In summary
The GX8 follows in the steps of other high-end G-series cameras and is designed for serious enthusiasts. It will appeal to the following types of photographers:
1. Panasonic G-series fans who want a more compact camera than the GH4 without compromising features or functionality.
2. DSLR photographers who want to lighten their loads. Twenty megapixels is more than enough for most serious photographers and the GX8 can match mid-to-high-level DSLRs in shutter speed range, autofocusing speeds, hue and tonal rendition and continuous shooting capabilities.
3. DSLR owners looking to shift to a compact camera system to benefit from using the EVF for shooting movie clips.
4. Photographers who have based their CSC systems on Olympus cameras but yearn for 4K movie capabilities.
5. It will also be welcomed by photographers with Panasonic G-series cameras who would like to use some of the Olympus non-stabilised lenses because they’re lighter and more compact.
There’s a wide choice of M4/3 lenses to suit almost any photographic situation. Unfortunately Olympus lenses won’t be able to utilise the GX8’s new Dual I.S. technology, although they should be able to use the sensor-shift stabilisation, much as they do with Olympus’s own stabilised camera bodies.
The promised firmware updates will make almost all of Panasonic’s lenses fully compatible with the Dual I.S. system (the exceptions being the original 14-45mm f/3.5-5.6 ASPH. MEGA O.I.S. kit zoom, the 45-200mm f/4.0-5.6 MEGA O.I.S. and the 100-300mm f/4.0-5.6 MEGA O.I.S. lenses).
Full review
Panasonic’s new Lumix DMC-GX8 is the first M4/3 camera with a 20-megapixel image sensor, the highest resolution for this format to date. Building on the styling and features of its predecessor the GX7, it comes with the same Venus Engine image processor as the esteemed GH4. This enables numerous improvements to overall functionality and imaging performance and allows the new camera to support 4K movie recording.
Angled view of the new Panasonic Lumix DMC-GX8 in black, fitted with the 14-140mm f/3.5-5.6 lens that will be offered in the Zoom kit. (Source: Panasonic.)
Like the GX7, the GX8 comes with built-in sensor-shift stabilisation but the new camera introduces a new Dual I.S. stabilisation technology that enables it to be combined with the company’s standard lens-based O.I.S. system. Dual I.S. utilises the two axis rotational correction data from O.I.S. system in the lens and combines it with the four-axis sensor-shift compensation system. This increases the range of movements that can be compensated for and, according to Panasonic provides improvements of up to 3.5x at wide angle and 1.5x for telephoto stabilisation performance.
The Dual I.S. system requires compatible lenses and Panasonic is working to ensure its lenses will be made compatible through firmware updates that will be offered until early next year. Firmware updates are now available for six popular lenses with the remainder to be released by February 2016. Panasonic Japan has links for downloading these firmware updates.
We received a pre-production sample with the 14-42mm f/3.5-5.6 and 14-140mm f/3.5-5.6 lenses for this preliminary review, which means we can’t perform our usual set of measurement tests. While we can’t conduct our usual objective tests on a pre-production camera, we have been able to take photos with the camera and will post a few samples at the end of this ‘First Look’. We plan to publish a full review with test results once we receive a production-standard camera in September.
Who’s it for?
The GX8 follows in the steps of other high-end G-series cameras and is designed for serious enthusiasts. It will appeal to the following types of photographers:
1. Panasonic G-series fans who want a more compact camera than the GH4 without compromising features or functionality.
2. DSLR photographers who want to lighten their loads. Twenty megapixels is more than enough for most serious photographers and the GX8 can match mid-to-high-level DSLRs in shutter speed range, autofocusing speeds, hue and tonal rendition and continuous shooting capabilities.
3. DSLR owners looking to shift to a compact camera system to benefit from using the EVF for shooting movie clips.
4. Photographers who have based their CSC systems on Olympus cameras but yearn for 4K movie capabilities.
5. It will also be welcomed by photographers with Panasonic G-series cameras who would like to use some of the Olympus non-stabilised lenses because they’re lighter and more compact.
