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Customizing your E-M1 Mk.II

Make it work your way

My other articles related to the OM-D cameras

See also: The E-M1 Mk.II Cheat Sheet and setup le (v.1.11).

Table of Contents

Introduction 5: Customization C1: Drive & Release E1: Exposure H2: Erasing
Conventions A1: Focusing 1 Single Release Exposure Shift Files
used AF Mode Priority EV Step Quick Erase
Settings not in AE & AF Locking Cont. Release ISO Step RAW+JPEG
the menu AF Scan Priority Auto ISO Erase
Exposure C-AF Lock Set Low Drive Params Erase
Compensation AF Limits Rate Auto ISO Use Con rm
Flash Mode AF Targets Set High Drive Noise Filter I: View nder
AF Target AF Target Outline Rate Noise Eye Sensor
1: Shooting 1 A2: Focusing 2 C2: Image Reduction EVF Adjust
Reset & Touch Target Stabilization E2: Long EVF Style
Custom Set AF Home IS Mode Exposures EVF Views
Picture Mode AF Area Con g Continuous Bulb & Time EVF Grid
Size & AF Illuminator Shooting IS Limit Settings
Compression Face Priority IS on Half-Press View Mini Level
Aspect Ratio AF Adjustment Lens IS Priority Brightness Gauge
Digital Tele A3: Focusing 3 D1: Interface Live Bulb S-OVF
Drive & Lapse Preset MF Distance Options Live Time J1: Utility
Drive Mode MF Assist Shooting Composite Pixel
Time-Lapse MF Clutch Interfaces E3: Metering Mapping
2: Shooting 2 Focus Ring Playback & Metering Long-Press
Bracketing Bulb & Time Focus Viewing Pattern Time
High Dynamic Lens Reset Playback AEL Metering Level
Range B: Direct Controls Views Spot at AF Calibration
Multiple Button Binding Magnify F: Flash Touch Screen
Exposure Bindable Playback Sync Speed Menu Recall
Perspective Functions View Overlays Slow Speed J2: Power
Correction Recommendations Index/Calendar Limit Battery
Shutter Modes Multi-Function Picture Mode Add Backlit LCD
Steady Button Options Compensation Sleep
Silent Arrow Pad Drive Mode Flash WB Auto Power
Silent Noise Buttons Options G: Quality and O
Reduction Dial Binding Multi-Function Color Quick Sleep
Silent Mode Dial Direction Options Quality/Size Eye-Fi
Settings Fn Lever D2: Monitor & EVF Options 6: Maintenance
High Res Fn Lever Use View Boost Pixel Count Card Format
Remote Flash Switch Knob Art Mode View Vignetting Date & Time
3: Video Buttons Frame Rate White Balance Language
4: Playback Power/Fn Lever Magnify View Adjust Monitor
How do I set... DoF Preview All WB Adjust Adjust
Power Zoom Speed Flicker Reduction WB Keep Rec View
D3: Viewing Aids Warm Wi-Fi
Grid Color Space Firmware
Peaking H1: Saving Files What Next?
Histogram Card Slots
Mode Guide File Naming
Sel e Assist Edit File Name
 D4: Connectivity DPI
Beep Copyright
HDMI Lens Info
USB Settings

         
Introduction
Traditionally, Olympus cameras o er unequalled degree of customization and
tweakability. This allows us, photographers, to set them up in a way meeting our
preferences, taste, and working habits, at a price of complexity, and often confusion,
of the customization process.
The E-M1 , especially in the Mark II incarnation, has more shooting and setup
options than any other Olympus camera up to date: about 300 various settings. This
makes the process more painful, confusing, and error-prone than for other models,
and this is why you really may need this write-up.
Index

Conventions used
The settings and preferences available can be roughly divided into three groups; to
make my job easier and to avoid repetitiveness in the text, I'm going to color-code
them as follows:
Red: General preferences, user interface customization, and some other settings
which would usually be set just once and then left alone.
Examples: button binding, EV step in adjustments.
Yellow: Some picture-taking settings which may be adjusted for a given
shooting session (or, rarely, a part of it), but not really often.
It is essential that you develop a habit of resetting these to defaults as soon as they
are no longer needed, and to check them every time you turn the camera on; otherwise
you may experience some surprises.
Examples: drive mode, AF mode, white balance.
Green: Shooting parameters likely to be adjusted quite often, sometimes from
one frame to another.
These do not really customize your camera, but it is handy to keep some reasonable
defaults stored in one of the custom slots, so that your camera is more or less ready
when you switch.
Examples: aperture, exposure compensation, AF point selection.
Blue: These are menu entries unrelated to preferences or camera settings; most
often to perform some operation, or to access some information.
Example: Card formatting, pixel mapping, rmware version lookup.
Sub-menu headers: these do nothing except branching into a submenu; listed
here (in default black) just to make navigation easier.
Unavoidably, there will be some overlap between the rst three groups, so my color
coding is just a general guidance, not a strict rule.

A gray box like this denotes my gripes, remarks, and suggestions, most often related to
the user interface. You may skip these, if you wish, without losing any useful information.
First, some general remarks on the subject.
A good thumb rule of user interface design is that the more often a given option or setting
may be accessed, the easier that access should be. Therefore, an ideal design of camera's
UI would be something like this:
1. One-time settings: from the menu system;
2. Session settings: from the Control Panel (or other easily-accessible screen UI);
 3. Shooting settings: from the direct, external interface (buttons, dials, levers), with an
easy status lookup in [2] above.
4. Non-settings: a separate menu branch or another interface distinct from the settings
one.
To some extent, Olympus designers try to follow these rules, but not always hard enough.
This, together with often arbitrary assignment of an option to a particular menu branch, is
responsible for 80% of pain and confusion we experience accessing the camera's options.
Most of the remainder is due to bad English and clumsy or inconsistent naming. When I
show the original menu interface text, it is framed .

To avoid textual repetitiveness, I've introduced some tags which may appear next to
an function/setting name:
[BF] or [F] denotes that the setting is returned to a factory default at both Basic
and Full Reset or at Full Reset only.
These resets are done from Item 1.1 in the menu, see below.
[C] — the setting is saved as a part of a selected Custom Setup (see 1.1 below,
again).
[JPG] means that a given setting a ects only the process of raw-to-RGB
conversion, after the picture has been taken, but before a JPEG le is saved to
the memory card. If an image is saved as a raw (ORF) le, you may set the
parameter when that is being converted in postprocessing.
The value set is, however, stored in the ORF le and will be used if, during the
postprocessing with Olympus software, you choose the As Shot option.
[SCP] — the option can be set from the Super Control Panel .
[scp] — the option cannot be set from the Super Control Panel , but the selected
setting is shown there.
[But] — the option can be set from the direct (button/dial) interface.
In this walkthrough I'm following the order in which the preferences or settings are
listed in the menu system. While this is not the most logical or task-oriented order, it
will save you a need to traverse the menu tree many times.
Many menu item names are shown in two versions. The second one, in a frame
like this , is exactly what you see in the menu (icons and/or text, English version);
the rst one is my translation into, hopefully, something more meaningful,
descriptive, or just proper English.
NOTE: Upgrading the rmware no longer will require going through the whole setup
again. With the E-M1 Mk.II , the Olympus Update application saves the camera
status (including custom slots), then updates the rmware, and, nally, loads the
status back. (Just recently, this has been added to the rmware of the E-M5 Mk.II
and Pen F , a welcome change!)
Index

0. Settings not in the Menu

These settings are not accessible from the menu system. This makes the menu
structure simpler. Still, you may want to adjust them before storing the setup in one
of the Custom Modes.

0.1. Exposure Compensation [BF] [C] [scp]

This may change from one frame to another, but you need a default value to be
used after a quick switch to a custom mode. Zero makes best sense here.
Use the Exposure Shift to calibrate autoexposure to your liking.
Index
0.2. Flash Mode [BF] [C] [SCP]

As the camera has no built-in ash, I would keep this at (Always On ) and change
as needed when the ash is mounted.
Index

0.3. AF Target [BF] [C] [SCP] [But]

The used AF target pattern can be chosen as: Single Spot , Square (3×3),
Cross (3×3), or Full Grid .
As Single AF is my customization default, Single Spot is my preference here: I
like to have a say where in the frame the focus is actually set.
Some patterns can be excluded from the sequence of available choices; this is done
in Item A1.6.
Index

1. Shooting 1
1 Shooting Menu 1

This menu consists of two distinct parts. First, has a branch performing camera reset
and custom setup operations. Second, a number of branches used to set some basic
shooting parameters or to switch between shooting modes.
Index

1.1. Reset & Custom

Reset / Custom Modes

There are no option settings in this submenu. It contains two kinds of reset and
custom mode save/restore operations, discussed elsewhere.
Index

1.2. Picture Mode

Picture Mode [BF] [C] [JPG] [SCP]

This sub-menu allows you to adjust a number of Picture Modes , each being a set of
image-processing parameters. From here you can also select the mode for the
camera to use. Both functions can be accessed more conveniently from the Control
Panel.
There are four basic color Picture Modes , one monochrome, and one — user-
de ned. Each of these (with some exceptions) stores a combination of contrast,
sharpness, and saturation adjustments, plus a choice of Gradation between
Normal , Low Key , High Key , and Auto
Three "traditional" Olympus Picture Modes (named Vivid , Natural , and Muted ); each
stores its own combination of contrast, sharpness, and saturation, as well as a selected
Gradation
The Portrait mode o ers and stores the same adjustments. It also moves up the mid-tones
and shadows. Possibly, it may do more, but it remains undocumented.
The Monochrome mode has contrast and sharpness adjustments, plus a Filter setting,
simulating color lter use in B&W photography. The choices are Yellow , Orange , Red ,
Green , or None . In particular, the rst three darken blue skies (red being the strongest).
Images in this mode can be tinted to Purple , Blue , Sepia or Green , or left black-and white
(Neutral ). I recommend postponing this to the postprocessing stage, if ever.
 To set or adjust the Custom (user-de ned) Picture Mode, you rst choose a "parent mode"
from the above, and then adjust image parameters.
Now the messy part begins. Olympus also adds to this menu not only two extra
Picture Modes , brilliantly named i-Enhance and e-Portrait (of course, not explained
in the manual), but also all 30 Art Filters .

For crying out loud, these already have their own Mode Dial slot, where they sit quiet until
needed (if ever); why bringing them into the middle of image adjustment parameters?

To keep your sanity, use menu Item D1.3 to exclude Art Filters from the Picture
Mode sequence. Unfortunately, they will also become inaccessible through the
Mode Dial, although they still can be all selected for Art Bracketing .
I would also recommend getting rid of the vowel-Modes, unless you want to do some
experimentation with them.
Now we are ready to adjust the parameters for each individual Picture Mode left on
our list.
The e-Portrait mode o ers no adjustments, so we leave it alone, if present, while i-
Enhance has an extra parameter named E ect , which can be set to Low , Standard , or
High .
The contrast, sharpness, and saturation values you choose for a given mode are not
absolute ; they are applied on top of a base o set assigned by the designers to
each mode.
The undocumented base values are shown in the rst column, followed by my
recommended adjustments (Adjust ), and by the resulting absolute settings (Total ).
Gradation is shown only if it di ers from the default Normal .

Picture Mode Parameter Base Adjust Total

Sharpness 0 -1 -1
i-Enhance Contrast 0 0 0
1.2.1 Saturation 0 0 0
E ect Standard Standard
Sharpness +1 -2 -1
Vivid
Contrast 0 0 0
1.2.2
Saturation +1 0 +1
Sharpness 0 -1 -1
Natural
Contrast 0 -1 -1
1.2.3
Saturation 0 0 0
Sharpness -1 0 -1
Muted
Contrast -1 -1 -2
1.2.4
Saturation 0 -1 -1
Sharpness -1 -1 -2
Portrait
Contrast 0 -2 -2
1.2.5
Saturation 0 -1 -1
Sharpness 0 -1 -1
Monochrome Contrast 0 -1 -1
1.2.6 Filter None Orange
Picture Tone Neutral Neutral
Parent Mode Natural Natural
Sharpness 0 -1 -1
Custom
Contrast 0 -1 -1
1.2.7
Saturation 0 0 0
Gradation Normal Auto
 The Custom mode inherits from its parent the base (o set) values, but not any
adjustments. In my setup it is identical to Natural with Auto gradation enabled.
Larger sharpness adjustment I'm using in Vivid brings the absolute sharpening to
the same level as in Natural . I found that higher settings can produce visible
artifacts.
Treat my preferences largely as a matter of taste, possibly a starting point to your
own custom setup. Still, it is unlikely that you will need to adjust any parameters
upwards.
Index

1.3. Size & Compression

[BF] [C] [JPG] [SCP]

Here you choose how the image is saved to the memory card. There are three basic
options:
1. Raw (ORF) le;
2. JPEG le in one of the possible combinations of pixel size (Large , Medium ,
Small ) and compression/quality (Super ne , Fine , Normal , Basic );
3. Both [1] and [2] above.
To make things more complicated, the four size/compression combinations available
in [2] are set in menu item G.1, and the actual pixel sizes of Medium and Small — in
G.2 (Large is always the full pixel resolution).
Then I de ned all my four combinations (see Items G.1 and G.2) as L SF , one of
them as the preferred format. Now I cannot accidentally switch to anything else: all I
can store are highest-quality, full-resolution L SF JPEGs or raw les.

