Olympus OM-D E-M1 Mark II czarny Body Olympus OM-D E-M1 Mark II czarny Body Historia cen ? Aparat cyfrowy bezlusterkowy body, wyƛwietlacz 3", matryca 20,4 Mpix, Live MOS. Rozdzielczoƛć filmĂłw: 4096 x 2160. Rodzielczoƛć maksymalna: 5184 x 3888. Szybkoƛć zdjęć w serii: 18 kl./s. Migawka Szczelinowa 1/32000. Lampa bƂyskowa: MoĆŒliwoƛć podpięcia. While you can also simultaneously use the 4-way buttons to move the AF point/grouping, just like on the E-M1 Mark II, the joystick allows for diagonal movement as well as instantly resetting ich verkaufe hier meine im Januar 2021 gekaufte Olympus OM-D E-M1 Mark II Micro Four Thirds Systemkamera. Ich habe das Modell gewechselt, sodass ich diese Kamera nun nicht mehr benötige. Das 12-40 mm Pro Objektiv biete ich separat an. NUR 2384 Auslösungen (!) Zustand gemĂ€ĂŸ Bilder. Aus meiner Sicht sehr gut. Compra online Olympus OM-D E-M1 Mark II Kit, CĂĄmara de Sistema Micro Cuatro Tercios (20.4 MP, Estabilizador de Imagen de 5 Ejes, Visor ElectrĂłnico) y Objetivo M.Zuiko 12 - 40 mm PRO Universal, negro. EnvĂ­o en 1 dĂ­a GRATIS con Amazon Prime. Suchen Sie auf . Search Clear. Olympus OM-D E-M1 Mark III 20.4MP Body and FL-LM3 Flash + 64GB SD OMD EM1 1 von 3 Nur 1 ĂŒbrig — 8 Beobachter Olympus OM-D E-M1 Mark III 20.4MP Body and FL-LM3 Flash + 64GB SD OMD EM1 2 2 von 3 Olympus OM-D E-M1 Mark III 20.4MP Body and FL-LM3 Flash + 64GB SD OMD EM1 3 3 von 3 Siehe Mehr Vay Tiền Nhanh Ggads. The Olympus E-M1 Mark II was eclipsed by the launch of the E-M1X, which promised even better stabilization, enhanced speed, and a handheld high-res mode but in a much larger, more expensive camera. But photographers no longer need to choose between the more advanced camera or the more portable camera, thanks to the launch of the new Olympus E-M1 Mark III. Contents At a glanceSensor & image qualityAutofocus and performanceStabilization and extra featuresVideoBody and designWhich is right for you?Bottom line As the successor, the E-M1 Mark III is easily the better camera out of the E-M1 series. The question is, is the Mark III worth the extra price now that the older Mark II is discounted? Is the Mark III worth an upgrade for photographers currently working with the Mark II? What’s the difference between the E-M1 Mark II and the E-M1 Mark III? At a glance Olympus OM-D E-M1 Mark III Updated processor with increased buffer image stabilization Handheld high res mode Starry AF More durable shutter AF Joystick In-camera ND filters Live view through HDMI OM-Log Olympus OM-D E-M1 Mark II image stabilization Slightly better battery life 440 shots vs 420 Slightly lighter Cheaper Sensor & image quality 1. Shot with the Mark III 2. Shot with the Mark II Both cameras sport a 20-megapixel Micro Four Thirds sensor. That doesn’t necessarily mean image quality will be identical, however. The Mark III has a newer processor and additional options for preserving detail at high ISOs. Essentially, the Mark III can process images twice for better detail at high ISOs, though some speed is sacrificed in this mode. Still, in the real world, you’d be hard-pressed to actually pick up those small differences. The sensor may be the same, but the E-M1 Mark III gains Olympus’ latest TruePic IX processor, which is partly responsible for the new Handheld High Res mode. This feature stitches several photos together into a 50-megapixel shot, more than doubling resolution. That allows for a lot of detail from the otherwise modest sensor. The Mark II also has a high-res mode, but it requires a tripod. Autofocus and performance The E-M1 Mark II and Mark III have the same 121-point autofocus system, but the Mark III uses an improved algorithm for better performance. It also introduces an entirely new AF mode, called Starry Sky AF, that allows autofocus to be used for astrophotography, or any setting where you want to focus on pinpoints of light, such as a night cityscape. 1. E-M1 Mark III 2. E-M1 Mark II Both cameras have identical speed specifications, shooting 10 frames per second with continuous autofocus or 15 fps with focus locked when using the mechanical shutter. Switch to the electronic shutter, however, and they can reach an impressive 60 fps. However, the Mark III does come out ahead when it comes to how many photos it can shoot in a burst. At 15 frames per second, its larger image buffer takes 100 RAW photos to fill, while the Mark II makes do with a still-respectable 84. Stabilization and extra features Olympus previously said that stops was a theoretical limit of gyro-based image stabilization due to motion from the rotation of the earth. However, it broke that barrier with the E-M1 Mark III by a full stop. With the right lens, the Mark III can achieve stops of stabilization. Even with other lenses, it’s good for 7 stops — still best in class compared to any other camera brand. It’s so good, in fact, that you can shoot seconds-long exposures without a tripod. Add to this the Mark III’s built-in neutral density ND filters, and you can capture handheld long exposures even in the middle of the day. The Mark II, however, is no slouch. It’s stops of stabilization still compares favorably to the best IBIS systems from other brands. However, you don’t get the Mark III’s built-in ND filters. Video Both cameras can shoot good 4K video, and both offer a low-contrast logarithmic tone curved OM-Log for preserving more dynamic range if you don’t mind doing a little color correction in post the Mark II needs to be upgraded to firmware version 3 to unlock this feature. The Mark III’s main advantage is that it allows for an external monitor via the HDMI port, although, like OM-Log, this is a niche feature that won’t affect casual video shooters. 