The New OM System OM-5 Mark II - A Closer Look

OM System has announced the OM-5 Mark II, a refreshed version of its compact mirrorless camera designed with outdoor shooters in mind. It’s not a dramatic overhaul, more of a thoughtful update to a well-loved camera. The design is nearly identical to the original OM-5 (and the earlier Olympus E-M5 Mark III), though the grip’s been slightly beefed up for better handling, and thankfully, the outdated microUSB port is gone, replaced by USB-C. There’s also a small tally light now so you can easily tell when you’re recording video.

One of the more noticeable changes is the addition of a “CP” button on top of the camera. It gives quicker access to the brand’s computational photography features — things like handheld high-res shots, Live ND filters, HDR, and focus stacking. You can remap the button if you want, but the goal is to make those creative tools easier to reach. OM System also brought over the updated menu system from its higher-end cameras like the OM-1 Mark II and OM-3, which is a big step up in usability.

Under the hood, it’s the same 20.37MP Live MOS sensor and TruePic IX image processor as before. Autofocus uses a 121-point all cross-type phase detection system, and the camera still offers excellent 5-axis image stabilization — up to 7.5 stops in the center, slightly less on the edges — making it great for handheld shooting.

One change that might raise eyebrows is the drop in continuous shooting speed with the mechanical shutter. The OM-5 Mark II tops out at 6 frames per second, compared to 10 FPS on the original (though that was with locked focus). OM System says they simplified the burst shooting options to avoid confusion. If you need higher speed, you can still use the electronic shutter to get it.

Weather sealing is still a standout feature here — the camera holds an IP53 rating for dust and splash resistance, which is uncommon at this price point and great for those who shoot in unpredictable conditions.

For software support, the OM Image Share app on mobile lets you transfer images over Wi-Fi, update firmware, and back up camera settings.

On desktop, OM Workspace handles RAW processing and includes AI-powered noise reduction and tone curve adjustments.

A few sample images by OM System:

The OM-5 Mark II is set to ship in early July and will come in black, silver, and a new limited edition sand beige (only available as body-only). Pricing starts at $1,199.99 for the body. You can also pick it up in a kit with the 12-45mm f/4 PRO lens for $1,599.99 or with the 14-150mm f/4-5.6 II lens for $1,499.99.

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Interview with Chihiro Matsumoto

This week’s Interview with Chihiro, an incredible street photographer from Japan. I am truly honoured to have had the opportunity to interview him!

You can find him on Instagram as: @__chrmtmt27

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I'm a freelance photographer currently based in Nagano Prefecture, Japan. I moved out here a few years ago after spending time living overseas. Being surrounded by mountains, nature, and the changing seasons has really shaped the way I see and capture the world. It's quiet here, which gives me the space I need to think creatively and focus on my craft. Photography isn't just my job, it’s part of my daily life.

How did you get into photography?

I started taking photos while living abroad. At first, it was just a way to document my experiences and remember everyday moments—new cities, people I met, little things that caught my eye. Over time, it turned into more than just a habit. I found myself drawn to the process of framing a scene and capturing it in a way that felt honest to me. The more I shot, the more I wanted to explore and improve, and eventually it became something I couldn't imagine not doing.

How do you approach storytelling through your photos?

I try to capture and convey the atmosphere of the moment as naturally and truthfully as I can. For me, it's less about creating a narrative and more about preserving a feeling—something that resonates visually and emotionally. I’m not trying to force a story into the frame; I let the scene speak for itself. Whether it's a quiet street corner at night or a fleeting gesture from someone passing by, I want the viewer to feel like they’re right there, experiencing it with me.

How do you define street photography in your own terms?

For me, street photography is about creating cool images that highlight the contrast between light and shadow. That play between brightness and darkness is what draws me in—it brings mood and texture to a scene. I’m less concerned with strict definitions and more focused on capturing those moments that have a certain tension or energy, especially when they happen naturally in everyday urban spaces.

What attracts you to street photography compared to other types of photography?

It’s honestly like a drug. There’s this incredible rush when everything aligns just right, the light, the subject, the composition—and I manage to capture exactly what I envisioned in my head. When that happens, I get goosebumps. It’s an addictive feeling, and once you experience it, it’s impossible to stop chasing it. Street photography also keeps me on my toes. Every time I go out, I never know what I’ll find, and that unpredictability is part of the thrill.

How do you capture emotion in your photos?

I don’t really think about it consciously. I just shoot what feels right in the moment. Sometimes emotion finds its way into the photo without me trying. I think it comes from being present and tuned in to the environment around me. If I’m fully immersed in the moment, the emotion tends to come through naturally in the final image.

What gear do you use?

