Panasonic Lumix DMC-GF6


    Photo Review 8.5
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    Panasonic Lumix DMC-GF6

      In summary

      Like its predecessor, the GF6 will suit digicam upgraders who want a small compact system camera that is easy to operate and connects easily with online sharing sites – either through the Panasonic cloud-based service or via an internet connected 'smart' device. Photographers who are seriously into Wi-Fi will find a lot to like in this camera, which has one of the best integrations we've seen, augmented by NFC facilities that will please owners of Android tablets and smart-phones.

      Although the GF6 isn't rated as weatherproof, it's solid enough to withstand use for wildlife photography when triggered remotely via one of these devices. It would be possible to use the new 14-140mm lens at longer focal lengths in such situations, although Panasonic's 100-300mm f/4-5.6 lens (which we haven't yet reviewed) would provide a longer reach for flighty subjects.

      The GF6 retains all the advantages of its predecessor for street photography, while offering higher resolution, faster autofocusing and faster continuous shooting speeds. The tilting screen will make the touch operating function more versatile for these photographers, enabling them to focus and trigger the shutter by touch with the camera held at waist level or above the head.

      The built-in flash provides benefits for family photographers. Travellers will enjoy the compact size and light weight of the camera and the wide variety of scene pre-sets will make shooting easier in different situations. Most people will welcome the return of the mode dial to the top panel, making it easier to swap between different shooting modes. The special effects should please many snapshooters.

      However, photographers who require an integrated viewfinder should look at other options in Panasonic's line-up. So should anyone who wants to fit an add-on flashgun to their camera.

       

       

      Full review

      Panasonic's Lumix DMC-GF6 represents the latest iteration of the company's entry-level compact systems cameras. Similar in size and body styling to the GF5, the GF6 has a lot more to offer to enthusiasts. Its resolution has been increased to 16 megapixels and it features the latest Venus Engine image processor, along with integrated Wi-Fi plus near field communication.

      Angled front view of the Panasonic Lumix DMC-GF6 with the 14-42mm kit lens. (Source: Panasonic.) 

      Other improvements that make the GF6 more attractive than its predecessor are outlined below:

      • ·         The monitor's resolution has been increased to 1,040,000 dots and it's now a 3-inch tilting touch screen that can be flipped up to provide a mirrored live view for taking self-portraits (using the new Self Shot mode). It can also be pulled out from the camera body on an extending armature to allow shots to be taken with the camera at waist height. The screen can also tilt downwards for overhead shooting or be set at any point between the two extremes.
      • ·         The mode dial (which was eliminated in the GF2) returns, making the new camera more enthusiast-friendly without compromising its small body size. It carries 10 settings: P, A, S, M Movie, SCN, Panorama, Creative Control plus two Custom memory banks (C1 and C2). The C2 setting can access three separate user-defined sets of shooting parameters. Illustrations are provided in the SCN sub-menu to show the type of scene and how it will be portrayed and users can access shooting tips within each setting by pressing the Display button.
      • ·         A jog lever around the shutter button provides an alternative to the arrow pad dial for stepping between settings  in a selected function.
      • ·         Built-in Wi-Fi with NFC for smart-phone control increases connectivity and flexibility in different shooting situations (details below).
      • ·         Panasonic's Light Speed AF system provides contrast-based autofocusing with improved autofocusing speeds and accuracy. It also supports full-time AF and tracking AF in movie mode. Low-light autofocusing benefits from a new integrated Low Light AF function and Panasonic claims the GF6 can be ready to shoot just 0.5 seconds after start-up.
      • ·         Settings in the Creative Control mode have been increased from 14 in the GF5 to 19, with the addition of new Old Days, Sunshine, Bleach Bypass, Toy Pop and Fantasy filters. These augment the Expressive, Retro, High Key, Sepia, High Dynamic, Soft Focus, Dynamic Monochrome, Impressive Art, One Point Colour, Cross Process, Low Key, Toy Effect and Star Filter and Miniature Effect mode provided in the GF5. Each mode is also adjustable.
      • ·         A new Creative Panorama function makes it easy to capture horizontal or vertical panoramic images. Shots are combined in the camera and many Creative Control effects can be applied.
      • ·         A new Stop Motion Animation function enables users to produce video movies using pictures that are shot sequentially while moving the object by degrees.
      • ·         A new Clear Retouch function  makes it possible to erase unwanted objects or figures in an image by just tracing over them on monitor with a fingertip. 
      • ·         ISO sensitivity can be set as high as ISO 25600.