Actually, instead of nine menu options (eight containing a choice of one of four JPEG
formats), just three would be enough, with another menu to choose the JPEG avor. (This
would a ect the SCP interface, either requiring an extra eld, or making JPEG parameters
not accessible. Fine with me.)
A less drastic modi cation could allow to de ne fewer than four JPEG formats, hiding the
unde ned ones .
Besides, in 17 (!) years of using this system on various Olympus cameras, I've never used
anything other than L SF , so, to tell the truth, I consider all this e ort wasted anyway.

All this said, I think your real choice will be between Raw , JPEG , and Raw+JPEG ,
with JPEG using the L SF size/compression combination. Which of the three to
choose is a very personal decision and I'm not going into any disputes on the
subject. Still, if you are not quite sure what to choose, have a look at my old, but still
perfectly valid, 👁 article on raw les.
Index

1.4. Aspect Ratio

Image Aspect [BF] [C] [JPG] [SCP]

The native (full-sensor) μFT aspect ratio is 4:3 . These proportions are generally
most pleasing for most horizontally-framed images and, after inverting to 3:4, for
almost all vertically ones. This is also best t for standard print sizes — with a
prominent exception of 4×6" (10×15 cm).
Other ratios are provided here, which is done by cropping and does not a ect raw
images. These ratios are:
3:2 — more pleasing for many landscapes; best t to the 4×6" print format;
 16:9 — used in HD video, all TV sets and most monitors; again, works well with
wide vistas;
1:1 — a square; requires a di erent approach to image composition; that's why
some photographers like it;
3:4 — inverted native ratio: shoot vertically-framed pictures while holding the
camera horizontally.
Obviously, if you are shooting in the 4:3 aspect ratio, you can crop the image to any
other ratio in postprocessing; nothing is lost if you change your mind.
For this and other reasons, most users choose and stick to it; so do I most of the time
(but not always).
One argument in favor of cropping the image at the shooting stage is, that the nder
preview is shown cropped, which greatly aids in composing, removing all guesswork.
Also, if your choice is 3:2, the cropped nder image ts best with EVF style 1 or 2 (see Item
I.3).
If you are using the Raw image format, you get the cropped nder view, but the actual
cropping is postponed till the postprocessing stage, where you can choose the aspect ratio
"as shot" or change your mind.
Index

1.5. Digital Tele

Digital Tele-converter [BF] [C] [JPG] [scp]

When this option is active, the camera uses only a central part of the image to be
viewed and saved (after resizing the crop to the full, nominal resolution). The e ect
is like doubling the focal length at the expense of reducing the pixel count from 20
to 5 MP, followed by upsampling back to 20 MP.
If needed, this can be easily (and better) done in postprocessing, at the expense of
no enlarged view in the nder. I strongly recommend turning this feature O and
forgetting about its existence.
Index

1.6. Drive & Lapse

This is a sub-menu with just two entries.

1.6.1. Drive Mode

[BF] [C] [SCP] [But]

Here you can set the drive mode to one of the following:

Single Frame 2s 2s Self-Timer

Steady Single Frame
Silent Single Frame
L Sequential Low
L Steady Sequential Low
L Silent Sequential Low
H Sequential High
H Silent Sequential High
H Pro Capture High
L Pro Capture Low
2s Steady 2s Self-Timer
2s Silent 2s Self-Timer
12s 12s Self-Timer
12s Steady 12s Self-Timer
12s Silent 12s Self-Timer
C Custom Self-Timer
C Steady Custom Self-Ti mer
C Silent Custom Self-Timer
High Res
 No, I'm not inventing this: there may be up to 20 entries in this menu; the same in
the SCP or direct button/dial interface!
You may use one of the Settings sub-menus (Item D1.4) to remove any of the
choices from the sequence shown, but it helps just a little bit; we will return to this
painful subject when we discuss that menu.
For the time being, let us note that this mess a ects only the shooting process, but
not the initial setup, in which Single Frame seems to be the only reasonable choice.

This submenu, with functionality duplicated both in Control Panel and button/dial
interface, could (and should) be safely removed from the menu system. The long
sequence of drive modes would still have to be xed even then.

Some of these drive modes use shutter in special ways (shutter modes); here is a
brief introduction:

Steady Shutter a.k.a. Anti-Shock . In this mode exposure starts by

electronic gating, without mechanically opening the shutter (which is already
open). This greatly reduces a possibility of camera-shake blur.
Silent Shutter : the exposure is both started and ended by electronic gating,
therefore the process is, yes, you've guessed right, completely silent, in addition
to the camera being more steady, see above.
Pro Capture : When the shutter button is half-down, the camera starts
shooting at a very high rate, keeping up to 14 most recent frames in a bu er and
discarding any older. On a full press it starts writing the bu er out, while
keeping on shooting. This way, we can capture the action which happened just
before the button was fully pressed.
High Res —shutter res eight times and all exposures are combined into one
frame of a higher resolution.
Index

1.6.2. Time Lapse

[BF]
Intrvl. Sh./Time Lapse

This submenu is used for switching to the time-lapse sequence shooting mode and
for setting its parameters. In camera setup, obviously, it should be set to O .

I think the Time Lapse mode should be added to Item 1.6.1 above, so only parameter
setting would be left here.

For time-lapse shooting, in addition to choosing On , you will have to set a number of
parameters. In the original naming by Olympus, these are:
Number of Frames (up to 999)
Start Waiting Time — the initial delay
Interval Length — time step between frames
Time Lapse Movie — enables stitching of sequence frames into a movie clip
Movie Settings — de ne movie resolution (HD, Full HD, or 4K) and frame rate (5,
10, 15, or 30 FPS, with the top value depending on resolution).
Index

2. Shooting 2
1 Shooting Menu 2
 Another grab bag of functions and settings likely to be used or changed quite
frequently.

2.1. Bracketing
[BF] [C]
Bracketing

The E-M1 Mk.2, like other recent cameras by Olympus, allows for bracketing in quite
a number of parameters. Choosing O here disables bracketing in all of them, and
this is the natural recommendation for camera setup.
This does not close the subject, though, as it is nice to have a fully-de ned
bracketing setup, which can be activated with one press of a button. Without any
doubt, the best candidate for that is exposure bracketing.
This camera boasts no less than 7 kinds of bracketing: exposure, ash, ISO, WB (twice: in
two color dimensions), focus, and art. Of these, only exposure bracketing is really useful
(although ash and ISO bracketing may have some practical applications); the others are
either worthless or should not be considered bracketing at all.

This is not the place for a full discussion of bracketing in the OM-D series. I will only say
that this implementation is full of perhaps the worst design decisions Olympus made in a
long time. We will come back to this issue one day.

To pre-set the exposure bracketing, select On and then AE BKT . Fron the next
menu, choose a combination: how many frames and with what step in exposure.
When I bracket, I usually shoot three frames with a spacing of 1/3 EV, but in this kind
of setup I decided for 3 frames and 2/3 EV. Now, back to the On/O choice and
select O . Done.
Or, if you want to play it really safe, use 5 frames and 2/3 EV.
Now, to turn the pre-con gured AE bracketing on ot o , just short-press the
bracketing button.
Which button is that? It depends. You may assign a button to this function in two
ways.
Activate the button-switching option in Item B.4.2. Now, whenever the Fn Lever
is in position 2 , the front knob button (usually accessing drive modes) will
access bracketing: toggle (short press) or setup (long press).
If you do not want the lever to a ect how knob buttons work, you still can
assign one of the other buttons to this function, see Item B.1.
The bad news is that turning the bracketing on does not put the camera in a serial
drive mode. You have to do it yourself, or — release the shutter an many times as
needed, counting the frames yourself.
Index

2.2. High Dynamic Range

HDR [BF] [C]

This is related to exposure bracketing: a number of frames is shot with varying

exposure shift, and these frames are used to produce one HDR JPEG le.
Again, in the camera customization setup this will be set to O , activated only on a
session or frame-to-frame basis as needed.
Index

2.3. Multiple Exposure

Multiple Exposure [BF]
 This enables superposition of multiple exposures in one image — something you set
for a single shooting session, or even a single picture. In the default setup it should
be, obviously, O .
Index

2.4. Perspective Correction

Keystone Comp. [BF] [C]

O again.
Index

2.5. Shutter Modes

Anti-Shock [ ] / Silent [ ]

This is a sub-menu dealing with two special shutter modes, in which the exposure
starts or starts and ends with electronically (gating), as opposed to mechanical
opening/closing of a shutter curtain. See Item 1.6 for a description.
Here you set up the availability and parameters of these modes; the decision on
actually using them is made by selecting a particular Drive Mode.

This is why I would consider moving this branch to the Customization menu.

Index

2.5.1. Steady
[F] [C]
Anti-Shock [ ]

Here you can disable this feature, or enable it and set the delay between pressing
the shutter release and the start of the exposure: from 0 to 30 seconds. My
selection is. at present, 1/4 s.
If you disable the Steady shutter mode, then all Drive Modes using it will also be
disabled, regardless of their inclusion in the sequence de ned in Item D1.4.
Index

2.5.2. Silent
[F] [C]l
Silent [ ]

Like above, here you can set the shutter opening delay or disable this mode (which
will also remove all dependent drive modes from the sequence, overriding any
settings in Item D1.4 ).
My choice for the Silent mode is O .
Index

2.5.3. Silent Noise Reduction

[F] [C]
Noise Reduction [ ]

You can disable Noise Reduction speci cally for the Silent shutter mode. Do it. (See
also Item E1.7).

This item should be moved to become a part of Silent Mode Settings (2.5.4).

Index
2.5.4. Silent Mode Settings
[F] [C]
Silent [ ] Mode Settings

Three options here, each presenting an On/O choice:

2.5.4.1. Beep

2.5.4.2. AF Illuminator AF Illuminator

2.5.4.3. Flash Flash Mode
For all three O makes best choice as a customization preset — just in case if I ever
restore the Silent mode.

The choices are spelled out as Allow and Not Allow . Simple On/O would be better.

Index

2.6. High Res

High Res Shot [F] [C]

Here you decide on including (or not) High Res (see 1.6) to the sequence of available
Drive Modes, not on actually using it in a given case.
If you decide to keep this option open, you also set the initial shutter release delay
(4 or 8 seconds seems to make sense) and the spacing between the eight
component exposures, allowing the ash (if used) to recharge. The latter is
applicable only to non-dedicated ash units; if you use an Olympus ash (or none),
keep it at zero.
Index

2.7. Remote Flash

RC Mode [BF] [C]

Set it to On only if you are using the Olympus system of multiple, remotely-
controlled ash units. Most people will keep it at O .
Index

3. Video
Video Menu

I don't do videography, therefore I don't feel competent to write on this subject. You
have to look elsewhere for information and advice.
Index

4. Playback
Playback Menu

This menu contains no settings — it is used to access operations related to playback

and editing of pictures already taken. Parameters used in those operations are
tweaked as all others — in the Customization menu (D1.2).
Index

5. Customization
Custom Menu
 This is one huge monster of a menu, and navigating it sometimes may be a
challenge. Fortunately, it contains mostly one-time setup (Red) items, and therefore,
once set and tweaked, it should be seldom, if ever, revisited,
This menu contains far more options than all others combined, so for easier
navigation it branches into 20 (yes: twenty!) submenus, from A1 to J2 .
Technically, these are not submenus, as after reaching the end of one, further scrolling
moves you to the next submenu; this works more like bookmarks (or pages) in a at list.
Index

A1. Focusing 1
A1. AF/MF

The rst of three (!) pages used for customization of the focusing process.

A1.1 AF Mode
AF Mode [BF] [C] [SCP] [But]

You can choose between S-AF (Single AF), C-AF (Continuous AF), MF (Manual
Focus), S-AF+MF (manually-adjusted), C-AF+TR (tracking), and Preset MF (using a
previously-de ned value). For initial setup, S-AF may be most practical, although
you may want to de ne a separate custom mode for action shooting, using (among
others) C-AF or C-AF+TR .

Placing this in the Customization menu must be a misunderstanding. This is just a

shooting parameter, which may change from one session to another, or even more often
— no di erent than Drive Mode (1.6.1) or Size & Compression (1.3).
As this functionality is also available from both Control Panel and direct interface, the best
solution would be just removing it from the menu system at all.

