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  • OM Digital Solutions Announces the OM System OM-5 II

    OM Digital Solutions Announces the OM System OM-5 II

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    OM System has announced the OM-5 Mark II, a “refined” version of the company’s mirrorless interchangeable lens Micro Four Thirds camera. The core of the camera hasn’t changed a great deal from the original Olympus OM-D EM-5 Mark III: You get the same 20-megapixel Live MOS sensor powered by the TruePic IX image processing engine, autofocus courtesy of the 121-point cross-type on-chip phase detection system, and the same five-axis image stabilization. It also retains its IP53 rating—one of very few interchangeable lens cameras to feature this rating for splash and dust proofing. The camera still delivers 10fps continuous shooting with the mechanical shutter, and is capable of shooting 4K/30p and 1080/120p video with no crop.

    Otherwise, the changes are relatively minor though welcome: There’s now a USB-C port (as opposed to the predecessor’s microUSB), a new dedicated “CP” button has been added to the top plate for accessing the camera’s computational photography capabilities (but it can be reprogrammed), and the menu system has been upgraded along the lines of that in the OM-3 and OM-1 Mark II, which should improve usability significantly. The OM-5 Mark II also integrates the company’s OM-Cinema Video Profiles.

    Available now from retailers such as Backscatter, the OM-5 II costs $1,200 body-only or $1,600 with the 12–45mm f/4 PRO lens as a kit.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRESS RELEASE

    Introducing the OM SYSTEM OM-5 Mark II Mirrorless Interchangeable Lens Camera

    Evolution Where It Matters Most. Trusted Outdoor Performance, Now Refined

    BETHLEHEM, PA, June 17, 2025 – OM Digital Solutions Corporation proudly announces the launch of the OM SYSTEM OM-5 Mark II, a refined mirrorless interchangeable lens camera built for outdoor creators who demand reliability, portability, and real-world performance.

    An evolution of the highly trusted OM-5 family, the OM-5 Mark II brings targeted upgrades where they matter most—based on feedback from creators who live for the outdoors. Compact, lightweight, and featuring splash & dust proof construction, it remains a trusted companion in all terrains and weather conditions.

    The OM-5 Mark II improves what photographers value most. Enhanced handling, new creative tools, and dependable performance are packed into a rugged Micro Four Thirds system body that’s ready for adventure.

    Key Features of the OM SYSTEM OM-5 Mark II:

    • Proven compact, lightweight system that’s easy to carry and quick to deploy in the field for capturing inspiring outdoor shots flawlessly with a redesigned grip for superior ergonomics and more secure handling.

    • Class-leading 5-axis image stabilization for consistently sharp images in any situation.

    • New USB-C port allows charging from a power bank—perfect for extended outdoor shoots.

    • New OM-Cinema Video Profiles for impressive cinematic 4K movies.

    • Now features the acclaimed OM-1 series menu structure for intuitive control.

    • Available in two classic colors: Black and Silver, plus an all-new color, Sand Beige, inspired by natural tones and made for outdoor explorers.

    • Splash & dust proof (IP531) with freeze-proof protection to –10°C for confident shooting in challenging conditions.

    • Capture outdoor experiences exactly as you picture them with computational photography—powered by a new dedicated CP button for faster access.

    At OM SYSTEM, we believe creators deserve tools that support their vision without adding bulk or complication. The OM-5 Mark II is a camera built on trust—refined for those who explore more, carry less, and demand real performance from their gear.

    Pricing & availability for OM SYSTEM OM-5 Mark II

    • The OM-5 Mark II will be available at the end of June, at a suggested retail price of $1,199.99 US / $1,699.99 CAD.

    • A bundled in a kit with OM-5 Mark II and M.Zuiko Digital ED 12-45mm F4.0 PRO lens will be offered at a suggested retail price of $1,599.99 US / $2,199.99 CAD.

    • A bundled in a kit with OM-5 and M.Zuiko Digital ED 14-150mm F4.0-5.6 II OM lens will be offered at a suggested retail price of $1,499.99 US / $2,099.99 CAD

    Note: Sand Beige version is not available as a kit.

    Launch Offer

    2 Year Extended Warranty with Purchase of OM-5 Mark II

    June 17–July 31, 2025, all orders of OM-5 Mark II body or kit will receive a complementary 2 Year Extended Limited Warranty, which extends the limited warranty coverage to 3 years total from original purchase date.