      The new camera will be offered in black, white, brown or red. A new power zoom digital interchangeable lens in white H-PS14042-W is bundled in the white camera kit as DMC-GF6X-W.

      Who's it For?
      Like its predecessor, the GF6 will suit digicam upgraders who want a small compact system camera that is easy to operate and connects easily with online sharing sites – either through the Panasonic cloud-based service or via an internet connected 'smart' device. Photographers who are seriously into Wi-Fi will find a lot to like in this camera, which has one of the best integrations we've seen, augmented by NFC facilities that will please owners of Android tablets and smart-phones.

      Although the GF6 isn't rated as weatherproof, it's solid enough to withstand use for wildlife photography when triggered remotely via one of these devices. It would be possible to use the new 14-140mm lens at longer focal lengths in such situations, although Panasonic's 100-300mm f/4-5.6 lens (which we haven't yet reviewed) would provide a longer reach for flighty subjects.

      The GF6 retains all the advantages of its predecessor for street photography, while offering higher resolution, faster autofocusing and faster continuous shooting speeds. The tilting screen will make the touch operating function more versatile for these photographers, enabling them to focus and trigger the shutter by touch with the camera held at waist level or above the head.

      The built-in flash provides benefits for family photographers. Travellers will enjoy the compact size and light weight of the camera and the wide variety of scene pre-sets will make shooting easier in different situations.  Most people will welcome the return of the mode dial to the top panel, making it easier to swap between different shooting modes. The special effects should please many snapshooters.

      However, photographers who require an integrated viewfinder should look at other options in Panasonic's line-up. So should anyone who wants to fit an add-on flashgun to their camera.

      Build and Ergonomics
      Aside from the new mode dial and tilting monitor, changes to the body design are relatively minor. The top panel is now chromed and there's been a minor re-shuffling of the button controls, the rear panel gains a Fn2/Wi-Fi button and a larger, shaped thumb rest and, although the rubber grip on the GF6 is smaller, not much else has changed, as shown in the comparison pictures below. 

      Front views of the GF6 (top) and GF5 (below) without lenses. (Source: Panasonic.)

      Back views of the GF6 (top) and GF5 (below). (Source: Panasonic.)

       Top view of the GF6 showing the new mode dial. (Source: Panasonic.)

      The base plate of the new camera is unchanged, with a metal-lined tripod socket on the lens axis and a combined battery/card compartment. The battery appears to be the same as the GF5's and has a similar capacity, with a CIPA  rating  of 340 shots/charge with the 14-42mm kit lens.

      Connectivity
      The integrated Wi-Fi connectivity combines with NFC (Near Field Communication) technology  to enable users to connect the camera to a smart-phone or tablet computer for recording, browsing and sharing images and movies. Both  Android and iOS are supported.

      To use these facilities, you must install the Panasonic Image App from the Google Play Store (Android) or App Store (iOS) and the device you're using must be compatible. A list of compatible devices is available at http://panasonic.jp/support/global/cs/dsc/.

      Once the app is installed, pressing the Wi-Fi button on the camera displays the SSID  and password needed for directly linking the camera and mobile device. Alternatively, Android devices that support NFC can simply connect the camera with the smart-phone or tablet by just bringing them together.

      Launching Image App on the mobile device provides the following facilities:

      ·         Remote shooting of both photos and video clips. You can trigger the shutter, focus and operate the zoom control and change the aperture, shutter speed and exposure compensation settings. The Instant Transfer function allows the camera to transfer the photo data to the designated electronic devices automatically whenever shutter is released. 
       In playback mode, an image displayed on the camera can be sent directly to the smart-phone or tablet. Users can also access the smart-phone/tablet's GPS log for geotagging image and video files. Images and video clips can be transferred via a wireless access point (router)  to a computer or other compliant storage system at the user's home or office. Alternatively, Panasonic offers a 'LUMIX CLUB' cloud service that lets users synch images via the internet with designated devices and online services like Facebook, Flickr, Picasa, Twitter or YouTube.

      ·         The Wi-Fi Direct function allows direct playback of images and movies on DLNA (Digital Living Network Alliance)-compliant VIERA HDTV sets.

      Icons on the screen make it easy to identify and operate the available controls. Panasonic provides the following guide to their usage.

        Simply touch the subject you want to focus on, and it will automatically focus and release the shutter.

       You can select the focus method depending on the position and number of the subjects.

       Set the Aperture, Shutter Speed, and Program Shift, etc. The icon display will change depending on the digital camera's settings.

