Olympus E-M5 III vs Panasonic FZ2500
The Olympus OM-D E-M5 Mark III and the Panasonic Lumix DMC-FZ2500 (labelled Panasonic FZ2000 in some countries) are two digital cameras that were announced, respectively, in October 2019 and September 2016. The E-M5 III is a mirrorless interchangeable lens camera, while the FZ2500 is a fixed lens compact. The cameras are based on a Four Thirds (E-M5 III) and an one-inch (FZ2500) sensor. The Olympus has a resolution of 20.2 megapixels, whereas the Panasonic provides 20 MP.
Below is an overview of the main specs of the two cameras as a starting point for the comparison.
|Olympus E-M5 III||Panasonic FZ2500|
|Mirrorless system camera||Fixed lens compact camera|
|Micro Four Thirds lenses||24-480mm f/2.8-4.5|
|20.2 MP, Four Thirds Sensor||20 MP, 1" Sensor|
|4k/24p Video||4K/30p Video|
|ISO 200-25600||ISO 125-12800 (80-25600)|
|Electronic viewfinder (2360k dots)||Electronic viewfinder (2360k dots)|
|3.0" LCD, 1040k dots||3.0" LCD, 1040k dots|
|Swivel touchscreen||Swivel touchscreen|
|10 shutter flaps per second||12 shutter flaps per second|
|In-body stabilization||Lens-based stabilization|
|Weathersealed body||Not weather sealed|
|310 shots per battery charge||350 shots per battery charge|
|125 x 85 x 50 mm, 414 g||138 x 102 x 135 mm, 915 g|
Going beyond this snapshot of core features and characteristics, what are the differences between the Olympus OM-D E-M5 Mark III and the Panasonic Lumix DMC-FZ2500? Which one should you buy? Read on to find out how these two cameras compare with respect to their body size, their imaging sensors, their shooting features, their input-output connections, and their reception by expert reviewers.
The side-by-side display below illustrates the physical size and weight of the Olympus E-M5 III and the Panasonic FZ2500. The two cameras are presented according to their relative size. Three consecutive views from the front, the top, and the rear side are shown. All size dimensions are rounded to the nearest millimeter.
The E-M5 III can be obtained in two different colors (black, silver), while the FZ2500 is only available in black.
If the front view area (width x height) of the cameras is taken as an aggregate measure of their size, the Panasonic FZ2500 is notably larger (32 percent) than the Olympus E-M5 III. It is worth mentioning in this context that the E-M5 III is splash and dust resistant, while the FZ2500 does not feature any corresponding weather-sealing.
The above size and weight comparisons are to some extent incomplete and possibly misleading, as the FZ2500 has a lens built in, whereas the E-M5 III is an interchangeable lens camera that requires a separate lens. Attaching the latter will add extra weight and bulk to the setup. You can compare the optics available for the E-M5 III and their specifications in the Micro Four Thirds Lens Catalog.
Concerning battery life, the E-M5 III gets 310 shots out of its BLS-50 battery, while the FZ2500 can take 350 images on a single charge of its DMW-BLC12 power pack. The power pack in the E-M5 III can be charged via the USB port, so that it is not always necessary to take the battery charger along when travelling.
The adjacent table lists the principal physical characteristics of the two cameras alongside a wider set of alternatives. In case you want to display and compare another camera duo, just click on the right or left arrow next to the camera that you would like to inspect. Alternatively, you can also use the CAM-parator to select your camera combination among a larger number of options.
