OM System OM-3 Review
Introduction
The OM-3 is the brand new second-tier model in Olympus/OM System's well-established Micro Four Thirds mirrorless camera system.
It's the fourth mirrorless camera to be released under the OM System banner, after Olympus sold their camera division to OM Digital Solutions GmbH in 2020.
In terms of where it sits within the OM System camera line-up, last year's OM-1 Mark II is positioned as the flagship camera, just above the new OM-3, which in turn is positioned above the OM-5.
The fully weather-proof OM System OM-3 has a 20.4 megapixel stacked BackSide Illuminated (BSI) sensor, TruePic X processor, Cinema 4K video recording at 60p and 1080p at 240fps, and a 5-axis in-body image stabilisation system that provides up to 6.5 steps of compensation.
Other standout features include 50fps burst shooting with continuous AF/AE or 120fps without, 1053-point all-cross-type Dual Phase and Contrast Detection AF system with AI Subject Detection, a 2,380K-dot electronic viewfinder, a 1,620K dot vari-angle LCD touchscreen, a UHS-II SD-card slot, and 50 megapixel Handheld High-Res Shot and 80 megapixel Tripod High-Res Shot modes.
The OM System OM-3 is made in Vietnam and is available in black or silver. It is priced at £1699 / $1999 body-only in the UK and US, respectively, or £1999 with the M.Zuiko Digital ED 12-45mm F4.0 PRO lens.
Ease of Use
The new OM-3 is a breath-takingly gorgeous camera that closely resembles classic SLR film cameras of yesteryear, as opposed to the more utilitarian styling of the OM-1 Mark II.
Measuring 139.3 (W) x 88.9 (H) x 45.8mm (D), it draws direct inspiration from the iconic Olympus OM-1’s classic pentaprism, delta shaped body, and tactile top dials.
Aimed at the ”creative outdoor visualist”, this new product extends OM System's typical focus on nature to the urban environment, with the OM-3 envisaged as a camera that you can easily carry everywhere, all-day long.
Weighing a mere 413g, the new OM-3 is slightly lighter than the OM-1 II and around 20% smaller in volume, despite sporting a full metal body with no polycarbonate used at all in its construction.
It doesn't have a hand-grip on the front, instead relying solely on the textured surface to provide sufficient grip, whereas the OM-1 II has a very pronounced handgrip which makes it better suited to use with longer focal length lenses than the OM-3.
Also unlike the OM-1 II, this newer model doesn't have an AF joystick on the back, instead relying on either the touchscreen LCD or the navigation pad to set the AF point.
What it does have are some new controls that help it to differ from its more expensive sibling.
Firstly, the Colour Profile dial from the popular Pen F camera has been reintroduced on the front of the OM-3, providing quick access to 4 Colour Profile presets, 4 Monochrome Profile presets, and the various Art Filters and Creative Color options.
These four options form the creative heart of the OM-3, offering very easy and precise control over the look and feel of JPEG images (if selected, the Raw file doesn't have the filter effects applied to it, so you get the best of both worlds).
The Color Profile control allows you to adjust the saturation of 12 colors across 11 levels, combined with Highlight and Shadow Control for rich, dynamic tones. You can choose from four presets like ‘Standard’, ‘Chrome Film Rich Color’ for deep, dynamic tones, ‘Chrome Film Vivid,’ which provides vivid saturation and rich colors, or ‘Chrome Film Soft Tone’ for light, soft tones.
The Monochrome Profile control applies a combination of up to four effects. Presets include Color Filter effect, Highlight & Shadow Control, Shading effects, Film Grain effect, and Monochrome Color effect for unique black and white images. The following four presets are available: Standard, Classic Film B&W, which makes use of a film grain effect, for striking black-and-white images, Classic Film IR, simulating the look of infrared film, and Classic Film Low Contrast, which tones down contrast for a subtle finish.
We particularly enjoyed using the Mono option, which works just like having a bag full of filters at your disposal, but is considerably more convenient to use and lighter to carry.
The positioning of the Colour Profile dial at the bottom-left of the camera (when viewed from the front) means that it does unfortunately get in the way of your right hand when gripping the camera. My ring finger always touched the dial unless I consciously tucked it inwards towards the palm of my hand.
There's also a brand new new CP (computational photography) button on the back of the OM-3 which provides in combination with the rear control dial quick access to all of Olympus' special computational features, including Live ND, Live GND, High Res Shot, HDR, Focus Stacking and Multiple Exposure.
There's nothing new here in terms of additions to the OM-3's software capabilities, but making them accessible via a single button rather than having to dive into the menu system certainly adds new life to them.
The OM-3 offers the world’s only Live GND (Graduated ND) photography function. It harnesses computational photography to replicate the effects of a half ND filter, allowing users to adjust filter steps (GND2, GND4, or GND8) and types (Soft, Medium, or Hard) in real-time through the EVF or rear LCD.
The upper limit for step numbers in the Live ND shooting mode is ND128, allowing the camera to handle scenarios requiring larger step numbers.
The clever High Res Shot shooting mode has been retained, with the OM-1 capable of shooting 50 megapixel images in the Handheld High-Res Shot mode and 80 megapixels in the Tripod High Res Shot mode.
Another clever feature that can also be employed handheld is Live ND, which uses a similar method of merging multiple exposures together, but this time to capture images using a slower shutter speed in daylight.
Traditionally you'd need to fit a glass ND filter in front of the lens to achieve this effect, but here it's as simple as selecting the Live ND option and choosing from the 6 levels on offer, running from ND2 (1 step) to ND64 (6 steps).
It's not quite as powerful as fitting something like a Lee Big Stopper 10-step filter, but being able to achieve much longer exposures simply by choosing a menu option whilst hand-holding the camera and even previewing the effect in the viewfinder or LCD screen before capture is extremely liberating.
There's also a new stills and video dial on the left-hand side of the top-plate, which also includes the slow & quick motion option, which is again a well thought-out addition to a hybrid camera like this one.
The only drawback is that the burst shooting dial found in the same place on the OM-1 II has morphed into a button on the OM-3, requiring further interaction with the menu system.
Olympus cameras have always been well known for their high levels of weather-proofing, and the OM-3 certainly take things to the next level.