Index

A1.2. AE & AF Locking

AEL/AFL [BF] [C]

This is one of the more important settings in the camera customization process.
It is used to de ne how the camera's AE and AF functions work when the [Lock]
button and/or the shutter release are pressed.
This choice is made independently for each basic focusing mode: single, continuous,
and manual. In each case you choose one of the pre-packaged combinations.
Switching between SAF, CAF, and MF is not done from here; you can do it either from the
Control Panel or with use of a direct button.
The factory-default presets used here make good sense. Still, if you know what you
want, they may be worth changing to your taste. (Another option is to follow my
advice, skip the details and jump straight to my recommendations, which are not
much di erent.)
Here is the list of available options.
In the table, [Lock] means pressing the button, and [½] — pressing the shutter release
half-way down (intentionally or on the way to a full press). "Not locked" means that the
function (AE, AF) continues to update the readings until the exposure, i.e., until the mirror
goes up. Factory defaults and my recommendations are shown with ticks in columns (F) and
(W).

Focusing Mode F W Autoexposure Autofocus

Single AF S:1 ✔ ✔ Locked with [Lock], otherwise with Locked with [½]
 [½]
Locked with [Lock], otherwise not
S:2
locked
Established with [Lock] and then
S:3 Locked with [½]
not active
Locked with [Lock], otherwise with
C:1 ✔ [½] Tracked while [½] is half-down; not
Locked with [Lock], otherwise not locked
Continuous C:2 ✔
locked
AF
C:3 Locked with [½]
Tracked while [Lock] is down, then
Never locked (updated until not active
C:4
exposure)
Locked with [Lock], otherwise with
M:1 ✔ [½]
Not active
Manual Locked with [Lock], otherwise not
M:2
Focus locked
Established with [Lock] and then
M:3 ✔ Locked with [½]
not active

Note that options S:3, C:3, and M:3 are almost identical: the camera stays in manual
focus mode, with AF "on demand", activated when [Lock] is pressed. (C:4 is an
additional avor of this, with AE updating till the end.) The only di erences are that
in C:3 (and C:4) the focus is tracked while [Lock] is held down, and that the focus ring
on the lens will be operational only if one of the "+M" modes (or MF) is active, or if
the given lens has an all-time, mechanical focus coupling (like the 12-40 mm MZD).
Another pattern is that the autoexposure is handled identically in S:1, C:1, and M:1;
this is also the case between S:2, C:2, and M:2, as well as between S:3, C:3, and M:3.
A closer look shows that the arrangement is not arbitrary, and all these options can
be useful for some users in some situations.
It makes sense to choose, for each focusing mode, the option best tting your needs
and working habits, and then forget about it. Changing the lock arrangement on the
y seems like a bad idea, as it would inevitably lead to confusion and unintended
camera behavior.
Recommendation: The factory defaults, [S:1 C:2 M:1], make good sense, so you will
be just ne keeping them. My personal preference is [S:1 C:1 M:3] which makes SAF
and CAF modes similar, and which allows me to use AF on demand in the MF mode
by pressing the [Lock] button. I found this very useful, especially for tripod work.
Index

A1.3. AF Scan
AF Scanner [BF] [C]

When the AF system cannot establish focus, it scans the whole focus range again.
This behavior can be limited or disabled here.
There are three options; in original spelling they are:
mode1 — scan disabled
mode2 — scan enabled just once
mode3 — multiple scans enabled
Of these, mode2 seems, to me at least, the preferred general-use choice in initial
setup.

Adding names like mode1 to a project using entirely di erent naming convention
(capitalization, spaces) is like walking in public with your zipper y open: it doesn't do any
real harm, but you just don't do it, at least not knowingly.
 It shows lack of respect for software users and development teammates. Worse, it is an
indication that the software QA department is not paying attention, so it is likely that
there may be some real problems in the software.
Of course, more descriptive option names, like O , Once , and Multi (or just On ) would be
even better.

Index

A1.4. C-AF Lock

C-AF Lock [BF] [C]

This is a protection against the camera refocusing in the C-AF mode when
something crosses the eld of view (like people passing between the camera and
the subject). It simply disables the focus adjustment if the change is large and
sudden.
The setting is entered as a whole value from -2 to +2. Negative values are referred to
as Tight , positive — as Loose . At higher values switching to a new AF target
happens more easily.
For most users, the default zero setting makes sense here.
Index

A1.5. AF Limits
AF Limiter [BF] [C]

Autofocusing will be made faster and more reliable if the AF search is narrowed
down to a preset distance range.
For example, shooting a baseball game we may want to set that range to be from 10 meters
to in nity, while for a butter y session — from 20 to 80 cm (this may depend on the lens
used, too).
This sub-menu serves two purposes: it allows you to prede ne three distance
ranges, but also to choose one of them (or none) to be applied.

Focus-limit activation is de nitely a shot-by-shot or session-level setting, therefore I

would greatly prefer having it moved to the Shooting 1 menu (or even to the SCP, with a
direct interface option). AF range setup would then stay here, although increasing the
number of presets to four (or even ve, but not more) would be nice.

Obviously, this option will be set to O in camera customization, but I also have the
three distance ranges prede ned, to be activated as needed. These ranges are:
0 to 1.0 m
.8 to 3.0 m
2.0 to 999.9 m (in nity)
Index

A1.6. AF Targets
Settings [BF] [C]

Here we choose, which AF target patterns will show up in the sequence displayed
when the used target is being set (Item 0.3).
My setup includes, in addition to Single Spot (which cannot be hidden), Full
Grid and Square . So far I haven't found any use for the Cross pattern, but
maybe one day I will.
Index
A1.7. AF Target Outline
AF Area Pointer [BF] [C]

If the actually selected AF pattern is Single Spot , Square , or Cross , its

outline (corner points) can be discreetly shown in the view nder or monitor, very
much like etching on a classic SLR groundglass. Here we de ne if and when it
happens: O (never), On1 (full-time) or On2 (release button half-pressed).
As the outline is not distractive at all, full-time (On1 ) is my recommended choice.

Wrong option naming, again. On , O , and Release (or similar) would be more
informative.

Index

A2. Focusing 2
A2. AF/MF

Second page of settings related to Manual/Auto Focus.

Index

A2.1. EVF Touch Target

AF Targeting Pad [BF] [C]

With this enabled, you can slide your nger around the monitor screen (inactive at
the moment), to move the AF target around while the eye-level EVF is being used.
(This is di erent than tapping the active monitor to set the target!)
Setting this to On is not enough to activate this feature: you also have to enable the
touch screen in Item J1.4 (the status of the screen-touch icon at bottom-left does not
matter here).

I've given this option a try and I can say that moving the AF target around with a thumb
squeezed between my cheek and the monitor is not my ideal way of doing things, to say
the least.

Anyway, as I have the entire touch interface disabled (in J1.4), this setting does not
really matter. Just to keep things neat, I keep it at O .
Index

A2.2. Set AF Home

Set Home [BF]

Here you de ne the AF settings to which the camera will revert when the [AF
Home] often shown as function is executed.
This function, by default not assigned to any button, can be bound, as many others, to a
button of your choice (see Item B.1).
It should not be confused with another functionality: long-pressing [OK] while in the AF
Area Select interface (by default, bound to [Fn1]). That will only reset the AF target position.
Three parameters, as listed below, can be memorized here (each can be also
disabled). As I am using mostly the Single AF, my recommendations will suit that
mode; you may have to modify them if Continuous AF is your preference.
Note that these three settings are not saved as a part of Custom Modes.

This is a strange design decision, and I can't imagine a rationale behind it. It would, for
example, make a perfect sense to have two custom modes: one for stationary subjects
 and one for action, each with a di erent Home setup.

The outcome is that, in order to get full and quick access to this part of the AF
functionality, we will need to assign two buttons: one to AF Area Select (by default:
[Fn1]) and one acting as an AF Home toggle.

Maybe an option for the long [OK] press, mentioned above, to act as an AF Home toggle,
would help here?

Index

A2.2.1. AF Mode
[BF]
AF Mode

The choice is between all six modes as listed in Item A1.1 or accessible from the
direct interface. For most users, S-AF will be a safe, reasonable choice.

A2.2.2. AF Target
[BF]

Among available target patterns, for Single AF a single-point target is my

preference. For any of the continuous AF modes, a larger one may make sense.

A2.2.3. AF Target Position

[BF]

Centered AF target as Home is the only sensible choice, this deep in a rarely-
accessed customization menu. I just can't imagine why would I want to have it any
other way.
Index

A2.3. AF Area Con g

Custom Settings [BF] [C]

This allows you to con gure the AF Area interface, used to set the shape and
location of the AF target as well as face detection preferences. (It does not set those
parameters, only de nes the interface used to do it.) You can de ne one or two
interfaces and choose the one to be used.
Actually, the only choice you make is which dial controls the target shape; the other one will
be used for face priority.

A needlessly complicated and confusing design. One binary choice would be enough.

Index

A2.4. AF Illuminator
AF Illuminator [BF] [C]

If you don't shoot in near-darkness, and if you nd the red AF light distracting (like I
do), then set this to O .
Index

A2.5. Face Priority

Face Priority [F] [C]
 With both AF and Face Priority active, the latter will take over whenever it detects a
human face in the frame, regardless of the current AF Area settings.
As the face-detection techniques improved a lot in the last six or eight years, I
wouldn't any longer be afraid to include Face Priority in my customization. If so, the
Near Eye i mode would be my choice.
Index

A2.6. AF Adjustment
AF Focus Adj. [BF] [C]

Stay away from this, unless you really, really, really know what you are doing.
But then, what would you be doing here?
Index

A3. Focusing 3
A3. AF/MF

The last of three pages devoted to that subject.

Index

A3.1. Preset MF Distance

Preset MF Distance [BF] [C]

The focus will be set to this value whenever you switch to the Preset MF mode. The
factory default of 999.9 m (in nity) makes sense, but is wasteful compared to using
the hyperfocal distance.

The rmware knows the current focal distance and the aperture about to be used. Adding
to that the user-chosen resolution tolerance (Circle of Confusion size) of one, two, or more
pixels, it can compute the hyperfocal distance for this combination.
For a 25 mm μFT lens at F/5.6, the hyperfocal distance is 7.5 m (using the classic CoC of F/1440).
Setting focus for that distance, we would get satisfactory sharpness from ½ of it (here:
3.75 m) to in nity. Setting it for in nity, the sharp zone will only start at hyperfocal (7.5
m). Really, a waste.
A Hyperfocal MF mode would be a great (and cheap!) addition.

Index

A3.2. MF Assist
MF Assist [F] [C]

The camera may be set up to activate view nder magni cation (see D2.4) and/or
peaking (D3.2) automatically every time the focusing ring is moving. Nice, because
you do not have to enable these features explicitly.
Initially, I kept them both On , but when I started actually using manual focus, the
automatic nder magni cation turned to be a hindrance rather than help. This is
why now I have magni cation O and peaking On.
Index

A3.3. MF Clutch
MF Clutch [BF] [C]
 The Manual Focus Clutch is one of the extra features of the premium MZD Pro lens
line. With the camera set to AF, it allows you to switch to MF and back by pulling or
pushing the lens focus ring, with the distance scale showing or hiding as needed.
Fast, convenient, and intuitive.
Still, if you rarely use manual focus, you may choose to disable the clutch, to avoid
accidental focus mode switching (it happened to me more than once).

The menu options to do that are Operative and Inoperative . Why not On/O ?

Index

A3.4. Focus Ring

Focus Ring [BF] [C]

This option sets how you turn the Manual Focus ring to get to in nity: or .
Obviously, it works only with lenses using y-by-wire, electronic focusing.
Set this to counter-clockwise, as this is how mechanically-coupled Zuikos work,
and forget about it.

Using a system with some lenses focusing in one direction and some in the other, just to
get the rst group consistent with legacy Nikkors? Now we get inconsistency not only
between di erent systems, but even within one of them. This option only makes the
menu tree more convoluted.