|Olympus E-M5 III»||4.9 in||3.3 in||2.0 in||14.6 oz||310||Y||Oct 2019||1,199||Olympus E-M5 III|
|Panasonic FZ2500«||5.4 in||4.0 in||5.3 in||32.3 oz||350||n||Sep 2016||1,199||Panasonic FZ2500|
|Fujifilm X100F« »||5.0 in||3.0 in||2.0 in||16.5 oz||390||n||Jan 2017||1,299||Fujifilm X100F|
|Leica V-LUX 5« »||5.4 in||3.8 in||5.2 in||28.6 oz||350||n||Jul 2019||1,249||Leica V-LUX 5|
|Olympus E-M1 III« »||5.3 in||3.6 in||2.7 in||20.5 oz||420||Y||Feb 2020||1,799||Olympus E-M1 III|
|Olympus E-M1X« »||5.7 in||5.8 in||3.0 in||35.2 oz||870||Y||Jan 2019||2,999||Olympus E-M1X|
|Olympus E-PL9« »||4.6 in||2.7 in||1.5 in||13.4 oz||350||n||Feb 2018||599||Olympus E-PL9|
|Olympus E-M1 II« »||5.3 in||3.6 in||2.6 in||20.2 oz||440||Y||Sep 2016||1,999||Olympus E-M1 II|
|Olympus PEN-F« »||4.9 in||2.8 in||1.5 in||15.1 oz||330||n||Jan 2016||1,199||Olympus PEN-F|
|Olympus E-M5 II« »||4.9 in||3.3 in||1.8 in||16.5 oz||310||Y||Feb 2015||1,099||Olympus E-M5 II|
|Olympus E-M1« »||5.1 in||3.7 in||2.5 in||17.5 oz||350||Y||Sep 2013||1,399||Olympus E-M1|
|Olympus E-M5« »||4.8 in||3.5 in||1.7 in||15.0 oz||360||Y||Feb 2012||1,299||Olympus E-M5|
|Panasonic FZ1000 II« »||5.4 in||3.8 in||5.2 in||28.6 oz||350||n||Feb 2019||899||Panasonic FZ1000 II|
|Panasonic G95« »||5.1 in||3.7 in||3.0 in||18.9 oz||290||Y||Apr 2019||999||Panasonic G95|
|Panasonic GX8« »||5.2 in||3.1 in||2.5 in||17.2 oz||330||Y||Jul 2015||1,199||Panasonic GX8|
|Panasonic FZ1000« »||5.4 in||3.9 in||5.2 in||29.3 oz||360||n||Jun 2014||899||Panasonic FZ1000|
|Sony RX100 IV« »||4.0 in||2.3 in||1.6 in||10.5 oz||280||n||Jun 2015||999||Sony RX100 IV|
Any camera decision will obviously take relative prices into account. The manufacturer’s suggested retail prices give an idea on the placement of the camera in the maker’s lineup and the broader market. Usually, retail prices stay at first close to the launch price, but after several months, discounts become available. Later in the product cycle and, in particular, when the replacement model is about to appear, further discounting and stock clearance sales often push the camera price considerably down.
The imaging sensor is at the core of digital cameras and its size is one of the main determining factors of image quality. A large sensor will tend to have larger individual pixels that provide better low-light sensitivity, wider dynamic range, and richer color-depth than smaller pixel-units in a sensor of the same technological generation. Further, a large sensor camera will give the photographer additional creative options when using shallow depth-of-field to isolate a subject from its background. On the downside, larger sensors are more costly to manufacture and tend to lead to bigger and heavier cameras and lenses.
Of the two cameras under consideration, the Olympus E-M5 III features a Four Thirds sensor and the Panasonic FZ2500 an one-inch sensor. The sensor area in the FZ2500 is 48 percent smaller. As a result of these sensor size differences, the cameras have a format factor of, respectively, 2.0 and 2.7. The sensor in the E-M5 III has a native 4:3 aspect ratio, while the one in the FZ2500 offers a 3:2 aspect.
With 20.2MP, the E-M5 III offers a slightly higher resolution than the FZ2500 (20MP), but the E-M5 III nevertheless has larger individual pixels (pixel pitch of 3.34μm versus 2.41μm for the FZ2500) due to its larger sensor. Moreover, the E-M5 III is a much more recent model (by 3 years) than the FZ2500, and its sensor will have benefitted from technological advances during this time that further enhance the light gathering capacity of its pixels. Coming back to sensor resolution, it should be mentioned that the E-M5 III has no anti-alias filter installed, so that it can capture all the detail its sensor resolves.