Unlike the majority of cameras, it meets the stringent IP53 rating, which means that it is protected against spraying water when tilted up to a 60-degree angle. It also provides dust resistance and freeze-proof functionality down to -10°C.
When used together with a similarly weatherproof lens, the OM-3 should withstand most things that you care to throw at it.
The image sensor used in the OM-3 is a 20 megapixel Micro Four Thirds Stacked BSI Live MOS sensor, so the new OM-3 doesn't offer any increase in resolution compared to previous models, which may not please some.
It utilises a Stacked BSI sensor, a design that the OM-1 II and several full-frame cameras also use, most notably the Canon EOS R3, Nikon Z8 / 9 and Sony Alpha A1 / A1 II.
It offers a claimed improvement in image quality compared to a conventional CMOS sensor thanks to the sensor also being BackSide Illuminated (BSI).
These technologies should improve the image quality, increase the imaging speed for faster burst shooting, and enhance the low-light-imaging capability.
It uses the latest generation TruePic X image processor, whereas every other OM System camera that's currently available uses the older TruePic IX processor.
This gives the OM-3 a lot of advantages in terms of AF performance and capture modes.
The native ISO range of OM-3 is 200 to 102,400, which can be expanded down to ISO 80.
The OM-3 continues to use the same very effective supersonic wave filter for dust reduction as employed in many generations of Olympus mirrorless cameras, which vibrates at a speed of more than 30,000 times per second to instantly remove dirt and dust from the image sensor.
Olympus cameras have also always boasted a pretty incredible 5-axis stabilisation system, and that's equally true of the new O-M3, although it can't quite match the flagship OM-1 II model.
The OM1 II offers industry-leading performance worth up to 8.5-stops of compensation with the body alone, whereas the OM-3 "only" provides up to 6.5 shutter speed steps of compensation for the center and 5.5 for the corner., improving to 7.5 shutter speed steps at the center and 6.5 at the corner when paired with a lens that supports Sync IS.
This is perhaps less of a deal-breaker on a camera that will mostly be used with shorter-focal length lenses, which the OM-1 II is better suited to.
The OM-3 has a lower-spec viewfinder than the flagship model that's inherited from the cheaper, older OM-5, offering 2.36 million dot resolution, magnification of 0.69x and a 60fps refresh rate.
It does have the same 3-inch, 1.620K dot, 270-degree vari-angle touch screen, though, which provides greater flexibility of shooting angles than a fixed screen thanks to its ability to tilt and rotate into a range of different positions.
The OM-3 is capable of shooting at an impressive 50fps burst rate with continuous AF/AE or 120fps without, making it one of the fastest cameras on the market.
It can shoot at any burst shooting rate, including 120fps, until the memory card is full and also allows retrospective capture of approximately 99 frames in the Pro Capture mode.
Those impressive speeds are only achievable when using the electronic shutter. If you want to use the mechanical shutter, you're more limited to a still very rapid 18fps.
Just like the OM-1 II, the new OM-3 has exactly the same, most advanced version of autofocusing that the company has ever produced, with a whopping 1053 cross-type AF points covering 100% of the frame, capable of working down to -8EV low light at F1.2 / ISO 100.
The AI Detection AF, developed using deep learning technologies, recognizes a wide spectrum of subjects, including humans, birds, animals, cars, motorcycles and aircraft.
It offers the capability to detect and track up to eight subjects, granting users the flexibility to select their preferred target for creating compelling images.
The OM-3 can record video at C4K/60p quality, whilst Full HD goes up to 240fps.
It supports H.265 (10bit) as well as the H.264 (8bit) standard, as well as RAW data output up to 12 bit 4:4:4 to external devices and a HLG (Hybrid Log Gamma) mode.
It offers compatibility with UVC (USB Video Class) / UAC (USB Audio Class), allowing seamless connection to a PC for use as a webcam.
There's also support for convenient vertical video capture, ideal for social media platforms and similar applications.
OM-Cinema video profiles make their debut on the OM-3, with Cine 1 (Color contrast between yellow in the bright areas and blue in the dark areas) and Cine2 (Cyan tone and low contrast) now available alongside the Flat, OM-Log400 and HLG profiles in the Picture Mode menu.
The OM-03 can record continuously for up to 30 minutes at 40°C or indefinitely at 25°C5 without overheating.
The OM-1 II has dual SD card slots, which are both UHS-II compatible, whereas the OM-3 only has a single SD card slot which also supports the fastest UHS-II standard.
Battery life is very similar as both the OM-1 II and OM-3 use the same BLX-1 Li-on rechargeable battery, which provides up to 520 still images or 160 minutes of video. USB-C charging with a PD-compatible charger is supported whilst shooting.
Image Quality
All of the sample images in this review were taken using the 20 megapixel Superfine JPEG setting, which produces an average image size of around 12Mb.
Noise
There are 12 different ISO settings available on the OM System OM-3 which you can select at any time if the camera is in one of the creative shooting modes.
| JPEG |
ISO 80 (100% Crop) |
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ISO 100 (100% Crop) |
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ISO 200 (100% Crop) |
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ISO 400 (100% Crop) |
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ISO 800 (100% Crop) |
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ISO 1600 (100% Crop) |
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ISO 3200 (100% Crop) |
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ISO 6400 (100% Crop) |
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ISO 12800 (100% Crop) |
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ISO 25600 (100% Crop) |
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ISO 51200 (100% Crop) |
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ISO 102400 (100% Crop) |
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File Quality
The file quality settings available on the OM System OM-3 include Normal, Fine and Superfine for JPEGs, and you can also shoot in Olympus’s proprietary ORF raw file format.
SuperFine (12.6Mb) (100% Crop) | Fine (7.7Mb) (100% Crop) |
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| Normal (4.9Mb) (100% Crop) | |
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High Resolution Shot
The OM System OM-3 can create an 80, 50 or 25 megapixel JPEG or RAW file in the High Resolution Shot mode, achieved by shifting the sensor in half-pixel steps and capturing eight images over a period of one second.
