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Posts Tagged ‘LUMIX’

Panasonic cuts stabilizer hum in Lumix G80/85 and GX80/85 with firmware update

11 Feb

Panasonic has released new firmware for its Lumix DC-G80/81/85 and DC-GX80/GX85 camera models that eliminates the whirring noise caused by the in-body stabilization system while in stand-by mode. Firmware version 1.2, in both cases, also reduces the impact of the noise during video recording, which previously would encroach on the audio of scenes shot in quiet situations. Now in stand-by mode the body is silent whereas before it was really quite noisy.

The new firmware also adds Dual IS 2 to the G80/81/85 when the camera is used with the company’s Leica DG Vario-Elmar 100-400mm F4-6.3 ASPH lens. Dual IS 2 is Panasonic’s improved stabilization system that uses the IS features of both body and lens combined to increase the amount and flexibility of the motion compensation.

For more information see the Panasonic update page.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix GH5 shipments may be delayed due to high number of pre-orders

08 Feb

Update: Panasonic US has clarified that this announcement is intended for customers in Japan, and availability will vary by country. The GH5 is slated for March 30th availability in the US.

Panasonic Japan has announced that customers who have ordered a Lumix GH5 may face a longer wait due to the high number of pre-orders. The camera is scheduled for release on March 23, and Panasonic is prioritizing pre-order shipments. The GH5 was officially announced at the beginning of January, and Panasonic targeted a ‘late March’ shipping timeframe in its initial announcement.

Via: Photo Rumors

Articles: Digital Photography Review (dpreview.com)

 
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Fixed-lens filmmaking: Panasonic Lumix DMC-FZ2500/FZ2000 Review

17 Jan

Key Features

  • 20MP 1″-type BSI-CMOS sensor
  • 24-480mm equiv. F2.8-4.5 lens
  • Depth from Defocus AF
  • Large electronic viewfinder
  • Fully articulating LCD
  • Built-in variable ND filter
  • 4K video capture (DCI/UHD)
  • 10-bit, 4:2:2 output over HDMI

At Photokina 2016, Panasonic released its high-end 1″-type superzoom, known as the DMC-FZ2500 (FZ2000 in some regions). It retains the same sensor as the excellent FZ1000 that came before it, while gaining a totally new lens, larger EVF, easy-to-adjust ND filter and even more customizable buttons.

While offering several new stills-related features (such as focus stacking), the FZ2500 is really all about video. It shoots both Cinema and UHD 4K, can output 4:2:2 10-bit video over its HDMI port, supports V-Log L recording (for an extra $ 99) and much, much more. In essence, the FZ2500 is the little brother to the DMC-GH4 ILC, which is one of the most capable video capture cameras on the market.

At this point in time, the only other fixed-lens cameras that truly competes with the FZ2500 is the Sony Cyber-shot RX10 III. The Sony has many features in common with the FZ2500, such as 4K capture, zebra pattern and a flat picture profile (S-Log2), but boasts a longer, faster lens and high speed recording at up to 960 fps.

Compared to Panasonic DMC-FZ1000 and Sony DSC-RX10 III

Speaking of specs, let’s take a look at how the FZ2500 compares to its predecessor as well as Sony’s Cyber-shot DSC-RX10 III, which we consider its closest competitor.

  Panasonic FZ2500 Panasonic FZ1000 Sony RX10 III
MSRP $ 1199 $ 799 $ 1599
Sensor 20MP 1″ BSI-CMOS 20MP 1″ BSI-CMOS 20MP 1″ Stacked CMOS
Lens focal range 24-480mm equiv. 25-400mm equiv. 24-600mm equiv.
Lens max aperture F2.8-4.5 F2.8-4.0 F2.4-4.0
ND filter Variable No No
ISO range (expanded) 80-25600 80-25600 64-25600
Top shutter speed
(mech/elec)		 1/4000 sec, 1/16000 sec 1/4000 sec, 1/16000 sec 1/2000 sec, 1/32000 sec
LCD size/type 3″ 1.04M-dot fully articulating 3″ 921k-dot fully articulating 3″ 1.3M-dot tilting
LCD touchscreen Yes Yes No
EVF resolution/type 2.36M-dot OLED 2.36M-dot OLED 2.36M-dot OLED
EVF magnification 0.74x 0.7x 0.7x
Top burst speed (S-AF) 12 fps 12 fps 14 fps
4K video capture Cine/UHD 4K @ 30p/24p UHD 4K @ 30p/24p UHD 4K @ 30p/24p
High speed video 120 fps @ 1920 x 1080 120 fps @ 1920 x 1080 960 fps @ 800 x 270
480 fps @ 1136 x 384
240 fps @ 1824 x 1026
120 fps @ 1920 x 1080
Top bitrates 4K: 100MBps
Full HD: 200Mbps