1. E-M1 Mark II 2. E-M1 Mark III Body and design The E-M1 Mark II and Mark III could be fraternal twins. Both have a similar look and feel, with excellent weather-sealing. They share the same electronic viewfinder EVF with a resolution something we wish had been upgraded on the Mark III, as other cameras in this price range have used higher-resolution EVFs for some time. The Mark III has two main physical differences. The first is the inclusion of an autofocus joystick, which is a much more ergonomic way to adjust the focus point. The Mark III also has Olympus’ most robust shutter to date, rated for 400,000 actuations. The Mark II is a bit lighter, but only by a few grams. If you’re looking for a more compact camera, check out the Olympus OM-D E-M5 Mark III, which is essentially an E-M1 Mark II in a smaller body. Which is right for you? Unsurprisingly, the newer E-M1 Mark III is the better camera, with a more robust stabilization system, updated processor, handheld High Res Shot, and a few other extras. It’s ideal for travel, since you don’t necessarily need to carry a tripod or ND filters with you. However, there may not be enough reasons for Mark II owners to upgrade. Image quality will be the same, and so will burst speed and much of the user experience. The biggest reason to upgrade is the improved image stabilization for handheld long exposures and Handheld High Res mode. As the older camera, the Mark II offers a better value and currently sits about $400 cheaper. The added stabilization and extra features of the Mark III are likely worth the extra cost to some, but many photographers may be just as well putting that money toward a lens and picking up a Mark II. Bottom line Buy the Olympus OM-D E-M1 Mark III if you need a great travel camera. Its unrivaled stabilization combined with built-in ND filters and new Starry Sky Autofocus make it an unbeatable camera for adventurers. If you don’t shoot astrophotography or long exposures, however, the Mark II will serve you just fine. Editors' Recommendations Olympus OM-D E-M1 Mark III vs. OM-D E-M1X High-performance flagships compared Canon EOS-1D X Mark III brings stunning stills and RAW video to an impressive DSLR Canon’s EOS-1D X Mark III wants to squash mirrorless with 20 fps, 10-bit color New teleconverter from Olympus doubles the reach of its longest lenses Olympus shooters will soon have 1,000mm lenses and wireless flash capability Olympus OM-D E-M1 Mark IIOlympus OM-D E-M1 Mark IIPor que Olympus OM-D E-M1 Mark II Ă© melhor que a mĂ©dia?Pontos focais? cĂąmera principal? de vĂ­deo cĂąmera principal?2160 x contĂ­nuos em alta resolução? de imagem? mĂĄxima do obturador?1/8000svs1/3183sProfundidade de cor? de tela?1037k dotsCanon EOS 5D Mark IV + Canon EF 24-105mm f/4L IS USMSony a6600 + Sony E 18-135mm OSSSony Alpha a6500 + Sony Vario-Tessar E 16-70mm f/4 ZA OSS T*Sony A6400 + Sony E 18-135mm f/ OSSCanon EOS Rebel SL2 + Canon EF-S 18-55mm f/ IS STMNikon D600 + AF-S NIKKOR 24-85mm VRFujifilm X-T30 + Fujifilm XF 18-55mm f/ R LM OISCanon EOS 77D + Canon EF-S 18-135mm f/ IS USMNikon D7100 + 18-105mm f/ ED VR DXNikon Z50 + Nikon Nikkor Z DX 16-50mm f/ VRAvaliaçÔes de usuĂĄriosClassificação geralOlympus OM-D E-M1 Mark II1 AvaliaçÔes de usuĂĄriosOlympus OM-D E-M1 Mark AvaliaçÔes de usuĂĄriosRecursoDesignO tipo de visor que a cĂąmera dispositivo tem proteção adicional para evitar falhas causadas por poeira, pingos de chuva e respingos de maior resolução de tela permite proporciona imagens mais nĂ­tidas, aprimorando o modo como vocĂȘ enxerga suas fotos na visor eletrĂŽnico EVF, do inglĂȘs "electronic viewfinder" de maior resolução fornece imagem mais nĂ­tida, produzindo visĂŁo de qualidade comparĂĄvel Ă  de um visor motor de foco move a lente para promover foco automĂĄtico. Em cĂąmeras profissionais, a presença de um motor de foco no corpo da cĂąmera permite que se use vĂĄrios tipos de lentes, incluindo lentes que nĂŁo tenham seu prĂłprio motor de foco. Para cĂąmeras compactas, o motor de foco Ă© geralmente giratĂłrias podem ser Ășteis para enquadramentos uma cobertura de imagem de 100% vocĂȘ pode compor a imagem corretamente quando tira a foto. Com uma cobertura menor vocĂȘ poderĂĄ ter de cortar suas fotos depois para que fiquem maior o tamanho da tela, melhor a experiĂȘncia do dos aspectos mais importantes de uma cĂąmera Ă© o tamanho de seu sensor. Um sensor maior irĂĄ capturar mais luz, o que resulta em melhor desempenho com pouca luz, faixa dinĂąmica e qualidade geral de mais pontos de foco, maior Ă© a flexibilidade em selecionar em qual parte do cenĂĄrio focar. TambĂ©m dĂĄ ao sensor de imagem uma melhor probabilidade ao identificar a ĂĄrea correta do cenĂĄrio para focar nos modos nĂșmero de megapĂ­xeis determina a resolução das imagens capturadas com a cĂąmera principal. Um nĂșmero maior indica que a cĂąmera Ă© capaz de capturar mais detalhes. No entanto, a quantidade de megapĂ­xeis nĂŁo Ă© o Ășnico fator que determina a qualidade de uma maior sensibilidade Ă  luz nĂ­vel ISO, o sensor absorve mais luminosidade. O recurso pode ser utilizado para capturar imagens de objetos em movimento, usando o obturador em maior velocidade, ou para capturar imagens em ambientes de baixa luminosidade sem o uso de ISO expandido permite que vocĂȘ vĂĄ alĂ©m do ISO base. Ele faz isso aprimorando digitalmente a saĂ­da da imagem. A imagem resultante terĂĄ menos qualidade do que quando permanecer dentro da faixa ISO base, mas pode ser Ăștil em certas um estabilizador de imagem, o sensor de imagem e nĂŁo a lente se move para compensar qualquer vibração da cĂąmera. Isso significa que a imagem serĂĄ estabilizada independentemente da lente disparo contĂ­nuo rĂĄpido Ă© Ăștil para capturar imagens de o rastreamento AF, uma vez escolhido o objeto e pressionado o obturador atĂ© a metade, se o objeto se mover, o foco automĂĄtico irĂĄ segui-lo. Sem mais disparos fora de resolução mĂĄxima disponĂ­vel para vĂ­deos capturados com a cĂąmera principal. Embora possa ser possĂ­vel optar por outras velocidades de gravação, essas opçÔes costumam gerar vĂ­deos em menor sistema de focagem automĂĄtica por detecção de fase Ă© mais veloz que um sistema de focagem automĂĄtica por detecção de contraste. Mesmo ao gravar cenas com muitos movimentos rĂĄpidos, os vĂ­deos sĂŁo nĂ­tidos e gravação os vĂ­deos mantĂȘm-se nĂ­tidos e entrada para microfone permite a conexĂŁo de microfones externos avançados ou esse conector padrĂŁo, vocĂȘ pode conectar a maioria dos fones de ouvido ao seu estĂ©reo permitem a gravação de arquivos de ĂĄudio ou vĂ­deo em sistema estĂ©reo sem o uso de microfone função timelapse mostra uma longa passagem de tempo accelarada. Uma sĂ©rie de fotografias tiradas na mesma posição durante um longo perĂ­odo sĂŁo ligadas para criar um pequeno vĂ­deo. É uma Ăłptima maneira de capturar coisas como o pĂŽr-do-sol ou as nuvens a moverem-se no maior o bitrate de gravação de video melhor a qualidade do video, com mais e melhor detalhe e menos artefatos de mais microfones um dispositivo tiver, melhor a filtragem de ruĂ­dos de fundo e melhor a qualidade de gravação de som em CIPA Ă© uma medida padrĂŁo e independente que determina quantas fotos a cĂąmera pode tirar antes que a bateria bateria Ă© removĂ­vel e, se quebrar, pode ser trocada pelo usuĂĄrioA bateria pode ser recarregada e utilizada indicador lhe mostra quando o dispositivo estĂĄ com pouca capacidade