Size doesn’t matter! Olympus E-M5 Mark II

Greetings! My name is Ben Mecham, a photographer based in Kenmore, Washington, within the greater Seattle area. Living in the Pacific Northwest has given me endless opportunities to stay inspired. Vast rainforests spill from the Olympic Mountains into the cold salt water of Puget Sound—an environment that feels tailor-made for creativity and adventure photography.

While the region itself is a gold mine, I’m also fortunate to have a career that supports travelling across the United States. Photographing such varied environments has taught me better practices than online media ever could. Experience, not specs, ultimately guides what works best.

A Redirection in Negative Scanning

Last spring, my trusty Epson V550 flatbed scanner failed me after more than a decade of service. Its sudden death left a major gap in my workflow, especially since I hadn’t owned a digital camera in years. My initial plan was either to replace the scanner or return to a high-resolution Sony A7R system—both expensive options.

While browsing my local camera store, a small Olympus camera caught my eye behind the glass. At first glance, it seemed inferior to the full-frame systems that I’d grown used to, and I dismissed it. But, it lingered in my mind.

After some late-night research, I discovered the Olympus OM-D E-M5 Mark II’s Pixel Shift mode, which turns its 16-megapixel Micro Four Thirds sensor into a 50-megapixel file—perfect for scanning negatives. At $349.99, it felt like a risk worth taking.

Discovering the E-M5 Mark II

The next day, I returned to the shop. The camera felt solid and dense, reminiscent of old brass Leica bodies, yet remained compact. A quick menu check revealed just 2,000 shutter actuations—it was essentially new.

That camera quickly became indispensable. Traveling with it was effortless: a small crossbody bag could hold two lenses, batteries, and a cable release—something unimaginable with full-frame or even APS-C systems.

Its primary purpose was film scanning. Paired with a vintage Minolta copy stand and the Olympus 60mm f/2.8 Macro, my negatives came out consistently sharp, reflection-free, and reliable.

Simplifying My Kit

2025 marked a turning point in simplifying my gear. My previous kit included a Minolta A7, Zeiss 24–70mm f/2.8, Sony SSM 70–400mm, and various primes. While excellent, the weight and speed of the system worked against casual shooting, and was a literal pain to heave through an airport terminal.

Around the same time that my scanner failed, my Minolta A7 met an unfortunate end—falling off a rental car roof and becoming a beautiful paperweight. With both a body and lens gone, I knew it was time for a change.

I traded my remaining A-mount glass for a Fuji GW690III, the “Texas Leica.” Like most gear, the honeymoon eventually ended. I sold it and finally acquired my dream camera: a black chrome Leica M4.

Current Gear Philosophy

As of January 2026, my kit consists of:

• Olympus OM-D E-M5 Mark II (Olympus, Panasonic, and Sigma lenses)
• Black Chrome Leica M4 with Zeiss and Voigtländer glass
• Pentax 67 system
• A small collection of point-and-shoot and instant cameras

Each piece serves a distinct purpose with minimal overlap. Knowing what and where I’m shooting allows me to choose intentionally. While the best camera is the one you have with you, making an informed choice increases the odds that you’ll actually bring it.

Film Choice in Practice

At the end of the day, a film camera is just a light-sealed box with a shutter. Film choice matters. We’re lucky to live in a time with a vast selection of stocks, with new options appearing regularly. The resurgence of film has been a gift to those who prefer the workflow and results of negatives.

Choosing a film stock depends on several factors: color palette, available light, whether I’ll carry a tripod, and how much I want to invest.

Kodak Gold is often dismissed as consumer film, but paired with modern Zeiss glass, it produces flexible, beautiful results. Fuji 400 (Kodak UltraMax) trades warm tones for vibrant blues and greens.

In the gray, green winters of the Pacific Northwest, I gravitate toward Fuji 400, Ektar 100, or black and white. In warmer environments, Gold 200 or Portra feel more appropriate.

For exposure, I rely on a Sekonic L-758DR spot meter—simple, precise, and dependable.

Living With the Olympus E-M5 Mark II

One of the best qualities about the Olympus E-M5 Mark II: beautiful, rich color JPEGs and monochromes that are nearly perfect. This small, but mighty, camera handles whatever I throw at it. While it lacks preset film simulations like Fuji’s X-Trans systems, the Olympus JPEG engine offers enough flexibility to dial in something special without the need of additional post-processing.

My go-to Olympus JPEG setup:

Profiles

• Monochrome
• Muted
• Vivid

Adjustments

• +3 Shadows
• –3 Midtones
• +2 Sharpness
• +1 Contrast

ISO

• B&W: 800–3200
• Color: 200–800

White Balance

• Adjusted manually to fit the scene

I previously owned Voigtländer 17.5mm and 25mm f/0.95 lenses. While beautifully built, the razor-thin depth of field and manual focus became a hindrance in daily use. My film cameras are where I slow down—the E-M5 Mark II thrives when moving quickly.

On most trips, I pack three Micro Four Thirds lenses: the Panasonic Leica 8-18mm f/2.8-4, Olympus 12–40mm f/2.8 PRO, and either the Olympus 17mm f/1.8 or Sigma 56mm f/1.4, depending on location and intent. This setup covers nearly everything I photograph while remaining nearly weightless.

For photographers who primarily shoot film, Micro Four Thirds pairs exceptionally well—compact, capable, and affordable. For me, the choice remains clear. Other bodies are tempting, but few match the portability, build quality, color science, weather sealing, and character of the E-M5 Mark II.