4K: 100Mbps
Full HD: 28Mbps

 4K: 100Mbps
Full HD: 50Mbps
Flat profile V-Log L ($ 99 extra) No S-Log2
Live HDMI output 4:2:2, 10-bit 4:2:2, 8-bit 4:2:2, 8-bit
Mic/phone jacks Yes / Yes Yes / No Yes / Yes
Wi-Fi Yes, without NFC Yes, with NFC Yes, with NFC
Battery life (CIPA) 350 shots 360 shots 420 shots
Dimensions 138 x 102 x 135 mm  137 x 99 x 131 mm 133 x 94 x 127 mm
Weight (CIPA) 966 g 831 g 1095 g

In most respects, the FZ2500 comes out on top – and that’s without including the myriad of video features that just don’t fit in the table.  The RX10 III does have a longer, faster lens and the ability to shoot at very fast frame rates, but it also costs a lot more. It’s battery life is also considerably better. That said, it costs $ 400 more than the FZ2500, which is nothing to sneeze at.

Lens Comparison

The chart below breaks down the equivalent aperture for each camera, as you work your way through the zoom range. Our article here explains the concept of equivalence, but at a high level all you need to know is that the lower the line is on the graph below, the blurrier the backgrounds you’ll be able to get and, typically, the better the overall low-light performance.

LensEquivalentApertures([“Equivalent focal length (mm)”,”Panasonic FZ1000″,”Sony RX10 II”,”Panasonic ZS100″,”Sony RX10 III”,”Panasonic FZ2500″], [[24,null,””,7.6363636363636367,”Sony RX10 II at 24mm: F7.6″,null,””,6.5454545454545459,”Sony RX10 III at 24mm: F6.5″,7.6363636363636367,”Panasonic FZ2500 at 24mm: F7.6″],[25,7.6363636363636367,”Panasonic FZ1000 at 25mm: F7.6″,null,””,7.6363636363636367,”Panasonic ZS100 at 25mm: F7.6″,6.8181818181818183,”Sony RX10 III at 25mm: F6.8″,7.9090909090909092,”Panasonic FZ2500 at 25mm: F7.9″],[26,7.9090909090909092,”Panasonic FZ1000 at 26mm: F7.9″,null,””,7.9090909090909092,”Panasonic ZS100 at 26mm: F7.9″,null,””,null,””],[27,null,””,null,””,8.1818181818181834,”Panasonic ZS100 at 27mm: F8.2″,null,””,null,””],[28,null,””,null,””,null,””,7.6363636363636367,”Sony RX10 III at 28mm: F7.6″,8.1818181818181834,”Panasonic FZ2500 at 28mm: F8.2″],[30,8.1818181818181834,”Panasonic FZ1000 at 30mm: F8.2″,null,””,8.7272727272727284,”Panasonic ZS100 at 30mm: F8.7″,null,””,8.454545454545455,”Panasonic FZ2500 at 30mm: F8.5″],[32,null,””,null,””,9.0,”Panasonic ZS100 at 32mm: F9.0″,null,””,8.7272727272727284,”Panasonic FZ2500 at 32mm: F8.7″],[34,8.454545454545455,”Panasonic FZ1000 at 34mm: F8.5″,null,””,9.2727272727272734,”Panasonic ZS100 at 34mm: F9.3″,null,””,null,””],[35,null,””,null,””,null,””,8.7272727272727284,”Sony RX10 III at 35mm: F8.7″,9.0,”Panasonic FZ2500 at 35mm: F9.0″],[36,null,””,null,””,9.5454545454545467,”Panasonic ZS100 at 36mm: F9.5″,null,””,null,””],[39,null,””,null,””,null,””,null,””,9.2727272727272734,”Panasonic FZ2500 at 39mm: F9.3″],[41,8.7272727272727284,”Panasonic FZ1000 at 41mm: F8.7″,null,””,null,””,null,””,null,””],[43,null,””,null,””,null,””,null,””,9.5454545454545467,”Panasonic FZ2500 at 43mm: F9.5″],[47,9.0,”Panasonic FZ1000 at 47mm: F9.0″,null,””,null,””,null,””,null,””],[49,null,””,null,””,null,””,null,””,9.81818181818182,”Panasonic FZ2500 at 49mm: F9.8″],[51,9.2727272727272734,”Panasonic FZ1000 at 51mm: F9.3″,null,””,null,””,null,””,null,””],[56,null,””,null,””,null,””,9.5454545454545467,”Sony RX10 III at 56mm: F9.5″,10.090909090909092,”Panasonic FZ2500 at 56mm: F10.1″],[58,9.5454545454545467,”Panasonic FZ1000 at 58mm: F9.5″,null,””,null,””,null,””,null,””],[63,9.81818181818182,”Panasonic FZ1000 at 63mm: F9.8″,null,””,null,””,null,””,null,””],[69,null,””,null,””,null,””,null,””,10.363636363636363,”Panasonic FZ2500 at 69mm: F10.4″],[70,10.090909090909092,”Panasonic FZ1000 at 70mm: F10.1″,null,””,null,””,null,””,10.636363636363637,”Panasonic FZ2500 at 70mm: F10.6″],[79,null,””,null,””,null,””,null,””,10.90909090909091,”Panasonic FZ2500 at 79mm: F10.9″],[84,10.363636363636363,”Panasonic FZ1000 at 84mm: F10.4″,null,””,null,””,null,””,null,””],[91,null,””,null,””,null,””,null,””,11.181818181818182,”Panasonic FZ2500 at 91mm: F11.2″],[100,null,””,null,””,null,””,10.90909090909091,”Sony RX10 III at 100mm: F10.9″,null,””],[102,null,””,null,””,null,””,null,””,11.454545454545457,”Panasonic FZ2500 at 102mm: F11.5″],[105,10.636363636363637,”Panasonic FZ1000 at 105mm: F10.6″,null,””,null,””,null,””,null,””],[144,null,””,null,””,15.818181818181818,”Panasonic ZS100 at 144mm: F15.8″,null,””,null,””],[151,null,””,null,””,null,””,null,””,11.727272727272728,”Panasonic FZ2500 at 151mm: F11.7″],[157,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 157mm: F16.1″,null,””,null,””],[170,10.90909090909091,”Panasonic FZ1000 at 170mm: F10.9″,null,””,null,””,null,””,null,””],[200,null,””,7.6363636363636367,”Sony RX10 II at 200mm: F7.6″,null,””,null,””,null,””],[208,null,””,null,””,null,””,null,””,12.000000000000002,”Panasonic FZ2500 at 208mm: F12.0″],[250,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 250mm: F16.1″,null,””,null,””],[262,null,””,null,””,null,””,null,””,12.272727272727273,”Panasonic FZ2500 at 262mm: F12.3″],[400,10.90909090909091,”Panasonic FZ1000 at 400mm: F10.9″,null,””,null,””,null,””,null,””],[480,null,””,null,””,null,””,null,””,12.272727272727273,”Panasonic FZ2500 at 480mm: F12.3″],[600,null,””,null,””,null,””,10.90909090909091,”Sony RX10 III at 600mm: F10.9″,null,””]])