da bateria representa a quantidade de energia elĂ©trica que uma bateria pode armazenar. Maior capacidade pode indicar maior vida Ăștil da dispositivo pode ser conectado a redes Ă© uma tecnologia sem fio que permite transferir dados com facilidade entre diferentes dispositivos, como smartphones, tablets e duas ranhuras para cartĂ”es de memĂłria, permitindo que vocĂȘ guarde mais fotos sem precisar trocar cartĂ”es. Isto Ă© particularmente Ăștil em sessĂ”es de fotografia mais longas em que vocĂȘ precisa de mais cĂąmera pode tirar uma sĂ©rie de fotografias, deslocando ligeiramente o sensor com cada uma delas. Estas podem entĂŁo ser combinadas para criar uma imagem de resolução extremamente alta. É particularmente Ăștil para coisas como fotografar obras de arquivo de imagem RAW contĂ©m dados minimamente processados a partir do sensor de imagem. Os ficheiros RAW sĂŁo assim chamados porque ainda nĂŁo foram processados e, portanto, ainda nĂŁo estĂŁo prontos para ser impressos ou editados com um editor de imagens capaz de tirar fotos em formato lossless compressed raw. Isso tem todas as vantagens de fotografar em raw, ocupando muito menos espaço de armazenamento. O tamanho de arquivo menor tambĂ©m permite velocidades de leitura/gravação mais versĂ”es de Wi-Fi suportadas pelo tecnologia permite que o usuĂĄrio utilize o prĂłprio smartphone como controle remoto para o com entrada HDMI ou mini HDMI podem transferir vĂ­deo e ĂĄudio em alta resolução para um D850 + Nikon AF-S Nikkor 24-120mm f/4G ED VRSony Alpha a7 III + Sony FE 24-105mm f/4 G OSSSony Alpha a9 + Sony FE 24-70mm GMCanon EOS 5D Mark IV + Canon EF 24-105mm f/4L IS USMSony Alpha a7 III + Sony FE 28-70mm f/3__5-5__6 OSSSony Alpha 7R III + Sony FE 24-70mm f/4 ZA OSS Vario-Tessar T*Exibir tudo Firmware update for the camera body can be carried out using only the camera body. To update the lens firmware, both camera body and lens are required. The update procedure varies depending on the combination of the camera body and the lens. The following table describes the update procedure in each combination. Body Lenses Learn how to update OLYMPUS OLYMPUS Firmware Update Instructions Firmware Update Instructions for cameras with backup function Firmware Update Instructions for OM-1 OLYMPUS Panasonic OLYMPUS SIGMA OLYMPUS TAMRON Panasonic OLYMPUS Refer to the Panasonic support website. Use OM Workspace Olympus Workspace for updating the firmware of OM Digital Solutions digital cameras. "Digital Camera Updater" and "OLYMPUS Master" had been provided previously for the update, but the latest software OM Workspace Olympus Workspace is recommended. How to update the firmware using OM Workspace How to update the firmware using OM Workspace for cameras that have backup function How to update the firmware using OM Workspace for OM-1Updating the OM Workspace is required before updating the firmware for OM-1. Cameras that have backup function as of Nov 2022 OM-1 / OM-5 / E-M1X / E-M1 Mark III / E-M1 Mark II / E-M5 Mark II firmware ver. or later / PEN-F firmware ver. or later Interchangeable Lens Cameras Firmware update for OM OM-D series Firmware update for Pen series Firmware update for DIGITAL Lenses Firmware update for Four Thirds series Firmware update for ZUIKO DIGITAL Lenses Joint update service for Four Thirds lenses Firmware update for Panasonic Lenses Micro Four Thirds Firmware update for Panasonic Lenses Four Thirds Firmware update for SIGMA Lenses Micro Four Thirds Firmware update for TAMRON Lenses Micro Four Thirds Interchangeable Lens Cameras Firmware update for OM OM-D series Model name ver. Description Release OM-1 Click here May. 16, 2023 OM-5 Click here Jan. 19, 2023 How to update the firmware using OM Workspace for OM-1 Updating the OM Workspace is required before updating the firmware for OM-1. Model name ver. Description Release E-M1X Click here Jan. 19, 2023 E-M1 Mark III Click here Jan. 19, 2023 E-M1 Mark II Click here Jan. 19, 2023 E-M1 Click here Feb. 14, 2019 E-M5 Mark III Click here Jan. 19, 2023 E-M5 Mark II Click here Jan. 24, 2019 E-M5 Click here Dec. 18, 2018 E-M10 Mark IV Click here Feb. 28, 2022 E-M10 Mark III Click here Mar. 07, 2019 E-M10 Mark II Click here Mar. 07, 2019 E-M10 Click here Dec. 18, 2018 Firmware update for Pen series Model name ver. Description Release PEN-F Click here Jan. 24, 2019 E-P7 Click here Feb. 28, 2022 E-P5 Click here Dec. 18, 2018 E-P3 Click here Dec. 18, 2018 E-P2 Click here Jun. 12, 2013 E-P1 Click here Apr. 22, 2010 E-PL9 Click here Apr. 26, 2018 E-PL8 Click here May. 10, 2018 E-PL7 Click here May. 10, 2018 E-PL6 Click here Dec. 18, 2018 E-PL5 Click here Dec. 18, 2018 E-PL3 Click here Dec. 18, 2018 E-PL2 Click here Jun. 12, 2013 E-PL1 Click here Jun. 12, 2013 E-PM2 Click here Dec. 18, 2018 E-PM1 Click here Dec. 18, 2018 Firmware update for DIGITAL Lenses Model name ver. Description Release DIGITAL ED 7-14mm PRO Click here Nov. 26, 2015 DIGITAL ED 9-18mm Click here Feb. 09, 2016 DIGITAL ED 12-40mm PRO Click here Nov. 10, 2016 DIGITAL ED 12-50mm EZ Click here Nov. 01, 2016 DIGITAL ED 12-100mm IS PRO Click here Aug. 04, 2020 DIGITAL ED 14-42mm EZ Click here Nov. 10, 2016 DIGITAL ED 14-42mm *a Click here Sep. 15, 2009 DIGITAL 14-42mm II Click here Jul. 21, 2011 DIGITAL ED 14-150mm Click here Jul. 21, 2011 DIGITAL ED 40-150mm PRO Click here Jun. 19, 2019 DIGITAL ED 100-400mm IS Click here Jun. 08, 2023 DIGITAL ED 8mm Fisheye PRO Click here Jan. 24, 2019 DIGITAL ED 12mm Click here Nov. 26, 2015 DIGITAL 17mm Click here Nov. 26, 2015 DIGITAL 17mm Click here Sep. 15, 2009 DIGITAL ED 20mm PRO Click here Jun. 08, 2023 DIGITAL ED 25mm PRO Click here Jan. 24, 2019 DIGITAL 25mm Click here Nov. 26, 2015 DIGITAL ED 45mm PRO Click here Jan. 24, 2019 DIGITAL 45mm Click here Nov. 26, 2015 DIGITAL ED 60mm Macro Click here Nov. 26, 2015 DIGITAL ED 75mm Click here Nov. 26, 2015 DIGITAL ED 300mm IS PRO Click here Jan. 26, 2023 *a The firmware for DIGITAL ED 14-42mm L differs from the one for DIGITAL ED 14-42mm The latest version for DIGITAL ED 14-42mm L is version Firmware update is not required. Firmware update for Four Thirds series Model name ver. Description Release E-5 Click here Mar. 21, 2012 E-3 Click here Apr. 09, 2009 E-1 *b Click here Nov. 20, 2007 E-30 Click here Apr. 02, 2009 E-520 Click here Sep. 30, 2008 E-510 Click here Jan. 29, 2008 E-500 Click here Nov. 20, 2007 E-420 Click here Sep. 30, 2008 E-410 Click here Nov. 20, 2007 E-330 Click here Nov. 20, 2007 E-300 Click here Nov. 20, 2007 *b [Firmware Update for E-1] For updating the firmware of E-1, use