There's also a handheld 50 or 25 megapixel High Resolution Shot mode, so don't have to mount the camera on a tripod or other stable surface to obtain sharp results.
| Off (100% Crop) | On/Tripod/80M (100% Crop) |
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| On/Handheld/50M (100% Crop) | |
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HDR
Off
HDR1
HDR2
Multiple Exposure
Picture Modes
Olympus' Picture Modes are essentially pre-set combinations of saturation, contrast and sharpness, except for the i-Enhance mode that aims to optimise each photo individually. You can tailor each Picture Mode to your needs.
i-Enhance
Vivid
Natural
Muted
Portrait
Monochrome
Underwater
Color Modes
Color 1
Color 2
Color 3
Color 4
Mono Modes
Mono 1
Mono 2
Mono 3
Mono 4
Art Filters
The OM System OM-3 offers 16 ‘art filters’, some with multiple modes, which allow you to quickly apply an artistic effect to a photo before taking it.
Off
Pop Art I
Pop Art II
Soft Focus
Pale&Light Color I
p Art 1
Pale&Light Color II
Light Tone
Grainy Film I
Grainy Film II
Pin Hole I
Pin Hole II
Pin Hole III
Diorama I
Diorama II
Cross Process I
Cross Process II
Gentle Sepia
Dramatic Tone I
Dramatic Tone II
Key Line I
Key Line II
Watercolor I
Watercolor II
Vintage I
Vintage II
Vintage III
Partial Color I
Partial Color II
Partial Color III
Bleach Bypass I
Bleach Bypass II
Instant Film
Sample Images
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Product Images
Conclusion
Slotting in as the second tier camera in the OM System range, the new OM-3 takes virtually all of the key specs of the flagship OM-1 Mark II and presents them in a gorgeously designed, immaculately constructed metal retro body that clearly draws inspiration from film SLR cameras of the 1970s, specifically the Olympus OM-1.
Olympus / OM System owners who were hoping for some technological advances from this new model will be disappointed, as other than offering an unlimited burst shooting buffer size and the debut of OM-Cinema video profiles, there is nothing new that we haven't seen before.
Indeed, the OM-3 makes a few cutbacks in terms of its specification to meet the lower price-point, with the OM-1 II offering more a more effective IBIS system, an additional SD card slot, and a better viewfinder.
It also clearly takes a very different approach to handling than its larger, heavier sibling, favoring a more pared-back design that forgoes a handgrip and an AF joystick, making it better suited to use with shorter focal length lenses.
The OM-3 does offer some new controls that help it to differ from its more expensive sibling, most notably the Colour Profile dial from the popular Pen F camera and the brand new CP (computational photography) button on the back which provides quick access to all of Olympus' special features.
OM System told us that the OM-3 is effectively the replacement for the much-loved Olympus Pen-F which was launched in 2016 and still remains popular today, explaining that it was impossible for them to make the Pen-F design fully weather-proof, something that the OM-3 notably offers.
Priced at £1699 / $1999 body-only in the UK and US, the OM-3 is undoubtedly expensive for a Micro Four Thirds camera, but it does offer most of the OM-1 II's core specs in a stunningly retro body that will appeal to old and new photographers alike.
| Ratings (out of 5) | |
|---|---|
| Design | 5 |
| Features | 4.5 |
| Ease-of-use | 4.5 |
| Image quality | 4.5 |
| Value for money | 4 |
Main Rivals
Listed below are some of the rivals of the OM System OM-3.
Canon EOS R50
The Canon EOS R50 is a super-compact mirrorless camera with an APS-C crop sensor that can shoot at 15fps and record 4K/30p video. Can the R50 compete with the likes of the Fujifilm X-S10, Nikon Z30 and Sony ZV-E10? Find out now by reading our in-depth Canon R50 review with full-size sample photos and videos.
Fujifilm X-M5
The Fujifilm X-M5 is a tiny, stylishly retro and attractively priced camera for vloggers, content creators, smartphone upgraders and stills photographers alike. Can it really meet the needs of all those users? Find out now by reading our Fuji XM5 review, complete with sample images and videos...
Fujifilm X-T5
The Fujifilm X-T5 is the successor to the very popular X-T4 which was released in 2020, principally adding a new 40 megapixel sensor, 160 megapixel Pixel Shift Multi-Shot mode, 6.2K video recording and better auto-focusing. Can the new XT5 improve on what was already an outstanding camera? Find out now by reading our in-depth Fujifilm X-T5 review...
Fujifilm X-T50
We've kicked off our Fujifilm X-T50 review with sample JPEG and RAW images, product shots and more...
Nikon Z50 II
The Nikon Z50 II is an attractively priced camera for vloggers, content creators, smartphone upgraders and stills photographers. Is this the best entry-level APS-C camera on the block? Find out now by reading our Z50II review, complete with sample images and videos...
Olympus OM-D E-M1 Mark II
Capable of shooting at 18fps with focus tracking, the new Olympus O-MD E-M1 Mark II is a blisteringly fast professional compact system camera. Read our in-dpeth Olympus O-MD E-M1 Mark II review to find out if this speed demon can really deliver the goods...
Olympus OM-D E-M5 Mark II
The Olympus OM-D E-M5 Mark II is a new high-end compact system camera with a number of innovative features that make it stand out from the crowd, including the world's most effective image stabilisation system. Read our expert Olympus E-M5 II review to find out if it's also the best compact system camera...
OM System OM-1
The new OM-1 flagship is both the last ever Olympus camera and the first ever OM System camera. Confused? Well no need to worry, as we take an in-depth look at what this new Micro Four Thirds flagship has to offer in our OM System OM-1 review, complete with full-size sample photos and videos...
OM System OM-5
OM System have just updated their enthusiast model for 2022 with the launch of the new OM-5, but is it any good? Find out now by reading our review of the OM System OM5 mirrorless camera, complete with full-size sample photos and videos...
Panasonic Lumix G9 II
The Lumix G9 II is the most capable Micro Four Thirds camera that Panasonic have ever released, but does that mean that you should rush out and buy one? Find out now by reading our in-depth Panasonic Lumix G9 II review, complete with full-size sample photos and videos.
Panasonic Lumix S5 II
Finally! The new Lumix S5 II is the first ever Panasonic camera to have a phase hybrid detection AF system, answering the critics of its contrast-based DFD system. But does this powerful hybrid photo and video camera have what it takes to beat its main rivals? Find out now by reading our in-depth Panasonic Lumix S5 II review, complete with full-size sample photos and videos.
