Panasonic Lumix DMC-GX1 at a glance:
- 15.8-million-pixel, Live MOS, four thirds (17.3x13mm) sensor
- 3in LCD touchscreen with full-area AF
- 0.09sec touch AF
- Compatibility with new premium ‘X’ lenses
- Street price around £750 with 14-42mm f/3.5-5.6 ‘X’ lens
Panasonic Lumix DMC-GX1 review – Introduction
According to Panasonic, the best-selling compact system camera (CSC) in 2011 was its own: the SLR-styled Lumix DMC-G3. The new Panasonic Lumix DMC-GX1 may well enjoy a similar level of popularity, as it has the same imaging sensor – which should deliver equally good results – yet it comes in a more compact body.
If the market trend is anything to go by, there is equal demand for both styles of compact system camera, with the larger type often chosen by first-time buyers over a DSLR, and the compact type considered by those who already own a DSLR but want a smaller body.
Panasonic’s first compact type, the Lumix DMC-GF1, had a premium feel. Its follow-up cameras, the Lumix DMC-GF2 and the current Lumix DMC-GF3, departed from this in favour of a smaller sized and more cost-effective body that tapped into the mass market. By reintroducing the compact body and aluminium chassis, the GX1 is aimed squarely at the enthusiast and professional photographer.
One main drawback to a smaller camera body is that there is no space for a viewfinder. However, there is the option of attaching an external unit via the hotshoe port, and this is available separately. Panasonic released the 1.44-million-dot LVF2 electronic viewfinder alongside the GX1, and it has the same resolution as the EVF found in the G3.
While the GX1 has much in common with the G3, there is a vast difference in price, especially when you add the cost of the optional viewfinder. There is the option to buy the GX1 with a regular 14-42mm kit lens or the 14-42mm ‘X’ lens. The ‘X’ lens is new and collapses to a much smaller size when not in use. This lens costs around £250 more than the standard kit lens.
In this test, I will be keen to find out just how much the smaller body affects the overall handling of the camera.
Features
Quoted by Panasonic as having a 16-million-pixel, four thirds sensor, the Lumix DMC-GX1 actually has 4592×3448 pixels, which means its maximum output is closer to 15.8 million pixels. The sensor’s size creates a 2x magnification factor when compared to a 35mm full-frame unit.
It has the same design as the sensor used in the G3, but with an increased ISO sensitivity of 12,800. The aspect ratio can be changed between 4:3, 3:2, 16:9 and 1:1, with 4:3 giving the maximum output.
The sensor readout of the GX1 is 120fps, which is twice the speed of the G3 and GF3. This means the camera and lenses communicate faster, resulting in several benefits such as quicker AF speeds and shutter lag, measured here at a 0.09sec response.
Like previous G-series models, the LCD screen is a touch type with full-area coverage. Touch control can be deactivated on-screen. Usefully, the main menu can be hidden in a tab on the right-hand side of the screen and features additions to the shooting controls.
A frame rate of 20fps is available only with JPEGs at a reduced 4-million-pixel resolution, and up to a 1sec burst, while 4fps is possible in full-resolution raw + JPEG mode for a maximum of 2secs. More usefully, in JPEG Standard mode (at a reduced 4-million-pixel resolution), the 4fps burst rate is available for unlimited capture. Many manufacturers concentrate on the high frame rate rather than the length of capture, so Panasonic has introduced a practical feature here.
The company offers good options for video, as AVCHD files are available in 1080/60i at 30fps, with stereo sound and the option for an external microphone. MPEG-4 format is also available. Panasonic has a couple of power-zoom lenses in its range that are ideal for video because they feature optical image stabilisation and zoom control for smooth zooming.
As with the previous LVF1, the optional 1.44-million-dot LVF2 electronic viewfinder can be angled up to 90° for a more comfortable viewing angle, and gives a 100% field of view.
Features in use: X Power-Zoom lens
The panasonic Lumix DMC-GX1 can be bought in kit form with the regular 14-42mm lens or the new ‘X’-series Power Zoom optic. The benefit of the new lens is that it collapses to the size of a pancake lens when not in use. The disproportionate size between bulky zoom lenses and small compact system camera bodies has long been a criticism, but that does not apply in this case.
The zoom of the lens is electronically controlled by a switch on the lens itself, or via Touch Zoom on the LCD screen. I have my reservations about an electronic zoom on a high-end CSC, because these lenses are typically found on compact cameras where the handling is less precise than with manual control. In this case, though, it gives a smooth and precise operation.