The E-M5 III has on-sensor phase detect pixels, which results in fast and reliable autofocus acquisition even during live view operation.
Unlike the FZ2500, the E-M5 III has the capacity to capture high quality composite images (80MP) by combining multiple shots after shifting its sensor by miniscule distances. This multi-shot, pixel-shift mode is most suitable for photography of stationary objects (landscapes, studio scenes).
The Olympus OM-D E-M5 Mark III has a native sensitivity range from ISO 200 to ISO 25600, which can be extended to ISO 64-25600. The corresponding ISO settings for the Panasonic Lumix DMC-FZ2500 are ISO 125 to ISO 12800, with the possibility to increase the ISO range to 80-25600.
For many cameras, data on sensor performance has been reported by DXO Mark. This service determines an overall sensor rating, as well as sub-scores for low-light sensitivity ("DXO Sports"), dynamic range ("DXO Landscape"), and color depth ("DXO Portrait"). The following table provides an overview of the physical sensor characteristics, as well as the sensor quality measurements for a selection of comparators.
|Olympus E-M5 III||Four Thirds||20.2||5184||3888||4k/24p||..||..||..||..||Olympus E-M5 III|
|Panasonic FZ2500||1-inch||20.0||5472||3648||4K/30p||..||..||..||..||Panasonic FZ2500|
|Fujifilm X100F||APS-C||24.0||6000||4000||1080/60p||..||..||..||..||Fujifilm X100F|
|Leica V-LUX 5||1-inch||20.0||5472||3648||4K/30p||..||..||..||..||Leica V-LUX 5|
|Olympus E-M1 III||Four Thirds||20.2||5184||3888||4K/30p||..||..||..||..||Olympus E-M1 III|
|Olympus E-M1X||Four Thirds||20.2||5184||3888||4K/30p||..||..||..||..||Olympus E-M1X|
|Olympus E-PL9||Four Thirds||15.9||4608||3456||4K/30p||..||..||..||..||Olympus E-PL9|
|Olympus E-M1 II||Four Thirds||20.2||5184||3888||4K/30p||23.7||12.8||1312||80||Olympus E-M1 II|
|Olympus PEN-F||Four Thirds||20.2||5184||3888||1080/60p||23.1||12.4||894||74||Olympus PEN-F|
|Olympus E-M5 II||Four Thirds||15.9||4608||3456||1080/60p||23.0||12.5||842||73||Olympus E-M5 II|
|Olympus E-M1||Four Thirds||15.9||4608||3456||1080/30p||23.0||12.7||757||73||Olympus E-M1|
|Olympus E-M5||Four Thirds||15.9||4608||3456||1080/60i||22.8||12.3||826||71||Olympus E-M5|
|Panasonic FZ1000 II||1-inch||20.0||5472||3648||4K/30p||..||..||..||..||Panasonic FZ1000 II|
|Panasonic G95||Four Thirds||20.2||5184||3888||4K/30p||..||..||..||..||Panasonic G95|
|Panasonic GX8||Four Thirds||20.2||5184||3888||4K/30p||23.5||12.6||806||75||Panasonic GX8|
|Panasonic FZ1000||1-inch||20.0||5472||3648||4K/30p||22.1||11.7||517||64||Panasonic FZ1000|
|Sony RX100 IV||1-inch||20.0||5472||3648||4K/30p||22.8||12.6||591||70||Sony RX100 IV|
Many modern cameras are not only capable of taking still images, but can also record movies. The two cameras under consideration both have sensors whose read-out speed is fast enough to capture moving pictures, but the FZ2500 provides a faster frame rate than the E-M5 III. It can shoot movie footage at 4K/30p, while the Olympus is limited to 4k/24p.
