Battle of the Hybrid Beasts: Olympus OM-1 Mark II vs Panasonic G9 II vs Fujifilm X-H2S – Which Mirrorless Flagship Reigns Supreme in 2025?

Mirrorless camera enthusiasts in 2025 are spoiled for choice with three high-speed flagship models vying for the crown: the OM System (Olympus) OM-1 Mark II, Panasonic Lumix G9 II, and Fujifilm X-H2S. These cameras represent the pinnacle of their respective systems (Micro Four Thirds for OM System and Panasonic, APS-C X-mount for Fujifilm) and are designed as hybrid stills/video powerhouses. In this comprehensive comparison, we’ll analyze their sensor performance, autofocus and speed, video capabilities, build and ergonomics, lens ecosystems, battery life, and overall strengths and weaknesses. We’ll also consider how each camera suits different users – from wildlife photographers to videographers and hybrid shooters – and touch on recent firmware updates and future camera rumors as of August 2025.

Let’s dive into the specs and real-world performance of these “hybrid beasts”, and see which mirrorless flagship reigns supreme in 2025.

Sensor and Image Quality

Sensor Specifications: The three cameras differ in sensor size and technology, which impacts image quality and low-light performance. The OM-1 Mark II and G9 II both use the Micro Four Thirds (MFT) format (sensor size ~17.3×13 mm), while the X-H2S has a larger APS-C sensor (~23.5×15.6 mm). Despite the smaller sensor, the OM-1 II leverages a 20.4MP Stacked BSI CMOS chip – a technology focused on speed (fast readout) and high dynamic range. The G9 II uses a new 25.2MP BSI CMOS sensor (not stacked) likely derived from the GH6’s sensor but improved with dual output gain for wider dynamic range. Fujifilm’s X-H2S features a 26.1MP Stacked BSI X-Trans 5 HS CMOS sensor, unique for its X-Trans color filter and ultra-fast readout (as low as ~5 ms rolling shutter). In practice, the X-H2S’s stacked APS-C sensor offers about a one-stop noise advantage over the MFT cameras in low light, and excellent dynamic range (enhanced by Fujifilm’s 14-bit readout in certain modes).

Image Quality and Dynamic Range: All three deliver excellent images with beautiful color, but with some nuances. The G9 II’s new 25MP sensor provides a noticeable bump in detail and base ISO dynamic range compared to older 20MP Micro Four Thirds cameras. Its base ISO has been lowered to 100 (from ISO 200 on previous models) for cleaner output. Reviewers have praised the G9 II’s image quality, noting that in many situations you’d “struggle to distinguish [it] from full-frame models like the Lumix S5II” – a testament to how far MFT sensors have come. That said, in very low-light scenarios, larger sensors still hold an edge; an APS-C or full-frame camera can yield cleaner high-ISO files, albeit with larger lenses. The X-H2S, with its slightly bigger APS-C sensor, tends to retain more detail and lower noise at high ISOs than its MFT rivals – a plus for nighttime or indoor shooters. A user who owns both the OM-1 and X-H2S reported “for all intents and purposes, I don’t think there’s much of a difference in image quality” at typical ISOs, but the X-H2S will pull ahead as ISO climbs. Dynamic range is excellent on all three; the X-H2S and G9 II can capture around 13-14 stops in RAW. Fujifilm even introduced a new F-Log2 profile to exploit the X-H2S’s 14-bit sensor readout, capturing up to 2 extra stops of DR in video (more on that in the video section).

Resolution and Cropping: Resolution differences are relatively minor (20MP vs 25MP vs 26MP). None of these cameras prioritize sheer megapixel count; instead they balance resolution with speed and sensitivity. The 5-6MP bump of the G9 II and X-H2S over the OM-1 II gives a bit more room for cropping, which wildlife shooters might appreciate for small or distant subjects. However, Olympus counters that with computational modes – the OM-1 Mark II’s High-Res Shot can produce a 50MP image handheld (and 80MP on tripod) by combining multiple shots in-camera. Notably, the Mark II now supports 14-bit RAW for high-res mode, improving its quality. Panasonic’s G9 II also offers a 100MP handheld high-resolution mode, thanks to its superb 8-stop IBIS stabilisation. Reviewers found the G9 II’s high-res mode “very usable,” even handling some moving subjects intelligently. Fujifilm’s X-H2S does not have a pixel-shift high-res feature (Fujifilm reserved that for higher-megapixel models like the 40MP X-H2). So, if ultra-high resolution landscape shots are a priority, the OM-1 II and G9 II offer that extra flexibility in a pinch.

Color Science and JPEGs: Each system has its own color rendition. Fujifilm is famous for its Film Simulation modes (Provia, Velvia, Acros, etc.), producing beautiful out-of-camera JPEGs with a distinct look. Tom’s Guide noted the X-H2S’s colors are “lovely and natural” in the Provia/Std profile, and you can get creative with Fuji’s rich film sim palette. Olympus (OM System) and Panasonic also have attractive color profiles – Olympus has “Natural” and “Vivid” among others, and Panasonic includes profiles like Standard, V-Log L (for video), etc. One critique of the G9 II was its default JPEG color could be a bit “uninspiring” or flat until adjusted. This is subjective, of course, and RAW shooters will have full control in post. Overall, all three cameras can deliver gorgeous results; Fuji just leans into that filmic look by design.

Summary: In terms of pure image quality, the Fujifilm X-H2S takes a slight lead for low-light and dynamic range (owing to its APS-C stacked sensor), but the Panasonic G9 II closes the gap considerably with its modern 25MP sensor and dual gain trickery for clean shadows. The OM-1 Mark II, while “only” 20MP, still produces excellent images with the added benefit of Olympus’s computational tricks (high-res shot, HDR, Live ND, etc.). In good light and moderate ISO, all three can produce tack-sharp, vibrant photos; as one reviewer put it, the G9 II “produces wonderful image quality” and modern tech in a portable package. Below is a quick spec comparison:

Table: Key specifications of the OM-1 Mark II, Lumix G9 II, and Fujifilm X-H2S.

As the table shows, each camera is a formidable flagship on paper. Next, we’ll compare how these specs translate into autofocus performance and shooting speed, where these models truly push the envelope.

Autofocus Systems and Continuous Shooting

One of the headline features of these cameras is speed – not just burst frame rates, but autofocus acquisition and tracking. All three cameras employ phase-detection AF (PDAF) across the sensor, a critical upgrade especially for Panasonic which historically relied on contrast-based DFD AF. Let’s break down each system:

• OM System OM-1 Mark II: Uses a 1,053-point Cross Quad Pixel PDAF system with AI subject detection. Olympus was a pioneer in adding AI-trained subject recognition (for birds, wildlife, vehicles, etc.) in its cameras. The original OM-1’s AF was already a huge leap from older models, and the Mark II brings improved tracking algorithms and added human detection capability. Users can now let the camera detect and track eyes/faces, animals (dogs, cats, birds), or vehicles, by selecting the subject type – though the OM-1 II still requires manually choosing a subject category rather than auto-switching. The OM-1 II’s stacked sensor enables insanely fast readout, which minimizes rolling shutter and allows shooting bursts up to 120 fps (electronic) with focus locked, or an astounding 50 fps with full AF-C tracking. This is world-class speed – “still amongst the fastest cameras in the world” as Amateur Photographer noted. Such speeds are only matched by flagship pro cameras like the Nikon Z9 or Sony A1 (and even then, the OM-1 II is near the top in raw fps). In practical terms, 50 fps continuous AF means a wildlife shooter can spray and pray a bit, knowing the camera can lock onto a bird and follow it through a burst. Olympus also provides Pro Capture mode, which buffers frames while the shutter is half-pressed and saves a sequence from just before you fully press the shutter – a game-changer for capturing unpredictable action (e.g. birds taking off). Notably, to achieve the highest burst rates with C-AF (50 fps), certain high-speed lenses are recommended; with slower lenses the OM-1 may revert to 25 fps C-AF bursts. Autofocus performance on the OM-1 series has been rated very highly for subjects like birds in flight. Some experienced bird photographers report the OM-1 can acquire focus extremely fast – “you will be amazed by how fast the OM-1 autofocuses. The X-H2S will seem pokey in comparison but is actually quite fast,” one user wrote, albeit calling that a “narrow use case” of catching birds in flight. In very dim light, there are anecdotes that the OM-1 II can lock focus a tad better than the Fuji; one photographer observed the OM-1 “acquired focus in very low light somewhat better” than the X-H2S with equivalent telephoto lenses. Overall, the OM-1 Mark II’s AF is fast and reliable for both stills and its improved video AF, though videographers may find its interface less streamlined (more on that later).
• Panasonic Lumix G9 II: The G9 II represents Panasonic’s first-ever phase detect AF in a Micro Four Thirds camera, and it’s a quantum leap over their older contrast-only system. It employs 779 PDAF points across the frame, which finally gives Panasonic “distance-aware” focus tracking. In addition, Panasonic overhauled their subject detection algorithms: the G9 II can recognize humans (eyes/faces/head/body), animals (incl. birds, with eye detect for animals), and vehicles (cars and motorcycles separately). Reviewers immediately found the subject detection autofocus impressive – Andy Westlake of Amateur Photographer calls it “a brilliant camera” with “impressive subject detection AF”, clearly a “huge leap in capability over the original G9”. In the field, this means the G9 II will track a moving subject similarly to how OM System and Fujifilm do, finally putting Panasonic on nearly equal footing in AF. The burst capabilities are also top-tier: up to 60 fps with continuous AF using the electronic shutter (or 75 fps with focus locked). Using the mechanical shutter, it’s 10 fps (the e-shutter is where the action is). Importantly, the G9 II has a large buffer and fast processing – it can shoot dozens of RAWs at 60 fps. It also offers pre-burst (ProCapture-like) mode, so you can capture moments from just before you fully press the shutter. One advantage noted in forums is that the G9 II can achieve its fastest burst rates without restricting lens choice – any lens can do 60 fps bursts, whereas the OM-1’s highest burst with C-AF may require using Olympus Pro lenses to keep up. In terms of tracking success, early tests indicate the G9 II is great for wildlife and action, though perhaps not yet class-leading. In DPReview’s words, its AF tracking is “only good” rather than industry-leading (Sony and Canon still have an edge). But “good” tracking plus 60 fps bursts means you’ll get plenty of keeper shots in challenging scenarios. For example, birds in flight or fast sports should be well within the G9 II’s wheelhouse now. A wildlife photographer on a forum remarked that with improved AF and blazing bursts, the G9 II plus Olympus’s own telephoto lenses (like the 150-400mm PRO) could be a potent combo – and indeed, one can mix-and-match lenses thanks to the shared MFT mount. (Note: Panasonic’s Dual I.S. stabilization won’t synchronize with Olympus lenses’ IS, but you still get lens OIS + body IBIS independently.) All told, the G9 II’s autofocus upgrade and speed make it a “Swiss Army knife” of a camera for action – one reviewer quipped it’s like having “a camera that does 120fps [burst], open gate video, a good AF, 75 fps bursts, and the use of small lenses, etc.” in one package.
• Fujifilm X-H2S: Fuji’s flagship also emphasizes speed – the “S” in X-H2S stands for speed. It uses a 425-point phase detection system (spread in a dense grid) paired with Fuji’s latest X-Processor 5 and AI algorithms. It recognizes a similar array of subjects: humans (face/eye), animals, birds, automobiles, trains, and planes. When the X-H2S launched in 2022, its AF was the best Fuji had ever produced, though initial firmware had some quirks (especially in video AF). Fujifilm has since issued numerous firmware updates (v4.00, 6.00, 7.00, etc. through late 2024) specifically improving AF tracking, accuracy, and adding features like gestures for touch-tracking and enhanced subject detection with electronic shutter. As of firmware 7.10 (Nov 2024), many users report the X-H2S’s autofocus to be highly reliable for fast action. One Fujifilm shooter enthused: “I use my X-H2S almost exclusively for birds and I have zero complaints. Is it perfect? No. Is it nearly perfect? Yes”. This sentiment is echoed by formal reviews – for example, Tom’s Guide tested the X-H2S on a racing whippet dog at 40fps and got roughly 50% of ~400 shots tack-sharp in focus, calling it “the best performance I have ever seen from a camera” in that challenging test. That is high praise, considering the competition. With smaller, erratic subjects (like fast-moving squirrels), the hit rate drops, but was still solid. The X-H2S can shoot up to 40 fps with AF-C (electronic shutter) and has a deep buffer (up to 175 RAW frames) especially when using the high-speed CFexpress card. The mechanical shutter tops out at 15 fps, which is class-leading for a mechanical mirrorless shutter. Fujifilm’s Pre-Shot ES function (when enabled) lets you capture frames before the shutter press, similar to Pro Capture, ensuring you don’t miss critical moments. Overall, after its updates, the X-H2S’s AF is very competitive. It may not quite match the near-infallibility of Sony’s latest tracking or Canon’s Dual Pixel AF in every scenario, but it’s proven itself in demanding situations (birds in flight, sports, etc.). One area Fuji historically lagged was video AF; however, the spring 2024 firmware added enhanced video tracking and a red REC border, aiming to “nail” video AF. We’ll discuss video AF more below, but hybrid shooters can rest assured Fujifilm has been actively refining the X-H2S’s autofocus across the board.