Usefully, the exact focal length information is displayed on-screen while zooming, and the zoom can be stepped for a one-push shift between 14mm, 18mm, 25mm, 35mm and 42mm. In the main menu, the speed of zoom can be adjusted between low, medium and high, and set individually for stills and video capture. Typically, a slow zoom suits video capture well, but may not be suitable for stills photography, whereas a high-speed setting is ideal for stills. In short, the lens handles very well.
We have not had the opportunity to assess the optical quality of the lens against the regular 14-42mm optic, but given its premium status and higher price tag we are led to believe that at the very least it is on a par with the older kit lens.
Build and Handling
Although the Lumix DMC-GX1 is small, it is by no means lightweight because it features an aluminium chassis. Whereas the GF3 is lightweight with a plastic build, the GX1 is weighty and solid.
Like the GF1 before it, the GX1 has a retro rangefinder style that is sure to be popular with enthusiasts. Certainly, when the viewfinder is added, the GX1 feels like a ‘proper’ camera. Panasonic has refined the faux leather handgrip to a curved line, and I found my middle finger rested naturally along this contour for a secure grip.
Some of the buttons, namely the four-way pad and function button, feel a little cheap as the surface wears away with regular use, but otherwise each control is solid and tactile.
What is key to the operation of the camera is the level of customisation available. Not only are there two function buttons on the rear, but a further two can also be found via the touchscreen menu. Controls such as digital gauge and one-push auto exposure can be assigned to these buttons, and there is a quick menu for the main functions. There are 25 of these in all, and virtually any control can be assigned to a button.
Shooting modes on the main top plate dial include PASM controls, two custom settings, creative control and scene modes. Intelligent auto (iA) is activated directly via a button on top of the body. When using this mode a blue light encircles the iA button, which is a useful reminder because this mode overrides whatever shooting mode is currently set on the top dial.
Intelligent auto seems fairly reliable and makes for a good option in pressurised situations that require a fast response, but I suspect many people interested in this camera will make most use of the semi-manual exposure modes.
The new 14-42mm f/3.5-5.6 ‘X’ Power Zoom lens used during this test extends on start up, and collapses to the size of a regular pancake lens when not in use. This suits the dimensions of the camera perfectly. The lens has two controls on its barrel: one for focus and one for electronic zoom.
I found the latter a bit too high up the lens for a natural and comfortable control, and would like to see the placement of the switches swapped. For size and handling alone, the ‘X’ lens is a great option.
Although there is an option in the menu, image stabilisation is only available when a compatible lens with optical stabilisation (OIS) is attached.
Once the user is familiar with the camera and knows what controls are used most often, the GX1 is speedy, easy and a pleasure to use, thanks to the balance between touch control and customisable buttons.
White Balance and Colour
In this daylight scene, the colour rendition produced by AWB is a little cooler than that of the custom setting
I experienced a variety of weather and lighting conditions during this test, so for each image I used the auto white balance (AWB) and then took a custom reading to compare the results. Taking a custom reading in-camera is a very simple and speedy process.
Images taken using AWB seem fine when viewed alone, but when compared to the custom white balance the colour temperature in overcast conditions is usually a little cool. The same can be said for tungsten light, where the warmer light is mistaken for a colour cast so the camera compensates with a cool temperature.
However, most systems perform in this way, and in the majority of situations it is good enough to leave the camera on AWB and shoot away.
Panasonic also offers a variety of colour options via the photo style menu. Each can be customised for contrast, sharpness, saturation and noise reduction, and includes monochrome, vivid and natural. I kept mostly to the standard setting because it offers a good balance of colours.
As with other systems, the higher the ISO sensitivity used, the more the colour saturation is compromised. I tended to use the vivid photo style when at ISO 1600 and above to compensate a little for the loss of colour.
Metering
Spot metering for the white of the flowers in this image ensures there are no blown-out highlights
Overall, the 144-zone metering system is intelligent and very reliable. Set to its multi-pattern evaluative mode, exposures are often a fraction on the bright side and benefit from underexposure by a good 1⁄3EV.
Although the evaluative metering system is pretty reliable and exposure compensation is quick to dial in, I found myself using spot metering a lot more than usual. This is because it is so easy to select the point by touch on the screen anywhere within the frame that it offers the utmost accuracy for the desired subject, and with the minimum of fuss.
When using spot metering, the size of the spot area can be selected from one of four sizes, the largest of which covers roughly 30% of the frame. For critical spot metering the smallest size is preferable, and on-screen appears to cover no more than 2% of the total frame.
Autofocus
With full-area touch AF, picking out the point of focus is easy. The grass is less than 2m away and the heron well over 20m, yet the focus is very rapid
One of the main benefits of the 120fps sensor readout is that communication with the lens is faster, resulting in what the company claims is a 0.09sec AF response. Focusing is achieved via the shutter release or the touchscreen, and both are equally responsive. Those sceptical about a touchscreen should try the Lumix DMC-GX1.