There’s a wide choice of M4/3 lenses to suit almost any photographic situation. Unfortunately Olympus lenses won’t be able to utilise the GX8’s new Dual I.S. technology, although they should be able to use the sensor-shift stabilisation, much as they do with Olympus’s own stabilised camera bodies.
The promised firmware updates will make almost all of Panasonic’s lenses fully compatible with the Dual I.S. system (the exceptions being the original 14-45mm f/3.5-5.6 ASPH. MEGA O.I.S. kit zoom, the 45-200mm f/4.0-5.6 MEGA O.I.S. and the 100-300mm f/4.0-5.6 MEGA O.I.S. lenses).
Build and Ergonomics
Like the GX7, the new camera’s body has a diecast magnesium alloy chassis, finished with a metallic cladding with a classic silver and black or all black design. However, the GX8 has dust- and splash-proof sealing on every joint, dial and button, providing similar weatherproofing to the GH4.
Front view of the GX8 (classic silver version) with the 14-42mm f/3.5-5.6 II kit lens. (Source: Panasonic.)
The GX8’s lens mount takes up roughly half of the front panel, which is otherwise sparsely populated. Aside from the grip, which is marginally deeper and more steeply angled than the GX7’s, there’s only a recessed LED that doubles as a self-timer/AF-assist lamp and the lens release button to interrupt the textured surface.
The top panel of the GX8 (classic silver version) with no lens fitted. (Source: Panasonic.)
The top panel has been completely redesigned to place the shutter button with surrounding front control dial atop the grip moulding. The mode dial has been moved to the left to make space for the rear control dial, which has moved up from its semi-recessed position near the top of the rear panel.
This dial has an underlying power on/off switch plus a central function button (Fn 13) that can be programmed to access any of 13 functions. Options include switching the dial operations (the default), one-shot RAW+JPEG capture, one-shot spot metering, aspect ratio, picture size and highlight/shadow adjustment. Function button 1, which is similarly programmable, is located to the right of this dial, with the dedicated movie button just in front of it.
The mode dial sits on top of the exposure compensation dial, which spans from +3.0EV to -3.0EV in 1/3EV steps. Eleven settings on the mode dial cover standard recording options, ranging from ‘intelligent’ auto, through P, A, S and M to Creative Video, Panorama, Creative Control and including three Custom memories.
Left of the mode/EV compensation dials is a standard hot-shoe with cover, which accepts an optional flashgun. (There’s no built-in flash.) In front of it are the dual orifices for the built-in stereo microphone system.
The electronic viewfinder (EVF) tilts up through 90 degrees and covers the full image frame. It’s an OLED display with 2,360,000 dots, which is slightly below the 2,764,000-dot resolution of the GX7’s EVF but uses newer technology.
Angled rear view of the GX8 showing the raised EVF fitted with the optional DMW-EC3 eyecup. (Source: Panasonic.)
The EVF eyepoint has been increased from 17.5 mm to 21 mm, which will please users who wear glasses. An eyecup is supplied to block out stray light. An enlarged eyecup, shown in the illustration above) is available optionally for around AU$30.
Image magnification has been increased from 0.7x in the GX7 to 0.77x in the GX8, further improving visibility. An eye sensor activates the EVF when the photographer’s eye is detected.
Rear view of the GX8 (black version) showing the EVF fitted with the optional DMW-EC3 eyecup. (Source: Panasonic.)
Changes have also been made on the rear panel, although the monitor retains the GX7’s 1,040,000-dot resolution. However, the screen now uses OLED technology and has a capacitive touchscreen coating. And, while the GX7’s screen was tiltable, the GX8’s screen is fully articulated and hinged at the left. It can be rotated through 180 degrees to face outwards on the camera back as well as extended out to the side of the camera.
A view of the GX8 showing the adjustability of the monitor screen. (Source: Panasonic.)
A new Touch Pad AF function lets you move the AF area displayed in the viewfinder by touching the monitor screen. Touching the monitor when the camera is in the Custom Multi AF mode will display the AF area setting screen. (Touch Pad AF is disabled when Pull Focus is set to on in Snap Movie mode.)
The cluster of buttons on the right hand side of the monitor is similar to those on most Panasonic cameras and identical to those on the GX7. The arrow pad has a central Menu/Set button surrounded by clearly identified buttons for accessing the ISO, white balance, drive and AF mode settings.
