Big test: OM System OM-5 Mark II
Posted on Sep 17, 2025 by Adam Duckworth
The svelte OM-5 Mark II introduces a smattering of fresh features and is built for the outdoor life
Words Adam Duckworth
If your image making almost always takes place out in the wild and requires you to travel as light as possible, but you insist on a camera that doesn’t compromise on performance, the OM System OM-5 Mark II arrives as a welcome refresh. Building upon the original OM-5, it adds improved handling, more creative options and better video features – all while sticking to the compact and proven Micro Four Thirds format.
Lightweight, weather-sealed and stable
Weighing only 418g/0.92lb for the body with a card and battery, the OM-5 Mark II is one of the lightest weather-sealed mirrorless cameras on the market – that’s a big bonus. Its weatherproofing is class-leading, with an IP53 rating for dust, splash and freeze resistance down to -10°C.
In other ways, the camera hasn’t moved on significantly, as it still uses the same BSI, non-stacked sensor as its predecessor. But don’t let the old tech and small size fool you, it’s packed with powerful tools for both stills and motion. Its 20.4-megapixel sensor pairs with upgraded five-axis in-body stabilisation offering up to 7.5 stops of shake compensation.
Ergonomic and functional upgrades
Ergonomics see a subtle but welcome improvement thanks to
a deeper grip, and you now also get USB-C charging, which means you can top it up on the move with a power bank. The older model has a micro USB connection, but EU rules now say USB-C is mandatory, which is likely one of the reasons OM had to make the change. The OM-5 Mark II also benefits from the updated menu system from the high-end OM-1, making navigation less of a chore.
One of the most convenient additions is the new computational photography (CP) button, giving quick access to clever in-camera tools like HDR, focus stacking, high-resolution stills and, best of all, Live ND. This is great for cutting down shutter speeds to capture flowing water as a blur, for example. No more carrying ND filters and holders around. Sadly, this doesn’t work for video, where cutting down exposure is so often vital, which is a shame.
Video performance and stabilisation
Video gets a boost with DCI 4K and UHD 4K up to 30p, Full HD up to 60p with All-Intra codecs and S&Q options up to 120fps in HD. There’s also a fully articulated touchscreen and headphone socket.
But the OM-5 Mark II’s secret weapon is the stabilisation system, which combines mechanical sensor-shift IBIS with digital stabilisation. With compatible OM System lenses, it employs lens-based correction too. As a result, footage can mimic gimbals, tripods or sliders – all without lugging that extra gear.
Walk slowly and hold it steadily enough, and your footage can look as though it’s been shot with a gimbal. With practice, this stabilisation enables fluid tracking shots and handheld set-ups that would be impossible otherwise. It allows you to go significantly lower on the shutter speed for stills as well. The benefits are huge, especially for filmmakers travelling light.
Image quality and limitations
The OM-5 Mark II delivers rich detail and vibrant colour, especially in Cinema 4K – footage is crisp and natural with minimal false colour. At HD, sharpness is less impressive, so shooting in 4K and downscaling is the smart move if you don’t need faster frame rates. Low-light performance is solid, with clean results up to ISO 3200 and usable footage at ISO 6400 – a strong showing for Micro Four Thirds.
The main limitations come in the camera’s frame rates and flexibility for colour grading. The 4K tops out at 30fps, with no 10-bit or Log profiles available. OM System offers two flat colour profiles, but they lack the flexibility of genuine log curves. There’s no zebras function either, and exposure tools like highlight/shadow warnings disappear in video mode. Auto ISO is also only available in some of the modes, while manual exposure is limited in others.
Autofocus is fast and accurate for most scenarios, with tap-to-focus and subject tracking both working well. You can’t customise the speed of refocusing, which might frustrate video users, though face detection is on-board and generally responsive. There aren’t any subject detection modes – for that, or 10-bit video and Log shooting, you’ll need to upgrade to a pricier OM model.
Manual focus with electronically controlled lenses can feel vague, but with focus peaking and the abundance of Micro Four Thirds glass – plus loads of adapters for Canon and vintage lenses – there’s no shortage of choice. Native Micro Four Thirds lenses tend to be smaller and less expensive too.
A small, lightweight video and stills camera that boasts great image quality, the OM-5 Mark II also looks great in retro black or chrome, and the limited-edition sandy beige reflects its outdoor credentials.
The verdict
The new OM System OM-5 Mark II isn’t without limitations – especially in frame rates and log support – but what it does offer is remarkable for its size.
For travel filmmakers, vloggers and outdoor photographers who want gimbal-like footage without the extra kit, it’s a serious tool. Add in tough weather sealing, USB-C charging and computational tools, and it’s clear that this is more than just a refresh.
The OM-5 Mark II won’t replace a larger full-frame mirrorless in ultimate quality and, at £1099/$1200, it’s not the cheapest option. You can get a previous-gen full-frame like a Panasonic Lumix S5 or Micro Four Thirds Panasonic Lumix GH6 for the same money. But for compact hybrid shooting, it’s a rock-solid companion ready for the wild.
How it rates
Features: 8
Shoots 4K but with limited frame rates, has an articulated screen and new menus
Performance: 8
Detailed 4K footage, and the image stabilisation is simply one of the best
Handling: 8
Small and light to hold, now with improved menus and better grip
Value for money: 7
Decent spec and a weather-sealed, rugged build but doesn’t have any massive improvements
Pro Moviemaker overall rating: 8/10
A great small camera with impressive stills and video but limited frame rates
- Pros: Class-leading image stabilisation and 4K quality
- Cons: Limited frame rate options in video and stills when using C-AF
This article was first published in the September/October 2025 issue of Pro Moviemaker