Panasonic Lumix S9
We've kicked off our Panasonic Lumix S9 review with sample JPEG and RAW images, product shots and more...
Sony A6700
The A6700 is the new premium model in Sony's extensive range of APS-C mirrorless cameras, but can it beat both its main rivals and its cheaper siblings? Find out now by reading our in-depth Sony A6700 review, complete with full-size sample images and videos.
Specifications
| Product Type | Micro Four Thirds Interchangeable Lens System Camera | |
| Memory | Slot 1 | SD, SDHC (UHS-I / II), SDXC(UHS-I / II) |
| Sensor Size | 17.4 mm x 13.0 mm (Micro Four Thirds) | |
| Lens Mount | Micro Four Thirds Mount | |
| Image Sensor | Image Sensor Type | 4/3 Stacked BSI Live MOS Sensor |
| Number of Pixels | Number of effective pixels: Approx. 20.4 million pixels | |
| Total number of pixels: Approx. 22.9 million pixels | ||
| Aspect Ratio | 04:03 | |
| Dust Reduction | Supersonic Wave Filter (image sensor dust reduction system) | |
| Still Photo Recording | Recording Format | DCF2.0, Exif3.0 |
| File Format | JPEG, RAW(12-bit lossless compression), JPEG+RAW | |
| Recording Image Size | RAW: 5184 x 3888 | |
| JPEG: 5184 x 3888 ~ 1024 x 768 | ||
| Folder Creation and Selection | Available | |
| Image Stabilization System | Image Stabilization Type | Built-in 5-axis sensor-shift image stabilization |
| Image Stabilization Mode | S-IS AUTO, S-IS1, S-IS2, S-IS3, OFF | |
| Stabilization Performance | Compensation steps (In-body IS): center 6.5 steps, corner 5.5 steps | |
| *When using M.ZUIKO DIGITAL ED 12-45mm F4.0 PRO at a focal distance of f = 45mm (35mm equivalent: f = 90mm), Yaw/Pitch/Roll compensation performance, CIPA 2024 standard compliant | ||
| Compensation steps (Sync IS): center 7.5 steps, corner 6.5 steps | ||
| *When using M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO at a focal distance of f = 100mm (35mm equivalent: f = 200mm), halfway release image stabilization: Off, Yaw/Pitch/Roll compensation performance, CIPA 2024 standard compliant | ||
| 5-axis Sync IS | Available | |
| *When using the M.Zuiko Digital lenses equipped with image stabilization | ||
| Focal Length Setting | 11 settings: 10 programmable settings (10 lenses) | |
| *Lenses without communication function can be registered | ||
| Finder | Finder Type | Eye-level OLED electronic viewfinder, approx. 2.36M dots |
| Field of View / Viewfinder Magnification | Approx. 100% / Approx. 1.23x[*1] - 1.37x[*2] (-1m-1, 50mm lens, Infinity) | |
| [*1] Finder Style 1, 2 (aspect ratio 4:3) | ||
| [*2] Finder Style 3 (aspect ratio 4:3) | ||
| Eye Point / Diopter Adjustment Range | Approx. 27 mm (-1m-1, Distance from rear lens surface) / -4 ~ +2m-1 | |
| Display Grid | Off / normal grid / trichotomy /golden grid / scale / diagonal / movie grid | |
| *Grid color is selectable | ||
| Level Gauge | 2-axis (horizontal/vertical) level gauge | |
| Finder Style | 3 styles | |
| Brightness and Color Temperature Control | Adaptive brightness technology (EVF Auto Luminance) / ±7 level manual brightness control /±7 levels GM ,±7 levels BA manual color temperature control | |
| LV Mode | Standard/S-OVF | |
| Eyecup | EP-15 (bundled), Large eyecup EP-16 (optional) | |
| Monitor | Monitor type | 3.0-inch vari-angle monitor (electrostatic capacitance touch panel), Approx. 1620k dots (3:2) |
| Tilting Capability | Swivel type | |
| Touch Control | Shutter release, Touch AF (AF area selection, AF area size adjustment), Subject selection by touch operation, AF targeting pad, Frame forward/backward, Magnified playback, Super Control Panel, Wi-Fi connection, Movie controls, Menu control* | |
| *Tab selection/page selection/character input | ||
| Brightness / Color temperature control | ±7 levels / ±7 levels GM,±7 levels BA | |
| Focusing | AF System | High-speed imager AF |
| *Imager phase detection AF and imager contrast AF used in combination | ||
| AF Working Range | Lowest luminance (-5.5 EV) / Highest luminance (19 EV) | |
| *ISO approx. 100, with F2.8 lens | ||
| Focusing Point | Cross-type phase detection AF | |
| *Two lines up and down are invalid at SH2 | ||
| Contrast AF | ||
| *Two lines up and down are invalid at SH2 | ||
| Focusing point / Focusing point selection mode | Cross-type phase detection AF (1,053 points), Contrast AF (1,053 points) / All target, Single target (1 point), Small target (9 points), Cross target (39 points), Middle target (63 points), Large target (165 points), Custom target* (AF area and its increment steps selectable) | |
| *Number of saved custom target settings: 4 | ||
| Focus Mode | Single AF (S-AF), Single AF (S-AF+MF), Continuous AF (C-AF), Continuous AF (C-AF+MF), Manual Focus (MF), AF tracking (C-AF + TR), AF tracking (C-AF + TR+MF), Preset MF, Starry sky AF (S-AF), Starry sky AF (S-AF+MF) | |
| C-AF Tracking Sensitivity Settings | 5 steps | |
| C-AF Center Priority | Available | |
| AF Limiter | Available | |
| *Up to 3 distance settings can be saved | ||
| AF Targeting Pad | Available | |
| Magnified Frame AF | 3x, 5x, 7x, 10x, 14x | |