OLYMPUS Studio 2, OLYMPUS Studio 1 or OLYMPUS Viewer. Firmware update for ZUIKO DIGITAL Lenses Model name ver. Description Release ZUIKO DIGITAL ED 8mm Fisheye Click here May. 19, 2009 ZUIKO DIGITAL ED 9-18mm Click here Mar. 11, 2009 ZUIKO DIGITAL ED 12-60mm SWD Click here Sep. 21, 2010 ZUIKO DIGITAL 14-54mm Click here Jan. 28, 2004 ZUIKO DIGITAL ED 50-200mm ZUIKO DIGITAL 14-54mm II Click here Feb. 05, 2009 ZUIKO DIGITAL ED 18-180mm Click here May. 19, 2009 ZUIKO DIGITAL 25mm Click here Oct. 29, 2008 ZUIKO DIGITAL 35mm Macro Click here Oct. 29, 2008 ZUIKO DIGITAL ED 14-35mm SWD Click here Sep. 21, 2010 ZUIKO DIGITAL ED 14-42mm Click here Oct. 29, 2008 ZUIKO DIGITAL ED 35-100mm Click here Oct. 29, 2008 ZUIKO DIGITAL ED 40-150mm Click here Oct. 29, 2008 ZUIKO DIGITAL ED 50-200mm SWD Click here Sep. 21, 2010 ZUIKO DIGITAL ED 50-200mm Click here Jan. 28 2004 ZUIKO DIGITAL ED 70-300mm Click here Feb. 16, 2012 ZUIKO DIGITAL ED 90-250mm Click here May. 19, 2009 ZUIKO DIGITAL 40-150mm Click here Dec. 15, 2004 Extension Tube EX-25 Tele Converter EC-14 Tele Converter EC-20 Click here Dec. 19, 2007 Joint update service for Four Thirds lenses Firmware update for Panasonic Lenses Micro Four Thirds Model name ver. Description Release LUMIX G VARIO 7-14mm/ H-F007014 Click here Nov. 25, 2009 LUMIX G VARIO 12-32mm/ ASPH./MEGA Click here Jul. 21, 2020 LUMIX G X VARIO 12-35mm/ II ASPH./POWER H-HSA12035 Click here Mar. 01. 2022 LUMIX G X VARIO 12-35mm/ ASPH./POWER H-HS12035 Click here Aug. 18, 2015 LUMIX G VARIO 12-60mm/ ASPH./POWER H-FS12060 Click here Mar. 01. 2022 LUMIX G X VARIO PZ 14-42mm/ ASPH./POWER H-PS14042 Click here Mar. 28, 2013 LUMIX G VARIO 14-42mm/ II ASPH./MEGA H-FS1442A Click here Aug. 18, 2015 LUMIX G VARIO 14-42mm/ ASPH./MEGA H-FS014042 Click here Sep. 13, 2011 LUMIX G VARIO 14-45mm/ ASPH./MEGA H-FS014045 Click here Nov. 25, 2009 LUMIX G VARIO 14-140mm/ ASPH./POWER H-FS14140 Click here Oct. 06, 2016 LUMIX G VARIO HD 14-140mm/ ASPH./MEGA H-VS014140 Click here Dec. 7, 2010 LUMIX G X VARIO 35-100mm/ II/POWER H-HSA35100 Click here Mar. 01. 2022 LUMIX G X VARIO 35-100mm/ Click here Aug. 18, 2015 LUMIX G VARIO 35-100mm/ ASPH./MEGA Click here Jul. 21, 2020 LUMIX G VARIO 45-150mm/ ASPH./MEGA H-FS45150 Click here Dec. 08, 2015 LUMIX G X VARIO PZ 45-175mm/ ASPH./POWER H-PS45175 Click here Apr. 24, 2017 LUMIX G VARIO 45-200mm/ II/POWER H-FSA45200 Click here Mar. 01. 2022 LUMIX G VARIO 45-200mm/ Click here Feb. 29, 2012 LUMIX G VARIO 100-300mm/ II/POWER H-FSA100300 Click here Mar. 01. 2022 LUMIX G VARIO 100-300mm/ /MEGA H-FS100300 Click here Jan. 25, 2012 LUMIX G FISHEYE 8mm/ H-F008 Click here Sep. 13, 2011 LUMIX G 14mm/ ASPH. H-H014 Click here Sep. 13, 2011 LUMIX G 20mm/ H-H020 Click here Nov. 25, 2009 LUMIX G 25mm/ ASPH. H-H025 Click here May. 10, 2018 LUMIX G MACRO 30mm/ ASPH./MEGA H-HS030 Click here May. 10, 2018 LUMIX G ASPH./POWER H-HS043 Click here May. 10, 2018 LEICA DG VARIO-ELMARIT 8-18mm/ ASPH. H-E08018 Click here Mar. 01. 2022 LEICA DG VARIO-SUMMILUX 10-25mm/ ASPH. H-X1025 Click here Mar. 01. 2022 LEICA DG VARIO-ELMARIT 12-60mm/ ASPH./POWER H-ES12060 Click here Mar. 01. 2022 LEICA DG VARIO-SUMMILUX 25-50mm/ ASPH.H-X2550 Click here Mar. 01. 2022 LEICA DG VARIO-ELMARIT 50-200mm/ ASPH./POWER H-ES50200 Click here Mar. 01. 2022 LEICA DG VARIO-ELMAR 100-400mm/ ASPH./POWER Click here Mar. 01. 2022 LEICA DG SUMMILUX 12mm/ ASPH.H-X012 Click here Mar. 01. 2022 LEICA DG SUMMILUX 15mm/ ASPH.H-X015 Click here Mar. 01. 2022 LEICA DG SUMMILUX 25mm/ II ASPH. H-XA025 Click here Mar. 01. 2022 LEICA DG NOCTICRON ASPH./POWER H-NS043 Click here Mar. 01. 2022 LEICA DG MACRO-ELMARIT 45mm/ ASPH./MEGA H-ES045 Click here Dec. 08, 2015 LEICA DG ELMARIT 200mm/ Click here Mar. 01. 2022 Firmware update for Panasonic Lenses Four Thirds Model name ver. Description Release LEICA D SUMMILUX 25mm / ASPH L-X025 Click here Oct. 15, 2008 Click here for the latest Panasonic Micro Four Thirds lenses. Firmware update for SIGMA Lenses Micro Four Thirds Model name ver. Description Release 30mm DC DN Contemporary Click here Jan. 31, 2017 Click here for the latest SIGMA Micro Four Thirds lenses. Firmware update for TAMRON Lenses Micro Four Thirds Model name ver. Description Release 14-150mm F/ Di III [Model C001] *c Click here Jul. 31, 2017 Click here for the latest TAMRON Micro Four Thirds lenses. *c If the firmware version of your 14-150mm F/ Di III [Model C001] lens is you are required to update the lens twice. First, update the firmware of the lens to version and then update to the latest version The Olympus OM-D E-M1 Mark II $1, body only packs in more technology than any other camera we've reviewed in recent memory. The beefy Micro Four Thirds shooter sports a high-speed 60fps Raw capture mode, a high-resolution multi-exposure capture setting, and an in-body stabilization system that steadies both images and 4K video. It's an excellent camera, especially if you place an emphasis on video capture, but not a perfect one. Its tracking focus struggles at its quickest standard burst rate, and its image sensor lags behind APS-C competitors in resolution and high ISO performance. Our Editors' Choice for high-end mirrorless cameras, the Fujifilm X-T2 $ at AmazonOpens in a new window , doesn't have quite as an impressive spec list, but delivers a more satisfying photographic experience. Design and Controls The E-M1 Mark II $1, at AmazonOpens in a new window is styled like a sized-down SLR, complete with an array of dials and switches, and an eye-level electronic viewfinder. It measures by by inches HWD and weighs pounds without a lens. It's available in black only, and the body is sealed to protect it from dust and moisture. You'll need to pair it with a sealed lens, like the new ED 25mm PRO $1, at AmazonOpens in a new window , in order to safely use it in inclement conditions. Similar Products The E-M1 Mark II has a deeper handgrip than many mirrorless cameras, more in line with the size of a midrange SLR. There's an indentation for your middle finger, which made the E-M1 a very natural fit in my hands. A vertical shooting grip, the HLD-9 Power Batter Grip $249, is an optional add-on. It houses one additional battery, but doesn't do anything to boost camera performance like the X-T2's add-on grip. Olympus has stuffed a large amount of buttons and dials onto the E-M1's surface. There are two buttons to the right of the lens mount, accessible using your right hand when holding the grip. They are both customizable, with default settings configured to One Touch White Balance and Depth