       Compensation will be made if you cannot obtain proper exposure, such as when there is a great difference between the brightness of the subject and the background.

       Set Single, Burst, Auto Bracket and Self-timer.

       Adjust White Balance.

       Set Sensitivity (sensitivity to light).

      We didn't try out the 'LUMIX CLUB' cloud service but we were able to transfer JPEG images directly to a tablet PC without requiring the Image App interface with the camera's basic Wi-Fi interface. From there, emailing them or  transferring them to a computer or hard drive was straightforward.Panasonic was an early pioneer in introducing connectivity into cameras so it's no surprise to find the Wi-Fi integration in the GF6 is the best we've encountered so far, thanks in part to the way it works with the camera's NFC system. This is by far the easiest (and fastest) way we've found thus far for sharing files between cameras and Android tablets or smart-phones.

      Sensor and Image Processing
       The higher-resolution sensor and updated image processor have enables Panasonic to expand ISO sensitivity from a maximum of ISO 12800 in the GF5  to ISO 25600  in the GF6. Continuous shooting speeds have also been increased substantially to  20 frames/second in the Super High-speed (SH) mode, when focus and exposure are fixed on the first frame. With AFS re-focusing, shot-to-shot intervals drop to 4.2 frames/second, which is marginally faster than the maximum of four frames/second available in the GF5. The buffer memory has also been enlarged to accommodate seven RW2.RAWE frames, up from five in the GF5.

      The GF6 supports the same still picture options as its predecessor, recording both JPEG and RW2.RAW file formats as well as supporting the capture of stereo pairs for 3D viewing using the MPO file format. It also offers the same image size settings and aspect ratios.  Typical file sizes are shown in the table below.

      Aspect ratio

      Image Size

      Resolution

      Fine

      Standard

      4:3

      RAW

      4592 x 3448

      20.5MB

      L

      4592 x 3448

      9.5MB

      4.7MB

      M

      3232 x 2424

      5.0MB

      2.5MB

      S

      2272 x 1704

      2.9MB

      1.5MB

      3:2

      RAW

      4576 x 3056

      19.9MB

      L

      4576 x 3056

      8.5MB

      4.2MB

      M

      3232 x 2160

      4.7MB

      2.3MB

      S

      2272 x 1520

      2.8MB

      1.4MB

      16:9

      RAW

      4576 x 2576

      18.3MB

      L

      4576 x 2576

      7.4MB

      3.7MB

      M

      3232 x 1824

      4.3MB

      2.1MB

      S

      1920 x 1080

      1.1MB

      0.6MB

      1:1

      RAW

      3424 x 3424

      16.5MB

      L

      3424 x 3424

      6.9MB

      3.4MB

      M

      2416 x 2416

      3.7MB

      1.9MB

      S

      1712 x 1712

      2.2MB

      1.1MB

      Video
      Video capabilities haven't changed much. The DMC-GF6 still supports both AVCHD and MP4 /H264 format and offers a top resolution/quality setting of 1920 x 1080 / 50i (50 Hz) with full-time AF and high quality stereo sound in the AVCHD format. Users can adjust camera settings in the P, A, S and M modes and apply many of the Creative Control filters.

      The table below shows the settings available.

      Video format

      Aspect ratio

      Picture Mode

      Picture size
       (pixels)

      Frame Rate

      Bit rate

      Recording capacity/8GB card

      AVCHD

      16:9

      FSH

      1920 x 1080

      50i

      17 Mbps

      1 hour 1 minute

      SH

      1280 x 720

      50p

      1 hour 1 minute

      MP4

      FHD

      1920 x 1080

      25 fps

      20 Mbps

      50 minutes 6 seconds

      HD

      1280 x 720

      10 Mbps

      1 hour 35 min. 39 sec.

      4:3

      VGA

      640 x 480

      4 Mbps

      3 hours 30 min. 32 sec.

      The maximum recording time per clip is 29 minutes and 59 seconds – or up to 4GB in MP4 mode. You can check the recordable time on the monitor screen.

      Playback and Software
      Playback settings for still pictures are essentially the same as in other G-series models that include the same touch-screen capabilities. The software bundle is also the same and contains the latest versions of PhotoFun Studio  and Silkypix Developer Studio plus a 30-day trial version of Super LoiLoScope. Owners of TV sets or Blu-ray disc players with SD Image Viewer slots can playback recorded images and videos by simply inserting the camera’s memory card.