Apart from body and sensor, cameras can and do differ across a variety of features. The E-M5 III and the FZ2500 are similar in the sense that both feature an electronic viewfinder, which is helpful when framing images in bright sunlight. Moreover, their viewfinders offer an identical resolution of 2360k dots. The table below summarizes some of the other core capabilities of the Olympus E-M5 III and Panasonic FZ2500 in connection with corresponding information for a sample of similar cameras.
|Olympus E-M5 III||2360||n||3.0||1040||swivel||Y||1/8000s||10.0||n||Y||Olympus E-M5 III|
|Panasonic FZ2500||2360||n||3.0||1040||swivel||Y||1/4000s||12.0||Y||Y||Panasonic FZ2500|
|Fujifilm X100F||2360||n||3.0||1040||fixed||n||1/4000s||8.0||Y||n||Fujifilm X100F|
|Leica V-LUX 5||2360||n||3.0||1240||swivel||Y||1/4000s||12.0||Y||Y||Leica V-LUX 5|
|Olympus E-M1 III||2360||n||3.0||1037||swivel||Y||1/8000s||18.0||n||Y||Olympus E-M1 III|
|Olympus E-M1X||2360||n||3.0||1037||swivel||Y||1/8000s||18.0||n||Y||Olympus E-M1X|
|Olympus E-PL9||none||n||3.0||1040||tilting||Y||1/4000s||8.6||Y||Y||Olympus E-PL9|
|Olympus E-M1 II||2360||n||3.0||1037||swivel||Y||1/8000s||18.0||n||Y||Olympus E-M1 II|
|Olympus PEN-F||2360||n||3.0||1037||swivel||Y||1/8000s||10.0||n||Y||Olympus PEN-F|
|Olympus E-M5 II||2360||n||3.0||1037||swivel||Y||1/8000s||10.0||n||Y||Olympus E-M5 II|
|Olympus E-M1||2360||n||3.0||1037||tilting||Y||1/8000s||10.0||n||Y||Olympus E-M1|
|Olympus E-M5||1440||n||3.0||610||tilting||Y||1/4000s||9.0||n||Y||Olympus E-M5|
|Panasonic FZ1000 II||2360||n||3.0||1240||swivel||Y||1/4000s||12.0||Y||Y||Panasonic FZ1000 II|
|Panasonic G95||2360||n||3.0||1240||swivel||Y||1/4000s||9.0||Y||Y||Panasonic G95|
|Panasonic GX8||2360||n||3.0||1040||swivel||Y||1/8000s||10.0||n||Y||Panasonic GX8|
|Panasonic FZ1000||2359||n||3.0||921||swivel||n||1/4000s||12.0||Y||Y||Panasonic FZ1000|
|Sony RX100 IV||2359||n||3.0||1228||tilting||n||1/2000s||16.0||Y||Y||Sony RX100 IV|
One difference between the cameras concerns the presence of an on-board flash. The FZ2500 has one, while the E-M5 III does not. While the built-in flash of the FZ2500 is not very powerful, it can at times be useful as a fill-in light.Both cameras have an articulated rear screen that can be turned to be front-facing. This feature will be particularly appreciated by vloggers and photographers who are interested in taking selfies.
The reported shutter speed information refers to the use of the mechanical shutter. Yet, some cameras only have an electronic shutter, while others have an electronic shutter in addition to a mechanical one. In fact, both cameras under consideration feature an electronic shutter, which makes completely silent shooting possible. However, this mode is less suitable for photographing moving objects (risk of rolling shutter) or shooting under artificial light sources (risk of flickering).
The Olympus E-M5 III and the Panasonic FZ2500 both have an intervalometer built-in. This enables the photographer to capture time lapse sequences, such as flower blooming, a sunset or moon rise, without purchasing an external camera trigger and related software.
Concerning the storage of imaging data, both the E-M5 III and the FZ2500 write their files to SDXC cards. The E-M5 III supports UHS-II cards (Ultra High Speed data transfer of up to 312 MB/s), while the FZ2500 can use UHS-I cards (up to 104 MB/s).