Autofocus and Speed Summary: All three cameras deliver fast and intelligent autofocus suitable for professional action photography. The OM-1 Mark II leads in outright burst speed (120 fps RAW bursts and 50 fps with tracking) and has proven bird-in-flight AF chops; it’s an outstanding choice for capturing split-second wildlife moments, especially with features like Pro Capture. The Lumix G9 II, with Panasonic’s newfound PDAF, finally gives MFT shooters another viable action camera – it offers slightly lower max fps (60) but still more than enough, and its subject detection works very well for a broad range (people, pets, motorsports, etc.). The Fujifilm X-H2S sits somewhere in between for speed (40 fps) but probably has the most refined tracking now after multiple firmware optimizations – it impressed testers by keeping focus on fast animals at an unprecedented level. One advantage the X-H2S holds is its CFexpress memory: even if its raw fps is lower, it clears buffer faster, allowing longer sustained bursts and virtually no downtime if you use a high-speed CFexpress Type B card. In contrast, the G9 II (dual SD) might pause longer after a burst, and the OM-1 II (dual SD) similarly, especially if shooting 50 fps RAW bursts. This could be a consideration for sports shooters who hold the shutter for extended sequences.

In short, for wildlife, birds, and sports, all three can get the job done, but each has a slight flavor: Olympus gives you sheer speed and special modes to maximize chances; Panasonic gives you speed plus the benefit of that MFT depth of field (more DOF at equivalent framing can actually help keep a subject in focus) and finally competitive tracking; Fujifilm gives you speed plus the larger sensor for potentially better focus in low light and more forgiving cropping. As we’ll see in the use-case section, wildlife shooters will want to weigh these factors alongside lens options. Before that, let’s compare their videography prowess – a key part of being “hybrid” cameras.

Video Capabilities

In addition to high-speed photography, these flagship models double as advanced video cameras. Each can record 4K video and higher, with professional codecs and features that would satisfy many videographers. However, there are significant differences in their video specs and target users. Here’s how they stack up:

• OM System OM-1 Mark II: Video was traditionally not Olympus’s strongest suit, and the OM-1 II is still primarily a stills-focused camera with decent (but not cutting-edge) video capabilities. It can shoot up to DCI 4K or UHD 4K at 60p (internally, 10-bit color). It also offers Full HD up to 240 fps for slow motion. These specs are identical to the original OM-1; in fact, Amateur Photographer notes that video features remain mostly unchanged from the OM-1. What has improved is autofocus during video – OM System claims the Mark II’s video AF tracking is better, and now the same subject detection (with human detect added) works in video mode too. In testing, the continuous AF during video did show improvement over the original model, but Olympus still lags Sony/Canon in smoothness and refocusing speed for video. The OM-1 II includes OM-Log400 and HLG profiles for capturing wider dynamic range footage, and supports vertical video tagging for social media. One unique feature is the Live ND and new Live Grad ND filters – essentially computational neutral density effects – which can also be utilized in video to simulate ND filters or graduated NDs in-camera (great for creative exposure control). However, serious videographers will find a few limitations: 4K 120p is not available (something both the G9 II and X-H2S offer), and there is no dedicated video switch or separate settings – the camera’s UI is still more stills-centric, which “videographers may not be totally satisfied” with. Another drawback is the use of a micro HDMI port (less robust for external monitors/recorders). You can output 4K via HDMI for external recording (and the OM-1 series can output RAW video to Atomos recorders, e.g. 12-bit ProRes RAW), but the micro jack is a weak point. On the positive side, the OM-1 II’s 5-axis IBIS is excellent for video – you can handhold footage with a very steady result, almost like using a gimbal, thanks to up to 8 stops of stabilization and additional electronic IS if needed. The camera is also very robust (IP53), so it’s great for shooting adventure footage in harsh conditions. Overall, the OM-1 Mark II’s video is good for 4K60 and slow-motion HD, and colors/detail are quite nice, but it feels a bit outclassed by the other two in this department. As AP bluntly states, “4K and C4K video tops out at 60fps, whereas many alternatives, like the X-H2S and G9 II, offer 4K at 120fps. Considering the sensor can shoot 20MP stills at 120fps, it’s a shame 4K 120fps isn’t an option for video.” In short, dedicated videographers might find the OM-1 II limiting.
• Panasonic Lumix G9 II: Although Panasonic markets the G9 II mainly to stills shooters, it is extremely capable in video – to the point that DPReview remarked Panasonic “throws in everything but the kitchen sink” for video features, making it feel “almost as hybrid as the GH6”. The G9 II can record up to 5.7K 60p in open-gate (full 4/3 sensor area, great for reframing or anamorphic shooting). It does DCI and UHD 4K at up to 120p (10-bit 4:2:2) for smooth 4K slow-mo. There’s also a plethora of professional options: V-Log L comes pre-installed for flat high dynamic range footage, HLG HDR recording, and support for anamorphic modes. Notably, the G9 II can output and record ProRes 422 and 422 HQ video externally to a USB-C SSD – a rare feature that allows capturing high bitrate footage without expensive memory cards. It also outputs RAW video via HDMI that can be recorded as ProRes RAW or Blackmagic RAW with external recorders. The presence of a full-size HDMI port is a boon for reliability in a video rig. Another welcome feature: the G9 II inherited the full articulating screen and the active cooling design of the S5II body minus the fan (there are ventilation grilles but no active fan). Panasonic says for most use as a B-cam, the lack of a fan is fine, but if you push long high-res recording in hot environments, heat could throttle it. In practice, the G9 II can record 4K60 and 5.7K for fairly long takes (it’s quite efficient with heat), but it’s not marketed as an unlimited recording camera – for absolute marathon video sessions, the GH6/GH7 with fans might be more appropriate. Still, the G9 II’s video feature set is so rich that one might ask, “with its improved autofocus, why would anyone buy a GH6 over the G9 II?”. Panasonic’s answer: the GH6 still has CFexpress for internal ProRes and a fan for indefinite recording, so it remains the primary workhorse for heavy video shooters. But for hybrid shooters who value portability, the G9 II essentially gives you a mini-GH6 combined with a top-tier still camera. Autofocus in video, historically Panasonic’s Achilles heel, is vastly improved thanks to PDAF – tracking in video is now usable and much less prone to hunting than the old contrast AF. CineD and others have tested the G9 II’s video AF and found it consistent for general use, though perhaps a notch below Sony’s uncanny video AF. The IBIS works great for hand-held video (Panasonic rates 8 stops IBIS for stills, and Dual I.S. with lens OIS for 7.5 stops, which also helps in video stabilization). And like the OM, you can enable electronic stabilization or Boost I.S. (lock-frame) for static shots. To summarize, the Lumix G9 II is a formidable hybrid video camera, offering 5.7K and 4K/120p, 10-bit internal, advanced codecs, and professional I/O. It’s arguably the best video-centric camera of the three on spec, except maybe for…
• Fujifilm X-H2S: Fujifilm designed the X-H2S from the ground up to be equally strong in video as in stills – and it shows. This camera can do 6.2K 30p video in open-gate 3:2 format (using the full sensor readout), and downsampled DCI/UHD 4K at up to 60p from 6.2K with exceptional detail. For high-speed, it offers 4K up to 120 fps (with a modest 1.29× crop for 120p), and super slow-motion 1080p up to 240 fps. What really sets the X-H2S apart is its internal ProRes recording: you can record 10-bit 4:2:2 ProRes 422 HQ, 422, or 422 LT internally to the CFexpress card at various resolutions. This yields edit-ready footage with less compression, a huge plus for professional workflows. If you prefer standard codecs, it also offers H.265 and H.264 internally (up to 10-bit 4:2:2 in H.265). With the fast CFexpress and Fuji’s efficient cooling (more on that in a second), you can record quite long takes. The X-H2S also outputs RAW video (6.2K or 4.8K) via HDMI for external ProRes RAW or BRAW recording. It features a full-size HDMI 2.1 port, capable of 4K/120p output. Fujifilm, like Panasonic, didn’t include a built-in fan, but they sell an optional clip-on fan unit that screws onto the back of the camera (where the screen flips out) for extended recording in heat. In moderate conditions, the X-H2S can record 4K60 for about 30-40 minutes before potentially overheating; with the fan, it can essentially go indefinitely in 4K60. The 4K/120p is more taxing, but again the fan can sustain it longer. Firmware updates also improved thermal management. Another highlight is Fuji’s new F-Log2 profile, which taps the 14-bit sensor readout to deliver up to 13+ stops dynamic range in video. This makes the X-H2S excellent for high-contrast scenes – shadow detail and highlight retention are noticeably improved over older F-Log. DPReview noted that in F-Log2 mode, the camera still manages a very fast sensor readout (~10.6ms in 4K 30p) so rolling shutter is minimal. Indeed, rolling shutter performance in the X-H2S is class-leading – only ~5ms at 4K 120p, and ~9.7ms at 4K 24p with F-Log2 (the OM-1 by comparison is ~6.9ms, and the non-stacked GH6 was ~13ms). This means less skew on fast pans or moving subjects in video. Autofocus in video was the one area Fuji needed to refine, and they have: the 2024 firmware updates added sticky tracking and more reliable subject AF in video. User feedback indicates the X-H2S’s video AF is now much closer to Sony/Canon behavior – for example, tapping on a subject to track will hold focus on it as it moves. It may still lose a bird against a busy background occasionally, but so will most systems. Fujifilm also offers the X-H2S a suite of video tools: waveform and vector scope displays, shutter angle option, 4-channel audio (with an optional XLR adapter), and of course all the film simulations can be applied to video for a particular look. The in-body stabilization on the X-H2S is very good (up to 7 stops for stills, and effective in video especially with the “IS Boost” mode for lock-off shots). Combined with Fujifilm’s growing lineup of fast primes and cine-oriented zooms (like the XF18-120mm motorized zoom), the X-H2S is a dream for hybrid content creators. In summary, Fujifilm X-H2S edges ahead for video power-users: it matches the G9 II’s 4K/120 and exceeds with internal ProRes and slightly larger sensor look, at the cost of larger files and a higher price. It truly offers “video capabilities way beyond anything any DSLR could ever match” in this class.