       The Kit Lens
       We've covered the H-PS14042E 14-42mm power zoom kit lens in our review of the DMC-G5 but we felt we should include the results of our Imatest tests to reflect different performances (if any) on the two camera bodies. The results were quite similar, taking account for the higher resolution of the GF6. The graph below plots the Imatest line widths/picture height values across five focal lengths.

       
       Lateral chromatic aberration wasn't as thoroughly corrected in-camera as in the GF5. However, it remained within the 'low' band across most of the focal length range, as shown in the graph of our Imatest results below.

       
       The Lumix G Vario 14-140mm f/3.5-5.6 ASPH Power O.I.S. lens, which was also supplied with the camera, is reviewed separately.

      Performance
      Overall performance was much as we expected on the basis of previous tests on G-Micro cameras, taking into account the resolution and image processor of the new camera. Images taken with the kit lens were sharp and detailed and colours appeared natural looking. This was confirmed by our Imatest tests, which showed colour accuracy to be generally good and saturation well controlled in both JPEG and RW2.RAW images.

      The raw files were converted with the latest release of Adobe Camera Raw (v.7.4), rather than the inferior Silkyix-based bundled software. The resulting 16-bit TIFF files were as good as those from the GF5 when differences in sensor resolution are taken into account.

      Imatest showed RW2.RAW files to be up to expectations for a 16-megapixel camera. As with the GF5, JPEGs were slightly below expectations. Resolution held up very well with both file types across the camera's sensitivity range, as shown in the graph of our Imatest results below.
       

       

      Long exposures at night showed little visible noise right up to ISO 6400 where slight granularity became visible. Noisewas obvious in shots taken at ISO 12800, although images remained relatively sharp. At ISO 25600, images appeared both granular-looking and slightly soft.

      Flash exposures were roughly a stop under-exposed at ISO 160 when a 42mm focal length was used. But exposures were evenly balanced throughout the remainder of the camera's ISO range. Colour reproduction was reasonably faithful at settings up to ISO 6400 but the influence of ambient lighting could be seen from then on and images became rather soft and flat at ISO 25600.

      The auto white balance setting delivered slightly better results than the GF5's for incandescent lighting but couldn't eliminate the inherent warm cast.  Shots taken under fluorescent lights had no visible colour casts and retained natural colours. Both pre-sets introduced a faint purple cast but manual measurement produced neutral colours and there's plenty of scope for fine-tuning colour rendition via the touch screen.

      Video quality was generally very good. Clips appeared equally sharp and clear in both movie formats and colour rendition was natural-looking. The dynamic range recorded appeared to be slightly wider than the GF5's and backlit subjects were generally recorded with fewer blown-out highlights and blocked-up shadows.

      Soundtracks were clear and relatively free of noises from the camera operations, thanks to the powered lenses. Stereo 'presence' was very good for the size and positioning of the camera's microphones.

      We noticed a slight improvement in autofocusing speeds for both stills and movie recording. The GF6 also appeared to have better re-focusing speeds when tracking moving subjects, including those that changed position erratically.

      We carried out our timing tests with the 16GB Panasonic SDHC card with a Class 10 speed rating.  The review camera powered-up in just under a second and shut down almost instantly.  We measured an average capture lag of 0.22 seconds, which was eliminated with pre-focusing.

      Shot-to-shot times averaged 0.4 seconds without flash and 1.15 seconds with flash.

      Image processing times were. It took 1.9 seconds on average to process each JPEG file, 2.2 seconds for each RW2.RAW file and 2.6 seconds for each RAW+JPEG pair.

      The fastest capture speed the camera was able to maintain was a fraction less than 20 frames/second with the Super-high speed setting and JPEG files, which switches off live view at the start of the burst. The camera recorded 39 frames in 1.9 seconds. It took 20.1 seconds to process this burst.

      In the continuous high-speed shooting mode, the review camera recorded 10 high-resolution JPEGs  in 1.9 seconds. It took 6.1 seconds to process this burst. In this mode we were able to record 29 frames before the capture  rate slowed.

      With the continuous low-speed mode, the review camera recorded 10 high-resolution JPEGs  in 4.5 seconds. It took 5.4 seconds to process this burst.

      The buffer memory filled after seven RW2.RAW files, which were recorded in 1.4 seconds in the continuous high mode. Processing time for this burst was 12.6 seconds. For RAW+JPEG pairs, the same buffer limit applied as well as the same frame rate. It took 17.6 seconds to process this burst.

