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Introduction and features
The Olympus OM-D E-M5 was the first camera in Olympus's OM-D line of Micro Four Thirds compact system or mirrorless cameras, and hence it is sometimes referred to as the original OM-D. Its built-in electronic viewfinder and more SLR-like design distinguished it from the Olympus Pen series of compact system cameras. It was also aimed at more experienced photographers than the Olympus Pen or Pen Lite.
As the name suggests, the Olympus OM-D E-M5 Mark II is the replacement for the original E-M5 and it sits between the top-end OM-D E-M1 and the lower-level OM-D E-M10 in the Olympus range.
The E-M5 II uses a slightly modified version of the Four Thirds type (17.3 x 13mm) sensor in the original E-M5 but the effective pixel count remains at 16.1 million. It is coupled with the TruePic VII processing engine of the E-M1.
The new camera brings a small collection of significant upgrades on the original model. For many the most important of these is its ability to create 40 million pixel JPEG images or 64Mp raw files automatically in its High Res Shot mode. It does this by taking a sequence of 8 images in quick succession and using the upgraded Image Stabilizer to shift the sensor by a tiny amount between shots. The camera then combines these images into a 40Mp composite.
Olympus is working on speeding up the process of producing these high-res images, but for now it takes around 1 second to capture the images and 2.5 seconds to merge them together. This makes the High Res Shot mode a tripod-only feature that's designed for use with motionless subjects.
It's worth noting that although the original E-M5 has an excellent 5-axis sensor-shifting image stabilisation system, Olympus says that this has been improved for the Mark II camera. The manufacturer claims that it offers an extension in the safe hand-holdable shutter speed of up to 5EV. That's the difference between 1/500sec and 1/15sec.
Despite their close connection, both Olympus and Sony are adamant that they use their own stabilization systems and the stabilizer in the Sony Alpha 7 II is not the same as the one in any of Olympus's cameras.
Another significant upgrade brought by the Mark II camera is the introduction of a vari-angle screen. In the past Olympus has favoured tilting screens, so this is a significant step forward that makes it easier to compose images at a range of angles in upright or landscape format. As before, the screen is touch-sensitive and measures 3-inches across the diagonal, but its resolution has been boosted from 610,000-dots to 1,037,000-dots. However, it's an LCD rather than an OLED screen.
The electronic viewfinder (EVF), which shows 100% of the scene, has also been improved and has 2,360,000 dots rather than the 1,440,000 dots of the original E-M5's.
Video and exposure innovations
Olympus has improved upon the E-M5's video recording capability, and there are a number of features on the E-M5 Mark II to catch the attention of videographers. The compression settings allow footage to be recorded in MOV(MPEG-4AVC/H.264) or AVI(Motion JPEG) format, with bitrates up to 77 Mbps allowing greater scope for post-production processing. As well as having frame rate options of 50, 30, 25 and 24fps, you can record 1080p footage at 60fps which can be converted to 24fps in post production for high resolution slow motion playback. Further good news is that the image stabilisation system operates during movie recording, which should result in smoother hand-held footage.
There's also a 3.5mm microphone socket and the ability to manually control the input level, so it's possible to record useable audio via a hot-shoe mounted microphone. If you want to monitor audio via headphones, however, you'll need to use the optional HLD-G8 grip because the camera body itself doesn't have a port.
In addition, you can send clean output to an external monitor or recorder via the a Micro HMDI port (Type D), and Time Code is also available with Rec Run and Free Run allowing you to specify if the camera records the time code only when recording is taking place, or the whole time including when recording is stopped – useful when editing footage from multiple cameras.
Exposure innovations
Exposure measurement is courtesy of the 324 zone Multi-pattern metering system which offers the general-purpose ESP light metering mode along with the usual Centre-weighted and Spot metering options. Olympus's unique Highlight and Shadow spot metering options are also available allowing you to take measurements from the brightest or darkest parts of the scene and ensure they are recorded accordingly rather than rendered a mid-tone.