| Intelligent Subject Detection AF | Human, Formula cars, rally cars, motorcycles / Aircrafts, helicopters / Bullet trains, standard trains, steam locomotives / Birds / Dogs, cats | |
| Manual Focus Assist | Magnify | |
| Peaking Function | Color: 4 colors (white, black, red or yellow) | |
| Highlight intensity: high, normal or low | ||
| Image brightness Adj.: On or off | ||
| Focus Indicator | Available | |
| AF Focus Adj. | Available | |
| AF Illuminator | Available | |
| Exposure Control | Metering System | Digital ESP metering (324-area multi pattern metering), Center-weighted average metering, Spot metering*, Spot metering with highlight/shadow control* |
| (TTL Image Sensor Metering) | *Also available AF target spot metering | |
| Metering Range | Lowest luminance (-2 EV) / Highest luminance (20 EV) | |
| *ISO approx. 100, with F2.8 lens | ||
| P/A/S/M/B* | ||
| *Not available with Movie or S&Q | ||
| B | ||
| LOW (approx.80) ~ 102400 | ||
| * Upper default ISO 25600 | ||
| LOW (approx.80, approx.100), 200 ~ 102400 | ||
| Exposure Compensation | ±5 EV (adjustable by 1/3, 1/2 or 1 EV steps) | |
| *Live View only reflects up to ±3 EV steps | ||
| AE Lock | Available | |
| *Locks with a half-press of the shutter button (can be set to other buttons) | ||
| Anti-Flicker Shooting | Available | |
| Shutter | Focal-Plane Shutter (Mechanical Shutter) | 1/8000 ~ 60 sec, Live Bulb, LiveTime, Live Composite |
| Electronic First Curtain Shutter | 1/320 ~ 60 sec | |
| *Shutter speed faster than 1/320 sec will be automatically switched to mechanical shutter. | ||
| Electronic Shutter (Silent Mode) | 1/32000 ~ 60 sec | |
| *Settings for sound, AF illuminator, and flash can be set to ON/OFF separately, default setting is Off for all three | ||
| Video recording 1/30 ~ 1/500.0 Still 1/50.0 ~ 1/6944 | ||
| *Video recording S/M mode, Still S/M silent mode only | ||
| Drive | Sequential Shooting Maximum Speed | [Sequential shooting] approx. 6 fps with selectable 1-6 fps |
| [Anti-shock sequential shooting] approx. 5.5 fps with selectable 1-6 fps | ||
| [Silent sequential shooting] approx. 20 fps with selectable 5, 10, 15, 20 fps | ||
| [Silent sequential shooting SH1] approx. 120 fps with selectable 30, 60, 100, 120 fps | ||
| [Silent sequential shootingSH2] approx 50 fps with selectable 12.5, 16.7, 25, 50, fps | ||
| *Slower shutter speeds and flash can not be used. | ||
| *Compatible lenses are limited. | ||
| [Pro Capture] approx. 20 fps with selectable 5, 10, 15, 20 fps | ||
| [Pro Capture SH1] approx. 120 fps with selectable 30, 60, 100, 120 fps | ||
| *Slower shutter speeds and flash can not be used. | ||
| *Focus and exposure are fixed at first frame. | ||
| [Pro Capture SH2] approx. 50 fps with selectable 12.5, 16.7, 25, 50 fps | ||
| *Slower shutter speeds and flash can not be used. | ||
| *Compatible lenses are limited. | ||
| Sequential Shooting Maximum Recordable Frames | Sequential shooting at max. fps [RAW]: Until card is full | |
| *The lens used: M.Zuiko Digital ED 12-40mm F2.8 PRO II and the KIOXIA KSDXU-A064G (UHS-II U3 Class10 64GB) memory card. | Sequential shooting at max. fps [JPEG default]: Until card is full | |
| *Low ISO processing: Priority is given to sequential shooting | Silent sequential shooting at max. fps [RAW]: Approx. 151 | |
| Silent sequential shooting at max. fps [JPEG LF]: Approx. 375 | ||
| Silent sequential shooting SH1 at max. fps [RAW]: Approx. 88 | ||
| Silent sequential shooting SH1 at max. fps [JPEG LF]: Approx. 90 | ||
| Silent sequential shooting SH2 at max. fps [RAW]: Approx. 102 | ||
| Silent sequential shooting SH2 at max. fps [JPEG LF]: Approx. 125 | ||
| Lenses compatible with SH2 50fps | M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO | |
| M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO Ⅱ | ||
| M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO | ||
| M.ZUIKO DIGITAL ED 40-150mm F2.8 PRO | ||
| M.ZUIKO DIGITAL ED 150-400mm F4.5 TC 1.25x IS PRO | ||
| M.ZUIKO DIGITAL ED 300mm F4.0 IS PRO | ||
| Lenses not compatible with SH2 | M.ZUIKO DIGITAL ED 14-42mm F3.5-5.6 | |
| M.ZUIKO DIGITAL ED 14-42mm F3.5-5.6 L | ||
| M.ZUIKO DIGITAL ED 17mm F2.8 | ||
| Flash | Flash Intensity Control Method | TTL Auto, Manual, Auto, Super FP (FP-TTL AUTO, FP-MANUAL) |
| *Auto and Super FP are available on the external flash | ||
| Flash Mode | Fill-in, Flash Off, Slow sync., Manual* | |
| *Manual is available only with FL-LM3/STF-8 | ||
| Reduce Red-eye | Available | |
| Synchro Settings | 1st curtain, 2nd curtain selectable | |
| 1/250 sec. or slower | ||
| *When using Super FP: 1/125 - 1/8000 sec. | ||
| *When using electronic shutter: 1/100 sec. at up to ISO12800, 1/50 sec. at ISO16000 or higher, and 1/50 sec. for ISO bracketing | ||
| Slow Limit | 60”-1/250 | |
| Flash Intensity Control | ±3 EV (1/3, 1/2, 1 EV steps selectable) | |
| Compatible External Flash | FL-LM3, FL-900R, STF-8, FL-700WR | |
| FL-900R, FL-700WR | ||
| FL-LM3, FL-900R, STF-8, FL-700WR | ||
| Commander Flashes | FL-LM3, FL-900R, STF-8, FL-700WR | |
| Channel | 4 channels | |
| 3 groups (external flash 2 groups + commander flash) | ||