Video Summary: The Lumix G9 II and Fujifilm X-H2S are both state-of-the-art hybrid video cameras, each with slight advantages. The G9 II brings open-gate 5.8K, an array of tools (waveforms, etc.), and nearly GH-series caliber video in a smaller body – it’s perfect for someone who wants top-notch video specs on Micro Four Thirds, leveraging those smaller lenses for gimbal work or travel. The X-H2S brings higher resolution 6.2K and internal ProRes, plus Fuji’s analog-inspired color science, making it ideal for indie filmmakers and pro videographers who want maximum quality and don’t mind the APS-C crop factor. Meanwhile, the OM-1 Mark II, while certainly capable of producing beautiful 4K footage with Olympus’s renowned color and stabilization, is geared more toward casual or supplementary video use. As one review put it, “Videographers may not be totally satisfied” with the OM-1 II – it simply lacks the high-end options the others provide. All three have dual card slots, but note that only the X-H2S uses CFexpress, required for its high data-rate codecs (the others use standard SD UHS-II, which is convenient/cheap but limits internal ProRes recording). All three have microphone and headphone jacks, and support USB-C power delivery for longer shoots. If your primary aim is videography or filmmaking, the X-H2S likely offers the most headroom and image quality, with the G9 II a close second (and possibly more convenient if you already have MFT lenses or need the smaller kit). The OM-1 II can certainly produce great videos (especially for social media, travel logs, or as a B-camera), but in this company it clearly comes in third for video.

Build, Handling and Ergonomics

All three cameras are built to a professional standard, with substantial weather-sealing, large ergonomic grips, and numerous manual controls. There are differences in size, weight, and design philosophy that can affect the shooting experience:

• Size & Weight: The OM-1 Mark II is the most compact of the trio, continuing Olympus’s tradition of relatively small but rugged bodies. It measures 138.8×91.6×72.7 mm and weighs about 599 g (with battery) amateurphotographer.com. The Lumix G9 II borrowed the design of Panasonic’s full-frame S5II, making it a bit larger in the hand: 134.3×102.3×90.1 mm and 658 g with battery. It’s actually the same weight as its predecessor despite the bulkier frame, and many find the new body “fits more comfortably in hand” with well-placed controls. The Fujifilm X-H2S sits in between: 136×93×85 mm, weighing about 660 g with battery. In essence, the G9 II and X-H2S are almost identical in weight (around 1.45 lbs), while the OM-1 II shaves roughly 60 g off. In practice, all three feel solid and robust; none are lightweight entry-level bodies. If you value a compact system, remember that Micro Four Thirds lenses can be much smaller – so the OM-1 II or G9 II paired with a tiny MFT prime (like an Olympus 25mm f1.8 or Panasonic 20mm f1.7) makes for a significantly lighter combo than the X-H2S with an equivalent APS-C lens. But with pro zooms or telephotos attached, all these bodies balance well thanks to their chunky handgrips.
• Build Quality and Sealing: Every one of these cameras is fully weather-sealed for outdoor use. The OM-1 Mark II stands out with an official IP53 rating for dust and splash resistance, meaning it’s tested to withstand rain and dust ingress more rigorously. Olympus/OMDS is known for “go-anywhere” durability – you can literally shoot in a downpour with no worries (just ask many nature photographers). Panasonic and Fujifilm don’t quote an IP rating, but they advertise extensive sealing on the G9 II and X-H2S bodies. Users have taken them into tough conditions (snow, light rain, desert dust) without issue. In TechRadar’s commentary, OM System’s gear is praised for focusing on “harsh outdoor environments” and being one of the only brands listing official IP specs. If you’re an adventure or wildlife shooter frequently in bad weather, the OM-1 II’s peace of mind is valuable. That said, all three are robust magnesium-alloy bodies that can handle professional use.
• Ergonomics and Controls: Each camera offers a slightly different control layout. The OM-1 Mark II will feel familiar to Olympus E-M1 series users – it has a PASM mode dial on top, twin command dials (which on the Mark II are now rubber-coated for better tactile feel), a joystick, and plenty of customizable buttons. Olympus menus are deep but logically organized by tabs; the OM-1 II also has an updated interface (from the original OM-1) that is faster and supports touch navigation. One con noted in reviews: some on-screen icons and text are small, possibly due to the high-res EVF making them appear tiny. The Panasonic G9 II adopted the body of the Lumix S5II, so it has a DSLR-like heft and very generous control array. There’s a large AF mode lever, drive mode dial, and an array of buttons including a dedicated video record button. The twin control dials and joystick are present, and the top plate has a classic mode dial (unlike Panasonic’s video-centric GH line which has no mode dial). One quirk AP pointed out: the command dials on the G9 II are under-utilized by default – some functions might not be assigned optimally out of the box, but you can customize their behavior extensively. Panasonic’s menu system is quite detailed (some call it overwhelming), but it’s feature-rich and now has a helpful search function. The Fujifilm X-H2S diverges from Fuji’s usual retro controls – instead of shutter speed and ISO dials, it has a PSAM dial with 7 custom memory slots for storing settings presets. It also sports a top LCD panel that displays key settings (like on high-end DSLRs), which neither the OM-1 II nor G9 II have. Many pro shooters love this display for a quick glance at exposure settings, battery, shots remaining, etc. The X-H2S has a focus mode switch, a joystick, and plenty of function buttons as well. Fuji’s menu system is straightforward, and they’ve added helpful settings like “AF tracking sensitivity” and separate stills vs video menu tabs on the X-H series. In-hand, all three cameras have excellent grips that accommodate even telephoto shooting. A couple of ergonomic niggles: Tom’s Guide found the X-H2S’s focus joystick placement could be awkward for left-eye shooters (your nose might bump it), and the G9 II being a taller body might be a tight fit in smaller bags compared to the squat OM-1.
• Viewfinders and Displays: For composing images, EVF quality is important. The OM-1 Mark II and X-H2S both feature high-resolution 5.76-million-dot OLED viewfinders. The OM-1 II’s EVF runs up to 120 fps refresh and has an 0.83× magnification (which is quite large). The X-H2S EVF is similar resolution (5.76M) at 0.80× mag and also 120 fps option. Both are bright, detailed finders that reviewers have enjoyed for fast action with minimal lag. The G9 II’s EVF is a bit less crisp: 3.68M-dot OLED at 0.8× mag and max 120 fps. Some Panasonic users were disappointed it didn’t get the higher-res EVF from the GH6 or OM-1, but in practice it’s still a very good finder – just not as tack-sharp when you scrutinize fine details during playback. On the rear, all three have fully articulating touchscreens (~3.0-inch size). The OM-1 II’s LCD is 1.62M-dot, the G9 II’s is about 1.84M-dot, and Fuji’s is 1.62M-dot – all in the same ballpark. These vari-angle screens are great for video blogging or odd-angle shots (landscape or portrait orientation). One minor point: Fuji’s screen, when flipped out, can be partially obstructed by cables in the side ports (like mic or headphone), which Tom’s Guide noted as an annoyance for left-eye shooters or when using the headphone jack. Otherwise, each camera gives you a modern, high-quality EVF/LCD combo.
• Special Features and Handling Notes: The IBIS (In-Body Image Stabilization) deserves mention beyond just spec sheets. Olympus has long led the IBIS game – the OM-1 II boasts up to 8 stops correction (and 8.5 stops with synced lens OIS), which is incredible for handheld low-light shooting. Panasonic’s G9 II is rated 8 stops (body alone) and 7.5 stops with Dual I.S. 2. Fujifilm claims 7 stops on X-H2S. In real use, all perform excellently; you can handhold ~1 second exposures with Olympus and Panny, and maybe ~1/2 second reliably with Fuji – great for static scenes. This also aids video smoothness, as mentioned. Another differentiator: memory card configuration – the X-H2S’s CFexpress slot can be a huge plus if you shoot bursts or high bitrate video, as it writes much faster. However, CFexpress cards are expensive, so factor that in. The G9 II and OM-1 II using dual SD UHS-II is convenient (and they support backup recording, etc.), but you might hit the buffer limit sooner in bursts, or not be able to record certain ultra-high bitrate video internally (the G9 II smartly offloads ProRes to USB SSD to circumvent SD limits). All three cameras offer extensive customization – you can remap buttons, set up custom modes, and tailor the experience to your workflow. For example, the X-H2S’s 7 custom slots are perfect for quickly switching between say “Sports 40fps mode” and “Landscape tripod mode” and “Cine 4K24 mode.” The OM-1 II and G9 II also have multiple custom mode slots on their mode dials (the OM-1 has C1-C4, Panasonic has 3 custom positions). Each camera has a different shutter feel: the OM-1 II’s mechanical shutter is very quiet (and it can shoot completely silent with e-shutter up to 1/32,000s), the G9 II’s is a bit louder but has that satisfying Panasonic damping, and Fuji’s mechanical shutter is extremely robust (rated 500k actuations) with a distinct sound. Of course, for high bursts you’ll likely use electronic shutter which is silent on all three.

In terms of overall handling, it often comes down to personal preference. One Reddit user who owns both the G9 II and OM-1 (Mark I) mentioned that for pure photography enjoyment, they prefer the OM-1’s feel – “The grip feel, size, and ease of operation of the G9 II were lackluster for me… I really missed having the EM-1. I enjoy using the OM-1 for outdoor photography – it motivates me to shoot more.”. This illustrates that the Olympus has a certain nimbleness and tactile joy (it’s smaller and perhaps more “invisible” in hand), whereas the Panasonic G9 II, while extremely capable, is a bit bulkier and may not suit everyone’s hand as perfectly. On the flip side, another photographer might value the G9 II’s larger grip and extra controls for use with big lenses or gloves. The Fujifilm X-H2S tends to appeal to those who want Fuji’s image quality but in a modern DSLR-style body – it loses the retro dials of X-T series, but gains efficiency. The button feel and build on the X-H2S are pro-grade (it’s made in Japan, if that matters). And the top screen and customization make it a very functional tool for diverse needs.

In short, all three cameras handle very well and are built for hard use. The OM-1 Mark II is the smallest and lightest, with a rugged yet travel-friendly form – great for hikers and those valuing portability. The Lumix G9 II is the heftiest, akin to a full-frame camera in shape; it provides excellent comfort for long shoots and big glass, at the expense of being less compact. The X-H2S sits in between and offers a nice blend of Fuji’s minimalist design (for a flagship, that is) with a few extra bells (top LCD). If possible, it’s wise to try them in person – “you may have preferences you only see when holding them,” one forum poster advised. Things like viewfinder eye relief, grip contour, and menu interface can be very subjective.

Lenses and Ecosystem

A camera is only as good as the lenses and system supporting it. Here we compare the lens ecosystems of Micro Four Thirds (OM System/Panasonic) and Fujifilm X, as well as system accessories and future support considerations.