In addition, sensitivity may be set in the native range ISO 200-25,600 with extension settings pushing this to 100-25,600. When the standard mechanical shutter is used, shutter speed can be set at up to 1/8000sec, which is useful for shooting with large apertures (to restrict depth of field) in very bright light, and for as long as 60 seconds. Bulb mode allows exposures of up to 30 minutes. When the electronic shutter is used for silent shooting, the available shutter speed range changes to 1/16,000-60sec.
Live Bulb and Live Time mode are both present along with Live Composite mode, which was introduced with the Olympus E-M10. In Live Bulb mode the shutter stays open for as long as the shutter release is held down while in Live Time mode, the shutter is opened with a press of the shutter release and it stays open until it is pressed again. The clever bit is that the image can be seen building up on the camera's screen, or on the screen of a smartphone or tablet connected via a Wi-Fi connection. This enables the exposure to be assessed and the shutter closed when the image looks right.
Live Composite mode works in a similar way, but it's specifically intended for use when shooting fireworks, star trails or when painting with light. It works by first taking a reference image of the scene with the first press of the shutter release. Then, once the camera says that it's ready, a second press opens the shutter for a second time. If the scene doesn't change the image on the screen looks the same as the reference shot, but if lighter elements such as fireworks or light trails appear they will be seen building-up on-screen. Once the image looks correct, the shutter is closed with a third press of the shutter release.
Although Olympus has improved upon the 35-point contrast detection system of the original E-M5 by giving the Mark II the 81-point system found in the E-M10, it hasn't gone as far as giving it the hybrid AF system of the E-M1.
With the possible exception of the lack of a pop-up flash unit, the OM-D E-M5 Mark II has a comprehensive specification and provides the enthusiast photographer with just about everything they could want. It also has plenty to entice aspiring videographers looking for a more affordable camera than the popular Canon 5D Mark III or dedicated, professional-level video camera.
Build and handling
It may be small, but the OM-D E-M5 Mark II feels very nicely constructed and its magnesium body is pleasantly solid in the hand. It's also dust- and water-proof as well as freeze-proof down to -10 degrees C.
The front fingergrip provides good purchase, but as is often the case, it only offers sufficient room for two fingers. So while your index finger sits on the shutter release, your little finger is likely to be curled under the camera. However, there are a couple of optional grips available which extend the camera a little if you need to. The HLD-8G gives the camera a more pronounced front grip, a more prominent shutter release and control dial as well as a microphone port. Meanwhile HLF-6P, which connects via the HLD-8G, creates a second grip for use in portrait orientation with another shutter release button and dial along with a couple of extra custom buttons. This grip can also house a battery to extend shooting times.
On the back of the camera there's a small but effective thumbrest that combines with the front grip to make the camera feel safe in your hand during and between shots. I find the camera more comfortable to use and carry without the rather stiff neckstrap that is supplied. This attaches via lugs in the top front corners of the camera and I found it often got in my way when reaching for the shutter release.
As mentioned earlier, the E-M5 II sits between the E-M1 and E-M10 in the Olympus OM-D range and its control arrangement is halfway between the two. In comparison with the original E-M5, the Mark II has a couple of extra buttons on the top-plate. There's also been a rejig to the dial arrangement with two fairly large dials on the right for making settings adjustments and the mode dial, as before, on the left. The power switch is now alongside/under the mode dial.
Taking a few cues from the E-M1, the mode dial has a lock which can be used or not as you like and there's a switch on the back of the camera that is used to change the options adjusted by the dials. This switch is a mixed blessing. On the one hand it doubles the number of options that can be adjusted quickly via the dials, but on the other, you need to remember which setting the switch needs to be on to access the controls that you want. Once you've been using the camera for a while you get into the swing of it, but you can expect some frustration in the early days.
One of the great features of the OM-D series that the cameras are extremely customisable, so you can set-them up to suit your preferences. However, it can take quite a while to find and understand all the options, so it's sensible to use the camera in the default arrangement for a while before customising a few controls to see how you get on.