Above it are the Playback and Display buttons with a Quick Menu button higher up. The left one of the lower buttons accesses Back and Delete function, while the right is programmable and carries a Fn (Fn4) label. An AF/AE Lock button is positioned just left of the thumb rest indentation.
Above the monitor is a lever switch for selecting the focusing modes. It has a central Function (Fn 5) button. A button for switching manually between the monitor and EVF is located left of the AF selector. It is also programmable (Fn 6). A dioptre adjustment wheel is situated on the side panel of the EVF housing just behind the eyecup.
Three interface ports are located behind a flexible plastic cover on the left hand side panel. It’s easiest to open when the monitor is flush with the camera body. The ports cover the 2.5 mm microphone/remote control jack, the AV-Out/Digital socket and the HDMI connection. Use of a 2.5 mm jack is contrary to normal practice and means most accessory mics will require adapters if they’re being used with the GX8.
The battery and SD card slot share a compartment in the base of the grip, which is secured with a lever lock. The GX8 can use regular SD cards as well as SDHC and SHXC cards and is compatible with the UHS Speed Class 3 standard for SDHC and SDXC memory cards.
In front of the lock is a covered fitting for an optional DC coupler that connects with an AC adaptor (also optional) to enable the camera to draw power from the mains. A metal-lined tripod socket is also located on the base plate, positioned in line with the optical axis of the lens.
Sensor and Image Processing
The new 20.3-megapixel Digital Live MOS sensor is the big story here. It’s the highest resolution so far in a M4/3 camera, which sets it in a class of its own and enables the camera to offer a maximum image size of 5184 x 3888 pixels, with a pixel pitch of 3.34 microns.
The sensor is partnered with the same Venus Engine processor as used in the GH4. Panasonic claims this combination can produce not only higher image resolution but also faster response times and improvements to tonal gradation and colour reproduction as well as high ISO noise levels.
According to Panasonic’s website, the Venus Engine processor includes Multi Process Noise Reduction, Three Dimensional Colour Control and an Aperture Filter, along with improved diffraction compensation. The Three Dimensional Colour Control separately processes hue, saturation, and luminosity values to improve colour reproduction.
The Aperture Filter is a new technology that selectively sharpens key parts of an image while leaving smoother details relatively untouched. Another processing technology is diffraction compensation processing, which kicks in when shooting at small apertures. Users can also expect up to a third of a stop improvement in dynamic range in JPEG files.
Like the GH4, the GX8 supports manual ISO adjustments from ISO 200 to ISO 25600, with extension to ISO 100 available via a menu setting. The image processor includes random noise filtration to retain a smooth appearance in images captured at high ISO settings.
The Venus Engine processor also enables the GX8 to support continuous shooting rates of up to 10 frames/second (fps) with the electronic shutter and focus and exposure locked at the first frame or six frames/second with continuous autofocusing. In the 4K Burst mode frame rates of 30 fps are supported at a reduced resolution of 3840 x 2160 pixels.
The GX7 supports the same still picture options as other current G-series models, 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 |
5184 x 3888 |
36.3MB |
|
|
L |
5184 x 3888 |
11.2MB |
5.6MB |
|
|
M |
3712 x 2784 |
6.2MB |
3.1MB |
|
|
S |
2624 x 1968 |
3.5MB |
1.8MB |
|
|
3:2 |
RAW |
5184 x 3456 |
35.1MB |
|
|
L |
5184 x 3456 |
10.1MB |
5.1MB |
|
|
M |
3712 x 2480 |
5.7MB |
2.9MB |
|
|
S |
2624 x 1752 |
3.3MB |
1.7MB |
|
|
16:9 |
RAW |
5184 x 2920 |
33.9MB |
|
|
L |
5184 x 2920 |
8.9MB |
4.5MB |
|
|
M |
3840 x 2160 |
5.4MB |
2.7MB |
|
|
S |
1920 x 1080 |
1.2MB |
0.6MB |
|
|
1:1 |
RAW |
3888 x 3888 |
33.3MB |
|
|
L |
3888 x 3888 |
8.4MB |
4.2MB |
|
|
M |
2784 x 2784 |
4.6MB |
2.4MB |
|
|
S |
1968 x 1968 |
2.7MB |
1.4MB |
|
Video
In common with other recent G-series cameras, the GX8 supports 4K video recording as well as the regular Full HD, HD and VGA resolutions. Movie options are virtually identical to those provided by the Lumix DMC-G7, which we reviewed in June 2015.