Micro Four Thirds (OM System & Panasonic): The OM-1 Mark II and Lumix G9 II share the Micro Four Thirds mount, meaning they can use all Micro 4/3 lenses from Olympus/OM System, Panasonic Lumix, and third-party manufacturers. This mount has been around since 2008 and boasts one of the most extensive lens libraries in mirrorless. For virtually any focal length or purpose, there’s a lens available:

• OM System (Olympus) lenses: These include the high-end M.Zuiko PRO series (weather-sealed, optically excellent). Notables for wildlife: the Olympus 300mm f/4 IS PRO (600mm full-frame equivalent) and the newer 150-400mm f/4.5 TC1.25x PRO super-tele zoom. The latter is a $7k+ exotic lens with a built-in teleconverter reaching 1000mm eq., and is regarded as one of the sharpest wildlife lenses – “Olympus’s super-telephoto lenses are flat out better… Panasonic doesn’t have anything like the 150-400mm”, noted one wildlife shooter. For general use, Olympus has fantastic f/1.2 prime lenses (17mm, 25mm, 45mm PRO) for portrait and low light, and compact f/4 PRO zooms (12-45mm, 8-25mm) for travel. There’s also a new 90mm f/3.5 Macro PRO and more on the way.
• Panasonic lenses: Panasonic’s Leica DG series and Lumix G lenses cover the range too. For example, Panasonic offers a Leica 200mm f/2.8 (a 400mm eq. prime, great for sports with teleconverters), a 100-400mm f/4-6.3 zoom (co-developed with Leica, giving 200-800mm reach in a portable package), and the versatile 50-200mm f/2.8-4. Panasonic also shines in standard zooms (like the Leica 10-25mm f/1.7 and 25-50mm f/1.7 for video folks) and small primes (the 20mm f/1.7 pancake is beloved, and new f/1.8 primes like 18mm, 25mm, 50mm f/1.8 are excellent and compact).
• Third-party MFT lenses: Many companies have contributed: Sigma released a trio of f/1.4 primes (16mm, 30mm, 56mm) for MFT, Tamron has a few zooms (14-150mm, and recently a 20-40mm f/2.8 and 35-150mm f/2-2.8 via rebranding for MFT). Laowa (Venus Optics) offers unique manual lenses (e.g. ultra-wide zero-distortion 7.5mm f/2, probe macro lens). And there are countless smaller manufacturers for fisheye, fast CCTV-style lenses, etc. The depth of the MFT lens ecosystem is a huge plus – it’s arguably the most complete mirrorless system aside from perhaps Sony E-mount. You can find affordable beginner lenses and exotic pro glass, all in relatively small sizes.

Using MFT lenses on either the OM-1 II or G9 II, you benefit from cross-brand compatibility (with some minor exceptions in stabilization sync). Autofocus and exposure work across brands, so an OM System body can use Panasonic lenses and vice versa. This gives buyers immense flexibility. If one brand doesn’t make the lens you need, likely the other does. For instance, Olympus users often snag the Panasonic Leica 100-400 for a lighter wildlife setup, while Panasonic users might covet Olympus’s 150-400mm PRO for ultimate reach (though on Panasonic bodies you lose Dual I.S., the lens’s OIS still works).

One important note: the 2× crop factor of Micro Four Thirds means you get double the effective focal length compared to full-frame. This is a boon for telephoto shooters (a 300mm becomes 600mm eq. with none of the bulk of a 600mm FF lens). It’s a slight challenge for ultra-wide (getting really wide angles requires something like a 7-14mm lens to equate to 14mm FF). But both Olympus and Panasonic have solved that with options like 7-14mm f/2.8, 8-18mm f/2.8-4, etc. The crop factor also affects depth-of-field: an f/2.8 lens on MFT gives similar DOF as ~f/5.6 on full frame. Some see that as a downside (harder to get super blurred backgrounds), but it can be an advantage for telephoto – more depth of field on the subject at long focal lengths, which can increase your percentage of sharp shots on, say, a bird (less of the bird will be out of focus). The flip side is low-light: you have to use faster apertures or higher ISO to match the light gathering of larger sensors. Thankfully, many MFT lenses are very fast (f/1.2 or f/1.7 primes abound, which compensate for the sensor size).

Fujifilm X system: Fujifilm’s X-mount, launched in 2012, has grown into a robust ecosystem as well, especially strong in primes and mid-range zooms:

• Fujinon XF lenses: Fujifilm produces high-quality glass known for great optical performance and character. For the X-H2S, sports and wildlife shooters have options like the XF150-600mm f/5.6-8 OIS (a 229-914mm full-frame eq. zoom) and the XF100-400mm f/4.5-5.6 OIS. The 150-600mm is relatively compact (it’s internally zooming and about 3.5 lbs) and was actually co-developed with Tamron; it prioritizes reach in a portable package. While its narrow aperture (f/8 at the long end) means it loves good light, it performed well in reviews. Fujifilm also offers the stellar XF200mm f/2 OIS (a 300mm eq. prime with a matched 1.4× teleconverter) for those who need speed; this lens is tack sharp and great for indoor sports or wildlife, albeit large and costly. A promised XF300mm f/4 prime is on Fuji’s lens roadmap (which would be a 450mm eq.) – this might arrive in 2025 to bolster the wildlife arsenal. On the wider side, Fuji has plenty: from the ultrawide XF8-16mm f/2.8 zoom to many primes (14mm f/2.8, 16mm f/1.4, etc.). For everyday and portrait use, the XF50-140mm f/2.8 OIS (75-210mm eq.) is a flagship telephoto zoom (the “70-200” of APS-C). Standard zooms like the XF16-55mm f/2.8 (24-84mm eq.) and newer XF18-120mm f/4 power-zoom cater to pros and hybrid video folks. And Fuji’s primes are legendary: the newer f/1.4 trilogy (18mm, 23mm, 33mm) and f/1.2 portrait lenses (56mm, 90mm f/2) produce lovely images. Many are weather-sealed to match the X-H2S body. Fujifilm also has unique offerings like the XF30mm f/2.8 Macro or ultra-fast XF50mm f/1.0 for shallow DOF experiments.
• Third-party X-mount lenses: In recent years, Fujifilm opened up X-mount protocols, leading to multiple third-party AF lenses. Sigma released their 16mm, 30mm, 56mm f/1.4 DC DN trio for X-mount, giving affordable fast primes. Tamron has been very active – they offer an 18-300mm f/3.5-6.3 all-in-one zoom, a 17-70mm f/2.8 VC (optically stabilized standard zoom), and a 11-20mm f/2.8 ultrawide – all in native X mount. These Tamrons are great third-party alternatives (and sometimes lighter than Fuji’s own lenses). Viltrox has developed a whole line of autofocus primes (13mm f/1.4, 56mm f/1.4, 75mm f/1.2, etc.) which have been well received, often undercutting Fuji on price. And there are myriad manual focus lenses from Samyang, Laowa, TTArtisan, etc. So, while smaller than MFT’s catalog, the X-mount lens selection now covers most needs pretty well.

One consideration: lens size and weight. Generally, APS-C lenses (for Fuji) will be larger than an equivalent field-of-view lens for MFT because they need a larger image circle. For example, Fuji’s 100-400mm is 1.4 kg, whereas Panasonic’s 100-400mm is about 0.98 kg. Fuji’s 50-140mm f/2.8 is ~995 g, Olympus’s 40-150mm f/2.8 (80-300 eq.) is ~760 g. So, a Micro Four Thirds kit will typically be lighter and smaller for the same coverage. On the other hand, aperture equivalence means Fuji can more easily get shallow depth of field – e.g. f/2.8 on Fuji behaves like f/2.8 (approx f/4 FF DOF), whereas on MFT you’d need ~f/1.4 to get the same background blur as Fuji f/2.8. Fuji’s system offers some ultra-fast glass (50mm f/1.0, 33mm f/1.4, etc.) that give full-frame-like shallow DOF; MFT can do similar with f/0.95 manual primes (Voigtländer makes some gorgeous f/0.95 lenses for MFT) or the Olympus 25mm f/1.2 etc., but generally MFT tops out at f/1.2 for autofocus lenses.

Flash and Accessories: All three systems have modern TTL flash support, radio triggers, etc. Olympus has its FL series flashes; Panasonic uses the same basic system (their flashes are interchangeable on MFT cameras). Fujifilm has their EF/XF flashes and now even offers a fan-cooled high-end flash (EF-60 II, I believe) for rapid shooting. Third-party flash makers (Godox, Profoto, Nissin) support both MFT and Fujifilm mounts, so lighting isn’t an issue. For battery grips: the X-H2S has an optional vertical battery grip (VG-XH) which boosts capacity (two extra batteries) and an optional network grip (FT-XH) for tethering/FTP – niche but useful for sports pros. The OM-1 II is compatible with the HLD-10 battery grip (from OM-1) for vertical shooting and double battery. The G9 II also has an optional DMW-BG1 grip for more power and vertical controls.

Lens Ecosystem Summary: If you choose OM-1 Mark II or G9 II (Micro Four Thirds), you’re investing in a mature, expansive system with lenses for every budget and need – from tiny pancakes to exotic super-teles. The benefits are compact size, lower cost for many lenses, and cross-brand versatility. The trade-off is that achieving very shallow depth-of-field or low-light performance may require the priciest, fastest lenses (and even then, you won’t get full-frame “bokeh” levels without f/0.95 specialties). If you choose Fujifilm X-H2S, you get access to Fuji’s renowned lenses with excellent optical quality and character. You’ll carry a bit more bulk for the same reach, but you’ll gain about a stop of light gathering and shallower DOF for a given aperture. Fuji’s lens lineup is comprehensive in mid-to-high end; it lacks some of the super-telephoto diversity of MFT (e.g., no equivalent yet to a 150-400 Pro or 75-300 cheap tele). However, Fuji has filled in many gaps and continues to release new lenses (e.g., a XF8mm f/3.5 ultrawide in 2023, and the upcoming XF70-300 or XFC 8-16 – hypothetical). Also worth noting, Fujifilm has a robust APS-C camera lineup beyond the X-H2S, like the high-res X-H2, X-T5, etc., and even cine cameras (the new X-S20 or potential future X-H2S Mk II). Micro Four Thirds similarly has multiple bodies (OM-5, GH6/GH7, G100 for vloggers, etc.). So in either system you have other body options if you want a second smaller camera or an upgrade path.

Bottom line: All three cameras have lens ecosystems that will support wildlife, portrait, landscape, and video shooting fully. Wildlife shooters might lean MFT for the greatest reach-to-weight advantage and options like the Olympus 150-400mm (albeit pricey) or the affordable Olympus 100-400mm (yes, there’s one of those too) – meaning on OM-1 II or G9 II you could have 800mm equivalent for under $1500 (the Oly 100-400mm). Fujifilm wildlife shooters have the 150-600mm (up to 900mm eq.) which is also relatively affordable (about $2000) but slower aperture, or the high-end 200mm f/2 with TC (280mm f/2.8 eq.). For generalist/hybrid shooters, consider what focal lengths you use most and compare the lenses available. Both systems have strong third-party support now, which helps keep costs reasonable for additional glass.

Battery Life and Power

Long battery life can be crucial for all-day shoots or extended video takes. As mirrorless cameras with power-hungry sensors and IBIS, none of these are optical-viewfinder DSLR level in stamina, but they are improved over past generations and offer various extensions.