| Radio Wireless Control | Available (FL-700WR, FC-WR) | |
| External Flash Intensity Type | TTL Auto, Manual, Auto, FP-TTL AUTO, FP-MANUAL | |
| White Balance | White Balance Mode | Auto WB, 7 WB presets, 4 Capture WB, Custom WB (Kelvin setting) |
| ±7 steps along A-B / G-M axis (including custom WB) | ||
| Color Mode | Color Matrix | sRGB, Adobe RGB |
| Picture Mode | Picture Mode | i-Finish, Vivid, Natural, Flat, Portrait, Monotone, Custom, Underwater, Color Creator, Art Filters, Monochrome profile control, Color profile control |
| Gradation | 4 types (Auto, Normal, High Key, Low Key) | |
| *Except when using Underwater, Art Filters, Color Creator and Profile Control | ||
| Highlight and Shadow Control | Adjustable at ±7 steps each for highlight, shadow, and midtone | |
| Art Filter | Art Filter | Pop Art, Soft Focus, Pale & Light Color, Light Tone, Grainy Film, Pin Hole, Diorama, Cross Process, Gentle Sepia, Dramatic Tone, Key Line, Water Color, Vintage, Partial Color (18 color selectable), Bleach Bypass, Instant Film |
| Color Creator | Color Creator | Available |
| Monochrome Profile Control | Monochrome Profile Control | Color filter effect: None/8 colors (Red, Orange, Yellow, Yellow-Green, Green, Cyan, Blue, Magenta) with 3 steps |
| Shading effect: 11 steps (-5 ~ +5) | ||
| Film grain effect: Off/Low/Med/High | ||
| Monochrome color: Normal/Sepia/Blue/Purple/Green | ||
| *Settings can be stored individually to MONO1/MONO2/MONO3/MONO4. Settings of Highlight & Shadow Control can be stored as well. | ||
| Color Profile Control | Color Profile Control | Saturation of 12 colors can be adjusted in 11 steps (-5 ~ +5) |
| Shading effect: 11 steps (-5 ~ +5) | ||
| *Settings can be stored individually to COLOR1/COLOR2/COLOR3/COLOR4. Settings of Highlight & Shadow Control can be stored as well | ||
| Bracketing | Exposure Bracketing | 3 or 5 frames (0.3/0.7/1.0EV steps selectable), 7 frames (0.3/0.7EV steps selectable) |
| ISO Bracketing | 3 frames (0.3/0.7/1.0EV steps selectable) | |
| White Balance Bracketing | 3 frames (A-B/G-M axis*) *Selectable in 2, 4, 6 steps each) | |
| Flash Bracketing | 3 frames (0.3/0.7/1.0EV steps selectable) | |
| Art Filter Bracketing | i-Enhance, Vivid, Natural, Muted, Portrait, Monotone, Custom, Under Water, Art Filters, Color Creator and Profile Control selectable | |
| Focus Bracketing | 3 - 999 frames (focus step selectable from 1-10) | |
| Flash charge time (selectable from 0, 0.1, 0.2, 0.5, 1, 2, 4, 8, 15 or 30 sec.) | ||
| Focus Stacking | Available | |
| Focus Stacking Compatible Lenses | M.ZUIKO DIGITAL ED 7-14mm F2.8 PRO | |
| M.ZUIKO DIGITAL ED 8-25mm F4.0 PRO | ||
| M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO | ||
| M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO II | ||
| M.ZUIKO DIGITAL ED 12-45mm F4 PRO | ||
| M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO | ||
| M.ZUIKO DIGITAL ED 40-150mm F2.8 PRO | ||
| M.ZUIKO DIGITAL ED 40-150mm F4.0 PRO | ||
| M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS | ||
| M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II | ||
| M.ZUIKO DIGITAL ED 150-400mm F4.5 TC1.25x IS PRO | ||
| M.ZUIKO DIGITAL ED 8mm F1.8 Fisheye PRO | ||
| M.ZUIKO DIGITAL ED 30mm F3.5 Macro | ||
| M.ZUIKO DIGITAL ED 60mm F2.8 Macro | ||
| M.ZUIKO DIGITAL ED 90mm F3.5 Macro IS PRO | ||
| M.ZUIKO DIGITAL ED 300mm F4.0 IS PRO | ||
| M.ZUIKO DIGITAL 1.4x Teleconverter MC-14 | ||
| M.ZUIKO DIGITAL 2x Teleconverter MC-20 | ||
| HDR Function | HDR (Auto Composite) | HDR1, HDR2 (painting-like) |
| *ISO sensitivity is fixed at 200, and maximum shutter speed setting is 4 sec. | ||
| Bracketing for HDR Postprocess | 3 or 5 frames (2.0 or 3.0 EV steps), 7 frames (2.0 EV steps) | |
| Keystone Compensation | Keystone Compensation | Available |
| Fisheye Compensation | Fisheye Compensation | 3 Styles |
| *Enabled when M.Zuiko Digital ED 8mm F1.8 Fisheye PRO is used. | ||
| Live ND | Live ND | Available |
| *S/M mode only, flash can not be used, ISO up to 800, the maximum shutter speed is 1/60 (when ND2 is set) and the speed drops if the number of ND steps is raised. | ||
| Live GND | Live GND | Available |
| *P/A/S/M mode, flash can not be used, ISO up to 3200(up to 1600 in ISO Auto), the maximum shutter speed is 1/16000 (when ND2 is set) and the speed drops if the number of ND steps is raised. | ||
| Filter Type | 3 styles (Soft / Medium / Hard) | |
| Filter adjustment | Available | |
| *Adjustable filter position and angle | ||
| High Res Shot | Tripod High Res Shot | JPEG (80M) 10368 x 7776 |
| JPEG (50M) 8160 x 6120 | ||
| JPEG (25M) 5760 x 4320 | ||
| RAW* 10368 x 7776 | ||
| *High Res RAW Recording bit: 12bit / 14bit | ||
| Handheld High Res Shot | JPEG (50M) 8160 x 6120 | |
| JPEG (25M) 5760 x 4320 | ||
| RAW* 8160 x 6120 | ||
| *High Res RAW Recording bit: 12bit / 14bit | ||
| Live Bulb / Live Time | Live Bulb / Live Time | Available |
| *Update interval time 0.5 sec. - 60 sec. | ||
| Live Composite | Live Composite | Available |
| *Update interval time 0.5 sec. - 60 sec. | ||