       

      SPECS

       Image sensor: 17.3 x 13.0 mm Live MOS Sensor with 16.68 million photosites (16.0 megapixels effective)
       Image processor: Venus Engine FHD
       A/D processing: 12-bit
       Lens mount: Micro Four Thirds
       Focal length crop factor: 2x
       Digital zoom: 2x, 4x; Extra Tele Conversion: Still image: Max.2x (When a picture size of S(4M), aspect ratio of 4:3 is selected. Magnification ratio depends on the recording pixels and aspect ratio.); Motion image: 2.4x (FSH in AVCHD and FHD in MP4), 3.6x (SH in AVCHD and HD in MP4), 4.8x (VGA in MP4)
       Image formats: Stills – JPEG (DCF, Exif 2.3), RW2.RAW, RAW+JPEG; MPO (3D); Movies – AVCHD (Audio format: Dolby Digital 2ch) / MP4 (Audio format AAC 2ch)
       Image Sizes: Stills – [4:3] 4592 x 3448, 3232 x 2424, 2272 x 1704; [3:2] 4592 x 3064, 3232 x 2160, 2272 x 1520; [16:9] 4592 x 2584, 3232 x 1824, 1920 x 1280; [1:1] 3424 x 3424, 2416  x 2416, 1712 x 1712; Movies: AVCHD - 1920x1080 (Full HD) at 50i 1280x720 (HD), at  50p; MP4 - 1920x1080 (Full HD), 1280x720 (HD), 640x480 (VGA) at  25p
       Image Stabilisation: Lens-based
       Dust removal: Supersonic wave filter
       Shutter speed range: 1/4000 to 30 seconds plus bulb, X-sync at 1/160 sec.
       Exposure Compensation: +/- 3EV in 1/3- EV increments
       Bracketing: AE: 3 0r 5 frames in 1/3- or 2/3-EV increments; WB:  3 exposures in blue/ amber axis or in magenta/ green axis
       Self-timer:  2 or 10 seconds delay; 3 images after 10 sec
       Focus system: 23-area Contrast AF system with detection range of  EV -3-18 (ISO100 equivalent)
       Focus modes: AFS (Single), AFF (Flexible), AFC (Continuous), MF; Face detection,  AF Tracking, 23-area-focusing, 1-area-focusing, Pinpoint AF
       Exposure metering: 1728-zone multi-pattern sensing system with Intelligent Multiple, Centre-weighted average and Spot patterns
       Shooting modes: Program AE, Shutter-priority AE, Aperture-priority AE, Manual exposure, SCN (Clear Portrait / Silky Skin / Backlit Softness / Clear in Backlight / Relaxing Tone / Sweet Child's Face / Distinct Scenery / Bright Blue Sky / Romantic Sunset Glow / / Vivid Sunset Glow / Glistening Water / Clear Nightscape / Cool Night Sky / Warm Glowing Nightscape / Artistic Nightscape / Glittering Illuminations / / Clear Night Portrait / Soft Image of a Flower / Appetizing Food / Cute Dessert / Freeze Animal Motion / Clear Sports Shot / Monochrome), Panorama, Creative Control (Expressive / Retro / Old Days / High Key / Low Key / Sepia / Dynamic Monochrome / Impressive Art / High Dynamic / Cross Process / Toy Effect / Toy POP / / Bleach Bypass / Miniature Effect / Soft Focus / Fantasy / Star Filter / One Point Colour / Sunshine), Movie, C1, C2
       Picture Style/Control settings: Standard, Vivid, Natural, Monochrome, Scenery, Portrait, Custom
       Colour space options: sRGB, Adobe RGB
       Custom functions: Wi-Fi, Q.Menu, AF/AE Lock, One Push AE,  DoF Preview, PhotoStyle, Aspect Ratio, Picture Size, Quality, Focus Mode, Metering Mode, HDR, Flash Mode, Flash Adjust , i.Resolution, i.Dynamic, Ex Tele Conv.,  Digital Zoom, Stabiliser,  Sensitivity, Restore to Default, Motion Pic Set, Picture Mode, Histogram, Guide Line, Step Zoom, Zoom Speed, REC Area.
       ISO range: Auto: ISO 100 to 12800 set automatically; Manual ISO 160 to 25600 (1 step or 1/3 step increments)
       White balance: Auto, Daylight, Shade, Cloudy, Tungsten, White fluorescent, Flash, Custom, Color temperature setting (Approx. 2500-10000K)
       Flash: TTL Built-in-Flash, GN6.3 equivalent (ISO 160 /m); Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off modes
       Sequence shooting: Max. approx. 20 shots/sec. with 'unlimited' capacity for full-resolution JPEGs or  7 .RAW files with a UHS-I SDHC or SDXC card
       Other features: Integrated Wi-Fi: IEEE 802.11b/g/n, 2412MHz - 2462MHz (11ch), Wi-Fi / WPA / WPA2, Infrastructure mode; NFC: ISO/IEC 18092 (NFCIP-1) NFC-F
       Storage Media: Single slot for SD/SDHC/SDXC memory cards; UHS-1  compatible
       Viewfinder: None
       LCD monitor: Tiltable 3-inch TTL colour LCD touch panel with approx. 1.04 million dots
       Playback functions: Normal playback, 30-thumbnail display, 12-thumbnail display, Calendar display, Zoomed playback (16x Max.), Slideshow (duration & effect is selectable), / Playback Mode (Normal/Picture/Video/3D Play/Category/Favourite), Location Logging, Clear Retouch, Title Edit, Text Stamp, Video Divide, Stop Motion Animation, / Resize, Cropping, Rotate, Favourite, Print set, Protect, Face Recognition Edit
       Interface terminals: USO 2.0 High Speed Multi, miniHDMI Type C / Video: Auto / 1080i / 720p / 480p / Audio: Stereo
       Power supply: DMW-BLG10E 7.2V, 1,025mAh rechargeable lithium-ion battery; CIPA rated for approx. 340 shots/charge with H-FS1442A lens
       Dimensions (wxhxd): 111.2 x 64.8 x 38.4 mm
       Weight: Approx. 280 grams (body only)