of Field Preview. The only other button on the front is the lens release, located to the left of the mount. The On/Off switch sits on the top plate, to the left of the hot shoe. The body omits a built-in flash, but a small FL-LM3 flash is included in the box, sliding into the hot shoe when needed. It offers modest power GN 30', but can cover a 12mm angle 24mm full-frame equivalent and features 90-degree tilt and 180-degree rotation adjustment. The flash is powered by the camera body. Next to the On/Off toggle, atop a raised circular protrusion, are buttons that control the Drive Mode and autofocus system. The Drive button works with the E-M1's dual control dials on the right side of the top plate, at the rear and on top of the grip to adjust in-camera HDR settings and to choose from the numerous continuous and delayed shooting settings that are available. The AF button uses the front dial to adjust scene metering and the rear to change between single, continuous, or manual focus, as well as tracking options and a preset manual focus distance setting. In addition to the standard metering patterns, the E-M1 includes Spot Highlight and Spot Shadow settings. They're useful for tricky scenes, but aren't recommend for general use—it's easy to blow out a scene by metering on the wrong part of an image using Spot Highlight, or to lose detail in the shadows by doing the same in Spot Shadow. The idea is that you'll use Spot Highlight to meter on the brightest part of a scene in order to ensure that highlights aren't clipped, and Spot Shadow to meter on the darkest area to ensure that shadow detail is preserved. You'll either need to center those parts of the frame in your photo, or use the modes in conjunction with the rear AEL/AFL button to lock in exposure. Neither mode is as useful as the Highlight Priority option that Nikon includes in some of its SLRs, including the D810 $1, at AmazonOpens in a new window , which analyzes the entire scene and ensures that highlights won't be clipped. The E-M1 uses a Mode dial to set shooting controls, in contrast to the discrete shutter, aperture, and ISO dials used by the Fujifilm X-T2. It sits to the right of the hot shoe and incorporates a locking design. The lock is a toggle that engages or disengages with the click of its center button, so you don't need to hold down a button while turning it. Front and rear control dials rest in the usual places, accessible via your right hand. Fn2, a programmable button that adjusts highlight and shadow curves by default, and the Record button for movies sit in between them. The Fn1 button, which changes the active focus area in conjunction with the front and rear dials, is at an angle at the right rear corner, not quite on the top plate, but not on the rear of the camera either. A toggle button to change between the rear LCD, EVF, or automatically switch using the eye sensor sits to the left of the eyecup, near the top of the rear plate. A small diopter control is nestled into the eyecup itself, on its left side. Rear shooting controls are confined to the right side. There's the 1/2 switch that changes between the primary aperture, shutter, and EV control, depending on the shooting mode and secondary ISO and white balance functions of the front and rear control dials. At its center is the AEL/AFL button—by default it enables exposure lock only, but you can configure its function. Other rear controls include Info, Menu, Play, and Delete buttons, as well as a four-way control pad with a center OK button. Pressing OK launches an on-screen bank of additional options. These include ISO, white balance, color output, image stabilization, drive, metering, image and video quality, and button remapping. The latter is a big plus, as diving into the E-M1's full, multi-page menu to change button settings is daunting—the camera does so much that it's often difficult to locate a particular setting. The rear LCD is an ample 3 inches in size, with a sharp 1,037k-dot design. It offers excellent brightness and viewing angles, and features a vari-angle design. It swings out from the body, turning to face all the way forward through all the way down, and can fold flat against the rear to protect the screen during transit. Touch functionality is robust. You can tap on an area of the frame to set focus or to focus and fire the shutter. When reviewing images the screen allows you to swipe to navigate through photos and to double tap to zoom in on a shot. Additionally, you can drag your finger across the screen to move the focus point when shooting with the EVF. The EVF is a crisp 2,360k-dot OLED design. It's a little small for a camera of this class, with a magnification ratio of which is just a little bit larger than the optical finder you get with a midrange SLR like the Nikon D7200 $1, at AmazonOpens in a new window . The Fujifilm X-T2 sports a EVF, which is just a smidgen bigger than the OVF used by the top-end Canon EOS-1D X Mark II $4, at AmazonOpens in a new window . Despite its small size, the EVF is quite responsive—it refreshes at 120fps, so you can better use it to track action. That's twice as fast as the X-T2 in standard mode, and a bit faster than the 100fps that the X-T2 manages when shooting in Boost mode with its add-on grip. Additional Features, Wi-Fi, and Connections Olympus includes a number of additional shooting modes with the E-M1 that extend its capabilities beyond that of a simple camera. In-camera HDR imaging is included to capture photos that show more detail in the shadows and highlights than most images can manage. There are also Live Bulb and Live Composite modes that show your long exposure changing before your eyes—you can cut off the exposure at any time in either mode. A special high-resolution capture mode utilizes the sensor shift stabilization system to oversample photos, capturing Raw images at 80MP and JPGs at 50MP. The nature of multi-image capture calls for a static subject and a sturdy tripod, but the camera is capable of removing blur that would otherwise be apparent when shooting landscapes with wind-blown grass or flowing water. We looked at the High Res Shot mode in depth when we covered the first camera to support the feature, the E-M5 Mark II $ at AmazonOpens in a new window . The E-M1 Mark II features integrated Wi-Fi, which should come as no surprise—it's a standard feature at this point. Android and iOS users can download the free Olympus Image Share app to copy photos wirelessly, or to use a phone or tablet as a remote control for the