Focusing just on the FZ2500 vs RX10 III, you’ll see that the latter gets a headstart, as its max aperture starts at F2.4, versus F2.8. The RX10 III is always a tiny bit ahead, until it levels off at F4 for the rest of its focal length. When the FZ2500 reaches its maximum telephoto position it’s equivalent aperture is about 1/3-stop slower than the Sony. The camera with the fastest equivalent aperture in the group is the Sony RX10 II, which has a constant F2.8 aperture throughout its focal range (which ends at 200mm.)

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix FZ2500 / FZ2000 real world samples gallery

10 Dec
Straight-out-of-camera JPEG. 132mm equiv., ISO 125, 1/640 sec, F4.5. Photo by Carey Rose

The Panasonic Lumix FZ2500 / FZ2000, the company’s followup to the popular FZ1000, comes with a whole new 24-480mm F2.8-4.5 lens in front of its 20MP 1″-type CMOS sensor. It also comes with a built-in neutral density filter, 4K video and 4K photo modes and Panasonic’s Depth-from-Defocus (DFD) technology for quick and accurate autofocus.

We’ve taken advantage of some rare sunny weather in the midst of this Seattle winter to put together a samples gallery from this stills and video superzoom – take a look.

See our Panasonic FZ2500 / FZ2000 real world samples gallery

Articles: Digital Photography Review (dpreview.com)

 
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Elinchrom extends Skyport radio transmitter compatibility to Panasonic Lumix cameras

24 Nov

Flash manufacturer Elinchrom has released new firmware for its EL-Skyport Transmitter Plus HS for Olympus so that the device will be able to work with Panasonic Lumix cameras as well as Olympus OM-D models. The transmitter, which is already compatible with all OM-D and Pen models, as well as the E-5 and E-410, will now work with Lumix models as far back as the G7, including the LX100 compact and the FZ1000 bridge camera.

Compatibility with the system means that the listed cameras can be used with a Skyport transmitter to trigger and control the output of a host of Elinchrom flash heads. Elinchrom products that can be used range from portable battery-powered heads to units designed for studio use. Photographers can use the Skyport transmitter to control four groups of heads via 40 channels, and a high speed sync mode allows shutter speeds as short as 1/8000sec. Elinchrom says that the system has an operating range of 200m, and that the 2.4GHz radio communication signals can pass through walls.