Battery Ratings: According to CIPA standardized tests (which tend to be conservative):

• OM-1 Mark II: rated ~520 shots per charge (using the BLX-1 battery) amateurphotographer.com. This can be extended to around 1100 shots by enabling a quick-sleep power saving mode, which essentially conserves power when the camera is idle. Real-world, many OM-1 users report ~600-800 shots in normal use, and significantly more if using burst shooting heavily (since one burst of 50 frames counts as 50 “shots” but with little EVF on/off cycling). The BLX-1 is a 2280 mAh battery; you can charge it in-camera via USB-C.
• Lumix G9 II: rated ~390 shots (LCD usage) on a charge dpreview.com using the DMW-BLK22 battery (the same 2200 mAh battery from S5II). This is the lowest of the three, likely due to the high power draw of the S5-sized sensor and processing. If using the EVF or high refresh, expect a bit less. In field use, people tend to get a few hundred shots comfortably; one DPReview comment noted Sony’s A6700 (APS-C) could shoot nearly twice as many images as G9 II per charge. Panasonic does quote about 390 (LCD) / 380 (EVF) in eco mode for the G9 II. You can also use USB Power Delivery to run or charge it.
• Fujifilm X-H2S: official rating 580 shots (normal mode), or 720 shots in economy mode, on the large NP-W235 battery (which is 2350 mAh). In practice, reviewers found this translated to a solid few hours of intensive shooting. Thom Hogan notes Fuji’s rating of 580 may “under-represent” typical use, and 500+ shots is usually plenty for a day of moderate shooting. Many users praise the W235 battery; one even said the X-T5 (which uses the same battery) could double the CIPA numbers in real life with careful use.

It’s worth noting that burst shooting and video can alter these numbers. If you shoot 20 fps bursts on the OM-1 II, you might hit the frame count but in a shorter time (the camera is doing more per second). The X-H2S doing 40 fps will drain faster if you actually hold that down frequently. Video recording generally will drain a battery in about 60-90 minutes of continuous 4K on these cameras (for example, Fuji cites ~70 min of 4K/60p per battery). The X-H2S with its optional battery grip can house 2 extra batteries, tripling the overall life for long events or when a power outlet isn’t accessible.

Battery Grip and USB power: All three models support USB-C Power Delivery – you can run the camera or charge it via a USB PD power bank or wall adapter. This is fantastic for time-lapses, long video interviews, or wildlife stakeouts where you can plug into a big external battery. In addition, each has an optional vertical battery grip (mentioned earlier) to double or triple battery capacity. For instance, Fuji’s VG-XH adds two batteries for up to 3 total; OM System’s grip adds one (2 total), similarly Panasonic’s adds one (2 total). With the Fuji grip, one could theoretically get 1700+ shots (CIPA) total, and people have used the OM-1 with grip to get well over a thousand shots during a day of safari.

Real-world endurance: For photography, the X-H2S likely lasts the longest on a single battery, followed by OM-1 II, then G9 II. For videography, all will need either grip batteries or external power for extended sessions. Videographers might lean on the X-H2S’s ability to plug in the fan and AC adapter for studio use, or the G9 II’s USB recording to SSD which can also power the camera simultaneously. The OM-1 II being the smallest, ironically, does well thanks to efficient sleep mode – but recording 4K60, you’d get roughly an hour on one battery.

One user perspective: A Reddit user marveled that the X-T5/X-H2 series battery was “mindblowingly good,” getting far more shots than expected in practice. On the other hand, DPReview’s G9 II review highlighted that Sony’s A6700 APS-C camera got about twice the battery life of the G9 II under test conditions. This suggests the G9 II is somewhat power hungry. If you go with the Panasonic, investing in a spare battery or two (or using a power bank in the field) is advisable, especially for full-day hikes or event shoots.

Bottom line: Battery life is adequate but not spectacular on these high-performance bodies. The Fujifilm X-H2S holds a slight edge for stills longevity, the OM-1 II is decent especially with its power-saver mode, and the G9 II is the thirstiest of the bunch. All can be extended with grips or USB-C power, so none should fundamentally limit your shooting if you plan accordingly. For example, a wildlife shooter can carry 2 spare BLX-1 batteries for the OM-1 II and likely be fine for a day, or a wedding shooter with X-H2S can use the grip to cover the whole event without stopping. It’s always wise to have at least one spare battery regardless of system – these mirrorless flagships do a lot behind the scenes (fast sensor readouts, IBIS computations, etc.), and that consumes energy.

Real-World Performance for Different Users

Now that we’ve detailed specs and features, how do these cameras compare in real-world use for various types of photographers and videographers? Here we’ll highlight the strengths and weaknesses of each model for key user groups, and give some guidance on which camera might be the best fit for different scenarios.

Wildlife and Bird Photographers

For wildlife and birding, a camera needs fast and accurate AF (especially subject detection for birds in flight), high burst rates, a deep buffer, and preferably good telephoto lens options. Weather sealing and portability are also big pluses for outdoor use.

• OM System OM-1 Mark II: This camera is built for wildlife action. Its combination of 50 fps continuous AF bursts and intelligent subject detection (including birds) means you can reliably capture fast sequences of birds in flight or animals running. The OM-1 II’s Pro Capture feature can be a lifesaver – for example, if you’re trying to catch the moment a kingfisher dives, Pro Capture will have a series of frames from before you hit the shutter, virtually guaranteeing you get the critical shot. The smaller MFT sensor might worry some about high ISO in shadowed forests, but Olympus’s noise handling is pretty good and the stabilization helps allow lower ISOs by shooting at slower shutter speeds when appropriate. Crucially, the OM-1 II paired with Olympus’s long lenses is a field photographer’s dream: you can hike with a 300mm f/4 (600mm equivalent) that weighs just 1.2kg and fits in a modest bag, or even the 150-400mm PRO if your budget allows. The ruggedness (IP53) means you won’t hesitate in rain or dust. Also, depth-of-field at long focal lengths is deeper on MFT – which, counterintuitively, is often helpful for wildlife. More of the bird can be in focus at f/4 on MFT than f/4 on APS-C or full-frame, increasing the chance of a sharp subject (though of course background blur is less). Some pros who shoot birds note that OM System’s AF has improved to the point it is very competitive; one even claimed the OM-1’s AF was better for his needs than Fuji’s – that might be subjective, but it shows the OM-1 II is not to be underestimated. The limitation might come in image quality at high ISO or if heavy cropping is needed. 20MP is usually enough for prints and publishing, but if you have to crop a tiny bird significantly, the Fujifilm’s extra resolution could help a bit. Still, with lenses like the 150-400mm + 1.25x TC (giving up to 1000mm eq.), cropping may be less necessary. In summary, the OM-1 Mark II is an excellent choice for wildlife, especially for those who value its speed and the lightweight telephoto kit. The camera “feels invisible” and encourages shooting – as one user said, it “motivates me to shoot more” outdoors, which is a huge plus.
• Panasonic Lumix G9 II: With the G9 II, Panasonic has essentially given wildlife photographers a tool they’ve long wanted: a Lumix with phase-detect AF and top-tier burst speed. It acquires focus quickly and tracks moving subjects far better than previous Panasonics, making it viable for birds in flight and erratic animals. Its 60 fps serial shooting with AF-C is nearly as fast as the OM-1’s, and practically it’s blistering – you’re going to capture wing positions and split-second moments with ease. The buffer is large enough for bursts (170+ RAW at 14 fps in one test), and though not endless, it’s sufficient for short action bursts. The lens equation is similar to OM since it’s the same MFT mount – you can use all the Olympus telephotos here too. That means a G9 II owner can pick the lens lineup best suited: Panasonic’s own 100-400mm is popular for wildlife due to its reach and being lighter than Olympus’s 150-400 (though optically not as stellar). Or use Olympus’s 300mm Pro with sync IS (you lose sync on Panasonic, but dual IS might still function to some degree, albeit Panasonic stated Dual IS 2 only with their lenses). The G9 II also has an advantage of that new 100MP high-res handheld mode – a landscape shooter who also does wildlife might enjoy capturing static scenes in ultra resolution, something the Fuji cannot do. For wildlife, it’s less applicable (since animals move), but for, say, a detailed macro shot of a stationary subject, it could be neat. A potential weak point for the G9 II in wildlife scenarios is the battery life – only ~390 shots per charge dpreview.com. If you’re out in a remote area all day with no power, you’ll want spare batteries or a power bank. Also, some early users mention a slightly slow startup time on the G9 II (maybe a second or two). If you quickly turn on the camera to snap a spontaneous wildlife encounter, that could be a factor (OM-1 and Fuji are near instant on). But these are relatively minor. Overall, the G9 II is extremely capable for wildlife, finally giving MFT shooters a Panasonic option alongside OM System. The wealth of compatible lenses and the camera’s own performance make it a versatile wildlife rig – from big mammals to small birds and everything in between. It also doubles as a superb birding video camera, if you film wildlife, thanks to 4K 120p and open gate (one can capture 5.7K and pull high-res stills from video if needed).
• Fujifilm X-H2S: The X-H2S has already made a name for itself in the wildlife photography community. Many former DSLR shooters (Canon 7D II or Nikon D500 users) migrated to the X-H2S and found a lot to love: a fast burst, high buffer, and reliable AF. It truly carries on the legacy of those pro APS-C DSLRs aimed at sports/wildlife. With the stacked sensor, rolling shutter isn’t an issue, so electronic shutter 40 fps is usable even if a bird flies across the frame – you won’t get weird wing bending. The AF improvements via firmware have specifically helped in scenarios like birds against complex backgrounds; the camera is better at sticking to the bird rather than jumping to the background, especially using the Subject Detect: Bird mode plus zone AF. One shooter on FujiRumors said they get “nearly perfect” tracking on birds now, which is impressive. The lens selection on Fuji has broadened: the 150-600mm covers the long range, albeit at f/8 on the far end (on an overcast day, you’ll be at higher ISO). But you can pair the 150-600 with the X-H2S’s great high ISO performance and still get decent results. Alternatively, the 100-400mm f/4.5-5.6 is a bit brighter and smaller; or the prime route, 200mm f/2 with teleconverters can reach 400mm f/4 (600mm eq.) with stellar image quality, albeit heavy. Fuji also has the 70-300mm f/4-5.6 (105-450mm eq.) as a compact budget telephoto – not pro build, but lightweight for hiking. The APS-C sensor gives an advantage of one stop better noise performance than MFT, which is meaningful at dawn/dusk when many wildlife are active. If you shoot a lot in dim conditions or at higher ISOs, the X-H2S will produce cleaner files – you might comfortably use ISO 6400 on Fuji, whereas on MFT you’d prefer to stay at ISO 3200 or below if possible (though OM-1’s noise is fine up to 3200, and usable at 6400 with some grain). The trade-off is lens size: that 150-600mm lens is roughly 1.6kg, noticeably larger than an MFT 100-400 which is ~1kg. If you often trek long distances with gear, the lighter MFT kit might be more appealing. But if ultimate image quality and cropping ability matter (say you might print large or crop a small bird heavily), the X-H2S’s 26MP and sensor performance give you a bit more latitude. In terms of keeper rate, there’s anecdotal evidence that after firmware updates, the X-H2S and OM-1 II likely have similar success rates for birds in flight, with G9 II just slightly trailing (only because it’s newer and perhaps not yet extensively field-proven). One reviewer’s experience: out of a 40 fps burst at a dog running (whippet test), the X-H2S nailed about half the shots tack sharp. This is actually excellent given the challenge – and he said it was the best he’d seen from any camera on that test. So Fuji’s AF can deliver.

Wildlife Bottom Line: You can’t really go wrong with any of these for wildlife. The OM-1 Mark II offers the ultimate speed and a lightweight kit – ideal if you prioritize capturing the moment and portability over extreme pixel-peeping image quality. The Lumix G9 II gives similar benefits in MFT with slightly more resolution and arguably the best stabilization (helpful for panning or low-light stills), plus the option to dabble in high-res multi-shots for static nature scenes. The Fujifilm X-H2S provides the best image quality and very strong AF in a still reasonably sized package – great if you might also do larger prints or you simply want the higher low-light performance. If you’re a birder who also loves to shoot video of wildlife, the G9 II or X-H2S might edge out the OM-1 II since they handle 4K/120 for slow-motion animal behavior and have full HDMI for attaching external recorders or monitors. But the OM-1 II’s video is still okay for casual wildlife clips (and its phase detect AF works in video now, which helps). The Olympus also has unique features like Live ND filters, which could be fun for creative wildlife shots (e.g., flowing water at slow shutter while waiting in a hide).