Index

A3.5. Bulb & Time Focus

Bulb/Time Focusing [BF] [C]

Use this to enable or disable manual focus adjustment when a Bulb or Time
exposure is under way. Not that it matters, but I keep it at O .
I can think of some pretty exotic scenarios where a long-exposure enthusiast will
appreciate having an option to re-focus during a long exposure. Perhaps one of the next
projects to do?
Index

A3.6. Lens Resets

Reset Lens [BF] [C]

If set to On, the camera will reset the lens (in nity, short focal) when being turned
o . (This works only for lenses with power zooming and/or focusing.)
Index

B. Direct Controls
B. Button/Dial/Lever

Before you get any deeper into this chapter, consider this.
The order of topics in this article follows that in the menu tree, so sometimes you read
about tweaking some function well before you read what it does; some settings may
depend on others, introduced only later — you must have noticed that already.
For the time being at least, we have to live with the way things are, but if this is your rst
reading, you may consider jumping over the remainder of this chapter straight to C1 (Drive
Modes ), and return here later.
 This camera control system allows the user to access many settings or functions
without a need to go into a tree of options, arranged as a traditional computer menu
tree or otherwise.
There is nothing inherently evil about menu-based control systems; actually, they are about
the only tool making it possible to access large numbers of options or functions. Imagine a
camera with 200 buttons or other external controls for direct access to 200 di erent things.
How fast and e icient.
About 95% of user's interactions with a camera involve just 5% (or fewer) functions or
settings. These should be identi ed and considered for direct access. The best example is —
yes, you've guessed this right! — the old faithful shutter release.
The number of directly-accessed features should remain limited, preferably less than a
dozen, to avoid memorization problems. This is even more important with re-assignable
controls, with no labels showing the purpose of each (or, worse, showing wrong ones,
because the controls were re-assigned).
I could go on this until the cows come home, so back to the E-M1 Mk.II.
The Mk.II interface consists of the following: 18 buttons of various kinds (7 can be re-
assigned, plus two partly so), two dials, a lever (making some of the interface
modal), and three special-use controls (shutter release, on/o switch, mode dial).
Except for the last group, all provide a visual feedback from the monitor: you use a
control, and the screen shows what's happening.
An additional re-assignable button is included on MZD Pro series lenses; the optional HLD-9
power grip adds an arrow pad and two "regular" buttons.
The functionality of the lever, control dials, and some of the buttons can be re-
assigned by the user, and this is what this chapter is about.
Index

B.1. Button Binding

Button Function [F] [C]

This branch of the menu is used to assign functionality to most of camera's buttons.
All of these come with some defaults pre-assigned, and these defaults make very
good sense, therefore I would think twice before introducing any changes.
Index

Bindable Functions

Before we start messing around with our buttons, let us see a quick (?) list of
Bindable functions. (Some of these, exhibiting non-regular behavior, will be
discussed separately.)
Function names (leftmost) are color-coded in a way similar to described 👁 above,
depending on how often they are likely to be accessed: rarely (or never), moderately
(session level) or often (individual shots).
The Type column shows how the function works when the button is pressed:
Act — performs an immediate, one-time action
Tog — toggles some on/o setting
W — turn dial with button down to enter an adjustment
Scr — opens a new user interface
* — refers to long-pressing a button.
Additionally, I marked the background for some functions, re ecting my, possibly
subjective, thoughts on binding them to buttons:
Green: already bound by default; I'd recommend leaving it as is;
Blue: potentially useful, but already easily accessible by other means;
 Silver: not really useful, don't bother.
The tick mark shows that my recommended setup binds this functionality to a
button, but does not specify how. The binding will be shown in detail later.

Function Shown as Type Description ?

To avoid an accidental change, or to keep
O O - one button for quick, one-time
assignments.
Short-press invokes the top function, long
Multi-Function Multi Function - press allows to name a new top function ✔
from a list.
Select AF pattern and position, set face
AF Area AF Area Select Scr ✔
priority mode.
Not needed to do videos: use mode dial
Record Video REC Act
instead.
AE/AF Lock AEL/AFL Act As de ned in Item A1.2 ✔
If EVF Eye Sensor (I.1) is On , toggles
Monitor View Selection Tog between monitor view and SCP; if O — ✔
between monitor view and EVF.
Takes a gray card sample, stores result in
Reference WB Act ✔
chosen slot.
Toggle on press or on hold-down, see Item
DoF Preview Preview Tog ✔
D2.5
Sorry, can't gure this out or nd a good
Stop AF AF Stop Act
description.
Reset (optionally) focusing mode, target,
AF Home Home Act ✔
location.
Enter or leave the bracketing mode as
Tog
Bracketing BKT previously set, or change settings as in ✔
*W
Item 2.1
Tog Switches to MF and back (last used AF), or
MF MF *W changes AF mode
Tog Apply limits On/O ; long press: choose
AF Limits AF Limiter *W from prede ned limits
Tog Switch to Preset MF and back to last used
Preset MF Preset MF *W focus mode; long-press to change the latter
Tog
IS Mode IS Mode Toggle IS On/O or change the IS mode.
*W
Exp Why would I want to give up the default,
Exposure *W
Compensation no-button arrangement?
High Dynamic Tog
HDR Toggle HDR on/o , set HDR mode. ✔
Range *W
Toggles between Raw+JPEG and sole JPEG
Tog
Image Quality RAW in the saved output or allows to select that
*W
combination.
Take a test picture, save some card space:
Test Picture Test Picture Act exactly .005% of what I have on my
camera.
Enters underwater mode, then toggles
Underwater Tog between UW Wide and UW Macro ; long-
press restores non-water settings
This is a feature I consider useless. Binding
Digital Tele Digital Tele-converter Tog
it to a button?
Doing this in postprocessing gives much
Perspective Keystone Comp. Act
better results.
Magnify Magnify Tog
There is no option to toggle both with one
Peaking Tog button.
Peaking
 Show Level Level Disp
Tog This is the smaller of the two levels
Gauge available; the same as in Item I.6 (and only
in EVF).
Dials: ISO/WB ISO / WB Scr These enable ISO and WB adjustment with
dials. Useful if your lever assignment (Item
Dials: WB/ISO WB / ISO Scr B.4.1) is di erent than Mode 1.
The Simulated Optical View nder mode.
S-OVF Display S-OVF Tog Frankly, I can't see any real di erence it
makes.
Again, I'm not sure how the entered
Enter lens info Lens Info Settings Scr
information is used.

The table does not include functions you can bind only to the arrow cluster buttons,
hardwired to the knob buttons, or those used only in the Multi-Function slots; they
will be dealt with separately.

Button recommendations

These are not really recommendations, but rather my personal preferences. Still,
you may use them as an example and starting point in your own customization.
The following table should be (almost) self-explanatory, given the legend:
✔ — Default binding, retained
✘ — Default binding, removed
✚ — New binding added

B.1.1 B.1.2 B.1.3 B.1.4 B.1.5 B.1.6 B.1.7 B.1.11

Function Shown as Remarks

AF Area AF Area Select ✔

Multi-Function Multi Function ✔

Record Video REC ✘

AE/AF Lock AEL/AFL ✔

Monitor Toggle View Selection ✔

Reference WB ✚ ✘

DoF Preview ✘ ✚

Stop AF Stop AF ✘

AF Home ✚

IS Mode IS Mode ✚

As you can see, I'm keeping four factory defaults, having added or modi ed another
four assignments:
Replacing DoF Preview with IS Mode on the lower front button.
Replacing Reference WB with AF Home on the upper front button. At long
last, I have my panic button.
Replacing Record Video with Reference WB , moved there from the upper
front button. it is more accessible this way.
In my book, Reference WB is one of the neatest camera features available, much more
accurate and dependable than the commonly used TTL measurement, whether based
or not on image data. It works as good as an incident light meter (even if 90% of
camera users does not know what that is).
 Replacing Stop AF with DoF Preview on the lens button. While at my usual
working aperture of F/5.6 or wider, DoF preview is not very meaningful, I'm
feeling better having it — if only on premium lenses.
Index

Multi-Function Button

This button may have from one to eight functions assigned. At any given moment
one of them is designated as "top"; it will be invoked when the button is pressed.
When you hold the button down while turning either control dial, the next function
on the list will get the top status.
Which of the functions listed below will show on the list, depends on the choice you make in
Item D1.5, also shown in the last two columns of the table.

Function Shown as Type Description Factory Wrotniak

A fancy way to enter three
Hi/Lo/Mid Levels Highlight & Shadow Scr numbers (Midtones is hidden in a Not removable
second screen).
Opens Color Creator setup screen.
Color Creator Color Creator Scr ✔ ✔
This is the only way to get there!
Also accessible from SCP and the
Aspect Ratio Image Aspect Scr ✔
menu
S-OVF Display S-OVF Tog ✔ ✔

Peaking Peaking Tog See Bindable Functions above ✔

Magnify Magnify Tog ✔

Dials: ISO/WB ISO / WB Scr This looks to me like the worst

possible way to access the WB/ISO
Dials: WB/ISO WB / ISO Scr settings.

Not much of a choice. Levels a.k.a. Highlight & Shadow is hardwired on the list. If
you want to use the Color Creator , include it (activating it also in Items D1.3 and
D1.5); this is the only access you will ever have to this function.
Well, throw in S-OVF ; maybe playing with it you will see a di erence; I'm afraid, however,
that this will become a Trinket Button , with stu you rarely (if ever) need.

There must be some explanation, but it remains a secret: why there are so few functions
bindable to the Multi-Button? Why this seemingly random selection? Why, for example,
the Aspect Ratio is in, but not Image Quality ?

Index

Arrow Pad Buttons

These buttons are re-assigned in a di erent way than the others: rst you make a
choice for the whole cluster, and depending on that — for the individual (arrow)
keys. The assignment holds when the camera is in the picture-taking mode.
The rst choice, shown in the menu as , is between the following:
O — all arrow keys disabled
AF Area , bringing up an overlay with the full AF Area interface, like in
Bindable Functions
Direct Function — now two of the arrow buttons, and , can be assigned to
any function from this table:
 Function Shown as Type Description Remarks
O O .

Flash Mode Flash Mode Scr Accessible via 2 .

Zoom by wire with arrow buttons; only
Power Zoom Electronic Zoom Act with some lenses; sometimes seems .
unpredictable (?)
Touch Screen
Lock *Tog Will override the setting in J1.4 .
Lock
Underwater Tog See Bindable Functions above .
Exp For compatibility with some Pen or
Exposure ?
Compensation compact cameras?
Tog
MF MF See Bindable Functions above .
*W
Dials: ISO/WB ISO / WB Scr
See Bindable Functions above .
Dials: WB/ISO WB / ISO Scr

For a number of reasons, I prefer to keep my arrow pad out of the rede nable
control business, therefore setting its assignment to O .
Index

B.2. Dial Binding

Dial Function [F] [C]

Control dials by themselves (i.e. without any button being pressed) are used to
adjust some of the basic picture-taking parameters, one per dial. When we choose to
use a gadget Olympus calls the Fn Lever , the number of controlled parameters rises
to four. This is the most common setup of the lever; it will be discussed in the next
section; here let us only remember that the lever may be in one of two positions,
referred to (how appropriately!) as 1 and 2 .
This table shows the parameters assigned to dials as per factory default
con guration and then — in my preferred setup.
I would strongly recommend leaving the dials at factory settings for the Menu and
Playback modes, so I'm even not showing these modes here.

Shown Factory Binding Wrotniak Binding

Mode Lever
As Rear Front Rear Front

1 Ps
Program P
2 WB ISO ISO WB

1 FNo FNo
Aperture Priority A
2 WB ISO ISO WB

1 Sh Sh
Shutter Priority S
2 WB ISO ISO WB

1 Sh FNo FNo Sh
Manual M
2 ISO ISO WB

While the original dial setup makes a good sense and is perfectly usable, there is a
rationale behind every change I've made.
 The assignments of WB and ISO have been swapped: this is because I change ISO
more frequently, and I nd a thumb dial easier to operate than a fore nger one.
The consistency has been restored by removing exposure compensation from the
Manual setup. Besides, that would work only if you use the Auto ISO option in the
Manual exposure mode (see Item E1.5), making it no longer manual.
Program Shift (Ps) has been removed from the Program mode. At this moment the
camera provides no information how much of a shift and in which direction is already
applied, which makes the whole shift feature rather useless.
Swapped aperture with shutter speed in Manual. That's because I'm spending most
of the time in Aperture Priority, and it is nice to have the aperture control where I'm
used to.
Index

B.3. Dial Direction

Dial Direction [F] [C]

There are two dial setups there: one for a dial controlling program shift, and another
for everything else. Because I don't have a Ps dial in my setup, I have to deal only
with the latter.
The choice is between two options, inventively named Dial1 and Dial2 . In the rst
one, the controlled parameter value (F-number, shutter speed, ISO) increases when
you turn the dial anti-clockwise (thumb to the right, fore nger to the left). This is the
option I chose, although it does not really matter.
Index

B.4. Fn Lever
Fn Lever Settings [F]

The Fn Lever is a relatively new addition to the Olympus set of tricks; it debuted
with the E-M1, in 2013. It is a small, mechanical switch, which can be set to one of
two positions; logically it does not di er from a lockable button: it stays in place until
switched back.
Index

B.4.1. Fn Lever Use

[F]
Fn Lever Function

The lever functionality can be selected as one of the following.