I mainly shoot with the Sony α7 IV. It’s a solid, reliable camera that handles really well in low light, which is where I do a lot of my work. For lenses, I use the 85mm GM and the 24-70mm GM II—both give me a good mix of reach and flexibility. When I want to go ultra-light or stay discreet, I bring along the Ricoh GR IIIx. It’s compact, quiet, and great for quick shots when I want to stay unnoticed.

What are your favourite shooting conditions?

I love shooting at night, in the rain, or when there’s fog. Those conditions completely transform the atmosphere of a place and give it this cinematic, moody quality. The reflections on wet pavement, the diffused glow of streetlights in the fog—it all feels more alive and layered. There’s something about bad weather that makes a city feel more real and vulnerable.

How do you approach photographing strangers in public spaces—do you ask permission or shoot discreetly?

I don’t usually ask for permission. I prefer to shoot discreetly and avoid drawing attention to myself. That way, the moment stays natural, and the subject doesn’t alter their behavior. It’s important to me that my presence doesn’t disrupt what’s happening. I try to be respectful and keep a low profile.

Is there a type of photography or genre you haven’t explored yet but would like to?

I’d really like to try fashion photography, especially working with models. It’s a completely different approach from street photography, and I think it would challenge me creatively. I’m curious to see how I could apply my style to more controlled settings, where you’re working with light, posing, and intentional storytelling.

What does photography mean to you?

Photography is everything to me. It gives shape to my days, and it's something I feel deeply connected to—like a lifelong partner. It’s my way of processing the world, of expressing things I can’t put into words. Whether I’m shooting for work or just for myself, it always brings me a sense of purpose and grounding.

How did you find your photography style?

I found it by getting out and shooting as much as I could, in all kinds of places and situations. At first, I tried different styles and techniques, just experimenting. Over time, I started to notice patterns—what I was consistently drawn to, what I enjoyed shooting, and what felt most natural. That’s how my style gradually revealed itself. It wasn’t forced. It just came from experience and curiosity.

Do you have a specific location or city that you think offers the best opportunities for street photography?

I think great street photos can be made anywhere—it really depends on the photographer’s style and how they see the world. That said, I’m especially drawn to cities you don’t find in Japan—like New York. There’s a raw energy and diversity there that’s unlike anywhere else. It’s one of those places where anything can happen on the street, and I’d love to experience that firsthand.

What are your thoughts on AI in photography?

If we can find a way to coexist with it, that would be ideal. Technology keeps evolving, and AI is part of that. I think it’s important to stay open-minded but also hold onto the human side of photography—how we see, feel, and respond to the world. As long as we keep that balance, I think there’s room for both.

Any tips for beginners?

Look at a lot of great photos, study the work of photographers you admire, and figure out what draws you in. Then go out and shoot as much as you can. Try different things, make mistakes, and learn by doing. Also, find people you can share your photos with. Having a community or friends who understand what you’re passionate about can make a big difference, both in terms of growth and motivation.

How much gear do you usually carry with you on a street photography outing?

Just one camera. I like to keep it simple and stay as mobile as possible. Carrying too much gear slows me down and distracts me from what’s happening around me. When I’m light on my feet, I can react quickly and move freely, which is key for catching those spontaneous moments.

Are you a professional photographer or is it just a hobby?

I’m a professional photographer. This is my work and my passion, and I’m always open to new opportunities, so feel free to reach out if you’re interested in working together.

What do you love most about photography?

The fact that I can express myself through it. Photography gives me a visual language to say things I can’t explain with words. It’s a way for me to share how I see the world and to connect with others on a deeper level. That connection—between me, the subject, and the viewer—is what I love most.

How important is lighting in photography?

I think lighting is the most important element of photography. It’s what shapes the mood of an image and directs the viewer’s attention. Without good light, even the most interesting subject can fall flat. Whether it’s soft, dramatic, harsh, or subtle, light has the power to transform a scene and bring it to life.

How important is composition?

Composition is just as important as lighting. It’s how you decide to frame the world—how you guide the viewer’s eye and emphasize what matters most. That said, I also believe that breaking the rules and allowing for a little imperfection can make a photo more dynamic. Sometimes, the images that feel slightly off are the ones that stick with you the longest.

What editing software do you use and how long does it take you to edit a shot?

I mostly use Lightroom for editing. I have my own presets that I’ve developed over time, so once I find a photo I want to work on, the editing process is pretty fast—usually around five minutes per shot. Having those presets helps me keep a consistent look and feel, while still giving each image a unique mood.

Who are some artists that inspire you?

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A Free Film Simulation App For Fujifilm Shooters

A big part of the magic behind Fujifilm’s X and GFX cameras is their beautiful Film Simulations. A lot of photographers just stick with the built-in looks (and honestly, they’re great straight out of the box), but if you like to tinker, you can actually create your own and save them as custom recipes. Photographer Oliver Mandic has made that process even easier with a free web tool called the Fuji X Recipe Generator.