Controls and viewing system
The controls are all within easy reach, but some people may find the small buttons a little fiddly. A couple of photographers that I showed the camera to accidentally pressed the button on the front of the camera near the lens mount when they held the camera to their eye. Traditionally this would activate the depth-of-field view, but as I had set it to reach 'One-touch white balance' (to set a custom white balance value) this option appeared in the viewfinder, causing them some confusion.
I also found that a couple of buttons didn't behave as I would expect on a few occasions. The Info button, which I used to toggle between the on-screen displays, for example, occasionally wouldn't bring up the electronic level display. And there was a short period of time when I couldn't review images in the viewfinder. I was unable to find any explanation for this within the menu and the ability to review spontaneously recovered without me making any settings changes.
In addition, it seems that the viewfinder sensor, which activates the electronic viewfinder (EVF) and turns off the main screen becomes unreliable when the battery level is low.
On the subject of the EVF, this provides a very good view of the subject. There's no sign of any texture or flickering and the contrast is a good match for the scene's. With the Natural Picture mode selected, the viewfinder image sometimes look a little more saturated than the scene, but the hues are a good match. There's some noise visible in very low light, but you can still see the subject clearly.
The main screen is also nice and clear with plenty of detail visible in all but very bright light. The fact that it's on a vari-angle hinge means it's very useful when you want to shoot from awkward angles in either format.
When you're composing images on the main screen the autofocus point can be selected with a tap of the finger, but when the EVF is in use, the navigation controls are employed. Both approaches work well, but some might wish to be able to set the point using the screen's touch controls while looking into the viewfinder like you can with some Panasonic G-series cameras.
Like Olympus's other OM-D cameras, the E-M5 Mark II has a huge array of features and it can take some time to track down their controls. Live Time mode, for example, is selected by setting the camera to manual exposure mode and increasing the exposure time beyond the last selectable value. The controls that set aspects such as the maximum exposure time and the frequency at which the on-screen image refreshes are located in the second page of Custom Menu E.
Similarly, High Res Shot mode is selected via the Drive Mode in Shooting Menu 1 (or Super Control Panel), but the option to set the exposure delay after pressing the shutter release is located in Shooting Menu 2. Also, if you want to shoot raw files you need to set this once the camera is in High Res Shot mode even if you already have the camera set to record raw standard images.
40MP High Res mode
One of the main attractions of the OM-D E-M5 Mark II is its High Res Mode that enables it to record 40-million-pixel JPEG images or 64-million-pixel raw files. As you might imagine, this isn't completely without compromise. Sensitivity is limited to ISO 100 (the low extension setting) to 1600, the minimum aperture to f/8 and the slowest shutter speed available is 8 seconds.
Click here for a full resolution version.
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The High Res Shot raw files also have to be processed in different software, a free Photoshop plug-in. This is compatible with the 64-bit version of CS5 or newer Adobe Photoshop and will not function properly with a 32-bit version. You don't get the extensive controls that we're used to from Adobe Camera Raw, but aspects such as the exposure, white balance, contrast and sharpness can all be adjusted.
As mentioned previously, it's essential that the camera is stationary and that the subject doesn't move when shooting in High Res Shot mode. Even small movements result in a hatched pattern appearing and/or ghosting in images.
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When the camera and subject are motionless, however, the results are very impressive. As our lab results show, the images have a significant boost in detail resolution over standard size images.
Olympus prefers to refer to the camera as a 40Mp model because the engineers believe that although the raw files open to 64Mp, they only resolve a level of detail that's equivalent to that from a '40Mp camera'. Of course it depends upon what format that camera is; let's not forget that the Four Thirds type (17.3 x 13mm) sensor inside the OM-D series cameras is smaller than both APS-C and full-frame format. But our lab tests show that at the lowest sensitivity settings the E-M5 Mark II can match the full-frame 36Mp Nikon D810 for resolving power. It drops away from the D810 a little as sensitivity rises, but as the camera has to be tripod mounted and the subject motionless, there will be few occasions when sensitivity needs to be raised above ISO 100 or 200.
Standard 16MP resolution. Click here for a full size version.
The 40MP version shows a lot more fine detail. Click here for a full size version.
