still frame from 4K (3840 x 2160) video clip recorded at 25p (approx. 102Mbps)
Still frame from FHD (1920 x 1080) video clip recorded at 50p (approx. 52Mbps)
Still frame from FHD video clip recorded at 25p (approx. 30Mbps)
Rating
RRP: AU$1699 (body only); AU$2199 with 12-45mm f/4 PRO lens; AU$2099 with 14-150mm f/4-5.6 II lens
- Build: 9.0
- Features: 9.0
- Ease of use: 9.0
- Autofocusing: 8.8
- Still image quality JPEG: 9.0
- Video quality: 8.9
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