E-M1. Full manual exposure control is available, and you can tap on any area of the live feed to set the active focus point. Like most pro-grade cameras, the E-M1 Mark II features dual memory card slots, accessible via a door on the right side. Each slot supports SD, SDHC, and SDXC memory, but only Slot 1 is able to take advantage of the latest high-speed UHS-II memory cards. This is in contrast to the Fujifilm X-T2, which has dual UHS-II slots. If you're shooting at a high burst rate, the camera will take a longer time to write files to Slot 2 than it will Slot 1, even if you use the fastest memory available. The E-M1 has a number of ports, including PC Sync to connect a studio flash system, a jack for a wired remote control, two jacks for headphone and microphone, micro HDMI, and USB-C In-camera charging isn't supported; a dedicated battery charger, with a detachable plug, is included. The charger has the brightest green charging indicator I've ever seen. It lit up the living room of my apartment like a nightlight, and when I was traveling with the E-M1 I had to use an outlet in the hotel bathroom in order to stop it from brightening the room to the point where my sleep would be disturbed. If it bothers you, invest in some gaffer tape to cover the light. CIPA rates the battery for 440 shots per charge. Performance and Autofocus The E-M1 Mark II is powered by a quad-core processor, and it certainly shows it. It starts, focuses, and fires in a good mark for any mirrorless camera. Focus speed is lighting fast, about in bright light and in very dim light. The autofocus system is matched with an incredible burst rate. The E-M1 shoots at using its mechanical shutter. It keeps that rate up to 54 Raw+JPG, 73 Raw, or 108 JPG shots before pausing. I tested with a SanDisk 280MBps memory card in the UHS-II slot and had to wait seconds, seconds, and seconds, respectively, for all files to be committed to the card. See How We Test Digital Cameras There's also a fully electronic shutter option. Using the e-shutter boosts the AF-C speed to 18fps at maximum and the AF-S speed to a blistering 60fps. It can only keep the 60fps rate up for a short duration—roughly 45 shots, regardless of file format—and requires similar time to clear the buffer to card as with 15fps capture. There's an additional 60fps capture mode, dubbed Pro Capture, that starts to buffer shots when you press the shutter release halfway down to engage autofocus. It has a configurable frame rate—15, 20, 30, or 60fps—and can buffer up to 14 shots. It's a good tool for capturing the perfect moment of action, but because it fires so quickly and utilizes the electronic shutter, you can't utilize a flash. It's best used for brightly lit outdoor scenes in order to get a crisp shot that freezes fast motion. The E-M1 is supposed to be able to track subjects and keep them in focus at 18fps. And, depending on what you're shooting, you may be happy with the results at that speed. If your subject is moving left to right, without a lot of motion toward the front of the camera, it does so with great confidence and a solid hit rate. But the camera struggled in our back-and-forth continuous autofocus test, netting out-of-focus results as our test target moved toward and away from the lens, even after setting the focus system to prioritize . Dropping the burst rate to the the low setting—still a blistering 10fps—netted crisply focused shots. Tracking at 10fps is no small feat. It's slightly quicker than what the Fuji X-T2 can manage with its Booster Grip and is in line with top-end APS-C SLRs like the Nikon D500 $2, at AmazonOpens in a new window and Canon EOS 7D Mark II $1, at DellOpens in a new window . But both the X-T2 and D500 have focus systems that offer a bit more coverage at the edges of the frame—the E-M1's focus area is surrounded by a border on all sides that lacks focus capability. I would prefer if the camera limited its speed to a rate that could net consistently focused images when set to C-AF or C-AF with Tracking. Image and Video Quality The E-M1 uses a 20MP Micro Four Thirds image sensor, physically smaller than the APS-C sensors used by competing models like the Sony Alpha 6500 and Fujifilm X-T2, with a 43 native aspect ratio rather than the more common 32. Like the Alpha 6500, the E-M1's sensor is stabilized using a five-axis in-body system, a feature that the Fujifilm X-T2 doesn't offer. It ensures that any lens you attach benefits from stabilization, and works in conjunction with lenses with their own stabilization system, including the Olympus ED 300mm IS PRO $2, at AmazonOpens in a new window , to provide more steadying than either lens or camera could provide on its own. I used ImatestOpens in a new window to check image noise at each full-stop ISO setting. When shooting JPGs at default settings, the E-M1 keeps noise under percent from its base ISO 200 sensitivity through ISO 6400. Image quality isn't perfect when pushing the camera that far. It does a fine job capturing minute details in our test image through ISO 800, and shows very slight blur at ISO 1600. The blur is slightly more noticeable at ISO 3200, and details smudge together at ISO 6400. JPG images start to show significant blur at ISO 12800, and you should avoid shooting JPGs at ISO 25600. This is where the X-T2's larger, 24MP image sensor has an advantage—it delivers noticeably crisper results at ISO 12800 and 25600. You can opt to shoot in Raw format to eke more detail out of the sensor. In-camera noise reduction isn't applied to Raw images—our standard Raw converter, Lightroom CC $ at AdobeOpens in a new window , does apply some color noise reduction, but we use standard settings for every tested camera to put them on equal footing. The E-M1 Mark II does a fine job with image detail through ISO 3200, but it does show more grainy noise at that sensitivity than the X-T2. Noise becomes more of an issue at ISO 6400, where it detracts from fine detail, while the X-T2 again wins out. At ISO 12800 images are very grainy, but detail remains strong, while the amount of noise at ISO 25600 really detracts from an image. Again the X-T2 betters the E-M1 Mark II at these extreme ISO settings. Where the E-M1 Mark II outperforms the X-T2 is in video. Both shoot in 4K, but the Olympus doesn't show any sort of rolling shutter effect when panning, and its in-body stabilization is a big plus for handheld capture. It can shoot at 24, 25, or 30fps in 4K UHD with a 102Mbps compression rate, and supports 1080p capture with a stunning 