O — actually, I was close to disabling the lever on the original E-M1, and I won't
be surprised if you do that.
mode1 — the basic reason for which the lever was introduced (the others are
afterthoughts); switching the camera between two states, di erently
responding to basic controls. We will discuss this in detail a little later.
mode2 — a variation on the AF Home theme. The camera maintains two
independent copies of the AF parameters (AF Mode, target shape, target
location), and the lever is used to switch between them. Very much like "what
happens in Fn-two stays in Fn-two".
mode3 — allows you to switch to the movie mode regardless of the mode dial
posFition.

mode1 and others should be renamed to something following camera-wide naming

conventions and, possibly, more meaningful.
 None of these options bring anything new to the table. While Olympus is touting
this as a major development in camera interface design, it really is just a better-
looking, lockable button.
There is nothing wrong about getting an extra button, especially a lockable and good-
looking one; let's just get the proportions right.
Having two extra parameters accessible via control dials is, obviously, nice. What is
not, is the interface modality this introduces. And this modality, regardless of how
cool it looks in the beginning, sooner or later turns evil.
Your subject's face is in a patch of sunlight and you need to dial in an extra 2/3 EV of
exposure compensation. Oops, you just raised the ISO by two notches, to 800 instead! Five
minutes ago you were setting that to ISO 200 and forgot to move the lever back to Position
1 . Now, quickly: move back the ISO, turn the lever, add compensation — too late.
In spite of these reservations, I decided to use the mode1 option, especially with the
extra bene ts described in the next section. I just have to develop a habit to move
back to position 1 as soon as I'm done with the adjustments requiring position
2 .
Index

B.4.2. Switch Knob Buttons

[F]
Switch Function

With this option active, lever position 2 changes not only the dial action, but also
the e ect of pressing the two non-assignable knob buttons (far left, next to the
power switch).
Condition Front Button Rear Button
Option Fn Lever Function Shown as Function Shown as
O OR 1 Drive+HDR /HDR AF+Metering AF/

On AND 2 Bracketing BKT Flash

With no other direct access to ash and bracketing, my recommendation is to take

an advantage of this capability: On.
The bracketing button work in two ways: short-pressing toggles that feature, while long-
pressing opens a setup screen.
Index

B.5. Power/Fn Lever

Fn Lever / Power Lever [F]

This feature allows you to use the Fn Lever as camera's power On/O switch, and
not in one, but in two con gurations (di ering in which position is On ). While it is
active, the regular power switch is disabled, and the regular Fn Lever functionality
remains inaccessible.
Index

How do I set...
All this customization business may leave you quite disoriented at rst. That's why
I'm including this little reference table. It shows how to access various settings and
functions, using the external control system as recon gured to my
recommendations.
 and stand for the rear and front, respectively, buttons on top of the fake knob, next to
the power switch.

Direct controls
Setting SCP
Lever Button Dial
Exposure Compensation 1 - -

Aperture 1 - -

Shutter (S Mode) 1 - -

Shutter (M Mode) 1 - -

ISO 2 - ✔

WB 2 - ✔

Drive Mode 1 ✔

HDR 1 -

AF Mode 1 ✔

Metering Pattern 1 ✔

Flash Mode 2 ✔

Flash Compensation 2 ✔

Bracketing Type 2 -

Bracketing Frames 2 -

AF Area - ✔

Reference WB - - ✔
Monitor View - - -
AE/AF Lock - - -
AF Home - - -
IS Mode - - -
Highlight & Shadow 2× -
Color Creator - Multi- 2× -
S-OVF Function - -
DoF Preview - - -

Some settings not accessible from the direct interface still can be accessed from the
Control Panel: Picture Mode , Card Usage , Image Size/Compression , and Aspect
Ratio . I'm not missing them much, as I need only (and rarely) the rst two, and then
the SCP access is still quite speedy and convenient.
There is also a grup of functions and settings which are left without a reasonably
convenient access. Most are not really useful; I'm still having some doubts about
Peaking and Magnify (which I remember using maybe once a year).
Index

B.6. Power Zoom Speed

Elec. Zoom Speed [F] [C]

A ects only power zooms, and of interest mostly to videographers. Normal must be
a sensible choice, I guess.
Index
 C1. Drive & Release
C1. Release/ /IS

The term "drive" or "drive mode" refers to the way in which the consecutive pictures
are taken when the shutter release is pressed:
Single-frame, or S — the camera takes one picture; for another one you have to
let go and press the button again;
Continuous, or C — the camera keeps taking pictures as long as the release
button is pressed, stopping only when you remove the pressure, or when (and
if) a a pre-de ned number of frames was shot in one sequence.
Many cameras, the E-M1 in this number, allow you to choose the speed of
Continuous mode as High or Low, with the actual frame rates (FPS)
corresponding to these being pre-set as a part of camera setup (see Items C1.3
and C1.4).
Another term, Release Priority , refers to the arrangement when the camera will
take a picture when the shutter release is pressed even if the AF system wasn't able
to set the focus.
Index

C1.1. Single Release Priority

Release Priority S [BF] [C]

My recommended setting is O , the factory default: the picture will not be taken
until the AF system nds focus. (Obviously, this is not applicable in the MF mode.)
Index

C1.2. Continuous Release Priority

Release Priority C [BF] [C]

I'm using On (default) here: the picture is taken (almost) immediately even if the
focus has not been found yet.
Index

C1.3. Set Low Drive Rate

L Settings [BF] [C]

C1.4. Set High Drive Rate

H Settings [BF] [C]

Here we de ne what we really mean by Low and High frame rate in sequential
shooting. Steady and Silent shutter modes were brie y explained in Item 1.6,
and so was Pro Capture .
Max in the table is the maximum number of frames in a sequence (O means
unlimited); Pre is the number of pre-release frames kept in the Pro Capture bu er.

Factory Wrotniak
Item Speed Shutter Shown as
Rate Pre Max Rate Pre Max
Low -
C1.3.1 / 10 - O 6 - 24
Steady
C1.3.2 Silent 18 - O 6 - 24
C1.3.3 Pro 18 8 25 15 12 36
 Capture
-
C1.4.1 / 15 - O 15 - 60
Steady
C1.4.2 High Silent 60 - O 15 - 60
Pro
C1.4.3 60 14 25 15 12 60
Capture

Index

C2. Image Stabilization

C2. Release/ /IS

The in-body image stabilization (IBIS) system by Olympus is, as far as I know, the
best IS solution on the market, and even in the last years it kept improving steadily.
The most visible change in recent years was making it work in tandem with in-lens
IS, incorporated in some Pro-line lenses (at this moment just two: the 12-100/2.8 and
300/4.0).
Index

C2.1. IS Mode
Image Stabilizer [BF] [C] [SCP]

Trying to compensate for any camera movement is not always a good thing. The
photographer may be intentionally panning the camera, following a moving object
to reduce its motion blur, at the same time adding such blur to the steady
background.
The most common case is when the camera, in landscape orientation, is panned
horizontally. In this situation we would like the IS to compensate only for the vertical
component of the camera motion, leaving the horizontal component alone. This is what IS
modes are for.
The following IS modes for still photography are available:
O

S-IS Auto — detects panning and disables the appropriate component of IS

S-IS 1 — always applies IS to both components
S-IS 2 — for panning along the longer frame dimension
S-IS 3 — for panning along the shorter frame dimension
While switching between modes can be best done with a dedicated button (used as
a toggle or, with a dial, as a selector), or via the Control Panel , in the camera
customization process I've set this to Auto.

This setting may change from one session (or even frame) to another, therefore it should
not be treated as a part of camera customization. It should be moved to one of the
shooting menus or, even better, removed from the menu system at all.

Index

C2.2. Continuous Shooting IS

Image Stabilization [F] [C]

Competing for the engine resources in the Continuous Drive Mode, IS may be
a ecting the serial frame rate. Here you can de ne which is more important,
 choosing between FPS Priority (rate) and IS Priority . I don't think it really matters,
so I keep the factory default: FPS Priority.
Index

C2.3. IS on Half-Press
Half-Way Rls with IS [F]

With this set to On (the default and my choice), Image Stabilization will be active
while the shutter release button is held half-pressed. (Normally it activates just at
the moment when the shutter res.)
This helps a lot, reducing view nder shake with longer lenses (above 100 mm or so),
and/or with view nder magni cation used. It also shows well the e ectiveness of
the IS system.
Undocumented feature: This option also makes IS active when the view is magni ed,
regardless of the release button.
Index

C2.4. Lens IS Priority

Lens IS Priority [BF] [C]

This is applicable only to non-Olympus lenses in the μFT standard; read: those by
Panasonic, with in-lens IS (OIS). Depending on this setting, one or the other IS
system will be used on lenses without an IS On/O switch:
On — the lens IS
O — the body IS
In either case, the camera's IS O setting (C2.1) turns the stabilization o .
On lenses with an IS On/O switch, that switch alone de nes if the lens OIS is used.
If not, the in-body system will operate as usual.
Index

D1. Interface Options

D1. Disp/ /PC

In various places within the interface, you pick an option from a list of those
available, or just switch between options from such a list. If that list is too long, the
process may become slow and cumbersome.
The submenus in this branch (except for the rst one, D1.1) are used for the sole
purpose to make these lists shorter, faster to use. They do not pick any options; just
de ne what choices will be available when the actual picking (or switching) is done.
Of course, if you remove (hide) an option from a list, it becomes unavailable in camera
settings until restored from here. Be warned: this may sometimes be quite confusing!
Index

D1.1. Shooting Interfaces

Control Settings [F] [C]

Here we choose which interfaces will be available, depending on the mode the
camera is in.
You bring those interfaces up by pressing [OK] when view nder/monitor is active, and
switch between them (if more than one are enabled) using the [Info] button.
 The table shows (F) factory defaults and (W) my recommendations (the gray
background shows the options that can't be used).

D1.1.1 D1.1.2 D1.1.3

Interface iAuto P/A/S/M Art Remarks
F W F W F W
Live Guide ✔ Rather useless

Live Control ✔ ✔ ✔ Duplicates some of the SCP functionality

Live SCP ✔ ✔ ✔ ✔ ✔ Like "regular" SCP, but on a live background

Art Menu ✔ ✔ An obvious choice — if you use Art Filters at all

Please note that for every mode I de ned just one interface. Except for Art , this is
the good, dependable Super Control Panel , just thrown on a live background.
Actually, for these modes I could have removed all interfaces with no loss of functionality:
instead of pressing [OK] to get to the Live SCP , I can always press the Monitor button
to get into the classic SCP version.
Index

D1.2. Playback & Viewing

/ Info Settings [BF] [C]

As above, here we decide what views will be available in various contexts.

Index

D1.2.1. Playback Views

[BF] [C]

These options are available when you replay images full-frame, i.e. without
magni cation. Switching is done with the [Info] key.

Option/View Factory Wrotniak Remarks

Image Only ✔ ✔ Full, clean frame

Overall ✔ ✔ Small thumbnail, exposure data, RGB histograms

Luminance histogram on the background of full
frame

Highlight & Shadow Areas out of range marked in color

Light Box Split screen, magnify, one half scrolls through frames

Additionally, there is one non-removable view, showing the full frame with serial
number, date/time, aspect ratio, and size/compression. Actually, I would gladly get
rid of this one.
The histogram and highlight/shadow views are largely redundant, as this information is
also shown in the detailed info view.
Index

D1.2.2. Magni ed Playback Views

[F]
 When you magnify the image with the control dial, pressing [Info] will keep
switching the display between up to 3 states:

Option/View Factory Wrotniak Remarks

Magnify Frame ✔ ✔ Full frame, with an outline of area to magnify

Magnify Scroll ✔ ✔ Magni ed area, scrollable over frame

Magni ed area, will show the same location of next
Select Frame ✔ ✔
le

Factory defaults are right; I need all three views.

Index

D1.2.3. View Overlays

[F] [C]
LV Info

From these we select information overlays to scroll through when using the
view nder or monitor.

Option/View Factory Wrotniak Remarks

Image Only ✔ ✔ Nothing beats this one!
Best aid for adjusting exposure
✔ ✔
compensation.

Custom1 Highlight & ✔ ✔ Somewhat redundant if I have the

Shadow histogram.

Level Gauge See also Item I.6.

A di erent view, obtained by a di erent

Highlight & choice from the same set of available
Custom2 ✔ ✔
Shadow overlays.
Level Gauge ✔ ✔

I wonder, what was the logic behind insertion of this shooting-related item between two
others, both dealing with playback?

Index

D1.2.4. Index/Calendar
[F] [C]
Settings

These are display grids, available when you zoom out from full-frame playback.

Option/View Factory Wrotniak Remarks

4
A square matrix of thumbnails;
9 5×5 seems like best compromise between
compactness and readability, but your taste
25 ✔ ✔ may di er.
100

My Clips ✔ Help!

Calendar ✔ ✔ I keep it, but never used it.

 Index

D1.3. Picture Mode Options

Picture Mode Settings [F] [C]

The items selected here will be shown in sub-menu 1.2, also in the scrolling list called
from Control Panel and in the Art Menu interface.
There is one more menu using these items: it is used to specify modes and lters included
into Art Bracketing . That menu, however, always lists all items, not just those selected here.

Mode/Filter Factory Wrotniak Remarks

Olympus says nothing about what this actually
1 i-Enhance ✔ ✔
does.
2 Vivid ✔ ✔

3 Muted ✔ ✔ The classic Olympus Picture Modes .

Natural is not shown here, because it is hardwired
4 Portrait ✔ ✔ to be non-removable.

5 Monochrome ✔ ✔

6 Custom ✔ ✔ I'm still not sure what to use it for.

7 e-Portrait ✔ ✔ Another undocumented feature. What does it do?