It's also possible to produce 64MP images from the camera's High Res raw files. Click here for a full size version. Olympus still considers 40MP to be the E-M5 II's effective maximum resolution, however.
Comparing simultaneously captured high resolution files at 100% reveals that the JPEGs look slightly sharper and more natural, which seems to bear out Olympus's decision to limit their size at 40Mp. Nevertheless, at 'Print size' in Photoshop the larger 64Mp raw files look superb.
Click here for a full size version.
Click here for a larger version.
At 300ppi the standard 16Mp images measure 39.01 x 29.29cm (15.36 x 11.52 inches) whereas the 64Mp raw files measure 78.03 x 58.52cm (30.72 x 23.04 inches). Even the 40Mp JPEGs measure an impressive 61.77 x 46.33cm (24.32 x 18.24 inches).
General performance
Turning to the standard (16Mp) files, noise is controlled very well from ISO 100-6400, although some luminance noise is visible at 100% in images taken at the lowest sensitivity settings. Unusually JPEG files taken in the standard settings look very similar to raw files processed in the supplied Olympus Viewer software with all noise reduction turned off. Even at the highest sensitivity setting there's little in the way of chroma noise (coloured speckling) visible, but luminance noise is present at every value.
Click here for a full size version.
Click here for a full size version.
The results at ISO 6400 are pretty good, but stepping up to ISO 12,800 increases the level of smudging visible in images viewed at 100% and colour saturation drops. These images also look a little softer than ISO 200 shots when sized to make A3 prints, but are still passable. Using the maximum sensitivity setting, ISO 25,600, increases the level of smudging further, but the difference between these and ISO 12,800 images is hardly noticeable at A3.
As we have found before with Olympus mirrorless cameras, the E-M5 II's automatic white balance system does a very good job in most natural lighting situations. It also doesn't fare too badly in some artificial lighting situations, adding a hint of colour that gives away the light source.
As usual, colours are handled well in the Natural Picture mode, but there's a collection of other options such as Vivid, Muted, Portrait, Monotone and i-Enhance as well as the Custom and Color Creator options, if you're looking for a different treatment to be applied to the JPEG files. Helpfully, these options are available when shooting in High Res Shot mode and when shooting raw and JPEG files simultaneously.
Click here for a full size version.
Click here for a full size version.
While the Art Filter effects can be applied when shooting raw files as well as JPEGs, they cannot be used when shooting in High Res Shot mode.
Part of the beauty of the Olympus's Picture Styles and Art Filters is that the effects can be customised by selecting different styles or effects such as vignetting or frames. It's also possible to select the Art Filters that you like best and then bracket shots (ie produce a series of images at different settings with just one press of the shutter release). This means that as well as getting a 'clean' raw file for processing, you get a collection of JPEGs, each with one of your favourite Picture Style and Art Filter effects applied. You'll also get a JPEG with the currently selected Picture Style applied.
Although it doesn't have the hybrid AF system of the Olympus OM-D E-M1, the E-M5 Mark II's AF system is very good. In normal daylight conditions it gets subjects sharp quickly and while it struggled a little more than the Canon 5D Mark III I was using at the same time, I was able to get sharp images of a band playing in terrible lighting conditions. The M.Zuiko Digital ED 40-150mm f/2.8 Pro lens hunted around a bit in the gloomy lighting, but it was still able to latch on to the moving subjects in many instances and deliver decent results.
As I was shooting a moving subject the E-M5 Mark II's image stabilisation system wasn't able to help when shooting the band, but in other dark conditions it is very useful indeed. When shooting with the M Zuiko Digital 12-50mm f/3.5—6.3 EZ ED MSC kit lens at 14-17mm, which equates to 28-34mm in full-frame terms, I got consistently sharp results that stand scrutiny at 100% at 1/6sec. The majority of the shots that I took at 1/5sec are also sharp at 100%.
Click here for a full size version.