202Mbps All-Intra compression scheme at the same frame rates. To add 50 or 60fps options you need to drop the 1080p capture rate to a more pedestrian 52Mbps bit rate. The highest bit rate video is the Cinema 4K setting, which shoots in DCI resolution at 24fps with a 236Mbps bit rate. It's not as robust a video toolkit as Panasonic's competing Micro Four Thirds model, the GH5, but it's a solid option for any enthusiast and certain types of professional use. The internal mic is just like any other—it picks up the sound of my voice, albeit with a hollow sound and loads of background noise. For serious work, connect an external microphone, and utilize the headphone jack for monitoring levels. The autofocus system in video delivers smooth, slow racks, without any hunting back and forth, allowing you to concentrate on getting the shot rather than manually pulling focus. Conclusions The Olympus OM-D E-M1 Mark II packs more technical bells and whistles into its small frame than any other mirrorless camera we've seen. It has a blisteringly fast maximum Raw capture rate, even though it's very limited in duration, and a solid buffer for shooting at a more reasonable 15fps when utilizing the mechanical shutter. Subject tracking doesn't work well when shooting at the fastest speeds, but it does a solid job keeping track of moving targets at 10fps—better than most cameras out there. Add 4K video in both UHD and DCI formats, in-body stabilization, an all-weather build, and access to the expansive Micro Four Thirds lens system, and you've got a powerhouse. But at $2,000, it's one of the priciest cameras out there, not counting those with larger full-frame image sensors, and it's sadly the Micro Four Thirds sensor that holds it back in terms of image quality. The E-M1 Mark II falls short of the clarity and high ISO performance delivered by competing 24MP APS-C models, including our Editors' Choice Fujifilm X-T2, which also has an advantage in price, selling for $400 less. If you're looking for a serious mirrorless camera for shooting fast-moving action, it's our top pick. But if you're already invested in Micro Four Thirds, rest assured that the E-M1 Mark II is best, most capable, member of the system we've tested to date. It simply faces some very stiff competition at the top end of the market. Olympus OM-D E-M1 Mark II Pros Up to 60fps Raw capture. In-body stabilization. Large, sharp EVF. Vari-angle touch-screen display. High-resolution capture mode. Robust lens system. Weather-sealed body. 4K video support. Optional vertical battery grip. Wi-Fi. View More Cons Expensive. Only one SD slot supports UHS-II. Tracking focus ineffective at top speeds. 60fps shooting is limited in duration. Very bright charging LED. Omits built-in flash. View More The Bottom Line The Olympus OM-D E-M1 Mark II shoots faster and does more than other high-end mirrorless cameras, but it's also more expensive. Like What You're Reading? Sign up for Lab Report to get the latest reviews and top product advice delivered right to your inbox. This newsletter may contain advertising, deals, or affiliate links. Subscribing to a newsletter indicates your consent to our Terms of Use and Privacy Policy. You may unsubscribe from the newsletters at any time. Digital Camera World Verdict We’d want to do more extensive tests before reaching any final decision about the E-M1’s continuous focus tracking performance, but it’s an extraordinary camera in every other respect. The image quality belies its small sensor, and its static autofocus and burst shooting modes are exceptional. Pros +60fps at full resolution – amazing!+Great range of pro-quality lenses+Superb image stabilisation Cons -MFT sensor smaller than rivals-Complex menu and control system-Speed drops to 18fps with focus tracking Why you can trust Digital Camera World Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out how we test. Olympus has played two aces with the E-M1 II. Its 60fps burst mode is a spectacular leap forward in high-speed shooting, and even though you have to step down to 18fps to get focus tracking with moving subjects, that’s still a poke in the eye for heavier, more expensive – and slower – pro SLRs like the Canon EOS-1D X II and the Nikon D5.‱ Read more Olympus OM-D E-M10 III vs E-M5 III vs E-M1 IIThis camera’s other party trick is its new all-phase-detection autofocus system – designed to prove that mirrorless cameras can match SLRs for tracking moving subjects. The AF system uses 121 on-sensor phase detection AF points arranged in a rectangular array that covers a much larger area of the frame 80% of the frame width, 75% of the frame height than regular digital SLR let’s get back to that continuous shooting capability. The bald fact is the E-M1 II can shoot full-resolution, uncropped 20-megapixel images at 60 frames per second, and it can keep this up for 48 frames raw or JPEG – long enough to be much more likely of capturing a key frame than a regular if you’re not sure your reactions will be quick enough, there’s a Pro Capture mode that starts buffering frames as soon as you half-press the shutter release so that when you press it the rest of the way, you don’t just capture frames from that point on, but the preceding 14 frames this happens using the OM-D M1 Mark II’s silent shutter mode. It has to lock focus and exposure at the first frame, but it’s designed to be used where the point at which the action will occur can be framed up in advance. The new camera is splash-proof, dust-proof and cold-proof down to 10 degrees Centigrade. It comes with a quoted shutter life of 200,000 shots and an optional new HLD-9 battery grip that doubles the battery life always a sore point with mirrorless cameras and has dedicated controls for vertical shooting. Inside the body is a Live MOS sensor measuring x 13mm, with an ISO range of Low’ to 25,600. It’s equipped with a newly redesigned five-axis image stabilisation system, which can work in conjunction with a new 12-140m f/4 IS lens, launched at the same time as the E-M1 II can shoot 4K video in both the C4K 4,096 x 2,160 and 4K/UHD 3,840 x 2,160 formats – and this new lens is designed not only to offer a useful focal range for videographers 24-200mm equivalent but to offer even better hand-held footage thanks to its own in-built image stabiliser. Olympus is claiming a shutter speed advantage for this camera and lens, and its video credentials are enough to make it one of the best 4K cameras for filmmaking right and handlingThe E-M1 Mark II is the largest camera in Olympus’s