8 Underwater ✔ Obviously, if you need it, you need it.

9 Color Creator ✔ ✔ I've included it here just to try it our.

... ... 28 Art Filters ... ✔ I'm not showing this list here, no way!

Disabling all Art Filters here removes the clutter in other places of the interface,
where I want to switch between Picture Modes without having to scroll through
dozens of them.
It also removes them from the scrolling Art Menu interface. They remain accessible,
though. The Art Bracketing option still remains there; use [Info] to get inside it and select
the lters you want to apply: one or twenty. Of course, saving a raw .ORF le and applying
lters in Olympus Viewer works even better.
Index

D1.4. Drive Mode Options

Settings [F] [C]

Yet another monster menu used to shrink other menus (a meta-setting?). Here you
choose what will show in sub-menu 1.6.1 and in scrolling lists accessible from Control
Panel or via the Drive /HDR button.
If you disable the Steady or Silent shutter mode (Items 2.5.1 and 2.5.2, respectively), then
the related drive modes will be excluded from those sequences regardless of their status in
this menu.

Shown Shown
Drive Mode Factory Wrotniak Drive Mode Factory Wrotniak
As As
Single Frame Always On 2s Self-Timer 2s
Steady Single Frame Steady 2s Self-Timer 2s

Silent Single Frame ✔ Silent 2s Self-Timer 2s

Sequential High H ✔ ✔ 12s Self-Timer 12s ✔ ✔

Silent Sequential High H ✔ Steady 12s Self-Timer 12s

Pro Capture High H ✔ ✔ Silent 12s Self-Timer 12s

Sequential Low L ✔ ✔ Custom Self-Timer C ✔ ✔

Steady Custom Self-
Steady Sequential Low L C
Timer
Silent Custom Self-
Silent Sequential Low L ✔ C
Timer
Pro Capture Low L ✔ ✔ High Res ✔ ✔

Index

D1.5 Multi-Function Options

Multi Function Settings [F] [C]

Here we choose the functions among which the Multi-Function Button (if de ned)
can switch. The options available, factory defaults, and my recommendations are
shown in a tabular form in the section devoted to that button.
Index

D2. Monitor & EVF

D2. Disp/ /PC

This menu branch deals with the visual aspects of the EVF and monitor display:
brightness, color, frame rate, etc. — as opposed to interface aspects, de ning what is
being shown and when.
Index

D2.1. View Boost

Live View Boost [BF] [C]

With View Boost active, the displayed live image is optimized for viewing; without
— it looks more like the captured picture will look, a ected by under- or over-
exposure.
More exactly, there are three options here:

O — boost disabled, image re ects exposure;

On1 — boost enabled, image optimized for viewing;
On2 — enabled, drop in frame rate for darker scenes (not really clari ed in the
manual).
Depending on the exposure mode, di erent boost options can be applied:

Exposure Mode Factory Wrotniak

Manual On1 On1

Bulb/Time On2 On2

Live Composite O O

Others O O

Note that Others includes P, A, and S autoexposure modes, where you probably do
most of your shooting, therefore it is the most important of these settings.
 While I have no experience whatsoever with Live Composite exposure mode, all
other defaults make perfect sense, so I'm keeping all factory settings.
Index

D2.2. Art Mode View

Art LV Mode [F] [C]

A similar decision has to be made when we take a picture using an Art Filter.
Surprisingly, there is no option to disable the lter in viewing; the choice is only
between
mode1 , showing the e ect more accurately but with a possible drop in frame
rate, and
mode2 , showing less of it, but with less/no slowdown.
The factory default is mode1. I left it unchanged, because I have all Art Filters
disabled anyway.
Index

D2.3. Frame Rate

Frame Rate [BF] [C]

The choice is between Normal and High . The latter must be coming at a price, so I'm
keeping the default Normal, which seems just ne.
Index

D2.4. Magnify View

LV Close Up Settings

Two options relating to view magni cation are handled in this branch.

D2.4.1. Magnify Mode

[F] [C]
LV Close Up Mode

Here we decide what happens when we half-press the shutter release while toggled
into magni ed view:
mode1 — the magni ed view ends, selection box still displayed, AF not active;
mode2 — magni cation persists, AF activated.
mode1 is the factory setting, and I'm keeping it, even if I no longer have this function
bound to a button.

D2.4.2. Magnify Boost

[F] [C]
Live View Boost

If this is set to On, the brightness of magni ed view will be changed for better
visibility. This is the default as well as my preference.
Index

D2.5. DoF Preview

Settings
 Two options, related to Depth-of-Field preview (which I decided to keep in my
con guration, but only if the lens button is available).

D2.5.1. DoF Preview Toggle

[F] [C]
Lock

With this set to On, the button assigned to DoF will act as a toggle, which is also my
preference.

D2.5.2. DoF Preview Boost

[F] [C]
Live View Boost

The default is On.

Index

D2.6. Flicker Reduction

Flicker Reduction [F] [C]

According to the manual, under arti cial light the viewing system may exhibit some
icker. While I'm largely ignorant in this area, I would think this happens rather with
luminescent light (as opposed to incandescent), as its intensity varies at the AC rate
(50 or 60 Hz, depending on the country.
Anyway, this e ect can be suppressed (most probably by changing the display
refresh rate), and this menu item provides related options: O , 50 Hz , 60 Hz , and
Auto (auto-detect). Just set Auto and forget about it.
Index

D3. Viewing Aids

D3. Disp/ /PC

These are gadgets which make your viewing experience more civilized both on the
EVF and monitor.

D3.1. Grid
Grid Settings [F] [C]

The optional graticule which may be displayed in the monitor and EVF can be quite
helpful in composing the frame and keeping the lines straight. I use it all the time.
You can set some of its attributes:

D3.1.1. Color
[F] [C]
Display Color

The choice is between Preset 1 and Preset 2 , with each of those use-de nable as
RGB plus opacity. I am using unmodi ed Preset 1 (almost black).
Note: This also a ects the AF Target outline (Item A1.7).

D3.1.2. Type
[F] [C]
Displayed Grid
 You can choose O (default) or one of prede ned grid/scale layouts:
.
My choice is the rst 3×3 version, but this is really a personal preference.

D3.1.3. Use in EVF

[F] [C]
Apply Settings to EVF

With On selected, the same grid will be overlayed in the EVF, and that's how I like it.
Take your pick.
Note: with this option selected, the menu Item I.5. will become inaccessible. If you
want your grids to be di erent, set this to O and de ne the other grid there.
Index

D3.2. Peaking
Peaking Settings

Three settings here:

D3.2.1. Color
[F] [C]
Peaking Color

Red is the factory setting and also my choice.

D3.2.2. Intensity
[F] [C]
Highlight Intensity

While Normal is used out of the box, I prefer High.

D3.2.3. Brightness Boost

[F] [C]
Image Brightness Adj.

Makes the view more readable with peaking active. I prefer this at O , which is also
the factory setting.
Index

D3.3. Histogram
Histogram Settings [F] [C]

Here you de ne the luminance values (0..255) starting from which down or up the
histogram ends will show in red, signaling possible loss of shadow or highlight
detail.
The factory settings are 0 and 255; I really prefer them moved a little away from
these extremes, so I'm using 2 and 252.
Index

D3.4. Mode Guide

Mode Guide [F] [C]

These are the hints showing when you turn the Mode Dial. If you need them, you
should have bought another camera (or just read any book on photography
published within the last 50 years). O .
 Index

D3.5. Sel e Assist

Sel e Assist [F] [C]

What is a sel e? O .
Index

D4. Connectivity
D4. Disp/ /PC

Connections to the outside world (at least most of those).

D4.1. Beep
[BF] [C]

Audible autofocus con rmation. The default is On, and so is my preference.

Index

D4.2. HDMI
HDMI [F]

This is the connection to a high-de nition TV. It uses the camera's dedicated HDMI
socket. There are three settings here, and I have them, respectively, at 1080p
(output resolution), O (controlling the camera from external device) and 60p
Priority (the U.S. standard).
These are the settings related to still photography. Those related to video are in the
video setup menu (not discussed here).
Index

D4.3. USB
USB Mode [BF]

This is what you use to connect to a computer using the USB Type C socket. Here
you choose the USB mode the camera puts itself into when it detects a USB
connection.
Auto — shows a menu with all other options to choose from;
Storage — most typical connection; makes the camera a storage-class device,
so the computer can access it as another disk drive,
Olympus Updater has to run with the camera connected in this mode.
Olympus Viewer can import images from the camera connected in this mode.
MTP — to be used with Windows Photo Gallery (why would I ever do that?)
— output directly to a compatible printer. I never used this, nor met
Print
anyone who did.
— connecting to a compatible software (with camera controls remaining
operative).
Olympus Capture has to run with the camera connected in this mode.
PCM Recorder — external video-recording device.
 If you are going to use Olympus Capture , then Auto should be your choice;
otherwise just set this to Storage.
Index

E1. Exposure
E1. Exp/ISO/BULB/

These are options and settings related to exposure (auto and manual), with two
extra items dealing with noise of two di erent kinds.
Index

E1.1. Exposure Shift

Exposure Shift [F] [C]

This is an extra correction, added to any exposure evaluation done by the camera. It
does not show in any other place in the interface, so it can be seen as a meter
calibration. It a ects all modes of auto-exposure, but also the readout showing how
much the current manually-set exposure di ers from recommended (metered).
Actually, this is not a single value but three; one for each metering pattern: matrix
(ESP), center-weighted, and spot. They are set in 1/6 EV increments.
The factory settings for all three are zeros. My preferences are:
Matrix: -1/6 EV
Center-weighted: -1/6 EV
Spot: 0
As I'm using the ESP metering 98% of time, this means I'm taking pictures which are
by 1/6 EV darker than Olympus would like me to.
My correction for the original E-M1 was the same, but with the Four Thirds SLRs I've been
using -1/3 or even -1/2 EV. Maybe it was Olympus metering which changed, maybe — my
preferences and working habits?
Index

E1.2. EV Step
EV Step [BF] [C]

Any changes of exposure, entered by the user, are made in discrete steps of shutter
speed or aperture (F-number). These changes are often expressed in terms of EV
(exposure value) units, where 1 EV corresponds to doubling (or halving) of the
exposure; e ectively, of the light reaching the sensor (assuming the same subject in
the same light).
The E-M1 allows the shutter speeds and F-numbers to be changed with step de ned
in the camera setup as 1/3, 1/2 or 1 EV; this means that in order to double the
exposure, we have to make 3, 2, or 1 such step, respectively.
The most common step used is 1/3 EV; that's the factory setting and what I am
using.
A step of 1/2 EV used to be common until 60.70 years ago, and some people like to use 1 EV
because the changes are faster to make.
The step value does not a ect AE accuracy, as the AE-controlled variables (two in P,
one in A and S modes) are adjusted in a stepless way. Their displayed values
(including those in EXIF) will be rounded to the nearest step.
Index
 E1.3. ISO Step
ISO Step [BF] [C]

A similar parameter, but this time describing the ISO sequence. The default here is
1/3 EV, but my chosen value is 1 EV, which seems to be more common and to which
I'm used.
Index

E1.4. Auto ISO Params

ISO-Auto Set

This menu branch is used to de ne how the ISO value changes with changing
exposure if the Auto ISO feature is enabled.
Base ISO is the value which will be used as long as the resulting shutter speed is
higher (exposure longer) than the Slow Shutter parameter (P and A modes). If that
shutter speed is reached, ISO will increase until the shutter becomes fast enough.
There is a limit to that increase, however, at the Top ISO . When that value is
reached, ISO stays there and exposure time starts increasing again as needed.

E1.4.1. Base and Top ISO

[BF] [C]
Upper Limit / Default

These two parameters are used as described above. The factory values of ISO 200
(Base) and 6400 (Top) make sense and I am using them too.