The Skyport transmitter costs $ 249/€249/£199. For more information visit the Elinchrom website.

EL-Skyport Plus HS for Olympus and Panasonic compatibiliy table with Firmware V.1.1

Olympus Panasonic
 E-M1  G7
 E-M5 Mark II  GX85
 E-M5  GX8
 E-M10 Mark II  GH4
 E-M10  LX100
 PEN-F  FZ300
 E-P5  FZ1000
E-PL7   
 E-PL6  
 E-PL5  
 E-PM2  
 E-5  
 E-410  

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix DMC-LX10/LX15 Review

22 Nov

The Panasonic Lumix DMC-LX10 (LX15 in some markets) is a 20MP large-sensor compact with a bright (F1.4-2.8), 24-72mm equivalent zoom lens. Which is to say, it’s a very capable pocket camera. And, being a Panasonic, it has video specs and clever video-based features to back up its stills capabilities.

Panasonic’s LX cameras have always had the enthusiast in mind, built around larger-than-average sensors with short but bright lenses and as many direct controls as can sensibly be fitted onto a pocketable camera body. They helped reinvigorate the enthusiast compact sector and prompted a series of imitators before the much larger sensor of Sony’s RX100 rendered them irrelevant.

Key specifications

  • 20MP 1″-type CMOS sensor
  • 24-72mm equivalent F1.4-2.8 zoom
  • 7 fps continuous shooting with autofocus
  • 4K video at up to 30p
  • 5-axis, digital and optical stabilization in 1080 video
  • 4K Photo mode
  • Post Focus and Focus Stacking modes

The LX10 is Panasonic’s first direct response to the big-sensored Sonys. The company has already built an excellent series of compacts that address every other niche you can think of: the long zoom stills/video FZ1000 and FZ2500, a large sensor ZS100 version of their well respected travel zoom series, and a larger sensor photographer’s camera, the LX100. But the LX10 is a head-to-head competitor for Sony’s pocket wonders.

The approach is a little different: unlike the RX100 III and IV, the LX10 doesn’t have a viewfinder. Instead, it offers a touchscreen interface and a screen that can be tilted upwards. In many respects, the LX10 is a logical post-1″ successor to the last of the smaller sensor models: the LX7.

The camera also offers Panasonic’s 4K Photo mode, which offers a series of ways of specifying when the camera should capture a video clip from which stills can then be extracted. It also has Panasonic’s Post Focus mode that captures a video clip of the camera racking focus, so you can choose to grab the frame with optimal focus, after the fact.

Compared with its peers

The LX10 means there are now three brands building small cameras with 1″-type sensors and short, bright zooms (and Nikon promising a comparable ‘DL’ model at some point). We’ve also included the LX10’s big brother, the LX100 in this comparison, just to show what you get if you have room to carry its additional size.

  Panasonic
LX10		 Sony
DSC-RX100 IV		 Canon G7X
Mark II		 Panasonic
LX100
MSRP $ 699 $ 999 $ 699 $ 899
Sensor area 116 mm2 116 mm2 116 mm2 180 mm2
Lens range (equiv) 24-72mm 24-70mm 24-100mm 24-75mm
Aperture range F1.4-2.8 F1.8-2.8 F1.8-2.8 F1.7-2.8
Control dials Aperture ring
Command dial
Lens ring (stepless)		 Lens ring (stepless)
Four-way/dial

Lens ring
(stepped/
stepless)
Exposure Comp
Four-way/dial

 Aperture ring
Shutter dial
Exposure Comp
Lens ring (stepless)
Four-way/dial
Viewfinder No  2.36M-dot No 2.76M-dot
equiv.*
Rear screen Tilt up
Touchscreen		 Tilt up/down Tilt up/down
Touchscreen		 Fixed
Video capability 4K/30p
1080/120p**		 4K/30p
1080/120p		 1080/60p 4K/30p
1080/60p
Built-in ND Filter No Yes
(Auto for stills)		 Yes
(Auto for stills)		 No
Flash Built-in pop-up (bounceable) Built-in pop-up
(bounceable)		 Built-in pop-up
(bounceable)		 Clip-on hotshoe flash
Battery life (CIPA) 260 280
(230 with EVF)		 265 300
(270 with EVF)
Dimensions
mm (in)		 105 x 61 x 42
(4.1 x 2.4 x 1.7)		 102 x 58 x 41
(4.0 x 2.3 x 1.6)		 106 x 61 x 42
(4.2 x 2.4 x 1.7)		 115 x 66 x 55
(4.5 x 2.6 x 2.2)

*The LX100 uses a field-sequential display that updates red, green and blue information in sequence and, as such, does not require three dots to make up each three-color ‘pixel.’
**1080/120p is a dedicated high speed video mode, with limited control.