    Detailed product specifications for the OM SYSTEM OM-5 Mark II

    Please see the OM SYSTEM website for detailed product specifications: https://explore.omsystem.com/om-5-mark-ii?olycmp=aff-om5ii_opr_jun25-pr-nala-link-om5ii_mpdp

    OM SYSTEM OM-5 Mark II Features & Technology Detail

    Compact, lightweight system with excellent mobility for capturing inspiring outdoor shots easily

    • Compact, lightweight system with excellent mobility: The OM SYSTEM OM-5 Mark II is a compact, lightweight, highly mobile camera that measures approximately 125.3 mm × 85.2 mm × 52.0 mm (WHD) and weighs about 418 g (including the battery and memory card). When paired with the M. ZUIKO DIGITAL ED 12-45mm F4.0 PRO standard zoom lens, it weighs approximately 672g (CIPA compliant), making it the perfect companion for capturing the beauty of everyday moments or documenting awe-inspiring adventures, whether you’re strolling through your neighborhood park or scaling a mountain.

      This model is equipped with in-body 5-axis Image Stabilization which provides up to 6.5 steps2 of shutter speed compensation at the center, and up to 5.5 steps2 at the corner. When paired with a compatible lens3, 5-axis sync IS delivers up to 7.5 steps4 at the center, and up to 6.5 steps at the corner4. Powerful image stabilization enables hand-held shooting in a wide range of conditions, and the compact, lightweight system makes it possible to instantly react to photo opportunities encountered outdoors.

    • Excellent core performance provides high image quality: Thanks to the inclusion of the 20.37 million effective pixel5 Live MOS sensor and the TruePic IX image processing engine, this model delivers natural gradations in images with minimal noise and high image quality even at high- sensitivity settings. It is equipped with 121-point all cross-type On-chip Phase Detection AF for high-speed, high-precision AF.

      The camera is compatible with a USB Type-C connection, allowing it to be charged/supplied with power by a power bank. This design allows users to enjoy shooting outdoors without worrying about battery life.

    Designed for the outdoors, OM-5 Mark II now comes in three body colors, including the all-new Sand Beige.

    An ergonomic grip with finger rests that provide a secure, comfortable hold while shooting. The smooth, streamlined top makes it easy to wipe away dirt and dust during your adventures.

    To match its outdoor personality, the OM-5 Mark II comes in two trusted classics—Black and Silver—and a new, exclusive Sand Beige version, created to blend with natural environments and reflect the tones of rock, earth, and desert. This edition celebrates the spirit of adventure and the beauty of outdoors.

    Worry-free shooting even during changing weather, such as sudden rain, with splash & dust proof performance (IP531)

    The design includes sealing throughout, delivering IP531 protection class splash & dust proof performance with freeze-proof protection to –10°C, the same high level of weather resistance as the OM SYSTEM OM-1 Mark II flagship model. Thanks to this design, users can keep focusing on photo opportunities while enjoying the outdoors even in punishing shooting conditions without having to worry about damage from sudden rain, snow, or water spray—like that from waterfalls.

    The OM-5 Mark II is also equipped with the Supersonic Wave Filter (SSWF) Dust Reduction System, which is renowned among professional photographers worldwide. When the camera is turned on, the SSWF vibrates at a super high speed over 30,000 times per second to instantaneously remove dust and dirt. It eliminates dust and dirt stuck to the image sensor, keeping it from ending up in shots, and making it possible to swap lenses with peace of mind outdoors.

    Powerful computational photography tools built for creativity on the go

    Compositing techniques that were once only possible through post-processing on a computer are now built directly into the OM-5 Mark II, thanks to its advanced computational photography capabilities. Simply capture an image and unlock new photographic expressions with the latest digital technology.

    The OM-5 Mark II introduces a dedicated CP (Computational Photography) button, giving creators immediate access to powerful tools that once required complex software. With a quick turn of the Control Dial, users can easily switch between:

    • Handheld High Res Shot

    • Tripod High Res Shot

    • Live ND (ND2–16)

    • Focus Stacking

    • HDR (HDR1 and HDR2)

    • Multiple Exposure

    Live ND, for example, lets you photograph scenes with moving elements—such as flowing water, drifting clouds, or swaying trees—with a silky, dreamy effect, all without needing to carry physical ND filters. It simulates the long-exposure effect directly in-camera, even in bright daylight.