Like the G7, the GX8 provides a choice between AVCHD and MP4 formats, the latter being required for 4K movie recording. But 4K resolution is restricted to at a frame size of 3840 x 2160 pixels with a frame rate of 25 or 24 frames/second (fps) and a bit rate of 100 Mbps, a consumer-level format known as ‘UDH-1’.
This puts it at a lower level than the GH4, which offers 4K movie recording at the ‘Digital Cinema’ (DCI) standard of 4096 x 2160 pixels with a frame rate of 24 fps and a bit rate of 100 Mbps. (The difference between the DCI and UDH-1 formats affects the aspect ratio, with DCI frames having an aspect ratio of approximately 1.9:1, whereas UDH-1 frames are 1.78:1, which is close to the 16:9 aspect ratio of HDTV sets and widescreen monitors.)
The GX8 also supports Panasonic’s 4K Photo mode, which includes 4K Pre-burst, 4K Burst and 4K Photo mode, the latter enabling users to extract 8-megapixel (3328 x 2496 pixel) still images from video clips in-camera. As in the G7, focus peaking and zebra exposure displays are available.
Time-lapse and interval shooting are also supported, enabling animated movies to be created. In addition, unlike the more sophisticated GH4, outputting of video to an external recorder via the HDMI port is not supported.
Nor is the Dual I.S. stabilisation system when recording 4K movies, although for lower-resolution movies Panasonic provides electronic image stabilisation that works with the lens O.I.S. system to provide five-axis stabilisation.
Most of the camera’s functions are available in movie mode, including the P, A, S and M modes and apply many of the Creative Control filters. Touch AF in movie mode makes professional-like rack focusing available to videographers, while AF Tracking locks on the subject and focuses as it moves.
The table below shows the settings available.
|
Video format |
Aspect ratio |
Picture size |
Frame Rate |
Bit rate |
Recording capacity/8GB card |
|
AVCHD |
16:9 |
1920 x 1080 |
50p |
28 Mbps |
37 minutes |
|
50i |
17 Mbps |
1 hour |
|||
|
25p |
24 Mbps |
43 minutes |
|||
|
24p |
24 Mbps |
43 minutes |
|||
|
MP4 |
3840 x 2160 |
25p |
100 Mbps |
1 minute |
|
|
1920 x 1080 |
50p |
28 Mbps |
37 minutes |
||
|
25p |
20 Mbps |
49 minutes |
|||
|
1280 x 720 |
10 Mbps |
1 hour 33 minutes |
|||
|
4:3 |
640 x 480 |
4 Mbps |
3 hours 25 minutes |
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.
Other Features
In designing the GX8, Panasonic has selected the best features from previous cameras. Accordingly, it includes the Depth From Defocus technology that was introduced in the GH4, along with the new AF tracking algorithms introduced with the G7, which combine subject size and motion vectors with colour information to improve AF tracking. Low-light autofocusing is rated to -4EV and the Starlight AF mode (introduced in the G7), which uses roughly a third of the central area of the frame and can detect small contrast differences in night skies.
Regular AF modes include Pinpoint AF and Full Area AF and the 49-Area/Custom Multi mode, which is new to the GX series. Also new to the series is Face/Eye Detection AF, which automatically detects the face and nearer eye of a subject while optimising exposure for the face.
It may surprise many readers to know that, like the GH4, the GX8 has no Scene pre-sets in menu. (These models appear to be the only G-series cameras without Scene Guide modes.) The nearest option is the iHandheld Night Shot setting, which can only be accessed in the iAuto and iAuto+ shooting modes.