The tool runs right in your browser and works on both iOS and Android. You can even add it to your home screen like an app. It’s still technically in beta, but it’s fully usable right now. Mandic says it’ll always be free and he has no plans to turn it into a commercial product, it’s just something he built for fun, and for other Fujifilm shooters to enjoy.

It’s super straightforward. You answer a few questions based on the look you're going for and what you typically shoot, and it spits out a full recipe that you can plug into your camera’s custom film simulation settings. The tool takes your camera’s sensor into account too, whether you’re shooting on an older X-Trans II or the latest 40MP X-Trans 5. There’s also a general “CMOS” option if your camera isn’t using an X-Trans sensor, and you can pick your exact model if you want, though that part’s optional.

Let’s say you’ve got a Fujifilm X-E5 and want to fill one of those custom film slots with something new. The tool first asks what kind of overall vibe you want — think vintage, cinematic, high contrast, soft and dreamy, or natural. Then you choose a film stock for inspiration, like Kodak Portra, Fuji Provia, Ilford HP5, or Kodak Ektar.

Next, you answer a few more questions about your preferences: Do you lean toward warm or cool tones? What do you usually shoot — portraits, landscapes, street, food? What kind of lighting are you often in — golden hour, overcast, indoor? And what’s your style in terms of saturation and contrast? Finally, how do you plan to use the images — for Instagram, prints, client work, or just for yourself?

Based on all that, the app generates a custom recipe with the settings you’ll need to dial in on your camera. Fujifilm’s built-in simulations are already a major draw for a lot of people, but creating your own adds another layer of fun and personality to the shooting experience. You can check out the Fuji X Recipe Generator here.

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @k319w

Let’s Analyse this Image: 

Light & Atmosphere

What works well:

• The lighting is the clear star here. The golden-hour sun shining across the side of the train and bouncing off the platform gives the whole image this glowing warmth.

• There’s a nice contrast between the intense, rich light on the left and the deep shadows on the right, it creates drama without needing much else in the frame.

What could be better:

• The light is beautiful yes, but it's also a bit overpowering in places. Some of the highlights on the train are close to blowing out, they're losing texture and detail. Dialing it back just slightly could help retain more depth without killing the glow.

• In the shadow area on the right, a bit more lifted detail could go a long way, now it’s close to clipping and it gets slightly muddy.

Framing & Perspective

What works well:

• The curved yellow tactile path is doing a fantastic job of guiding the eye. It pulls you straight into the scene and leads you naturally toward the person at the vanishing point.

• The composition is dynamic, angled just right to feel immersive without being too stylised. The curve of the platform, and all the lines leading with it add rhythm.

What could be better:

• The person is well-placed, but they don’t stand out as much as they could. A better silhouette separation from the background structure would help them stand out more. This you can only really achieve through repositioning yourself/timing the shot better.

• The top third of the image starts to feel a bit cluttered. The overhang, beams, and cables are fighting for attention a little, and they pull focus away from the cleaner, more powerful foreground. Cropping slightly or darkening that area could help balance things, but it’s really not that bad.

Colour & Tone

What works well:

• The palette is simple but effective. Golds, amber, warm orange, it all feels coherent and cinematic.

• The photo nails the classic film-like tone: crushed shadows, a bit of grain, and a very warm curve.

What could be better:

• The overall contrast is heavy, which adds mood, but at the cost of losing finer tones in the mid-shadows. Slightly easing the curve could help keep the texture on the platform and in the person’s silhouette.

• As noted before, the shadows start to feel a bit muddy and undefined. Lifting them just a little could help the structure read more clearly without flattening the mood.

• The colours in the train's highlights are nice, but there’s not much tonal variety across the frame. Adding a bit of cooler tone into the shadows could give the image more separation, interest and even balance.

Emotion & Storytelling

What works well:

• The light carries the emotion. It feels hopeful and cinematic, like the beginning or end of a day, a transition, or just a peaceful everyday moment.

• The slight grain and the warm palette both reinforce a feeling of nostalgia.

What could be better:

• The story is there, but it’s subtle. A little more character from the person, maybe a bag (like a salaryman’s work bag/briefcase), a glance back, or slightly different posture, could make the image more personal an reinforce a story. The briefcase would reinforce —> this is a man going home from a long day at work. But as always this is not up to the photographer, the only thing he/she can do is anticipate moments and be there to take the winning shot!

Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

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Photographer of the Week

Photographer of the week goes to: Jonathan Varjabedian

You can find him on Instagram as: @framethestreetsdotcom

A few of his photos:

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