    Also included are features like Live Composite, which allows real-time monitoring of long exposures—ideal for capturing star trails, light painting, or fireworks—and Pro Capture, which begins buffering images as soon as the shutter button is half-pressed, helping ensure you never miss the perfect moment.

    New Night Vision, Starry Sky AF and Handheld Assist modes make photographing the night sky more accessible and enjoyable, helping you capture the beauty of a starry sky without a tripod.

    Additional Features

    • Same new menu configuration as on the OM-1 series

    • Easily record beautiful, cinematic video in OM-Cinema1/OM-Cinema2 picture modes specifically designed for videos.

    • Video recording lamp (tally light)

    • Set custom mode name (up to 12 alphanumeric characters)

    Related Accessories

    F-5AC USB AC Adapter (available now): The battery can be charged in the camera when connected to the USB cable included with the OM-5 Mark II.

    Suggested retail price: $29.99 USD / $34.99 CAD

    RM-WR2 Wireless Remote Control (available now): This wireless remote-control features IP57 class6 splash & dust proof construction, enabling remote shooting (communication range: within 10m of the camera body) in any kind of environment when connected to the OM-5 Mark II. It also features an energy-saving design that uses Bluetooth® Low Energy for communication, which can be used to start and stop video recording. It includes a cable for use as a wired remote control.

    Suggested retail price: $99.99 USD / $139.99 CAD

    Supporting Software and Apps

    OM Image Share App (OI.Share): This smartphone app is used to connect to the camera via Wi-Fi, transfer shooting data, and perform remote operations. On the OM-5 Mark II, OI.Share can be used to update the firmware on the camera body and backup/restore camera settings.

    OM Workspace image editing software: This image editing software includes advanced RAW processing and editing features. It allows processing settings that can be applied on the camera and editing such as tone curve and dehazing. In addition, the AI Noise Reduction function for RAW processing7 is equipped. Applying this function when processing RAW files shot with a supported camera8 generates clearer images.

    1. When paired with a relevant splash & dust proof lens (according to lens standard). This does not apply during charging or HDMI connection.

    2. CIPA2024 standard compliant. Yaw/Pitch/Roll compensation performance, M.ZUIKO DIGITAL ED 12-45mm F4.0 PRO at a focal distance of f = 45mm (35mm equivalent f = 90mm)

    3. Check the product site for information on compatible lenses.

    4. CIPA2024 standard compliant. Yaw/Pitch/Roll compensation performance, M.ZUIKO DIGITAL ED 12-100mm F4.0 IS PRO at a focal distance of f = 100mm (35mm equivalent: f = 200mm), halfway shutter release button IS: OFF

    5. 21.77 million pixels

    6. When connected wirelessly. IP51 when connected via a cable.

    7. The additional program AI Noise Reduction must be downloaded. There are limitations on computers that can use this feature. Please see the online compatibility table for further details.

    8. Supported cameras: OM SYSTEM OM-5 Mark II, OM SYSTEM OM-3, OM SYSTEM OM-1 Mark II, OM SYSTEM OM-1, E-M1 Mark II, E-M1 Mark III, E-M1X, OM SYSTEM OM-5, E-M5 Mark III. Additional programs and supported data must be downloaded.



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  • How to use crop modes on your full frame digital camera.

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    The reality of the world is that images are almost always cropped from what they were in camera no matter how we share them. This is largely due to the constraints of mobile phones where wide aspect ratio images can be hard to view on phones when the phone is held in portrait mode.

    The weird thing is that every website or app is a little bit different. Some sites force your images into their own highly restricted crop such as Instagram, and some sites like Flickr don’t care what crop is used. The main concern for using either of those services is how people are most likely to view your images which as far as I know is still a mobile device.

    To help photographers deal with this, did you knot that most (if not all) full frame 35mm digital cameras have built in “crop modes” which apply a digital crop to your image in camera?

    For example, my camera will shoot in 4 different crop modes (also called aspect ratios). It will shoot in a 4:3 aspect ratio which is the old TV standard for HD television. It will shoot in 1:1 format which is a square format used as we all know on Instagram. It will shoot in 16:9 which is the modern standard for television screens, computer monitors, and many TV shows. Take a look at the comparisons below to get more of an idea of how these different formats relate to each other.