Video performance
Exposure and colour rendition is the same as for stills. Full-HD footage also has plenty of detail and low-light performance is good. Olympus hasn't offered any explanation for it, but the impact of the rolling shutter which often results in the well-known 'jello' effect with sloping or wobbling straight lines in footage with moving subjects or when the camera pans, is controlled well.
We also found that the stabilisation system makes considerable difference to video footage. Handheld footage looks much smoother and more steady when it's turned on, but as with other stabilisation systems (lens-based), if the videographer is moving and the stabilization is pushed to its maximum level of compensation, you're likely to see a brief sharp movement when the sensor reaches the end of its travel range. But if movements are kept smooth on steady-hands, the results are very impressive.
In summary, the stabilization won't allow you to produce completely smooth footage while walking, and good technique and practice in handling the cameras is still essential, but it has a significantly positive impact.
Lab tests: Resolution
We've carried out lab tests on the Olympus OM-D E-M5 II across its full ISO range for resolution, dynamic range and noise (signal to noise ratio). We test the JPEGs shot by the camera, but we also check the performance with raw files. Most enthusiasts and pros prefer to shoot raw, and the results can often be quite different.
We've also picked out three of its chief rivals so that you can compare their performance directly.
The rivals we've chosen are:
Fuji X-T1: another highly-popular DSLR-style compact system camera amongst enthusiasts, and a direct rival for the OM-D E-M5 II.
Samsung NX1: the highest resolution APS-C format compact system camera, and the best AF system.
Sony A7R: The Sony's full-frame sensor should trump the rest, but is this advantage enough on its own to affect your choice?
We test camera resolution using an industry-standard ISO test chart that allows precise visual comparisons. For a full explanation of what our resolution charts mean, and how to read them, check out our camera resolution test process.
Examining images of the chart taken at each sensitivity setting for both JPEG and raw files reveals the following resolution scores in line widths per picture height x100:
Analysis: Interestingly, the resolution figures deliver exactly the results you might expect when comparing different megapixel ratings and sensor sizes. The OM-D E-M5 has the smallest sensor and lowest resolution in this group, though this is not the only factor affecting overall image quality, and it fares much better in the dynamic range and signal to noise ratio comparisons.
Analysis: The same story is repeated with the raw results. The E-M5 II's resolution lags a little way behind its larger-sensor rivals at low-medium ISO settings, and falls away further at higher ISOs.
Lab tests: Dynamic range
Dynamic range is the measure of the camera's ability to record a wide brightness range in a scene without losing ('clipping') details in the shadows or highlights.
We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using DXO Analyzer software to generate the data to produce the graphs below.
Our normal procedure when testing new cameras is to process the raw files using the supplied software and convert them into TIFFs before analysing them using DXO's Analytics software. All dynamic range optimisation and noise reduction systems are set to their minimum values.
JPEG dynamic range
Analysis: The E-M5 II compares favourably with the competition indicating that its JPEG files contain a wider range of tones and there's greater detail in image shadow and highlights. However, as we've said before, JPEG dynamic range is connected with global contrast and manufactures tailor this to produce what they consider a more pleasing image. Fuji, for example, tends to favour strong mid-tone contrast which gives images a filmic quality with the impression of lots of detail.
Raw (after conversion to TIFF) dynamic range
Analysis: The E-M5 II is performs well and fairly consistently throughout its sensitivity range. This indicates that raw files have a wide range of tones and can withstand a significant degree of tonal adjustment.
Lab tests: Noise
The signal to noise ratio indicates the difference in strength between actual image data and random noise. A high signal to noise ratio (SNR) is good because it indicates a cleaner and better quality image.
For more more details on how to interpret our test data, check out our full explanation of our noise and dynamic range tests.
JPEG signal to noise ratio
Analysis: The Olympus OM-D E-M5 II has one of the lower signal to noise ratios at the lower sensitivity settings and a fine texture of luminance noise is visible in images taken at ISO 100 and 200 if you look for it at 100% on-screen. However, images also have a good level of detail for a Four Thirds type sensor. It's also worth noting that the Olympus cameras signal to noise ratio rises above that of the full-frame 36Mp Sony Alpha 7R from ISO 400 and above, revealing the benefit of restricting the camera's pixel count to 16 million.