OM-D range, but it’s positively diminutive next to a pro SLR. The smaller sensor size of the Olympus means it’s at a disadvantage for ultimate image quality, but it brings two big advantages size and not just about the size of the body, but the lenses too. The 12-40mm f/ Pro lens 24-80mm effective is half the size and weight of a full-frame equivalent; this goes right across the board, right up to Olympus’s 40-150mm f/ 80-300mm equivalent and 300mm f/4 super-telephoto 600mm equivalent.Despite the E-M1 II’s relatively small size, Olympus has managed to squeeze on a lot of external controls without making them feel cramped. The key dials are on the right side of the top plate, and consist of a regular mode dial and two unmarked control dials whose function depends on both the mode you’re in and the position of a lever on the back of the camera, just to the right of the viewfinder eyepiece. This effectively doubles up on the control dial functions – as long as you remember to set the lever to the correct is a camera that you can easily get confused with, at least initially. Despite the array of external controls, it also relies heavily on its menu system and an interactive touch-screen control layout, activated by the OK button in the middle of the four-way don’t have to use the touch system – you can also navigate through the options using the four-way controller buttons and the control dials on the top of the what about the revolutionary continuous shooting and autofocus modes? These are key features that surely deserved a rethink of the camera’s external layout, with dedicated controls for each. Instead, the E-M1 II follows the same generic exterior layout as its predecessor, giving no real external clue to its enhanced actual shooting experience is hard to fault, though. The electronic viewfinder is crisp and clear with little lag, even in low light, and the shutter action is unusually soft – much softer than its predecessor’s. The feel of the materials and controls is first-rate – this feels such a finely made, high-precision device that you have to remind yourself it’s also been ruggedised’ for outdoor OM-D E-M1 II’s sensor is half the size of APS-C and around one-quarter the size of a full-frame SLR sensor, yet you wouldn’t know it from the images it produces. They are extremely sharp; the roll-off in bright highlights is smooth and subtle; and lens aberrations like distortion and fringing are processed out so well that they effectively cease to exist. The OM-D II performs well at higher ISOs too, although larger-sensor rivals pull ahead OM-D E-M1 II sample imagesThe autofocus response is exceptional the OM-D E-M1 II’s high-tech phase-detection system focused on this bird of prey in an instant The high-tech autofocus system is harder to judge. We got a mixture of duds and successful shots in our early tests. What’s obvious straight away is its static AF speed. It feels at least as fast in single-shot AF mode as any pro SLR. It hunts from time to time in low light, however, or with low-contrast subjects, but the speed at which it can refocus from infinity to a subject close to the camera and back again borders on the E-M1 II is a fraction of the weight and cost of a high-speed pro sports SLR, but it has an autofocus system which narrows or perhaps even eliminates the performance gap between mirrorless and SLR technologies – and can shoot at speeds that no SLR can match. Olympus OM-D E-M1 II specificationsSensor Micro Four Thirds Live MOS sensor x 13mmFocal length conversion on lens 2xMemory 2x SD/SDHC/SDXC 1x UHS-1, 1x UHS-IIViewfinder EVF, 2,360k dotsMax video resolution 4K 4,096 x 2,160ISO range Low’-25,600Autofocus Hybrid phase/contrast detection, 121 points, all cross-typeMax burst rate 60fps AF locked, 18fps with AFScreen 3-inch vari-angle, 1,037k dotsShutter speeds 60-1/8000 sec, BulbWeight 574g, body only, with battery and memory cardDimensions 134 x 91 x 69mmPower supply BLH‑1 lithium‑Ion battery supplied, 440 shotsLab testsWe use Imatest and DxO Analyzer hardware and software to test cameras for their colour accuracy colour error signal to noise ratio the amount of noise in the images and dynamic range their ability to capture detail in very bright and dark areas. We also pick three rival cameras to test them against. Colour errorScores closer to zero are better It’s not the worst, it’s not the best. The OM-D E-M1 II’s colour rendition is more accurate than the X-T2’s, but the Sony A6300 and Panasonic GH4 are more neutral. Signal to noise ratioDecibels/ISO. Higher scores are better. Raw results use images converted to TIFF The Olympus doesn’t achieve the same performance as the X-T2 or, surprisingly, the rather good GH4. It did better than the Sony A6300 at higher ISOs, rangeExposure value/ISO. Higher scores are better. Raw results use images converted to TIFF The Panasonic GH4 and Sony A6300 are the winners here, but the Olympus is not so far behind and maintains its dynamic range right through to higher ISO settings. VerdictWe’d want to do more extensive tests before reaching any final decision about the Olympus OM-D E-M1 II’s continuous focus tracking performance, but it’s an extraordinary camera in every other respect. The image quality belies its small sensor, and its static autofocus and burst shooting modes are moreOlympus OM-D E-M10 III vs E-M5 III vs E-M1 II Best mirrorless cameras Best Olympus cameras Thank you for reading 5 articles this month* Join now for unlimited accessEnjoy your first month for just ÂŁ1 / $1 / €1 *Read 5 free articles per month without a subscription Join now for unlimited accessTry first month for just ÂŁ1 / $1 / €1 Rod is an independent photography journalist and editor, and a long-standing Digital Camera World contributor, having previously worked as DCW's Group Reviews editor. Before that he has been technique editor on N-Photo, Head of Testing for the photography division and Camera Channel editor on TechRadar, as well as contributing to many other publications. He has been writing about photography technique, photo editing and digital cameras since they first appeared, and before that began his career writing about film photography. He has used and reviewed practically every interchangeable lens camera launched in the past 20 years, from entry-level DSLRs to medium format cameras, together with lenses, tripods, gimbals, light meters, camera bags and more. Rod has his own camera gear blog at but also writes about photo-editing applications and techniques at

olympus om de m1 mark ii