| Interval Shooting | Interval Shooting | Available |
| *Creating Time-lapse movie is possible with interval shooting up to 999 frames. | ||
| *Time priority, Frame priority selectable | ||
| *Exposure smoothing is available | ||
| Multiple Exposure | Number of Frames | 2 frames / auto gain adjustment, exposure on recorded picture (RAW) |
| Multi Aspect | Multi Aspect | 4:3 (Default), 3:2, 16:9, 1:1, 3:4 |
| One Push Tele-Converter | Magnification | 2x |
| Level Gauge | Detection | 2-axis (horizontal / vertical) |
| Video Recording | Video Recording Format | MOV (MPEG-4AVC / H.264), YCbCr 4:2:0 (8bit) |
| 4096 x 2160 (C4K) | 30p, 25p, 24p / LongGOP (approx. 102Mbps) | |
| Recording rate 48kHz/16bit | 60p, 50p / LongGOP (approx. 202Mbps) | |
| 4096 x 2160 (C4K) | 30p, 25p, 24p / LongGOP (approx. 105Mbps) | |
| Recording rate 96kHz/24bit | 60p, 50p / LongGOP (approx. 205Mbps) | |
| 3840 x 2160 (4K) | 30p, 25p, 24p / LongGOP (approx. 102Mbps) | |
| Recording rate 48kHz/16bit | 60p, 50p / LongGOP (approx. 202Mbps) | |
| 3840 x 2160 (4K) | 30p, 25p, 24p / LongGOP (approx. 105Mbps) | |
| Recording rate 96kHz/24bit | 60p, 50p / LongGOP (approx. 205Mbps) | |
| 1920 x 1080 (FHD) | 30p, 25p, 24p / ALL-I (approx. 202Mbps), LongGOP (approx. 27Mbps) | |
| Recording rate 48kHz/16bit | 60p, 50p / LongGOP (approx. 52Mbps) | |
| 1920 x 1080 (FHD) | 30p, 25p, 24p / ALL-I (approx. 205Mbps), LongGOP (approx. 30Mbps) | |
| Recording rate 96kHz/24bit | 60p, 50p / LongGOP (approx. 55Mbps) | |
| Video Recording Format | MOV (HEVC/H.265), YCbCr 4:2:0（10bit） | |
| 4096 x 2160 (C4K) | 30p, 25p, 24p / LongGOP (approx. 77Mbps) | |
| Recording rate 48kHz/16bit | 60p, 50p / LongGOP (approx. 152Mbps) | |
| 4096 x 2160 (C4K) | 30p, 25p, 24p / LongGOP (approx. 80Mbps) | |
| Recording rate 96kHz/24bit | 60p, 50p / LongGOP (approx. 155Mbps) | |
| 3840 x 2160 (4K) | 30p, 25p, 24p / LongGOP (approx. 77Mbps) | |
| Recording rate 48kHz/16bit | 60p, 50p / LongGOP (approx. 152Mbps) | |
| 3840 x 2160 (4K) | 30p, 25p, 24p / LongGOP (approx. 80Mbps) | |
| Recording rate 96kHz/24bit | 60p, 50p / LongGOP (approx. 155Mbps) | |
| 1920 x 1080 (FHD) | 30p, 25p, 24p / ALL-I (approx. 82Mbps), LongGOP (approx. 22Mbps) | |
| Recording rate 48kHz/16bit | 60p, 50p / ALL-I (approx. 162Mbps), LongGOP (approx. 42Mbps) | |
| 1920 x 1080 (FHD) | 30p, 25p, 24p / ALL-I (approx. 85Mbps), LongGOP (approx. 25Mbps) | |
| Recording rate 96kHz/24bit | 60p, 50p / ALL-I (approx. 165Mbps), LongGOP (approx. 45Mbps) | |
| Vertical Video | Available | |
| *Video files are saved vertically when holding the camera vertically to shoot. *Videos are not played in the vertical orientation on the camera. | ||
| Art Filter Movie | Available | |
| *Frame rates may drop when certain Art Filters are used. | ||
| Digital Tele-converter | Approx. 1.4x | |
| Time Lapse Movie | 3840 x 2160 (4K) / 5fps, 10fps, 15fps, 30fps | |
| 1920 x 1080 (FHD) / 5fps, 10fps, 15fps, 30fps | ||
| 1280 x 720 (HD) / 5fps, 10fps, 15fps, 30fps | ||
| S&Q Movie (Slow Motion / Quick Movie) | Capturing Frame Rate: 240fps, 200fps, 120fps, 100fps, 60fps, 50fps, 30fps, 25fps, 24fps, 15fps, 12fps, 8fps, 6fps, 3fps, 2fps, 1fps | |
| *Selectable capturing frame rates are limited depending on the recording codec, image size, frame-to-frame compression, and playback frame rate settings. | ||
| Image Stabilization for Video Recording | M-IS1 (multi motion IS by Image sensor shift and electronic image stabilizer), | |
| M-IS2 (Multi motion IS by Image sensor shift), OFF | ||
| *Field of view varies when using M-IS1. Using lens which is equipped with image stabilization can be given top priority. | ||
| Grid Line | Available | |
| Focus Peaking | 4 colors | |
| Zebra Patttern Settings | Available | |
| * 2 levels selectable to set | ||
| Center Marker | Available | |
| Red Frame during REC | Available | |
| Recording Lamp | 2 steps (Low, High) | |
| *Combines with AF illuminator | ||
| Time Code | Rec run / free run, drop frame / non-drop frame | |
| Live View Output via HDMI | Monitor mode / Record mode / RAW mode | |
| *In monitor mode, the image can not be enlarged on the camera when a movie is being recorded. | ||
| In record mode, movie quality can be set to YCbCr 4:2:2 (8 bit). When recording simultaneously on the camera in 4K/C4K/FHD HS, 4:2:0 is up-sampled to 4:2:2 | ||
| *In RAW mode, output video quality is 4K/C4K 12bit RAW data, frame rate follows movie setting, and sound will be recorded. Footages can not be displayed on camera monitor and no videos and sounds will be recorded to the camera. | ||
| Movie Picture Mode | Flat, OM-Log400, HLG, OM-Cinema1, OM-Cinema2 | |
| AE Lock | Available | |
| Recording (Sound) | Sound Recording Format | Wave format (stereo linear PCM/16-bit, sampling frequency 48kHz) |
| High-Resolution Audio Recording | Stereo linear PCM/24-bit, sampling frequency 96kHz | |
| Microphone / Speaker | Built-in stereo microphone / built-in mono speaker | |
| *External stereo microphone can be attached | ||
| Microphone Function | Wind noise reduction, recording volume, microphone volume limiter | |