       

      TESTS 

      JPEG image files

       

       

       

      Raw image files converted into 16-bit TIFF format with Adobe Camera Raw.

       

       

       

       

      SAMPLES 

       
       

      Auto white balance with incandescent lighting.

       Auto white balance with fluorescent lighting. 

      30 second exposure at ISO 160, 20mm focal length, f/5.
       
       

      8 second exposure at ISO 1600, 20mm focal length, f/5.6.
       

      5 second exposure at ISO 6400, 20mm focal length, f/8.
       
       

      4 second exposure at ISO 12800 20mm focal length, f/11.
       
       

      2 second exposure at ISO 25600 20mm focal length, f/11.
       
       

      Flash exposure at ISO 160, 42mm focal length, 1/60 second at f/5.6.
       
       

      Flash exposure at ISO 1600; 42mm focal length, 1/60 second at f/5.6.
       
       

      Flash exposure at ISO 6400; 42mm focal length, 1/60 second at f/5.6.
       
       

      Flash exposure at ISO 12800; 42mm focal length, 1/60 second at f/5.6.
       
       

      Flash exposure at ISO 25600; 42mm focal length, 1/60 second at f/5.6.
       
       

      14mm focal length, ISO 160, 1/200 second at f/8.
       
       

      18mm focal length, ISO 160, 1/200 second at f/8.
       
       

      25mm focal length, ISO 160, 1/200 second at f/8.
       
       

      35mm focal length, ISO 160, 1/250 second at f/8.
       
       

      42mm focal length, ISO 160, 1/200 second at f/8.
       
       

      Close-up at 14mm focal length; ISO 200, 1/1000 second at f/4.5
       
       

      Close-up at 42mm focal length; ISO 160, 1/320 second at f/5.6.
       
       

      Stabilisation test; 42mm focal length, ISO 3200, hand-held for 1/10 second at f/5.6.
       
       

      14mm focal length, ISO 160, 1/125 second at f/4.
       
       

      14mm focal length, ISO 160, 1/640 second at f/7.1.
       
       

      42mm focal length, ISO 160, 1/320 second at f/7.1.

       Still frame from AVCHD video clip shot in the FSH mode.
       
       

      Still frame from AVCHD video clip shot in the SH mode.
       
       

      Still frame from MP4 video clip shot in the FHD mode.
       

      Still frame from MP4 video clip shot in the HD mode.
       
       

      Still frame from MP4 video clip shot in the VGA mode.

       Additional image samples can be found with our review of the Lumix G Vario 14-140mm f/3.5-5.6 ASPH Power O.I.S. lens.

       

      Rating 

      RRP: AU$ tbc; US$599.99 (as reviewed, with 14-42mm f/3.5-5.6 lens)

      • Build: 8.8
      • Ease of use: 9.0
      • Autofocusing: 8.8
      • Still image quality JPEG: 8.5
      • Still image quality RAW: 8.8
      • Video quality: 9.0

      BUY

        No