Equivalent apertures

The chart below breaks down the equivalent aperture for each camera, as you work your way through the zoom range. Our article here explains the concept of equivalence, but at a high level all you need to know is that the lower the line is on the graph below, the blurrier the backgrounds you’ll be able to get and, typically, the better the overall low-light performance.

LensEquivalentApertures([“Equivalent focal length (mm)”,”Panasonic LX100″,”Sony RX100 IV”,”Canon G7 X II”,”Panasonic LX10″], [[24,3.7434,”Panasonic LX100 at 24mm: F3.7″,4.90909090909091,”Sony RX100 IV at 24mm: F4.9″,4.90909090909091,”Canon G7 X II at 24mm: F4.9″,3.8181818181818183,”Panasonic LX10 at 24mm: F3.8″],[25,3.9636,”Panasonic LX100 at 25mm: F4.0″,5.454545454545455,”Sony RX100 IV at 25mm: F5.5″,null,””,4.0909090909090917,”Panasonic LX10 at 25mm: F4.1″],[26,4.1838,”Panasonic LX100 at 26mm: F4.2″,6.0000000000000009,”Sony RX100 IV at 26mm: F6.0″,null,””,4.90909090909091,”Panasonic LX10 at 26mm: F4.9″],[27,4.404,”Panasonic LX100 at 27mm: F4.4″,null,””,null,””,5.454545454545455,”Panasonic LX10 at 27mm: F5.5″],[28,4.6242,”Panasonic LX100 at 28mm: F4.6″,6.8181818181818183,”Sony RX100 IV at 28mm: F6.8″,null,””,6.0000000000000009,”Panasonic LX10 at 28mm: F6.0″],[29,null,””,null,””,null,””,6.8181818181818183,”Panasonic LX10 at 29mm: F6.8″],[30,4.8444,”Panasonic LX100 at 30mm: F4.8″,null,””,null,””,null,””],[31,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 31mm: F7.6″],[32,null,””,7.6363636363636367,”Sony RX100 IV at 32mm: F7.6″,6.0000000000000009,”Canon G7 X II at 32mm: F6.0″,null,””],[34,5.0645999999999995,”Panasonic LX100 at 34mm: F5.1″,null,””,null,””,null,””],[37,5.2848,”Panasonic LX100 at 37mm: F5.3″,null,””,null,””,null,””],[39,null,””,null,””,6.8181818181818183,”Canon G7 X II at 39mm: F6.8″,null,””],[41,5.505,”Panasonic LX100 at 41mm: F5.5″,null,””,null,””,null,””],[44,5.7252,”Panasonic LX100 at 44mm: F5.7″,null,””,null,””,null,””],[52,6.1655999999999995,”Panasonic LX100 at 52mm: F6.2″,null,””,null,””,null,””],[54,null,””,null,””,7.6363636363636367,”Canon G7 X II at 54mm: F7.6″,null,””],[70,null,””,7.6363636363636367,”Sony RX100 IV at 70mm: F7.6″,null,””,null,””],[72,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 72mm: F7.6″],[75,6.1655999999999995,”Panasonic LX100 at 75mm: F6.2″,null,””,null,””,null,””],[100,null,””,null,””,7.6363636363636367,”Canon G7 X II at 100mm: F7.6″,null,””]])

Just as the specs suggest, the LX10’s lens is broadly similar to that of the Sony RX100 III and IV. It’s 2/3EV brighter at first but by 30mm equivalent they’re both already down to F2.8 (F7.6 equiv). So although it should offer a similar performance to its big brother, the LX100, at wide angle, the bigger camera maintains an advantage across the rest of its zoom range.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix DMC-G85/G80 Review

31 Oct

Key Features

  • 16MP Four Thirds MOS sensor w/o optical low pass filter
  • 5-axis image stabilization with Dual I.S. 2
  • Splash/dust-proof body
  • Depth from Defocus AF
  • 2.36M-dot OLED EVF
  • 3-inch 1.04M-dot fully-articulating touchscreen LCD
  • 4K video / photo
  • Focus stacking and post focus

The Panasonic Lumix DMC-G85 is an SLR-style mid-range mirrorless camera. It features 4K video capture, 2nd-generation 5-axis image stabilization and a 16MP Four Thirds sensor with no optical low pass filter. A sister model, the G80 will be available in other markets.

Though Panasonic has not come outright and said it, the G85 is the successor to the G7. More a refinement than something new entirely, both cameras share seemingly identical bodies and offer twin control dials, plenty of customizable buttons and fully articulating touch interfaces. 