During this test, I decided the erratic and ultra-fast movement of birds as they took flight was a good subject for the AF response. The 20fps mode and 0.09sec AF and shutter lag meant that sequences not possible with slower systems were captured by the GX1. Generally, when the shot was missed it was my own reactions (and not the camera) that failed to keep pace.
As with metering, the user can select anywhere in the frame for the AF point. Once again, I found this resulted in my using spot AF rather than multi-area AF more than usual.
There are several AF modes, including face detection, tracking, 23-area, 1-area (spot) and pinpoint. In the latter mode, once the user has touched the screen for the AF point, focal magnification helps to indicate the point of focus. For manual focusing there is an MF assist at 4x, 5x or 10x magnification.
Tracking AF is particularly helpful when shooting videos, by and large giving a smooth, non-distracting focus. For still images in low light the system is impressively responsive for closer subjects, thanks largely to the powerful AF assist lamp.
For scenes of frenetic movement like sport and wildlife, the contrast-detection system does not cope as well overall as the phase-detection systems found in expensive DSLRs, but I would not expect it to. Instead, the GX1 is ideal for general use.
Noise, Resolution and Sensitivity
Although noise is evident at higher sensitivities, the level of resolved detail is respectable
According to Panasonic, the Lumix DMC-GX1’s 15.8-million-pixel sensor has a 200% improved signal-to-noise ratio when compared to the older 12.1-million-pixel sensor found in the GF1. The first indication that noise control has been improved is through the extended sensitivity range of ISO 160-12,800.
As I would expect, our resolution charts indicate that the GX1 resolves the same level of detail as the G3, reaching the 26 marker at ISO 160 in raw format. Where the GX1 sensor scores over the G3 is that resolution detail remains high all the way to ISO 6400, reaching the 22 marker.
The ISO 12,800 setting sees a significant drop in resolved detail as luminance and chroma noise are evident, so this setting should only be used as a last resort.
Resolution detail is good and is the most important end result. However, on the first signs of luminance noise at ISO 800 clarity is compromised, and significantly so at ISO 3200. To compensate, in-camera sharpening and noise reduction are applied, which makes for mushier image detail.
Overall, these results mark a genuine improvement over previous Panasonic models, although the GX1 still has a little way to go to match the results from cameras with larger sensors.
Resolution charts: These images show 72ppi (100% on a computer screen) sections of images of a resolution chart, captured at f/5.6 and the 60mm setting of the ‘X’ kit lens. We show the section of the resolution chart where the camera starts to fail to reproduce the lines separately. The higher the number visible in these images, the better the camera’s detail resolution is at the specified sensitivity setting.
Dynamic range
Extra detail in this street scene can be extracted using iDynamic mode
According to DxOMark (www.dxomark.com), the Lumix DMC-G3 has a dynamic range of 10.6EV at ISO 160. Given that the sensor in the GX1 is virtually identical, I would be surprised if the results are any different. Current APS-C-sized sensors across most brands are capable of 11.5EV at the very least, giving around 1EV extra of dynamic range over the sensor in the GX1.
When compared with the competition, the GX1 is slightly below Nikon’s 1-series cameras (which uses a smaller sensor) and pretty much on a par with the Olympus Pen models and the Samsung NX series (the latter uses a larger APS-C sensor). This goes to show that it is not strictly a case of the larger the sensor, the wider the dynamic range.
It is at higher sensitivities where a smaller sensor’s ability to resolve colour and produce a wide dynamic range is affected. At such settings, images are typically a little flatter tonally than current-generation cameras with APS-C-sized sensors. However, this is an area where Panasonic’s cameras perform better than the Olympus Pen models. With the exception of the Lumix DMC-GH1, the GX1 looks like Panasonic’s best CSC yet.
In real-world settings, the slightly more limited dynamic range can result in the loss of some detail in overcast, bright white skies when trying to retain detail in a foreground. Top-end highlights can suffer, too.
The iDynamic mode offers three levels of strength to add detail to shadow and highlight areas. The strongest setting removes a degree of punch, while the other two settings provide a good compromise between detail and contrast. Bracketing over three, five or seven frames is possible, although layering the images must be done using Photoshop or HDR software to receive the benefits of such a feature.
In creative control, there is an HDR mode that can be saved at full resolution.
Viewfinder, LCD and Video
As a compact-style model, the Lumix DMC-GX1 does not feature any kind of viewfinder. Instead, the LVF2 electronic viewfinder is available to buy separately (£239). Once this cost is added to the ‘X’ lens, the price of the kit virtually matches the Sony NEX-7, which features the company’s innovative 2.359-million-dot EVF.