Videographers and Filmmakers

For those primarily focused on video or who are hybrid content creators with a heavy video emphasis, each camera offers distinct advantages. We largely covered the video specs, so here we focus on usage scenarios and which camera might suit different types of videography.

• Fujifilm X-H2S: This camera is arguably the most film-maker oriented of the three. It’s already being used in professional settings – from indie films to high-end YouTube channels – because of its internal ProRes recording, excellent 4K HQ quality, and film simulations that provide a great starting point for grading or even straight-out-of-camera looks. Videographers who want the absolute best image will love the X-H2S’s footage: it’s oversampled 4K (up to 60p) with no crop, yielding very detailed results, and even the 4K/120 (which does have a minor crop) is still sharp and very usable for slow-motion B-roll. The dynamic range with F-Log2 is a big selling point – you can capture challenging lighting (e.g., bright sky and shadowy subject) with about 13 stops DR, which approaches cinema camera territory for an APS-C sensor. Fujifilm also offers Eterna film simulation, beloved by videographers for a soft cinematic look straight out of camera (saving grading time). The X-H2S’s rolling shutter is so low that fast action (sports, quick pans) won’t be an issue – something that can plague lesser cameras. Additionally, Fuji’s lens lineup for video is improving: the XF18-120mm f/4 PZ is designed for video with near-silent focusing and minimal breathing; the upcoming X-series cine-style zooms (if rumors hold) could further bolster the system. Fuji also supports open gate (full sensor) 3:2 video, which is useful for certain post workflows (re-framing for vertical/landscape from one take, or anamorphic lenses). With the optional cooling fan, the X-H2S can record long events (weddings, conferences) in high quality. It also integrates well into multi-cam setups, with features like timecode (if using external recorder) and the FT-XH grip enabling wired or wireless FTP of footage in real-time for broadcasting. That said, Fuji’s video AF, while much improved, is still something to test for your specific needs – if you do a lot of walk-and-talk vlog style, you’ll want to verify it tracks smoothly. But many reports indicate it’s now quite solid in eye/face tracking for people after firmware 4.0+. One more plus: Fuji’s X-Trans sensor doesn’t exhibit moiré issues often, which can be nice for shooting detailed patterns. And the full-size HDMI means you can use an Atomos Ninja or Blackmagic Video Assist to capture RAW or just to have a bigger monitor on set. For anyone wanting a camera that can be an A-camera on productions, the X-H2S is the one here that fits that bill the closest.
• Panasonic Lumix G9 II: This camera can satisfy a broad range of videographers, especially those who might also shoot a lot of stills (e.g., wedding photographers who also film ceremonies, or travel content creators). The G9 II’s video capabilities mirror much of the GH6’s, except for certain extremes (no internal ProRes to CFexpress, since only SD slots, and the potential for thermal limits without a fan). However, the presence of 5.7K open-gate and C4K 4:2:2 10-bit recording means you’re not missing much in practical terms. For most projects, recording LongGOP or All-Intra 10-bit files to SD cards is fine – the quality is there. The G9 II even allows external SSD recording in ProRes if you want lightly compressed edit-ready footage without transcoding; that’s huge for a run-and-gun setup where swapping memory cards is a bottleneck. One can attach a small SSD via USB-C and shoot until the SSD fills or the battery dies. The phase-detect AF means for the first time a Panasonic can be trusted in continuous AF during video for, say, a gimbal walking shot or when racking focus on a moving subject. This was a big weakness of Panasonics before – now greatly mitigated. Coupled with industry-leading IBIS, the G9 II is a handheld vlogger’s friend; you can obtain very smooth footage even walking (especially with a stabilized lens and E-Stabilization engaged – the slight crop is worth it for the gimbal-esque steadiness in many cases). The Micro Four Thirds sensor has pros and cons for video: pro – you can use tiny lenses and still get good sharpness, and focus breathing is often minimal on Olympus/Pana lenses; con – low light and shallow DOF are limited compared to larger sensors. But with fast primes (e.g., Leica 10-25mm f/1.7, which is effectively like a 20-50mm f/3.4 FF look), you can still achieve subject separation and acceptable low-light performance. Many documentary and travel videographers love MFT for the small kit and deep depth of field (less critical focus, easier to keep things in focus when moving). Also, the Panasonic color science and V-Log L are well regarded; V-Log on the G9 II gives about 12+ stops DR which is decent (the GH6’s dual gain sensor yields a bit more in highlights with DR Boost, and the G9 II inherits some of that tech). A potential limitation for the G9 II: no internal RAW or ProRes (beyond external SSD). But given that most projects can be done in 10-bit 4:2:2 H.265 or an external recorder if needed, that’s minor. The camera does have timecode in/out via hotshoe adapter (like S5IIX) if needed and waveforms, vectorscopes in display for exposure – all the pro video tools are there. If you’re a wedding videographer or event videographer, the G9 II could be great: dual SD cards for redundancy (recording video to both cards for safety), excellent face detect AF to track the bride and groom, and strong IBIS for capturing steady handheld B-roll of the venue. Just be mindful that if you’re recording 4K60 for long stretches in a hot climate, it could potentially overheat after a while (though in tests the G9 II seems pretty resilient, perhaps due to that bigger body).
• OM System OM-1 Mark II: For pure videography, the OM-1 II is the least likely choice of these three, but it’s not completely out of the game. In fact, for certain kinds of video it might be just fine or even advantageous. For example, if you are an outdoor adventure filmmaker who needs something ultra-rugged, weatherproof, and lightweight to document expeditions, the OM-1 II could be a great companion. It will survive in a way more fragile video-centric cameras might not. Its computational features can also be used creatively in video: Live ND for smoothing water or bright skies without physical ND filters, or the high res shot mode could double as a way to get a super-detailed establishing photo or timelapse in 50MP. The OM-Log400 profile is decent (around 12 stops dynamic range capture) and the inclusion of HLG means you can shoot ready HDR if needed. The limitation to 4K60 might not matter if you deliver in 4K60 max. And Full HD 240fps slow-mo is there for ultra slow motion (though at reduced detail compared to 4K). The downsides for serious videographers: micro HDMI (risk of connection issues on rigs), no 4K/120 to future-proof high frame rate needs, and fewer options for high bitrate internal recording. Also, if you want shallow DOF in video, MFT makes it harder unless you have lenses like f/1.2 primes and even then it’s like f/2.4 FF equivalence. That can be fine – many documentaries prefer more depth of field to keep subjects in focus. The continuous AF in video on OM-1 II is reportedly improved, but still not on par with Canon Dual Pixel or Sony; you might still prefer to use MF or limit reliance on it in very critical work. One other shining point: OM-1 II’s stabilization in video is superb. You can do hand-held pans and tilts that look like slider shots, and walking shots that look almost like steadicam if done carefully – all without gimbal. OM System’s “IS Mode 1/2/3” for video and electronic stabilization can produce very smooth footage. That’s great for one-man-band videographers who can’t carry a lot of stabilizing gear. And because of the smaller system, you could even mount the OM-1 II on drones or gimbals where weight capacity is limited.

Videography Bottom Line: If you are a dedicated videographer or filmmaker wanting maximum quality and flexibility, the Fujifilm X-H2S comes out on top. It offers a richer codec selection (internal ProRes, RAW out), higher resolution capture, and an overall image quality edge. It’s being used in professional environments and can be your A-cam. The Panasonic G9 II is extremely close behind – for a hybrid shooter who does 50/50 photos and video, the G9 II might even be preferable due to its slightly better stills experience and the fact that it still has nearly all the video features one could need. It’s perfect for a multimedia journalist or event shooter who needs to seamlessly switch between modes. The OM-1 Mark II would be the choice for a videographer who values durability and simplicity over bleeding-edge video specs – for example, a travel vlogger who needs a tough camera that can vlog in the rainforest one day and shoot 120fps of wildlife the next, and they don’t need 4K/120 or heavy grading in post. Also, someone already invested in Olympus glass might stick with OM-1 II for occasional video rather than switching systems. But generally, OM-1 II is best considered a stills camera that can shoot decent video, whereas G9 II and X-H2S are true stills-video hybrids that don’t force many video compromises.

Hybrid Shooters (Stills & Video Equally)

For those who genuinely split their time between photography and videography – e.g., a freelance content creator who delivers both high-quality images and videos to clients, or a journalist who needs to capture stills and short films – a hybrid camera is ideal. All three cameras are hybrids by design, but here’s how they fare as 50/50 tools:

• Fujifilm X-H2S: Strong in both realms – you get top-tier stills performance (26MP is enough for magazines and large prints, 40fps for sports) and top-tier video (as discussed). The Fuji’s user interface is well-suited to quick switching: the dedicated movie/stills mode switch (actually on X-H2S, it’s done via a button or menu toggle, since it doesn’t have a separate switch like some cameras, but it does maintain separate settings for still and video). One neat thing: the 7 custom presets on the dial can be allocated to still or video modes, or a mix. For example, you can have C1 set to “stills: action settings” and C2 set to “video: 4K24 F-Log2” and swap between them very quickly. That’s great for hybrid shooters who need to react to scenes by switching mode. The X-H2S’s only drawback as a hybrid might be battery life if you’re doing a lot of 4K video – you’ll burn through batteries faster and need spares or the grip. But that’s manageable. The files (RAWs and video) are heavy-ish (especially ProRes) so you need a robust card and storage workflow. If you’re delivering both, be prepared for some data management. The end results, however, will be professional-grade on both ends.
• Panasonic Lumix G9 II: Also an excellent 50/50 tool. Panasonic originally separated their lines (G for stills, GH for video), but the G9 II really merges those approaches. The ergonomics – like that bigger grip and lots of buttons – help when constantly adjusting settings for different media. One very nice thing: on Panasonic, the stills and video settings can be decoupled. The G9 II likely lets you have separate exposure and image profile settings for video mode versus photo mode (most Panasonics do). And since they reused the S5II body concept, there is a lever to switch between photo and video mode quickly (with an indicator on screen). Hybrid shooters will love the full-size HDMI (easy to go from shooting stills to plugging into a client monitor for video). And while the EVF isn’t the highest res, it’s fine for both tasks (some might prefer higher for manual focusing in video, but focus peaking and such can compensate). The G9 II’s color profiles include real-time LUT if you want to load a custom look for video and also nice JPEG engines for stills. If you often deliver JPEGs and graded footage, Panasonic’s output is consistent – e.g., shoot photos in Standard profile and video in V-Log and color-grade to taste. One consideration: shallow DOF portrait vs video. For instance, a hybrid wedding shooter might do portraits (wants blurry backgrounds) and also do an event video (maybe wants more in focus). On APS-C or FF, you can have your cake and eat it (shoot f/1.8 for stills, f/4 for video for more depth). On MFT, to get very shallow DOF for stills, you may need f/1.2 lenses, which can be harder to focus and not many zooms are that fast. However, computational features like handheld high-res on G9 II can be a bonus for still scenes – if you need a super detailed product photo and then a 4K promo video, one camera handles both (shoot 100MP still of a product, then film it in 5.7K video).
• OM System OM-1 Mark II: This camera leans more toward stills, but a true hybrid shooter can certainly use it for both. If you are fine with 4K60 max and maybe doing more short clips than long edits, OM-1 II will be okay. A wildlife photographer who occasionally makes video clips of animals, for instance, might be quite happy – they get all the stills prowess and can cut 4K60 footage of the animal behavior with stunning stabilization. Another scenario: a science or conservation field worker who needs to document via photos and video – the OM-1 II can do 50 fps RAW bursts of animal action, and also record 4K footage of habitat, with the gear surviving harsh field conditions. The hybrid drawback is that switching between still and video modes on OM-1 is not as fluid – there’s no separate video mode on the dial; you have to hit the video record to capture video on the fly or switch settings manually. The Mark II does support vertical video tagging now, which might appeal to social media content creators (less post work for vertical format). If your output is mostly destined for online platforms (YouTube, Instagram, etc.), the OM-1 II’s video quality is more than sufficient – 4K60 10-bit is plenty for even pro-looking YouTube content. Only if you’re aiming for cinematic or broadcast quality do the limitations show.