    When using these alternate aspect ratios the RAW image remains unaffected. After opening the RAW files in Lightroom a crop will be automatically applied to the image but you can just remove the crop and voila, you’re back to having a full frame image again. If shooting JPG the final image is cropped and the 35mm full frame image can’t be recovered.

    Since the RAW file retains the 35mm full frame image a different aspect ratio can be used as a bit of a cheat to help avoid framing mistakes. Say you’re the type who tends to shoot with a tilt or off to the right all the time, or maybe you tend to shoot with the subject low or high and cut off people’s feet. If you’re one of those types then using one of these alternate aspect ratios can force you to frame your images better.

    For instance, if you want to make sure you always have room on the sides of your images, you can use the 4:3 crop to force yourself to frame a little wider on your subject. This might be especially useful if you’re shooting fast action such as sports and you want to make sure that there is room in the image to get a nice frame around your subject for publication.

    For instance, if I was shooting baseball or basketball where there is usually a focus on what a single player is doing, I might choose to shoot in RAW with the 1:1 crop active. This would force me to put the player close to the center of the frame at all times.

    Think of it as a way of making a repetive job a little easier on yourself and you might start to see the benefits of using different crop ratios when you’re taking pictures.

    It would be really cool if the camera allowed me to create a couple custom crop ratios for all the different websites out there as well, but, I haven’t heard of a camera that can do that yet.

    The R5 can also shoot with a full APS-C crop. Below is a comparison of the full frame area vs the APS-C area.

    If you’re far away from the subject, say a bird or other kind of wildlife, then shooting with an APS-C crop not only saves some file size but it can help the photographer get better framing for their final images. It also allows the R5 to work a little more seamlessly with other APS-C cameras if other people happen to be using those.

    Despite all this, many if not most photographers will immediately ask why anyone would throw out all those pixels that they paid so much money for in a full frame camera. Well, they honestly have a good point and it’s why I rarely to never use APS-C crop on my camera. For one, while the APS-C crop does offer some logic, it’s really better to use a longer focal length to achieve precise framing. On the R5 a full APS-C crop is still 17.2 megapixels which isn’t too far off from actual crop sensor cameras that are often around 24 megapixels. But it is a far cry from the 45 megapixels of the R5’s full frame sensor. Bottom line: going to APS-C on the R5 throws out more than half the resolution and that would be true with any FF camera that offers the ability to shoot in crop mode.

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  • Fujifilm Launches X half – A Compact Digital Half-Frame Camera

    Fujifilm Launches X half – A Compact Digital Half-Frame Camera

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    Fujifilm has announced the global launch of its most recent camera in the X series, the X half, in June 2025. It is for photographers who would like to rediscover the beauty of film photography in digital format and the design and features are based on the concept of classic half-frame cameras.

    Image via Fujifilm

    The Fujifilm X half or the X-HF1, will be the latest model in the X series and the camera weighs only 240g. The camera design and features evolve from the half frame film cameras that were capable of shooting at half the size of 35mm film. This is not their first half-frame camera – of the many film cameras Fujifilm introduced, Fujica Half was a half frame camera that was released in 1963.

    The camera comes with a frame advance lever so photographers can have a film camera experience in digital format. The aspect ratio used is 3:4 which is very different from what is used in most digital cameras.

    The camera comes with a vertical optical viewfinder and an LCD monitor that helps with vertical composition. There is also a “2in1” function that allows to have two vertical images in a single frame which will be great to create storytelling images.

    Image via Fujifilm

    The film simulation feature will allow the user to have photographic film effects when capturing their images. Besides the simulations there are various filters that can be used based on the subject or scene one is shooting.

    There is also a film camera mode in the X half model, that allows the photographer to shoot through the viewfinder and use the frame advance lever to advance to the next shot. There will be no option to view or preview the images until a specified number of shots are taken.

    Here are some of the most important product features:

    • 18MP vertical CMOS sensor
    • Capture still and videos in 3:4 aspect ratio
    • Back illuminated 1 inch sensor
    • 10.8mm f/2.8 prime lens
    • Create composite photos using the frame advance lever
    • Dedicated X half app to create collages and make edits, create 2in1 and contact sheets
    • 13 film simulation modes and 26 filters
    • Date stamp feature
    • Film camera mode to experience film photography, can be selected between 36, 54 or 72-shots and cancelled any time
    • Prints can be made directly from the camera using Instax Link series

    More information about this product can be found here. The camera is priced at $849.00 and is available to pre-order. Fujifilm mentions that it has named this product “X half” envisioning that it would be a great camera for both newcomers and enthusiasts in photography, but the cost and features seem that this camera could be for someone who takes up photography for fun.