But the G85 is rather more grand: it’s weather-sealed with a magnesium alloy front plate, and offers a new electromagnetic shutter to combat shutter shock, an upgraded electronic viewfinder and 5-axis in-camera IS.

Like the Panasonic GX85, the G85 uses a 16MP chip with no anti-aliasing filter. We found image quality from the GX85 to be slightly improved over that of past Panasonic cameras using the same 16MP chip with AA filters (like the G7).

The G85 also uses the same redesigned shutter mechanism as the GX85, which we found to effectively mitigate shutter shock, an issue that affected the Panasonic G7. 

Compared to its peers

  Panasonic G85 Panasonic G7 Panasonic GX85 Sony a6300 Olympus EM-5 II
MSRP $ 900 (body) $ 800 (with kit lens) $ 800 (with kit lens) $ 1000 (body) $ 1100 (body)
Sensor (resolution/size) 16MP Four Thirds 16MP Four Thirds 16MP Four Thirds 24MP APS-C 16MP Four Thirds
AA filter No Yes No Yes No
Stabilization Sensor-shift (5-axis) + Dual IS 2 In-lens only
 Sensor-shift (5-axis) + Dual I.S.
 In-lens only Sensor-shift (5-axis)
EVF res/mag. 2.36M-dot OLED (0.74x) 2.36M-dot OLED (0.7x) 2.76M-dot field sequential LCD (0.7x) 2.36M-dot OLED (0.7x) 2.36M-dot LCD (0.74x)
Autofocus Contrast Detect w/ 49-points + DFD Contrast Detect w/ 49-points + DFD Contrast Detect w/ 49-points + DFD Hybrid AF w/425 PDAF points Contrast Detect w/ 81-points
Burst w/ continuous AF 6 fps 6 fps 6 fps 11 fps 5 fps
LCD size, type 3-inch 1.04M-dot articulating 3-inch 1.04M-dot articulating 3-inch 1.04M-dot tilting 3-inch
921k-dot tilting		 3-inch 1.04M-dot articulating
Touchscreen Yes Yes Yes No Yes
Mic/Headphone port Yes/No Yes/No No/No Yes/No Yes/No
Max movie resolution 4K/30p 4K/30p 4K/30p 4K/30p 1080/60p
Weather-sealing Yes No No Yes Yes
Flash sync speed 1/160 sec 1/160 sec 1/160 sec 1/160 sec 1/250 sec
Battery life 320 shots 350 shots 290 shots 400 shots 310 shots
Weight 453 g 410 g 426 g 404 g 469 g
Dimensions 128 x 89 x 74 mm 125 x 86 x 77mm 122 x 71 x 44 mm 120 x 67 x 49 mm 124 x 85 x 45mm

While the three Panasonic cameras compared above share quite a lot, the G85 stands out against the other 16MP Panasonic’s as the most appealing choice. This is due to its inclusion of weather-sealing, an updated Dual IS system and upgraded electronic viewfinder.

When compared to similar mirrorless offerings from Sony and Olympus, things get a bit more complicated. The Sony beats it in terms of its more sophisticated AF system, larger sensor and faster burst (w/ AF), but the G85 offers superior ergonomics (fully articulating touchscreen, dual top-plate control dials, higher magnification EVF). The G85 and EM-5 II also share quite a lot, the major distinction between the two being the G85’s 4K video capability (compared to 1080p on the Olympus).

The whole Panasonic gang, including the Panasonic G85, GX85, G7 and 20MP GX8.

Pricing and availability

The Panasonic G85 will be available in the US for $ 899 body only and $ 999 with 12-60mm F3.5-5.6 Power O.I.S. kit lens.

Accessories

The optional DMW-BGG1 vertical battery grip adds an additional shutter release and improved ergonomics, as well as room for a second battery, effectively doubling shooting time.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Panasonic Lumix DMC-G85

20 Sep

Hands-on with the Panasonic Lumix G85

The new Lumix DMC-G85/G80 sits somewhere between the GX8 and the G7. It provides a much more advanced user experience and more rugged magnesium body than the G7 but without the 20MP resolution of the GX8. While the shape is very much like the G7 the build is significantly more solid and the grip feels more substantial. Panasonic has weather- and dust-proofed the body and introduced a new shutter unit that reduces shutter shock in mechanical mode and which offers an electronic first curtain mode for the first time.

Hands-on with the Panasonic Lumix G85

The rear screen is the same 1040k-dot unit touch LCD that is used in the G7, and it features the same vari-angle hinge too. The viewfinder is also the same 2360k OLED but Panasonic has increased the magnification from 0.7x to 0.74x to make the view feel a bit bigger – which it does. The eye relief is also increased from 17.5mm to 20mm, to help glasses wearers. The layout of the back of the camera is much in the style of the G7, GX8 and the GH4, so will be familiar to those already using the Lumix system.