E1.4.2. Slow Shutter

[BF] [C]
Lowest S/S setting

This is the speed above which the AE system tries to keep shutter speed (in P and A
exposure modes), raising the ISO if needed, as described above.
A numeric value can be set (from 30 to 1/8000 s), or you may choose Auto. In such
case, the value will be determined by the camera, based on the current focal length
used.
Auto is the default and my preference for the rare occasions when I may be using
the Auto ISO setting.
Index

E1.5. Auto ISO Use

ISO Auto [F] [C]

The Auto ISO feature availability can be set in two ways, and the choice is being
made here:
P/A/S — available in shutter- or aperture-priority and in Program mode; the
feature works as described in the previous section.
P/A/S/M — additionally, Auto ISO can be also activated in the Manual
Exposure (M) mode.
That mode then becomes no longer manual; it should rather be called Shutter-and-Aperture
Priority (SA): you set both these variables and the camera attempts to change ISO so that
the picture is properly exposed.
While P/A/S/M is the factory setting, my preference is P/A/S — I don't want to lose
the option of a real manual exposure.
 Index

E1.6. Noise Filter

Noise Filter [BF] [C]

This lter removes the random (non-static) noise from recorded images during the
raw-to-RGB conversion. It always leads to some detail being lost, even if the result
may look more pleasing than the original.
The process should not be confused with Noise Reduction , described in the next section.
For more on the di erence, refer to my 👁 Noise in Digital Cameras article.
There are four values to choose from: O , Low , Standard , and High . The rst one
does not disable the ltering entirely, just sets it to some base value. How these
presets work also depends on the ISO setting.
As the noise level is greatly a ected by ISO and by sharpening applied, the ltering
should take into account these parameters. Then, adjusting the noise lter every
time they are changed would be di icult and error-prone, so some compromises
should be made here for simplicity.
On this camera (like on other recent Olympus models) I've set NF to Low . This seems
to work best for my adjusted Natural mode, so I never change it for anything else.
The default Standard setting is too fuzzy for my taste. My advice: start from that
combination, adjust it to your liking, make that your customized preference, and
forget about it.
Index

E1.7. Noise Reduction

Noise Reduction [BF] [C]

This option turns on the low-light, static noise reduction which is done by
subtracting a "dark frame" from a taken picture (again, see my 👁 noise article). This
can be set to On , O , or Auto . In the last case NR will be activated only at longest
exposure times (usually above one second, depending on the ISO setting).
When you switch to the sequential drive mode, noise reduction will become temporarily
disabled, to avoid the extra delay between frames.
As my 👁 small study shows, the static noise levels in E-M1 Mk.II are greatly reduced
compared to the original Mk.I, and the Auto setting is too eager to activate the dark
frame subtraction (which takes extra time).
Based on that study, my recommendation is to keep the Noise Reduction at O ,
activating it manually only for exposures which use ISO above 800 and, at the same
time, last 30 seconds or longer.
Index
Index

E2. Long Exposures

E2. Exp/ISO/BULB/

This branch deals with long exposures which are timed by the user, not camera.
There are three kinds of these:
Bulb — exposure starts when the release button is pressed, and ends when the
pressure is removed;
Time — pressing the release button starts exposure; pressing again ends it;
Composite — like Time , but after the initial part of exposure, only the fragments
of image which are bright enough are added to the picture.
 Disclaimer: I haven't used this exposure mode yet, so any discussion of it must wait
until I do.
Index

E2.1. Bulb & Time Limit

Bulb/Time Timer [BF] [C]

This is the maximum exposure time, after which any Bulb or Time exposure will
terminate, regardless of any user action or inaction. It can be set from 1 min to 30
min from a selection of discrete values.
My setting is 8 minutes, the same as default.
Index

E2.2. View Brightness

Bulb/Time Monitor [F] [C]

Here you can adjust the brightness of viewing the partial image while a long
exposure of any kind is under way. This is done within ±7 steps of unknown
meaning and magnitude.
The factory setting is -7 and so is mine.
Index

E2.3. Live Bulb

Live Bulb [F] [C]

"Live" in this context refers to viewing the emerging image during the exposure.
Here you can disable it, or set time spacing between view updates (.5 to 60
seconds). The number of updates per exposure is, however, limited and depends on
the ISO.
I have this at O which also is the factory setting.
Index

E2.4. Live Time

Live Time [F] [C]

The same as above, but for Time exposures. The factory setting is .5s, mine — 4s.
Not that it matters; this will be probably set di erently for each picture (or session).
Index

E2.5. Composite
Composite [F] [C]

What you set here is the exposure time for image updates which will follow the
initial base exposure in which the updates will possibly be overlaid. This can be set
between .5 and 60 seconds.
The base exposure is computed by the camera in some undisclosed manner.
I don't think this value is critical, so I keep it at the factory preset of 1 second.
Index

E3. Metering
E3. Exp/ISO/BULB/
 Options regarding light-metering pattern for the auto-exposure system.
Index

E3.1. Metering Pattern

Metering [BF] [C] [SCP] [But]

This is usually a one-time choice between ESP (matrix) and center-weighted

metering. Usually you do not switch between these two; it is rather a matter of
general preference than a choice for a particular scene or situation.
The choice is available via a direct button anyway, but it will not be of much (if any) use in
my recommended setup: set the metering pattern default to either ESP or center-weighted
(whichever you prefer), and assign the spot mode to the Autoexposure Lock.
The factory setting is ESP, and my recommendation is the same,
Index

E3.2. AEL Metering

AEL Metering [BF] [C]

This is used to switch to a particular metering pattern when the measurement is

triggered by pressing the Lock button.
The choice is between center-weighted metering and three spot modes,
including HI spot-highlight and SH spot-shadow. There is also an option called
Auto , to keep whatever pattern was set, without switching.
Note that there is no explicit option to switch to ESP metering. I agree with that: locking a
matrix reading does not make much sense. Still, if you've set the general-use pattern to ESP
and the AEL one to Auto , then an ESP reading will be locked — smuggled-in, so to say.

Don't even try to nd things like this in Olympus manuals. This is why writing this piece
takes me forever.
Also, the option name Auto is misleading. It suggests that the camera makes some
decision here, while really it doesn't. Something else, like No Change or As Set would be
better.

Interestingly, Auto is the factory default here, and that, combined with the previous
default (see above), establishes ESP as the AEL pattern — an option which is
otherwise not available. What is going on here?
My own preference and recommendation is, by far, Spot metering.
Spot metering only makes sense with exposure lock, and the lock makes most sense with
spot metering. Remember the spotmeters from yesteryear?
Index

E3.3. AE Spot at AF
Spot Metering [BF] [C]

You may force the AE-metering spot to be attached to the AF spot. Both functions
have to be explicitly in their respective single-spot modes; the spot-on-lock
arrangement described above does not count.
This setting did not exist on the original E-M1. A related yet di erent one was present on
the E-Series SLRs.
More exactly, it is not one but three separate, independent options; one for each of
the three spot-metering modes. The factory default activates all three.
As I use spot metering only with AE lock, for me this setting is irrelevant. If you plan
on using spot as an explicit metering mode, think twice before activating this
 feature.
Index

F. Flash
F. Custom

Just a few ash-related parameters.

F.1. Sync Speed

X-Sync. [BF] [C]

This is the fastest shutter speed which the camera will use with ash. While the
shutter will work with ash up to 1/250 s just ne, this setting allows you to put the
limit at a lower speed.
The factory preset is 1/250 s and I don't have any reasons to change it. Yet.
Index

F.2. Slow Speed Limit

Slow Limit [BF] [C]

This is the slowest shutter speed the camera will use or not with ash; can be set
from 1/250 to 40 seconds. The following rules, depending on exposure modes,
de ne the process:
Program, Aperture Priority (shutter speed set by camera): the slow limit is in
e ect, but will be extended all the way to 60 seconds if any of the three slow
ash modes, like SLOW is on.
Manual, Shutter Priority (shutter speed set by the user): the camera has nothing
to say; no low limit.
My setting is 1/60 s (default).
Index

F.3. Add Compensation

+ [BF] [C]

When using a strobe, you deal with two distinct exposure compensation
parameters. One is the "regular" compensation, used in ambient light
photography. It seems that it a ects the exposure regardless of the ash, by
changing aperture and/or shutter speed, within the available range.
The other one is the ash compensation, a ecting the light burst duration and
therefore energy dissipated, or ash exposure.
Here you can choose, how the two compensation values work together. There are
two options:
1. Both are stored and used independently, as described above; changing one we
a ect the ll ( ash-to-ambient) ratio.
2. The ash compensation gets the other one added to it. This means that non-
ash compensation a ects the overall brightness, but not the ll ratio. The
latter will be a ected when you use some ash compensation value.
Both options provide exactly the same functionality; the only di erence is in their
intuitiveness, where one or the other will have some advantage, depending on
whether you are more often changing the ll ratio or adjusting the overall
brightness (2).
 The factory preset, O , activates the rst option, to which I also decided to switch
quite recently.
Index

F.4. Flash WB
+ WB [F] [C]

The camera may switch automatically to Auto WB or Flash WB WB when

it detects ash being used. Not knowing what is the real di erence between these
two, I decided to stick to the factory setting, Auto WB.
Index

G. Quality and Color

G. /WB/Color

Two settings related to image size and compression, some to White Balance, and
the oddball item dealing with vignetting.
Index

G.1. Quality/Size Options

Set [BF] [C]

Elsewhere in the menu system (Item 1.3) we can pick a setting from four selected
combinations of compressed image quality (Super ne , Fine , Normal , or Basic ) and
pixel size (Large , Medium , Small ). Here we de ne which four out of twelve possible
combinations will be choosable.
With storage being abundant and cheap, I see no reason to use anything else but
the Large/Super ne L SF combination, with or without the Raw option. Because
the other three cannot be disabled, I've set all four the same way. At least I will avoid
my friend's horror story (see the next section).
Index

G.2. Pixel Count

Pixel Count [BF] [C]

In the same Item 1.3 we use the Medium and Small image sizes. Here we de ne
what these terms really mean.
This becomes completely irrelevant if you do not use those sizes in the setup. I don't.
Just in case, however, I picked Medium as 3200×2400, and Small as 1280×960
pixels.
Years ago a friend of mine spent a full evening on pictures of his products for a printed
catalog. Only the next day he discovered that somehow he managed to set the camera to
1024×768 pixels (not saving raw les). That's the only case I know of someone using less
than full resolution.
Index

G.3. Vignetting Correction

Shading Compensation [BF] [C] [JPG]

Vignetting (or, as some want it, "shading" ), can be easily corrected at the Raw-to-
RGB conversion stage (although I suspect some of it is handled already at the stage
of raw image readout). Here you turn this correction on or o .
 Some purists consider this "cheating" and would have preferred the correction applied in
the lens design. Bad news: only some of the e ect can be removed this way.
So far I have this at O (default), just to see vignetting on the lenses I'm using, but I
would recommend turning it On.
Index

G.4. White Balance Adjust

WB [BF] [C]

This is a menu branch with 13 items, each allowing you to set an adjustment to one
of the WB presets. Each adjustment is really a pair of two numerical corrections,
applied along the Amber-Blue (A) or Green-Magenta (G) axis.
If, for example, you decide that your pictures shot under the Cloudy preset are usually too
warm in color, you may move the Amber slider for this preset down by a notch or two, and
watch the results over the next few weeks to see if you like them more this way.
De ning, applying and verifying these corrections is a tedious and dangerous
process. My recommendation would be to leave everything as it is.
Additionally, the menu allows you to choose the WB preset for your customization
default. Auto makes sense here.
Index

G.5. All WB Adjust

[F] [C] [JPG]

Here you can de ne a global color correction, applied in all WB settings or modes on
top of all other corrections.
I never had a need to do it on any of more than a dozen Olympus cameras I've used,
so I would recommend leaving this alone.
Index

G.6. WB Keep Warm

Keep Warm [BF] [C] [JPG]

With this option activated, the Auto WB function will leave some of the warm tint in
images shot at low color temperature (incandescent light, or daylight near sunset). I
like it this way, so my preference is On (opposite to the factory setting).
To get the late-afternoon light the way I like it, I just avoid the Auto WB setting, using just
the Sunny (5300K) option.
Index

G.7. Color Space

Color Space [BF] [C] [JPG]

There are two common standards used in RGB images to represent various colors:
sRGB and Adobe RGB . The worst choice you can make here is to choose Adobe
RGB when your computer hardware and software has not been prepared for it.
Therefore stick to sRGB unless you really know why you need the Adobe standard
and are ready for the consequences.
Index

H1. Saving Files

H1. Record/Erase
 Most of the options here are related to the le system on two cards the camera
uses.
Index

H1.1. Card Slots

Card Slot Settings

Here we de ne how the cards are used.

Index

H1.1.1. Card Usage

[F] [C]
Save Settings

The two cards can be written to in a number of ways:

Standard — writing only to currently designated card;
Auto Switch — as above; when full, switch to the other;
Dual Independent — every frame written to both; each card has its own
size/quality;
Dual Same — as above, but using the same size/quality;
Each of the two Dual options has two versions: one allowing a le to be written only
if there is enough room on both cards, and another, requiring enough space on just
one card. (The versions are denoted with a down- or up-arrow, respectively.)
So far, I've been using two con gurations, which, I think, make most sense:

Auto Switch with an extra-fast card in

Fast Slot 1 :
32 GB SDHC UHS-II/U3 (2000×/300MB/s)
128 GB SDXC UHS-I/U1 (633×/95MB/s)

Dual Same with two identical high-

Safe capacity cards:
2× 128 GB SDXC UHS-I/U1 (633×/95MB/s)

Frankly, the speed of the rst con guration is wasted on me, as I don't do videos or
any massive serial shooting. On the other hand, in spite of the 14 years since the last
time a camera card died on me (remember SmartMedia ?), it may happen at any
moment. In this setup I can store 10 thousand or so SHQ JPEGs in duplicate, erasing
both cards only when all les are safely backed up on my home network.
So, if you don't shoot video ant want to hear just one, simple recommendation, use
the Dual Same option and something similar to my Safe con guration. If you do
more than an occasional video, use Auto Switch and a con guration similar to my
Fast.
Last February I paid around $60 for a twin pack of these 128GB cards and about the same
for a single 32GB U3 card. Fifteen years ago, running out of space when traveling over
Japan, I paid more than $200 for a 200MB Compact Flash. Compare.
Index
H1.1.2. Photo Save Slot
[F] [C]
Save Slot

This is the primary slot for saving still pictures as described above. If you use one of
the Dual save options, this option will be disabled; otherwise I set it to Slot 1 .
Index

H1.1.3. Video Save Slot

[F] [C]
Save Slot

The primary slot for saving videos.