For some imaging applications, the extent to which a camera can communicate with its environment can be an important aspect in the camera decision process. The table below provides an overview of the connectivity of the Olympus OM-D E-M5 Mark III and Panasonic Lumix DMC-FZ2500 and, in particular, the interfaces the cameras (and selected comparators) provide for accessory control and data transfer.
|Olympus E-M5 III||Y||stereo||mono||Y||-||micro||2.0||Y||-||Y||Olympus E-M5 III|
|Panasonic FZ2500||Y||stereo||mono||Y||Y||micro||2.0||Y||-||-||Panasonic FZ2500|
|Fujifilm X100F||Y||stereo||mono||Y||-||micro||2.0||Y||-||-||Fujifilm X100F|
|Leica V-LUX 5||Y||stereo||mono||-||-||micro||2.0||Y||-||Y||Leica V-LUX 5|
|Olympus E-M1 III||Y||stereo||mono||Y||Y||micro||3.1||Y||-||Y||Olympus E-M1 III|
|Olympus E-M1X||Y||stereo||mono||Y||Y||micro||3.0||Y||-||Y||Olympus E-M1X|
|Olympus E-PL9||Y||stereo||mono||-||-||micro||2.0||Y||-||Y||Olympus E-PL9|
|Olympus E-M1 II||Y||stereo||mono||Y||Y||micro||3.0||Y||-||-||Olympus E-M1 II|
|Olympus PEN-F||Y||stereo||mono||-||-||micro||2.0||Y||-||-||Olympus PEN-F|
|Olympus E-M5 II||Y||stereo||mono||Y||-||micro||2.0||Y||-||-||Olympus E-M5 II|
|Olympus E-M1||Y||stereo||mono||Y||-||micro||2.0||Y||-||-||Olympus E-M1|
|Olympus E-M5||Y||stereo||mono||-||-||mini||2.0||-||-||-||Olympus E-M5|
|Panasonic FZ1000 II||Y||stereo||mono||Y||-||micro||2.0||Y||-||Y||Panasonic FZ1000 II|
|Panasonic G95||Y||stereo||mono||Y||Y||micro||2.0||Y||-||Y||Panasonic G95|
|Panasonic GX8||Y||stereo||mono||Y||-||micro||2.0||Y||Y||-||Panasonic GX8|
|Panasonic FZ1000||Y||stereo||mono||Y||-||micro||2.0||Y||Y||-||Panasonic FZ1000|
|Sony RX100 IV||-||stereo||mono||-||-||micro||2.0||Y||Y||-||Sony RX100 IV|
Studio photographers will appreciate that the Olympus E-M5 III (unlike the FZ2500) features a PC Sync socket, so that professional strobe lights can be controlled by the camera.
Both the E-M5 III and the FZ2500 are recent models that are part of the current product line-up. The FZ2500 replaced the earlier Panasonic FZ1000, while the E-M5 III followed on from the Olympus E-M5 II. Further information on the two cameras (e.g. user guides, manuals), as well as related accessories, can be found on the official Olympus and Panasonic websites.
So what is the bottom line? Is there a clear favorite between the Olympus E-M5 III and the Panasonic FZ2500? Which camera is better? The listing below highlights the relative strengths of the two models.
Reasons to prefer the Olympus OM-D E-M5 Mark III:
- Maximized detail: Lacks an anti-alias filter to exploit the sensor's full resolution potential.
- High quality composites: Can combine several shots after pixel-shifting its sensor.
- Better image quality: Features a larger and more technologically advanced imaging sensor.
- Richer colors: The sensor size advantage translates into images with better, more accurate colors.
- More dynamic range: Larger sensor captures a wider spectrum of light and dark details.
- Better low-light sensitivity: Larger sensor produces good images even in poorly lit environments.
- Better live-view autofocus: Features on-sensor phase-detection for more confident autofocus.
- Faster shutter: Has higher mechanical shutter speed (1/8000s vs 1/4000s) to freeze action.