Having used the LVF2 viewfinder, it is not of the same standard as that in the NEX-7, but it is nevertheless an improvement on Panasonic’s first-generation unit. Panasonic’s LVF2 is compatible only with the GX1, and the older LVF1 viewfinder will not work with the camera. I like the smaller body of the GX1 and the option to add a viewfinder when I need it. After all, a compact system needs a compact body.
Much of the operation of the camera revolves around its 3in, 460,000-dot touchscreen. Handily, virtually all the controls can be achieved via buttons on the body, too. The screen has a relatively low resolution by today’s standards, but its output is bright and natural, with a wide and clear viewing angle. Its accurate representation of images in playback is very helpful to ensure that an accurate exposure has been achieved.
The touchscreen in the Lumix G models is the most successful attempt at incorporating this technology in a camera. It is responsive and particularly helpful by offering touch AF and metering.
There are several ways to control the camera through the touchscreen. In creative control mode, for example, a touch slider can be used for aperture control. In short, the touchscreen enhances the handling and speed of use.
Video users will appreciate full 1080/60i videos at 30fps, with stereo sound. I captured several videos with the 14-140mm f/3.5-5.6 lens, which features optical image stabilisation, and was very happy with the results. Full-resolution videos are available in AVCHD and the popular MPEG-4 format, providing compatibility with a wide range of devices.
The 15.8-million-pixel sensor is capable of capturing a high level of detail
Our Verdict
With its aluminium chassis and rangefinder style, the Panasonic Lumix DMC-GX1 is likely to appeal to enthusiast photographers. In use, the camera does not disappoint, either. Its touchscreen enhances its handling and I have not come across a more rapid way to accurately meter and focus for a scene. Also, with four function buttons, the GX1 is a breeze to use.
As the GX1’s sensor is essentially the same as that found in the Lumix DMC-G3, its image quality is equally impressive and the best yet for a Panasonic four thirds model. However, the sensor size means that performance at higher sensitivities does not quite match up to the current crop of APS-C-sized sensors, particularly regarding dynamic range.
The ‘X’ kit lens complements the size of the GX1 body beautifully, and I like the option to have a smaller body and attach a viewfinder as and when it is needed. However, with the ‘X’ lens and LVF2 viewfinder included, the combination is almost double the price of the G3. When choosing between the two, therefore, it is a matter of what counts more – your wallet or the size of the camera.
Panasonic Lumix DMC-GX1: Focal points
Built-in flash
The double-hinge design of the built-in flash means it pops up to a reasonable 20mm (approx) from the body. It has an output of GN 7.6m @ ISO 160 (GN 6.3m @ ISO 100).
LCD touchscreen
Like the G3, the GX1 features a 3in, 460,000-dot screen, but in this case it is a fixed type, whereas the G3 screen is articulated.
Hotshoe port
This port is compatible with the LVF2 viewfinder only, and will not support use with the LVF1. If a viewfinder is not in use, then any of Panasonic’s FL220, FL360, FL500 or third-party flash units can be used.
Function buttons (x4)
Two function buttons on the body and two extra function controls in the touchscreen menu make the GX1 the most customisable version of the G-series cameras yet.
Video sound
Stereo sound is available, and the GX1 offers a microphone-level adjustment for louder or quieter scenes, and the levels can be displayed on-screen. Furthermore, a wind-cut function reduces the distracting noise created by wind blowing into the microphone.
Displays
There is a wealth of information available on-screen, such as a histogram, level gauge (for the first time in a Lumix G model), highlights and also guide lines, including rule of thirds.
Maintenance
Sensor clean and pixel refresh are available through the main menu, and are achieved manually, not automatically on start up or shut down.
In-camera editing
In playback mode, favourite images can be flagged with a star for easy reference, converted to an alternate aspect ratio, resized, cropped and rotated.
The Competition
When it comes to a camera using the four thirds sensor, the closest rival to the Panasonic Lumix DMC-GX1 is the Olympus Pen E-P3. There are several similarities, including the near identical size, touch-sensitive LCD screen, metal body and lack of a built-in viewfinder.
The E-P3’s 12.3-million-effective-pixel sensor has a significantly lower output, though. Given the GX1’s premium feel, metal body and rangefinder style, a couple of other competitors are the Sony NEX-7 and the Fujifilm FinePix X100.
Both these cameras use larger APS-C sensors and feature built-in viewfinders. They also command a higher price (around £1,000 for the NEX-7 and £850 for the X100), although this is not the case once the £239 of the optional LVF2 viewfinder for the GX1 is factored in.