Raw (after conversion to TIFF) signal to noise ratio
Analysis: The E-M5 II's raw results are strikingly similar to its JPEG values and, although there's quite a bit of luminance noise, there's little in the way of chroma noise (coloured speckling) visible at 100%. Nevertheless, the E-M5 II beats the Sony A7R here.
The Fuji X-T1 seems to fare quite badly by comparison, but it's worth noting that these are the results produced when the raw conversions are made using the manufacturer's supplied software. When Adobe Camera Raw is used Fuji cameras usually perform much better against the competition.
Verdict
Thanks to their small size, solid build and high-end features Olympus's OM-D series of cameras have found favour amongst a growing band of enthusiast and professional photographers. One of the challenges for manufacturers that feature-rich cameras bring is how to update them. Olympus, however, has managed to produce a camera that is enticing to existing E-M5 users as well as newcomers to the OM-D series.
While the manufacturer has stuck with the same sensor as the original E-M5 for the Mark II version, adding the ability to shoot 40Mp and 64Mp files elevates it significantly for some users. The results are very impressive and the level of detail is on a par with that from the Nikon D810 at the lower sensitivity settings.
At the moment the circumstances in which this system can be used are rather limiting as neither the camera nor the lens can move. However, it seems likely that this will be refined in the future. The question is whether Olympus is able to achieve this with the E-M5 Mark II's processor or whether a more powerful engine is required.
Another significant improvement over the original OM-D E-M5 is the switch from a tilting screen to a vari-angle unit that is useful when shooting landscape or portrait format images from a range of angles.
Videographers will also appreciate the improvements that have been made with the Mark II's video system including the ability to shoot at a range of frame rates (60p, 50p, 30p, 25p and 24p), bitrates up to 77 Mbps, clean HDMI output, audio control and compatibility with the image stabilisation system.
We like
Despite its limitations, the E-M5 Mark II's High Res mode is a great addition that means you can produce high quality prints that are almost 3 feet across. However, because they are generated from a 16Mp sensor you don't have to fill-up your memory card or computer hard drive with huge files when you don't need them. What's more, the different image sizes are generated without the change to the framing that comes with cropping.
Although it takes a while to get to know the E-M5 Mark II's feature-set and control arrangement, it's highly customisable, so once you're familiar with the features you can set-up the camera to suit your own shooting style.
The ability to shoot 'clean' raw files when using the Art Filter effects is also handy. The Art Filters apply a style to JPEGs and it can be useful to show these to subjects or clients during a shoot even though you plan on editing the raw files to get exactly the result that you want. Some of the results when using the Art Filters are very good and it's nice to be able to connect the camera to a smartphone via its Wi-Fi system to share images when you're out on a shoot.
I'm a fan of vari-angle screens because they make it much it easier to compose and shoot images at awkward angles. If I'm out for a day's shooting, I dress appropriately and I'm not adverse to kneeling or lying on the ground to get the shot I want. However, the E-M5 Mark II is small and light enough to be a 'take-everywhere' camera and there are times when I may see a great low-level shot, but I don't want to kneel on the ground. The vari-angle makes the shot possible.
We dislike
The E-M5 Mark II's menu system is extensive and it can take a while to discover important controls and become familiar with the layout. The interface would benefit from a bit of a rethink to group more of the connected features or controls together.
I'd also like to see the speed of the High Res mode increased to make it more feasible to use it outside for landscapes when elements within the scene may move a little.
While Olympus is to be applauded for producing such a small, robust feeling camera with a huge array of controls and features, some photographers may find it a little fiddly to use.
Verdict
The Olympus OM-D E-M5 Mark II is a very capable camera that offers extensive and versatile control. However, its complexity should not be underestimated. There are automated options that are designed for use by less experienced photographers, but it's better suited for use by enthusiasts or professional photographers. Even these users are likely to experience a few frustrations in the early days while they get to know the camera.
Although there are quite a few restrictions that come with the High Res mode it generates impressive images that contain far more detail than the standard 16Mp files.
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