| *Audio dubbing possible for still pictures (up to 30 sec.) | ||
| Camera-side recording adjustment when an external microphone is attached | Selectable (Enable/Disable) | |
| Wi-Fi Function | GPS Info. Function | Available |
| *Via GPS smartphone | ||
| Wireless Shooting | Live view, rec view, wireless touch AF shutter, self timer (w/ countdown guidance, sequential shooting, movie recording capability), movie recording, power off | |
| (Live View Remote Control) | ||
| Image Share | Available | |
| *Marking function for image share is available. | ||
| Easy Connection | Connect using a QR code | |
| Bluetooth Functionality | Easy Connection | Easy Wi-Fi connection using Bluetooth |
| Simple Image Transfer | When the power is off, images can be automatically imported using the marking function for image share / remotely viewed. (Activated via Bluetooth and imported via Wi-Fi) | |
| (Power-Off Standby) | ||
| Wireless Shooting | Wireless release (pressing the shutter button halfway / fully), movie start / stop | |
| (Wireless Release Remote Control) | ||
| Accessories Remote Control | Wireless release (pressing the shutter button halfway / fully), movie start / stop | |
| Record of location informationion | Available | |
| *Via GPS smartphone | ||
| USB RAW Development | Developing by PC application using camera | Developing by PC application using camera DSP |
| Web Camera | UVC (USB Video Class) / UAC (USB Audio Class) | |
| Playback | Playback Mode | Single-frame, information display, index display (4/9/25/100 frames), calendar, enlargement (2x - 14x), movie (with sound, FF/REW/pause), picture rotation (auto) |
| Information Display | Histogram (independent luminance / RGB available), highlight/shadow point warning, AF frame, photographic information, off | |
| Image Editing | Movie Editing Function | Trimming (beginning / end), in-movie image extraction (4K only) |
| Editing Function | RAW data edit, gradation auto, monochrome, sepia, red-eye fix, saturation, resize (1280x960, 640x480, 320x240), trimming, aspect, image overlay, post recording | |
| RAW Data Edit | RAW data edit based on settings of the camera (including Color Creator, Art Filter, ART-BKT) | |
| Rating | Rating Setting | |
| Print Function | Print reservation (DPOF) | |
| Menu Language | Languages | 18 languages selectable: |
| - English, French, German, Spanish, Italian, Japanese, Traditional Chinese, Simplified Chinese, Russian, Czech, Dutch, Polish, Portuguese, Swedish, Norwegian, Finnish, Turkish, Thai | ||
| Weatherproof Construction | Splashproof / Dustproof Type | IEC Standard publication 60529 IP53 (applies when the body is used with our splashproof Lens. When used an IP53 lens, performance is IP53, When used with an IPX1 lens, performance becomes IPX1.) |
| Freezeproof | -10℃ | |
| Input / Output | USB | USB Type-C |
| HDMI Connector | Micro HDMI (type D) | |
| Flash Attachment | Hot shoe | |
| Built-in (IEEE 802.11b/g/n) | ||
| Bluetooth | Built-in (Bluetooth Ver.4.2 Bluetooth Low Energy) | |
| Microphone Input Jack | φ3.5 stereo mini jack (plug-in power on/off) | |
| Headphone Connector | φ3.5 stereo mini jack | |
| PC Interface | USB3.0 (Superspeed) | |
| Power Requirements | BLX-1 Li-ion battery | |
| Battery Status Display | Remaining power (10 steps, %, or by-minute display), shot count, degradation | |
| Optional F-5AC USB-AC adapter | ||
| USB Bus Power | A USB PD bus power can be used | |
| *PD compliant Camera: Rev 3.0 Ver 1.0a | ||
| USB Charging | Built-in battery can be charged with USB | |
| * When the camera power is off | ||
| * Performance varies depending on different USB devices | ||
| Sleep Mode | 1/3/5 min., off | |
| Number of Recordable Images | Standard mode: approx. 590 shots / Quick sleep mode: approx. 1040 shots | |
| *With KIOXIA KSDXU-A064G (UHS-II U3 Class10 64GB) and a bundled battery, based on CIPA test standards | ||
| Movie Recording Time (min.) | CIPA standard compliant: approx. 120 minutes | |
| When zoom and other operational functions are not used: approx. 190 minutes | ||
| Continuous Movie Recording Time (min.) | CIPA standard compliant: Until card is full or battery runs out | |
| *At 23°C (±3°C) | ||
| Dimensions / Weight | Dimensions | Approx. 139.3ｍｍ (W) x 88.9ｍｍ (H) x 45.8ｍm (D) |
| *Based on CIPA standards: excludes protrusions | ||
| Weight (g) | Based on CIPA standards, with 1x bundled battery and 1 memory card, without eyecup: 496g | |
| Body only: 413g | ||
| Operating Environment | Temperature | -10℃ ~ +40℃ (when in operation), -20 ~ +60℃ (when stored) |
| Humidity | 30%~90% (when in operation), 10%~90% (when stored) | |
| Box Contents | Body, CB-USB13 USB cable, Shoulder strap, Instruction manual, Warranty card, BLX-1 Li-ion battery | |
| Software & Applications | OM Workspace 2028/2/29 | |
| OI. Share 2028/2/29 | ||
| Energy Regulation ErP Lot6 | Off mode | Power: 0W |
| Transition Time: 1 min. | ||
| Standby mode | Power (W): N/A | |
| Transition Time (min): N/A | ||
| Network Standby mode | Power: 0W | |
| Transition Time: 1 min. |
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