Hands-on with the Panasonic Lumix G85

The top plate is pretty standard Lumix fare, with the dual control wheels on either side of the grip that can be customized for a range of preferences and activities. The head houses a built-in flash unit that can be used as an active or silent commander with the company’s wireless flash system.

Hands-on with the Panasonic Lumix G85

The dial on the left of the top plate provides access to some of the drive functions of the camera. The high drive mode allows shooting at up to 9fps for 200 JPEGs or 40 Raw files, and the 4K symbol indicates where we find the 4K Photo modes. The new icon of a flower and a mountain is the Post Focus setting that now doubles as a focus stacking mode.

The camera shoots a 4K clip running the focus from the closest to the farthest point in the scene, and in Post Focus the user can choose which part of the scene they’d like to be in focus. The same clip can be used to create a focus stack of either all the clips or clips just covering a particular range within the scene – so you can have full control of what is in and out of focus. The mode is only good for static subjects though. An addition to all the 4K modes is Bulk Save – which simply saves all the frames from any 4K Photo/Post Focus clip as 8MP JPEG files on the memory card.

Hands-on with the Panasonic Lumix G85

The base features the battery chamber with an additional cover that suggests that a mains power adapter will be available to run the camera from a household supply. The battery used to power the G85 is the same DMW-BLC12E 1200mAh unit that is used in the GX8. The contacts on show here are designed to connect with the optional battery grip DMW-BGG1.

Hands-on with the Panasonic Lumix G85

The Lumix DMC-G85 uses a 16MP Live MOS sensor that operates without a low-pass filter in the same way that the GX85 does. Panasonic has included the new Dual IS 2 5-axis in-body image stabilization system in this camera and claims it compensates for 5-stops. The system in the GX85 only claims 4-stops. The new system can combine with in-lens Mega OIS when it is available to alter the principle source of stabilization between the body and the lens according to the type of shake it expects from the focal length in use. The camera’s 4K video features are much the same as the G7’s but now include unlimited recording outside the EU and 60p/30p recording in PAL areas.

Hands-on with the Panasonic Lumix G85

Weather-sealed covers on the side of the camera reveal a micro HDMI port along with USB, microphone and a cabled remote release socket. There is no headphone socket unfortunately, but now we can stream to an HDMI monitor while recording 4:2:2 to the memory card. On the other side of the camera you’ll find the SD card slot – which has moved from the battery compartment so that it can be accessed when the grip is attached.

Hands-on with the Panasonic Lumix G85

The grip provides duplicates of the top plate dials for adjusting apertures and shutter speeds, designed to feel just like their counterparts as well as to perform the same tasks. Even the exposure compensation button has made the trip, while a back-button offers AF/AE lock.

Hands-on with the Panasonic Lumix G85

The optional grip DMW-BGG1 adds considerable bulk to the G85, making it much taller than the GH4, but it also makes the camera much more comfortable to hold in the upright position. It houses an extra battery that can be accessed automatically when the body battery is exhausted or when the user switches between the cells via the menu system.

Panasonic claims that a new economy mode allows the usual expected 320 shots per charge to be extended to up to 900 shots by reducing the amount of time displays are on. The economy mode shuts off the rear screen during shooting and works most effectively for those who use the viewfinder.

Read our Panasonic Lumix DMC-G85 First Impression Review

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix G Leica 12mm F1.4 real-world sample gallery

21 Jun

Introduced last week, Panasonic’s 12mm F1.4 brings a weather-resistant, fast 24mm equivalent prime to the Micro Four Thirds system. The Leica name on the lens is reflected in its sturdy metal build, its aperture control ring and its $ 1300 price tag. We intend to do much more shooting with the 12mm F1.4, including some architectural work, but for now here are some initial samples.

Panasonic Lumix G Leica DG Summilux 12mm F1.4 ASPH lens gallery

Articles: Digital Photography Review (dpreview.com)

 
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Review: Panasonic Lumix DMC-GX85 impresses with image quality, versatility

19 Jun

Key Features

  • 16MP Four Thirds MOS sensor
  • Electromagnetically driven shutter
  • Depth from Defocus AF
  • 2.76M-dot field sequential EVF
  • 1.04M-dot tilting touchscreen display
  • 4K video / photo
  • 5-axis image stabilization with Dual I.S.
  • Bouncable pop-up flash
  • Wi-Fi

The Panasonic Lumix DMC-GX85 is a mid-range interchangeable lens camera sporting a 16MP Four Thirds sensor and 4K video capability. In markets outside of North America the GX85 is sold as the GX80; in Japan it is sold as the GX7 Mark II.