Hybrid Bottom Line: The Lumix G9 II perhaps hits the sweet spot the best for a true 50/50 hybrid user – it doesn’t compromise on stills at all (25MP, phase detect, fast bursts) and it packs nearly all of Panasonic’s video mojo. It’s literally described as “a stills/video hybrid designed for serious enthusiast photographers”, and “one of Panasonic’s best cameras yet”. The Fujifilm X-H2S is also stellar for hybrid use, leaning a bit into the high-end video side. It might be overkill for some hybrid shooters who don’t need ProRes and the associated large files – but you don’t have to use ProRes; you can stick to regular codecs and still enjoy its benefits. If you also want a higher megapixel option for certain work, Fuji offers the 40MP X-H2 which can share lenses, though that’s more for specialized cases (landscape, studio). The OM-1 Mark II is a solid hybrid for those who emphasize stills but need video as a supplement. For equal-weight hybrid content creation, one of the other two will likely be a better fit due to their more advanced video-centric features.

Current Reviews and User Feedback

It’s helpful to consider what reviewers and early adopters are saying as of August 2025, since all three cameras are relatively new and have evolved with firmware updates.

• OM System OM-1 Mark II: Reviews describe it as a “subtle evolution” of the original OM-1 – not a radical change, but refining an already impressive camera. Amateur Photographer’s verdict was very positive, praising OM System for pushing computational photography further ahead of competitors and introducing world-first features like the Live Grad ND filter. They lauded the Mark II’s improved buffer (now up to 256 RAW shots in a burst) and autofocus tweaks, concluding it’s “even better” than the OM-1. Pros highlighted include the IP53 weather-sealing, 120 fps burst, and class-leading stabilization, while the cons noted that “videographers may not be totally satisfied” and 4K 120fps is missing. Essentially, for photographers, especially wildlife and action specialists, the OM-1 II is a “worthy successor” that keeps OM System in the game. On forums, OM-1 Mark II users appreciate the small ergonomic improvements (like rubberized dials) and report the AF tracking feels snappier, especially in tricky situations like birds flying through trees. Some are slightly disappointed that there was no sensor resolution increase or breakthrough in IQ – it’s an incremental update. But many also recognize that OMDS likely prioritized getting phase detect right (they did) and delivering features their user base asked for (better menu navigation, human AF, etc.). There is excitement in the Olympus community about OMDS’s commitment to new lenses as well – as the CEO’s letter suggested, multiple prime lenses and a mid-tele zoom are coming in 2025. This bodes well for system growth and has reassured some who worried after Olympus’s restructuring. As one TechRadar piece put it, OM System must start delivering “meaningful improvements” beyond rebranding; the OM-1 II is seen as a step in the right direction, but enthusiasts are eager to see more innovation (perhaps a new sensor in the future or a truly new model like a PEN-F retro camera). For now, the OM-1 II is performing as advertised – fast, reliable, with unique features – keeping MFT loyalists happy.
• Panasonic Lumix G9 II: The G9 II hit the market and was immediately acclaimed as possibly “the best Micro Four Thirds camera yet”. Reviewers like Andy Westlake emphasized its wonderful image quality and modern tech, while maintaining portability. The introduction of phase-detect AF has been a game-changer; even long-time Panasonic shooters who were considering jumping ship to OM or Sony for AF have been impressed. One wildlife YouTuber called the G9 II’s AF “finally up to par” for birds, and was delighted to get rid of the focus-hunting issues of old. DPReview gave it an 87% Gold award, noting its “plethora of video features” and thoroughly redesigned body that videographers and photographers both will appreciate. They did mention a few niggles: the camera can be “slow to start up at times” and “battery life is not great”, as well as the fact that AF tracking is good but not best-in-class (Sony still leads). However, the general sentiment is that Panasonic listened to feedback – they basically addressed the two biggest criticisms of the original G9 (AF and video features) and made a much more all-round camera. Users love the solid build and that it essentially feels like a mini S5II in hand, with the responsiveness of a modern PDAF system. The subject detection working for vehicles and pets is also a welcome addition (opening up the camera to motorsports shooters etc.). Many also appreciate Panasonic’s continued support for MFT – the G9 II launch alongside a new lens or two has shown the system is still alive and kicking, contrary to doomers who said MFT was dead. One interesting user feedback item: some find the color output on the G9 II to be a bit neutral by default (as AP noted), but that’s easily tweaked via Picture Profiles or in RAW. On the video side, a few early firmware hiccups (like SSD recording stability) were reported but likely fixed by now. Importantly, the G9 II’s value proposition is praised – at $1899 it undercuts the OM-1 II and is way cheaper than an APS-C flagship like X-H2S or a full-frame like Sony A7IV, while offering a feature set that competes strongly. As AP said, it’s “dramatically higher than the original G9’s price, but cheaper than [its] closest MFT competitor, the OM-1”, and in the same ballpark as top APS-C cameras (X-H2, etc.) but you get that small lens advantage. So it’s seen as reasonably priced for what it delivers. In forums, a few hardcore Olympus fans and Panasonic fans debated OM-1 II vs G9 II, and interestingly multiple people who own both say each has its merits: “From a video perspective, the G9 II is better… Photo-wise, I prefer the OM-1”. This suggests that while the G9 II may have the spec edge in some areas, personal preference in handling or particular features (like Olympus’s long-lens Pro Capture or lens selection) can sway some to OM. But overall, the G9 II is a home run for Panasonic, finally giving MFT users that one-camera-does-it-all option with few compromises.
• Fujifilm X-H2S: Since its release in mid-2022, the X-H2S has had more time to mature in the market. Early reviews were glowing about its speed and video, but pointed out autofocus, while vastly improved for Fuji, was slightly behind the best. Over the past year, firmware updates (versions 3.0, 4.0, 5.0, 6.0, 7.0…) have each added enhancements. Notably, firmware 3.0/4.0 around late 2022 improved AF tracking and added things like subject detection in video for birds/animals. Firmware 6.0 and 7.0 in 2024 further polished AF and added features like touch to track and Reala Ace film simulation. The continuous support Fuji has shown got positive feedback from users – many felt their camera was “getting better with age.” As CineD noted, these improvements also imply Fuji wasn’t rushing a new model, instead “no new generation coming soon” because they’re focusing on making X-H2S and siblings better. User feedback by late 2024 suggests the X-H2S’s AF is very reliable for birds and action now – folks who also use Sony A1s or Canon R5s have commented that Fuji closed a lot of the gap, even if it’s still a hair behind in extreme cases. The image quality remains stellar, with many enjoying the fact that they can stick to ISO 12800 if needed and still get usable images (especially with modern AI noise reduction software in post). Video shooters love the 6.2K ProRes – one indie filmmaker wrote that having internal ProRes in such a small body “still blows my mind” and saved him so much time in post on a short film project. The flip side: X-H2S is the priciest of the bunch. At $2499 launch (and around $2200-2300 street by 2025), plus if you add the fan or grip, it’s a serious investment. Some prospective buyers ended up waiting for deals or opting for the cheaper X-H2 (40MP non-stacked) or even went to full-frame alternatives at that price. But those who did invest largely feel it was worth it for the unique combination of speed and video power. Tom’s Guide in 2023 named the X-H2S one of the best cameras for wildlife and video, praising its “phenomenal” performance and noting that it delivered the best tracking they’d seen in certain tests. They did caution that the EVF’s eye sensor could be annoying (the viewfinder eye sensor might trigger the EVF when you don’t want, something Fuji tweaked in firmware). Fujifilm also won over users with intangible factors: the film simulations (some just adore shooting with Classic Chrome or Acros, etc.), the solid build, and the X system’s overall “feel.” There is a community and ethos around Fujifilm that appeals to many serious enthusiasts. As one DPReview forum member hyperbolically put it when comparing to OM-1: “The OM-1 is smaller, cheaper, has better AF, better high ISO, better dynamic range, and better lenses.” – obviously an exaggeration (some of those points are debatable or false), but it underscores that in forums you’ll find partisans for each. In reality, X-H2S is an outstanding hybrid camera, and the consensus among rational reviewers is that it currently stands as the most advanced APS-C camera on the market, excelling in situations that previous APS-C cameras (like Canon 7D II, Nikon D500) did, and going far beyond them in video and mirrorless advantages.

In summary, expert reviews and user feedback as of late 2025 indicate that all three cameras are highly regarded. The OM-1 Mark II is praised for refining an already speedy, feature-packed platform – great for those deep into the Olympus/MFT ecosystem, though not groundbreaking. The Lumix G9 II is celebrated for finally giving Micro Four Thirds an autofocus system and hybrid feature set on par with its rivals – it’s seen as an excellent all-rounder and perhaps the best value. The Fujifilm X-H2S, with a year of real-world use, has proven itself in demanding tasks; it’s a pro-level tool that many say is the APS-C king for versatility, albeit at a higher cost. Each has loyal fans who highlight specific strengths (be it Olympus’s computational tricks and lenses, Panasonic’s video and interface, or Fuji’s image quality and color science).

Rumored and Future Models

When investing in a camera system in 2025, it’s wise to peek at the horizon: what’s coming next from OM System, Panasonic, and Fujifilm that might influence your decision?