- More flexible: Accepts interchangeable lenses, so that lens characteristics can be altered.
- More compact: Is smaller (125x85mm vs 138x102mm) and thus needs less room in the bag.
- Easier travel charging: Can be conveniently charged via its USB port.
- Better sealing: Is weather sealed to enable shooting in dusty or wet environments.
- Easier wireless transfer: Supports Bluetooth for image sharing without cables.
- Better studio light control: Has a PC Sync socket to connect to professional strobe lights.
- Faster buffer clearing: Supports a more advanced SD data transfer standard (UHS-II vs UHS-I).
- More modern: Reflects 3 years of technical progress since the FZ2500 launch.
Arguments in favor of the Panasonic Lumix DMC-FZ2500:
- Better moiré control: Has an anti-alias filter to avoid artificial patterns to appear in images.
- Better video: Provides higher movie framerates (4K/30p versus 4k/24p).
- Better sound control: Has a headphone port that enables audio monitoring while recording.
- Larger viewfinder image: Features a viewfinder with a higher magnification (0.74x vs 0.68x).
- Faster burst: Shoots at higher frequency (12 vs 10 flaps/sec) to capture the decisive moment.
- Ready to shoot: Has an integrated lens, whereas the E-M5 III necessitates an extra lens.
- Longer lasting: Gets more shots (350 versus 310) out of a single battery charge.
- Easier fill-in: Has a small integrated flash to brighten shadows of backlit subjects.
- More heavily discounted: Has been around for much longer (launched in September 2016).
If the number of relative strengths (bullet points above) is taken as a guide, the E-M5 III is the clear winner of the match-up (15 : 9 points). However, the relevance of individual strengths will vary across photographers, so that you might want to apply your own weighing scheme to the summary points when reflecting and deciding on a new camera. A professional wedding photographer will view the differences between cameras in a way that diverges from the perspective of a travel photog, and a person interested in cityscapes has distinct needs from a macro shooter. Hence, the decision which camera is best and worth buying is often a very personal one.
How about other alternatives? Do the specifications of the Olympus E-M5 III and the Panasonic FZ2500 place the cameras among the top in their class? Find out in the latest Best Mirrorless Interchangeable Lens Camera and Best Superzoom Camera listings whether the two cameras rank among the cream of the crop.
In any case, while the comparison of technical specifications can provide a useful overview of the capabilities of different cameras, it says little about, for example, the shooting experience and imaging performance of the E-M5 III and the FZ2500 in practical situations. User reviews, such as those found at amazon, can sometimes inform about these issues, but such feedback is often incomplete, inconsistent, and biased.
This is why hands-on reviews by experts are important. The table below provides a synthesis of the camera assessments of some of the best known photo-gear review sites (cameralabs, dpreview, ephotozine, imaging-resource, and photographyblog). As can be seen, the professional reviewers agree in many cases on the quality of different cameras, but sometimes their assessments diverge, reinforcing the earlier point that a camera decision is often a very personal choice.
The above review scores should be interpreted with care, though. The assessments were made in relation to similar cameras of the same technological generation. A score, therefore, has to be seen in close connection to the price and market introduction time of the camera, and comparing ratings of very distinct cameras or ones that are far apart in terms of their release date have little meaning. It should also be noted that some of the review sites have over time altered the way they render their verdicts.
Other camera comparisons
Did this review help to inform your camera decision process? In case you would like to check on the differences and similarities of other camera models, just use the search menu below. Alternatively, you can follow any of the listed hyperlinks for comparisons that others found interesting.