    We have more news for you to read if you are interested at this link here.



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  • Are old used digital cameras still good?

    Are old used digital cameras still good?

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    Digital cameras are just like any electronic device. They can last a really long time, but they don’t last forever. How long they last is usually determined by how well they’re treated, but, there is more to it than that.

    Issues with old digital cameras

    Batteries

    One possible issue with older digital cameras is the batteries they use. Most old cameras use proprietary batteries that may not be in production anymore. If you can’t power your camera it doesn’t matter if it is in good condition or not, you’ll have to figure how to get it to turn on before you can use it.

    Media

    Some older cameras used obsolete media, such as Sony Memory Sticks, Mini Disks, Floppy Disks, VHS tape, Digital VHS tape, or even CD-ROMS. It might seem absurd to us today, but prior to the creation of SD cards, there were a number of cameras that used weird and potentially unavailable media. While a camera that uses a Floppy Disk is more of a collector’s item than a real camera these days, the point remains, there are some unusual old technologies that won’t be supported by a modern laptop or desktop computer without some effort on your part.

    If you can verify that the used camera you’re interested in uses a media type that you are able to work with, and you can verify that it has new batteries available for it so you can turn it on, then you can start looking at the condition and functionality of the camera.

    Condition

    Condition and functionality is the most complex part of assessing a used camera. People often sell cameras that have sat in a basement unused for 20 or more years and nobody remembers if it was ever a working camera. Even if you know that you can get batteries and media for it, you may not be able to test it out right then and there.

    Usually when something is brand new we can tell that it’s basically brand new because it has that “new car smell” so to speak. And that’s not just a fancy turn of phrase, smelling a camera or lens can give you a good idea of how nicely or poorly it has been treated. If a camera smells clean and fresh, it’s probably been kept in a clean and dry area for most of it’s life. If it has a strong, sharp plastic or glue smell, it could mean that the rubber or plastics are breaking down. And finally, if it has a strong musty or dusty smell that generally means it’s been sitting in a damp and dark place for a long time.

    The problem with dampness and electronics should be pretty obvious. Over time, the dampness will ruin the camera or lens if it is left sitting in those conditions long enough. Dampness and musty basements can eventually lead to mold growth inside the lens, damaging lens element coatings, and usually forming a thin film of fog or haze on the lens. It takes a lot to ruin these old lenses, but some people seem to be working hard on figuring out how to do that.

    I have quite a few lenses with small amounts of haze in the lens and they work great. As long as the haze isn’t too bad, it’s usually not noticeable, but when it does get bad, it can cause low contrast in bright light, or blooming around light sources. A professional might be able to clean them but they can be hard to locate.

    Front quarter view of EOS Rebel T6 with EF 18-55m lens

    Manual Lenses – The Panacea of Used Gear

    If you’re buying manual focus lenses the truth is there isn’t much that can go wrong that you wouldn’t be able to figure out in the first 15 minutes of having it to look at and test.

    Manual lenses can be easily adapted to just about any mirrorless camera, and once you get the hang of it, focusing with manual lenses is actually pretty easy, even for video work.

    Aside from looking inside the lens to make sure it is clean and clear, there’s honestly very little that can go substantially wrong with a manual lens over its lifetime. The biggest danger is going to be mishandling the lens by dropping it.

    As long as the lens is cared for and stored properly there’s no reason it won’t last for a lifetime or much longer.

    AF Lenses – Some Companies Still Support Old Gear

    Autofocus lenses are another story entirely. Technically speaking, just about any AF lens could be adapted to work on just about any other camera, but that requires lots of technical skill and reprogramming of computer chips. It’s not an easy task but it’s doable. The thing is, it’s a lot easier to just buy a new lens that works with the camera you’ve got.

    A few companies like Canon make it easier to adapt old EF lenses to their new RF camera platform. Simply by using an EF to RF adapter, just about any EF lens can be used with no issues on an RF camera. If all you’re really after is a lens with good AF performance then many EF lenses are great options if you’re on a budget or just want a lens with a different look. I have some old EF lenses and I like all of them.

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