• OM System / Olympus: According to official communication from OM Digital Solutions’ CEO, a new camera is slated for 2025, along with multiple new lenses. The hints suggest this next camera will be focused on the “harsh outdoor” theme – likely a tough, weatherproof model. Speculation in the community points to either an OM-5 Mark II (an update to the mid-range model for travel/outdoor photography) or possibly a new high-end model like an OM-1X. An OM-1X would essentially be a successor to the old Olympus E-M1X (which was a dual-grip sports camera). Given the OM-1 II now surpasses the E-M1X’s performance, an “OM-1X” could be a niche flagship with a built-in grip, targeting sports pros who want the integrated feel and extra battery – but this is uncertain. Another exciting possibility mentioned: a retro-inspired model. There’s a rumor of a “vintage-styled” OM camera using existing tech (the current sensor/processor) in a redesigned classic body. This sounds like a PEN-F digital revival or an OM-Systems take on the retro trend (perhaps an OM camera shaped like an old Olympus OM-1 film SLR). If that materializes in 2025, it could be very appealing to street and travel photographers who value form factor – though it likely wouldn’t directly compete performance-wise with the OM-1 II (more of a style alternative). On the sensor front, no strong rumors of a new sensor yet; 43 Rumors has hinted that a new high-res sensor is in development for MFT, possibly Stacked BSI with more resolution, but nothing confirmed. For lenses, OM System has officially said a “long-awaited mid-range telephoto zoom” will come by end of 2025 – many interpret that as perhaps a 50-200mm or 70-300mm PRO lens. They also mention bright compact primes; indeed, just recently OM System released a 90mm Macro, and on the roadmap are some wide primes (possibly 20mm f/1.4 or 25mm f/1.4). For a potential buyer: if you get an OM-1 Mark II now, know that OM is committed to the system and new bodies will be compatible with your lenses. The next camera might not directly replace the OM-1 II (since it just came out), so expect maybe a different class of camera (cheaper or larger). So there’s no strong reason to hold off on OM-1 II waiting for an imminent OM-2 or something; it’s likely a couple of years out for a true OM-1 series successor with significantly new sensor.
• Panasonic (Micro Four Thirds): Panasonic actually launched another major camera in early 2024: the Lumix GH7 (the successor to the GH6). The GH7, as rumored and then confirmed at CES 2025, brought phase-detect AF to the GH line along with the same 25MP sensor, in a body with active cooling (a small fan) for unlimited video recording in all modes. The GH7 is positioned as the video-oriented sibling to the G9 II. If you are primarily a videographer, you might consider the GH7 – it costs more (around $2199 body) and doesn’t have the improved stills ergonomics of G9 II (GH7 likely doesn’t have a stills drive dial, etc., instead it’s optimized for film-making with features like waveform, perhaps even SDI output in some variant). But it ensures you can do 4K120 and 5.7K recording indefinitely without overheating, thanks to the built-in fan, and it adds features like perhaps internal ProRes (not confirmed but plausible since GH6 had internal ProRes to CFexpress). There were also whispers of minor models: something called a “G100D” (an update to the entry vlogging G100) and “G7 Mark II” or “G90/95 successor” (the search result [17] mentioned G97, which might be a typo or codename). These are lower-tier and not really relevant if you’re comparing flagship hybrids. In full-frame land, Panasonic also released the Lumix S5 II and S5 IIX (2023) and more recently the Lumix S1H II or S1 Mark II (with dynamic range that rivals Arri Alexa according to some tests). But those are L-mount and a different conversation – if considering those, you’re moving to a bigger system entirely. For MFT though, 2025 looks to be stable: G9 II and GH7 as twin flagships for stills and video. Perhaps in late 2025 or 2026, Panasonic might consider a G9 IIX or similar with more video-centric tweaks (like they did S5II vs S5IIX), but nothing concrete yet. The takeaway for prospective G9 II buyers is that it’s the latest and greatest MFT stills camera, and it likely will remain top-dog on the Panasonic side for a while. No G10 or whatever is on the immediate horizon, and that’s fine because G9 II is very fresh. Lens-wise, Panasonic hasn’t announced many new MFT lenses lately (their focus has been on full-frame L-mount glass). However, with OM System making lenses and third parties, the MFT lens world is still healthy. 43rumors indicated possibly no brand new Pana MFT lenses in 2025 aside from maybe one compact thing, but that’s unconfirmed. The lens gap that some mention: Panasonic lacks a modern super-telephoto like Olympus’s 150-400mm PRO. If Panasonic were to surprise, they could partner with Leica to make something like a 500mm equivalent prime. But again, you can use Olympus’s on G9 II anyway.
• Fujifilm X system: Fuji has been quite active – in 2022 they released X-H2S and X-H2, in 2023 the X-S20 (midrange), and by 2024 we saw an X-T5 (end of 2022) and some compacts (X100V successor X100VI rumored at X Summit). Looking ahead, 2025 rumors suggest a few camera releases. Fujirumors compiled that 4 cameras are coming in 2025, based on Fujifilm’s typical pace (they often do 2-4 bodies a year). Confirmed by Fujifilm themselves is the X-Pro3 successor (likely X-Pro4), though it’s stated that it will not come in 2025 – possibly delayed to 2026. There have been swirling rumors about X-H3 or X-H3S, but nothing concrete. A Fujirumors post in April 2025 addressing “X-T6, X-H3S rumors” suggested that some “wild rumors” (like an 80MP X-H3 from an 40MP sensor with pixel shift) were not credible. They implied that while eventually an X-H3 and X-H3S will come, there’s no solid info or timeline yet – and certainly nothing for early 2025. Given Fuji’s typical cycle, if X-H2S was mid-2022, a 3-year cycle would mean mid-2025. But Fuji has said they feel no rush because firmware is extending the X-H2S’s life, and they launched so many models in 2022 that 2023-2024 were quieter for high-end bodies. So, we might see an X-T6 perhaps in late 2025 (3 years after X-T5), which is a more photography-oriented APS-C body. If X-T6 comes, it might share some autofocus improvements or even sensor tech with X-H2S’s next gen, but again, it’s speculation. For prospective buyers now, the X-H2S is still top of the line and not outdated. Fuji’s next big sensor leap might be a stacked sensor of higher resolution or some new technology (organic sensor, global shutter?) but those are not on the immediate horizon. On the lens side, Fuji in 2024 did release some like the XF8mm and updated older designs (like 30mm Macro, 56mm f/1.2 II). The 2025 lens roadmap includes possibly that XF33mm f/1.0 (just speculation) or XF10-24mm f/4 Mark II. However, the X system already covers most needs. The one gap might be more third-party autofocus glass – but Sigma and Tamron are addressing that nicely now. Another system development: Fujifilm is also focusing on their GFX medium format line (which doesn’t compete with X-H2S, but interestingly might siphon some video people if they announce 8K medium format or such – though that’s niche). Summing up: no confirmed X-H2S successor yet, so buying X-H2S now is safe if you need it – it will remain Fuji’s speed flagship likely through 2025. If you’re not in urgent need, you could wait and see if in late 2025 a surprise X-H3S appears, but all signs suggest Fuji is sticking to ~4-year cycles for the H-series (the rumor mill is much quieter compared to before X-H2S launch). The X-Pro4, X-E5 (rangefinder style APS-C bodies) might appear in 2025, but those are different tools not focused on speed or video.

Rumor Mill Highlights:

• OM System: New outdoor-focused body in 2025 (possibly OM-5 II or an OM-1X), more lenses (small weather-sealed primes, mid-range tele zoom). OM-1 II just launched, so no OM-1 Mark III likely until 2026+.
• Panasonic (MFT): GH7 launched (for video pros who need unlimited recording + PDAF) in 2024/25. G9 II is current stills champ. No strong rumors of something beyond GH7 in near term. MFT is alive and continues as a two-pronged system (GH for video, G for stills/hybrid). Some minor models for entry-level might drop, but nothing that affects these flagships.
• Fujifilm: No immediate X-H2S replacement rumored; X-series in 2025 likely to see maybe X-T6 or X-S30 and possibly a curveball like an X-Pro4 in 2026. Firmware support continues. Those considering Fuji can buy knowing X-H2S will remain top-dog for a while – and even when replaced eventually, it’s not like it’ll suddenly become obsolete (the performance is already so high, many might skip a generation anyway).

Conclusion

Which Mirrorless Flagship Reigns Supreme in 2025? – The honest answer is that each of these “hybrid beasts” reigns in its own realm:

• Olympus/OM System OM-1 Mark II is the speed demon and outdoor king. It’s best for photographers who need extreme burst rates, unmatched weather sealing, and love computational photography features. Wildlife shooters and adventurous shooters (hikers, safari-goers) will adore its agility and the compact lens system. Its video is competent for most needs but not aimed at specialists. As one reviewer put it, “The OM-1 Mark II is even better [than its predecessor] – a pint-sized powerhouse with unique capabilities”. If your priority is capturing the shot under any conditions, and you value lighter gear, the OM-1 II is a terrific choice.
• Panasonic Lumix G9 II is the ultimate hybrid all-rounder in Micro Four Thirds. It merges cutting-edge stills performance (finally on par AF) with a kitchen-sink of video tools. It’s ideal for the shooter who truly does everything: one day photographing birds, the next filming a documentary, the next doing portraits or landscapes – all with one camera. It leverages the huge MFT lens ecosystem, so whatever your niche, there’s likely a lens for it. Its only weaknesses (battery life and slight AF tracking gap to best) are minor in the grand scheme, and easily mitigated. The G9 II absolutely cements MFT’s relevance for hybrid creators, offering a package that is hard to beat if you want lots of features in a relatively compact system. As AP’s verdict succinctly stated: “A brilliant camera… modern technology, wonderful image quality, remains portable and versatile” – truly the photographer’s hybrid workhorse.
• Fujifilm X-H2S is the professional APS-C powerhouse, excelling in both fast action and high-end video. It has the edge in pure image quality and dynamic range, making it the choice for those who will accept a slightly larger kit for better output. It’s a no-compromise hybrid: you get 40fps bursts and 6.2K video in one body, something no other APS-C or MFT camera matches. It’s the priciest of the trio, but you’re buying into Fuji’s renowned color science, robust build, and continued firmware upgrades that squeeze more from the hardware. For sports shooters who also shoot video, or any content creator who wants APS-C for that balance between full-frame and MFT, the X-H2S stands tall. DPReview called it “the only real high-end APS-C camera on the market” when launched, noting it delivered capabilities beyond what DSLRs ever did. In 2025, that still holds true – it reigns in versatility among APS-C offerings.

In the end, “Which flagship is supreme” comes down to your needs:

• If you are a wildlife or action photographer first and foremost, the OM-1 Mark II (or G9 II) will give you more than enough speed and reach, with OM-1 II offering those unique Olympus advantages (Pro Capture, etc.). The smaller sensor is a reasonable trade for portability and depth of field benefits in this context.
• If you are a videographer or truly 50/50 hybrid shooter who needs advanced video features, the X-H2S and G9 II clearly outshine the OM-1 II. Between those two, pick X-H2S if you want the absolute best video quality and can invest in Fuji’s system, or G9 II if you prefer a slightly more budget-friendly option with smaller lenses and you don’t mind 5.7K vs 6.2K (practically a non-issue for most).
• If you appreciate ergonomics and user experience: try them in hand. The Fuji has that straightforward, utilitarian feel with a dash of Fuji charm (film sims, etc.). The Olympus has a “small but mighty” vibe with great menus and customizable controls. The Panasonic feels like a mini DSLR that’s very intuitive for someone coming from Canon/Nikon land, and its menus, while deep, are logically organized and now searchable.

One could say in 2025 we’re fortunate – there is no bad choice here. It’s really a testament to how far mirrorless technology has come that you can’t go wrong with any of these flagship mirrorless cameras. Each can confidently be used for professional work in both photography and videography. As one user summed up after trying them all: “They all deliver incredible results – it’s about finding which one clicks with you. Whichever you choose, you’re getting a beast of a camera.”

References:

• Joshua Waller, Amateur Photographer – “The OM System OM-1 Mark II is a subtle evolution of the OM-1… This Mark II is even better – and [its] Live Grad ND is a unique feature!”
• Andy Westlake, Amateur Photographer – “Panasonic Lumix G9 II… produces wonderful image quality [and] contains modern technology, yet remains portable and versatile… without doubt one of Panasonic’s best cameras yet.”
• Peter Wolinski, Tom’s Guide (on X-H2S) – “The X-H2S performed phenomenally… This is the best performance I have ever seen from a camera [on this fast action test].”
• DPReview – “Panasonic swears the G9 II is for stills shooters, but the number of video features – including V-Log, open gate 5.8K, and ProRes support – sure make it feel almost as hybrid as the GH6.”
• CineD – “Fujifilm’s firmware updates [for X-H2S] give a clue that there is no plan for a new generation coming soon… there’s the feeling of not being outdated or forgotten by the brand.”
• Reddit user feedback (@99hotdogs) – “I have both [G9II and OM-1]. From a video perspective, the G9 II is the better camera… Photo-wise, I prefer the OM-1… I really enjoy using the OM-1 for outdoor photography.”
• Fujirumors – “Gear coming in 2025… 4 cameras for sure… while we hope for a 5th, it’s possible that’s all we get. (What is sure: X-Pro4 will not come in 2025.)”