- Canon 1D X Mark III vs Olympus E-M5 III
- Canon 200D vs Olympus E-M5 III
- Canon SX50 vs Panasonic FZ2500
- Canon SX620 vs Panasonic FZ2500
- Canon T100 vs Panasonic FZ2500
- Fujifilm X-A3 vs Olympus E-M5 III
- Nikon D3400 vs Panasonic FZ2500
- Olympus E-M5 III vs Panasonic LX100 II
- Olympus E-M5 III vs Ricoh GR III
- Olympus E-M5 III vs Sony A7
- Panasonic FZ2500 vs Sony HX95
- Panasonic FZ2500 vs Sony RX100 IV
Specifications: Olympus E-M5 III vs Panasonic FZ2500
|Camera Model||Olympus E-M5 III||Panasonic FZ2500|
|Camera Type||Mirrorless system camera||Fixed lens compact camera|
|Camera Lens||Micro Four Thirds lenses||24-480mm f/2.8-4.5|
|Launch Date||October 2019||September 2016|
|Launch Price||USD 1199||USD 1199|
|Sensor Specs||Olympus E-M5 III||Panasonic FZ2500|
|Sensor Format||Four Thirds Sensor||1" Sensor|
|Sensor Size||17.3 x 13.0 mm||13.2 x 8.8 mm|
|Sensor Area||224.9 mm2||116.16 mm2|
|Sensor Diagonal||21.6 mm||15.9 mm|
|Sensor Resolution||20.2 Megapixels||20 Megapixels|
|Image Resolution||5184 x 3888 pixels||5472 x 3648 pixels|
|Pixel Pitch||3.34 μm||2.41 μm|
|Pixel Density||8.96 MP/cm2||17.18 MP/cm2|
|Moiré control||no AA filter||Anti-Alias filter|
|Movie Capability||4k/24p Video||4K/30p Video|
|ISO Setting||200-25600 ISO||125-12800 ISO|
|ISO Boost||64-25600 ISO||80-25600 ISO|
|Image Processor||TruePic VIII||Venus|
|Screen Specs||Olympus E-M5 III||Panasonic FZ2500|
|Viewfinder Type||Electronic viewfinder||Electronic viewfinder|
|Viewfinder Field of View||100%||100%|
|Viewfinder Resolution||2360k dots||2360k dots|
|LCD Framing||Live View||Live View|
|Rear LCD Size||3.0 inch||3.0 inch|
|LCD Resolution||1040k dots||1040k dots|
|LCD Attachment||Swivel screen||Swivel screen|
|Shooting Specs||Olympus E-M5 III||Panasonic FZ2500|
|Focus System||On-Sensor Phase-detect||Contrast-detect AF|
|Manual Focusing Aid||Focus Peaking||Focus Peaking|
|Max Shutter Speed (mechanical)||1/8000/s||1/4000/s|
|Continuous Shooting||10 shutter flaps/s||12 shutter flaps/s|
|Electronic Shutter||up to 1/32000s||up to 1/16000s|
|Time-Lapse Photography||Intervalometer built-in||Intervalometer built-in|
|Image Stabilization||In-body stabilization||Lens-based stabilization|
|Fill Flash||no On-Board Flash||Build-in Flash|
|Storage Medium||SDXC cards||SDXC cards|
|Second Storage Option||Single card slot||Single card slot|
|UHS card support||UHS-II||UHS-I|
|Connectivity Specs||Olympus E-M5 III||Panasonic FZ2500|
|Studio Flash||PC Sync socket||no PC Sync|
|USB Connector||USB 2.0||USB 2.0|
|HDMI Port||micro HDMI||micro HDMI|
|Microphone Port||External MIC port||External MIC port|
|Headphone Socket||no Headphone port||Headphone port|
|Wifi Support||Wifi built-in||Wifi built-in|
|Bluetooth Support||Bluetooth built-in||no Bluetooth|
|Body Specs||Olympus E-M5 III||Panasonic FZ2500|
|Environmental Sealing||Weathersealed body||Not weather sealed|
|Battery Life (CIPA)||310 shots per charge||350 shots per charge|
|In-Camera Charging||USB charging||no USB charging|
125 x 85 x 50 mm
(4.9 x 3.3 x 2.0 in)
138 x 102 x 135 mm
(5.4 x 4.0 x 5.3 in)
|Camera Weight||414 g (14.6 oz)||915 g (32.3 oz)|