Sliding in directly below the flagship GX8, the GX85 is targeted toward enthusiast photographers and videographers. It doesn’t use the new 20MP Four Thirds chip we saw in the GX8, instead it sticks with the familiar 16MP sensor used on many other Micro Four Thirds cameras. It also does not have the tilting EVF, weather-sealing or microphone input offered by the GX8. 

Still, the GX85 shares many of its big brother’s features like 4K photo mode, Post Focus, Depth from Defocus AF, and Dual I.S.. It also has a redesigned shutter mechanism. Shutter-induced blur (‘shutter shock’) was an issue we encountered on the GX8, which used a motor and spring arrangement in its shutter mechanisms. The new electromagnetic shutter found in the GX85 resolves this problem.

The GX85 also has no anti-aliasing filter, a first for Panasonic cameras. This should lead to better detail retention at the pixel level, but can also lead to moiré. However, Panasonic claims that the new Venus Engine image processor is specially tuned to combat moiré and false color and in use, we’ve found that it does so pretty well.

Like the GX8, the GX85 offers Dual I.S., combining sensor-based image stabilization with lens-based IS. But unlike the GX8, which has 4-axis sensor IS, the GX85 offers 5-axis sensor IS with rotation correction. Another advantage over its big bro: the GX85 can also use Dual IS during 4K video capture, something that the GX8 cannot.

Compared to its peers

  Panasonic GX85 Panasonic GX8 Panasonic GX7 Olympus PEN-F  Sony a6300
Sensor 16.0MP Four Thirds CMOS  20.3MP Four Thirds CMOS 16.0MP Four Thirds CMOS  20.3MP Four Thirds CMOS  24.0MP APS-C CMOS
Anti-aliasing filter  No  Yes Yes  No  Yes
Image stabilization Sensor-shift (5-axis) + Dual I.S.
 Sensor-shift (4-axis) + Dual I.S. Sensor-shift (2-axis) Sensor-shift (5-axis) In-lens only
AF system  49-pt CDAF 49-pt CDAF 23-pt CDAF 81-pt CDAF Hybrid AF
(with 425 PDAF points)
Flash x-sync  1/160 sec  1/250 sec   1/320 sec 1/250 sec  1/160 sec
Burst rate
(with C-AF)		  6  fps   6 fps 5 fps 5 fps   11 fps
EVF res/type 2.76M-dot field sequential LCD 2.36M-dot tilting OLED 2.76M-dot tilting field sequential LCD 2.36M-dot fixed OLED 2.36M-dot fixed OLED
EVF magnification  0.7X 0.77x  0.7x 0.62x  0.7x
LCD type/res 3″ tilting touch 1.04M-dot LCD 3″ vari-angle touch
1.04M-dot OLED		 3″ tilting touch
1.04M-dot LCD		 3″ vari-angle touch
1.04M-dot LCD

3″ tilting
921.6k-Dot  LCD
Built-in flash  Yes  No  Yes No *  Yes
Video 2160/30p @ 100Mbps 2160/30p @ 100Mbps 1080/60p @ 28Mbps 1080/60p @ 77Mbps  2160/30p @ 100Mbps
Mic/headphone sockets No / No Yes / No No / No No / No Yes / No
Weather-sealing No Yes No No  Yes
Battery life  290 shots 330 shots 320 shots 330 shots 400 shots 
Dimensions 122 x 71 x 44 mm 133 x 78 x 63mm 123 x 71 x 55mm 125 x 72 x 37mm 120 x 67 x 49 mm
Weight (CIPA) 426 g 487 g 402 g  427 g 404 g
* External flash included in box 

It’s arguable whether the GX85 should be called the little brother of the GX8 or the true replacement to the GX7. And the different regional naming conventions for the GX85 only add to the confusion. The chart above seems to give support to both ways of looking at it: the GX85 uses the same field sequential EVF as the GX7 (although it doesn’t tilt), and what is presumably the same sensor (sans AA filter). And like the GX7, it lacks weather sealing and microphone/headphone ports but has a pop-up flash.

However, aside from its sensor and EVF, the GX85 also shares a lot of core components and specs with the GX8, such as its 49-point AF system, 4K video capture and 6 fps burst with AF. So whichever way you view the GX85, it certainly stacks up nicely to its Panasonic peers, as well as to the competition.

Part of the family: The GX85 (top) alongside its Lumix stablemates, the GX7 and GX8.

Pricing and availability 

Kitted with the collapsible 12-32mm F3.5-5.6 zoom lens, the GX85/GX80 will run you $ 799/£599/€699. In the UK and Europe it’s available body-only for £509/€599 and with both the 12-32mm F3.5-5.6 and a 35-100mm F4-5.6 for £729/€899.

Articles: Digital Photography Review (dpreview.com)

 
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