Index

H1.1.4. Playback Slot

[F] [C]
Slot

This is enabled only for Dual save modes. When you view pictures on two cards,
deleting some of them on one or the other, you will create a mess. A real mess.
My advice: name Slot 1 as the playback slot and forget Slot 2 exists. Use it only to
recover a lost or accidentally deleted picture, and from time to time delete all les or
reformat.
Index

H1.1.5. Save Folder

[F] [C]
Assign Save Folder

You may change the three digits in the default 100OLYMP folder name so that it
becomes more informative, like 110OLYMP .
Index

H1.2. File Naming

File Name [F] [C]

Olympus cameras use a naming scheme with a single, xed character up front, then
one-character (1..C) month code, 2-digit day, and nally — a 4-digit frame number.
Here we choose how that number is de ned:
Reset — starts being incremented from the largest number found on card(s), or
from 0001 if none;
Auto — increments the number of the last shot (crossing over to 0001 after
9999).
Reset is the factory setting, but I prefer Auto, as it provides images with ordinal
numbers regardless of the date, folder, and card used.
If a card is not empty and contains, in the currently used folder, a le with a serial number
above the current counter, the latter will be moved up.
Index

H1.3. Edit File Name

Edit File Name [F] [C]
 "Edit" is too big a word. You may change the le name syntax a bit, and it is done
separately (and di erently) for sRGB and Adobe RGB les.
For sRGB, you can change any of the rst four characters of the le name to any
digit or uppercase letter. Usually, however, you will not want to do it for characters
2..4 because normally they contain the date, which is nice to have. So, in practice
you are limited to changing one xed, single-character pre x to another. I give a new
pre x to each new camera; with this one I am at X.
For Adobe RGB les you can only change characters 2..4. For the reasons I just
mentioned, this comes at a price not worth paying.
My recommendation: just forget about this option.
Index

H1.4. DPI
dpi Settings [F] [C]

This value will be embedded into any image les the camera writes. It is completely
meaningless.
Index

H1.5. Copyright
Copyright Settings [F] [C]

Here you set three text elds: Copyright Info , Artist Name , and Copyright Name ,
whatever that means. They will be stored in appropriately named EXIF items inside
the image le.
Index

H1.6. Lens Info

Lens Info Settings [F] [C]

The camera keeps a list of lenses with no electronic data exchange; from that list
you may pick one you are using with image stabilization.
Picking is done from here; so is entering new lens data.
Index

H2. Erasing Files

H2. Record/Erase

Some options regarding le deletion from cards.

Index

H2.1. Quick Erase

Quick Erase [BF] [C]

An option to delete les without a con rmation prompt. Default and my setting: O .
Index

H2.2. RAW+JPEG Erase

RAW+JPEG Erase [BF] [C]
 Which of the dual-save les will be deleted when requested: Raw. JPEG or
Raw+JPEG. Default and my choice: Raw+JPEG.
Index

H2.3. Erase Con rm

Priority Set [BF] [C]

When a delete operation is being con rmed, either the Yes or No button will be
highlighted, depending on this setting, so that selecting this answer takes just one
button press (selecting the other requires two).
The factory setting is No , mine — Yes.
Index

I. View nder
I. EVF

Neat: a bunch of view nder (EVF) options in one menu.

Index

I.1. Eye Sensor

EVF Auto Switch [F]

The camera has a proximity sensor, detecting the presence of your eye (or any other
body part) at the eyepiece. This can be used to turn o the monitor screen and
activate the view nder. My setting is On (the default).
Index

I.2. EVF Adjust

EVF Adjust

This menu item provides access to two EVF adjustments:

I.2.1. Auto Luminance

[F] [C]
EVF Auto Luminance

Automatic brightness adjustment. I'm not sure how it works with other, similar
adjustments, scattered over this menu.
Anyway, I keep it On (default).

I.2.2. Color & Brightness

[F] [C]
EVF Adjust

Interestingly, to see this screen you must look through the EVF. There are two
sliders here: one to adjust color temperature and one for brightness. (The latter will
be disabled if Auto Luminance is on.)
Index

I.3. EVF Style

EVF Style [F]

There are three styles available:

 Style 1 : a narrow, blue strip at the bottom contains all status information; the
viewing area is above. In the 3:2 aspect ratio that area ts exactly the remaining
space; in 4:3, narrow strips at the left and right remain.
Style 2 : like above, except that the status strip is black.
Style 3 : the viewing area extends over the whole nder, with the status
information superimposed over it.
The style to choose is just a matter of personal taste. The factory setting is Style 3 ,
my preference — Style 2 (in spite of somewhat reduced magni cation).
Index

I.4. EVF Views

Info Settings [F] [C]

Pressing the [Info] button will switch the EVF between a number of views, di ering
in what additional information is overlaid over the viewing area. Views you can
enable in this sequence are:

Basic Information

Custom1

Custom2
This is in addition to the view with no overlays added, which is always included, so
that you can have between one and four di erent views to use,
What exactly is shown in custom views? This is set from the same screen, and in
either case the available components include:
Histogram
Highlight & shadow

Level Gauge
As I nd the Basic Information view rather useless, my recommended setup includes
two extra views: Custom1 (Histogram) and Custom2 (Level Gauge).
I'm even considering getting rid of Custom2 , because I already have a smaller version of
the gauge bar (horizontal only) showing up when I touch the shutter button (see Item I.6).
Some people will possibly prefer just one custom view, containing both the
histogram and gauge; it is not really that overcrowded.
Index

I.5. EVF Grid

EVF Grid Settings [F] [C]

This option becomes accessible if only if the one in D3.1.3 is set to O .

Please refer to Item D3.1 for how the grid attributes are set.
Index

I.6. Mini Level Gauge

Half Way Level [F] [C]

With this option activated, half-pressing the release button will replace the exposure
compensation bar with a mini version of the level gauge (the horizontal bar only).
I like this a lot, as it allows me to do a last-moment adjustment of the horizon angle (more
accurately: the camera roll angle) without cluttering the display.
 Factory setting and my preference: On.
Index

I.7. S-OVF
S-OVF [BF] [C]

Activate this to enable the S-OVF (Simulated Optical View nder) display. The
downside is that the view nder will be now showing a full-time status icon overlaid
on the viewing area.
This setting becomes irrelevant if S-OVF is assigned to a button, as it will be toggled
anyway. You can use the 👁 Multi-Function Button functionality for that, so that no
button is used for a rarely-accessed feature.
Default and my recommendation: O .
Index

J1. Utility
J1. Utility

A rather random mix of options to set and operations to perform.

J1.1. Pixel Mapping

Pixel Mapping

Use this occasionally to map out the few bad pixels which may show on your sensor.
In addition to doing it every three or six months, it may be a good idea to take a test
picture (with the lens cap on) before any major shooting session, to avoid cloning
out the buggers in postprocessing.
Index

J1.2. Long-Press Time

Press-and-hold Time [F] [C]

Here you de ne how long needs a button to be held down to be considered long-
pressed so that a function assigned to long-pressing that button is activated.
Actually, this is not a single setting but seventeen independent ones. No, I am not
kidding; this is for real.
Luckily, the factory setting for all seventeen is the same: .7 second, which seems to
be a reasonable value; therefore I would leave it alone.
Index

J1.3. Level Calibration

Level Adjust [F]

Use this only if you are sure your camera's level gauge is o mark. There are two
functions which can be performed from here:

Reset — return to factory calibration;

Adjust — use the current camera orientation (both angles) as the new
reference.
How you set up the camera horizontally in both axes is a di erent story. For
starters, try using a at, horizontal surface of a building, as long as you trust your
local construction standards.
 Index

J1.4. Touch Screen

Touch screen Settings [F]

Very nice: you can turn the darn thing O .

Index

J1.5. Menu Recall

Menu Recall [F] [C]

One of the more recent quality-of-life improvements to the Olympus menu system,
and one of the most useful ones. Depending on this setting, when you enter the
menu, it will open at:
Reset — the top menu screen
Recall — the last-visited menu branch or selection.
The second option works best if the last exit from the menu was by half-pressing
the shutter release; as opposed to multiple backstepping with the [Menu] button.
The return location is persistent even if the camera was turned o .
Obviously: On (default).
Index

J2. Power
J2. Utility

All items directly related to power supply and usage.

Index

J2.1. Battery
Battery Settings [F] [C]

In addition to de ning which battery is used rst if you have the HLD-9 Battery
Holder attached, you can check here the battery status; not just the charge left, but
also number of pictures since it was replaced and, most importantly, the level of
degradation, so that you know when to take a second mortgage to get a
replacement.
Index

J2.2. Backlit LCD

Backlit LCD [BF] [C]

The monitor backlighting uses considerable power, therefore it may be set up to turn
itself o after 8, 30, or 60 seconds of inactivity, or not at all, if set to Hold (factory
default, but see the next item).
Shorter time-out means more energy saved, but I nd it di icult to live with less
than one minute.
Index

J2.3. Sleep
Sleep [F] [C]
 The camera will go into low-power sleep state after a set time of inactivity. This can
be set to 1, 3, or 5 minutes, or disabled.
In this state the monitor is turned o , and all undergoing operations (usually: open UI
activities) are canceled. The camera will then wake up when any button is pressed or a dial
turned.
The factory setting is 1 minute, but I've been using 3 minutes so far. Still, I believe 1
minute to be a good choice for someone using a camera for picture-taking (as
opposed to playing with).
Index

J2.4. Auto Power O

Auto Power O [BF] [C]

After some time in sleep state, the camera will turn itself o for real; you will have to
ip the power switch to bring it back.
That time-out can be set to 5 or 50 minutes, 1 or 4 hours, or disabled. While the
factory value is 4 hours, I'm using one hour — not that it really matters.
Index

J2.5. Quick Sleep

Quick Sleep Mode [F] [C]

Now, this is a Super-Saver (not to say: Draconian) energy mode and, surprisingly, I
can live with it. Besides, it will become active only when you turn monitor viewing o
(by switching to Control Panel).
If you turn this mode on, you can also set two timeout parameters: one for the
monitor backlight, and another for sleep state. In any case, when you bring the
camera to your eye and the EVF is dark, just touch the shutter button.
While usually I keep this option at O , I have tried some parameter combinations
and I think I could live with 5 seconds for the monitor and 10 seconds for sleep.
Index

J2.6. Eye-Fi
Eye-Fi [F]

I don't have an Eye-Fi card, so I will not comment on this one.

Index

6. Maintenance
Setup Menu

Index

6.1. Card Format

Card Setup

This allows you to format the selected card, or just to delete all les from it.
Index

6.2. Date & Time

[C]
 You do this just once.
Index

6.3. Language

More than thirty languages supported.

Index

6.4. Monitor Adjust

[F] [C]

You can adjust the color temperature and brightness, also switch between Vivid and
Natural display modes.

What I don't quite understand is how did this setting end up as an oddball in this menu,
instead of Menu D.2?
Well, my best guess is "historic reasons" . That's what we say in the industry instead of "I
was too lazy to spend ve minutes on xing this" . Some Olympus cameras had, by
default, customization menus hidden, and the designers still wanted to provide a quick
access to this (as well as the next) feature.

Index

6.5. Rec View

Rec View [F] [C]

This parameter determines for how long a picture is displayed (monitor or EVF) just
after being saved. It can be chosen out of a dozen or so of discrete values, ranging
from .3 to 20 seconds.

Obviously, it does not belong to this menu (anywhere but here!), see the boxed comment
above.

Index

6.6. Wi-Fi
Wi-Fi Settings [F] [C]

I have used this to pair the camera with my cell phone, in order to use the latter as a
remote, with the help of the OI Share Android application.
Index

6.7. Firmware
Firmware

Shows the version number of camera's rmware. As of this update, mine is 1.3.
Index

What Next?
The article is done. I still do the maintenance on it from time to time, mostly limited
to xing typos, syntax, or page layout.
 My other articles related to the Olympus E-System cameras.

Olympus ® is a registered trademark of Olympus Corporation.

This page is not sponsored or endorsed by Olympus (or anyone else) and presents solely the views of the author.

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Posted 2017/04/30, last updated 2017/07/14 Copyright © 2017 by J. Andrzej Wrotniak