However, the GX8 includes the Clear Retouch function, which enables users to erase unwanted parts of an image in playback mode. Panorama settings are also supported with options for selecting the recording direction and angle of view of the resulting image. Users have a choice between Standard and Wide settings, with the Standard setting prioritising image quality and the Wide setting angle of view. Resolution can be up to 8176 x 1920 pixels in Standard mode.
The GX8’s shutter speed range is wider than the GX7’s, extending to 1/8000 second with the mechanical shutter and 1/16,000 second with the electronic shutter. The slowest shutter speed is 60 seconds with the mechanical shutter.
Wi-Fi connectivity is pretty much a given in the latest cameras and the GX8 improves on the G7 by including NFC support, a feature that won’t affect owners of iOS devices (which never supported NFC pairing). The remaining Wi-Fi functionality is essentially the same as in other G-series cameras.
Users will need to download and install the Panasonic Image App in any smart device that will be linked with the camera. Password connection is available for iOS devices and the few Android devices without NFC. Up to 20 devices can be registered with the camera.
Once connected, you can view images in the camera on the smart device’s screen or use the screen to control the camera remotely. Most of the camera’s functions are accessible for remote shooting, including the ‘Self Shot’ modes introduced in the GF7.
You can also combine Snap Movie clips and send them to a smart device for viewing on the screen or uploading to a web service. Geotagging of images is available using GPS data from a connected smart-phone. Various image backing-up facilities are available, either via the supplied PHOTOfunSTUDIO application or (for Windows users) directly to a selected folder.
You can also playback images and movies on the device’s screen, although 4K images and movies aren’t supported. But they can be played on a TV set via an HDMI micro cable (not supplied) and other images and movie clips can be viewed wirelessly on a TV set that supports the DMR function of the DLNA standard. Wireless printing is also supported.
Most images can be sent automatically to a specified device as they are captured, for storing or posting to sharing websites. However, still images in RW2.RAW format, movies and 4K burst files can’t be saved and 3D pictures taken in MPO format will be saved as 2D JPEGs. A limited range of editing options is available for still images and movie clips, along with some facilities for changing the settings for transmitting images to specified locations.
The GX8 uses the same rechargeable lithium-ion battery pack as the G7, which is different from the GX7’s battery. It’s CIPA-rated for between 310 and 340 shots/charge, depending on the lens fitted and whether you’re using the OLED monitor or EVF for the majority of shots.
Kits
On its release in September 2015, Panasonic will offer the GX8 in four formats in Australia: as body only for AU$1399, with the Lumix G Vario 14-42mm f/3.5-5.6 II ASPH./MEGA O.I.S. lens for AU$1499, as a Zoom kit with the 14-140mm f/3.5-5.6 lens for AU$1999, as a twin lens kit with the addition of a 45-150mm f/4-5.6 lens for AU$1699 and as a Pro kit with the 12-35mm f/2.8 lens for AU$2399. Details can be found here.
SPECS
Image sensor: 17.3 x 13.0 mm Live MOS sensor with 21.77 million photosites (20.3 megapixels effective)
Image processor: Venus Engine
Lens mount: Micro Four Thirds
Focal length crop factor: 2x
Digital zoom: 2x, 4x (Live View only)
Image formats: Stills: JPEG (DCF, Exif 2.3), RAW, MPO (with 3D lens); Movies: AVCHD (Audio format: Dolby Digital 2ch), MP4 (Audio format: AAC 2ch)
Image Sizes: Stills: 4:3 ““ 5184 x 3888, 3712 x 2784, 2624 x 1968; 3:2 ““ 5184 x 3456, 3712 x 2480, 2624 x 1752; 16:9 ““ 5184 x 2920, 3840 x 2160, 1920 x 1080; 1:1 ““ 3888 x 3888, 2784 x 2784, 1968 x 1968; Movies: 4K – 3840 x 2160 24/25p 100Mbps, [Full HD] 1920 x 1080: 50p/28Mbps, 50i/17Mbps 25p/20Mbps; [HD] 1280 x 720 25p/10Mbps, [VGA] 640 x 480 25p/4Mbps;
Image Stabilisation: Image Sensor Shift Type
Dust removal: Supersonic wave filter
Shutter (speed range): Focal-plane shutter (mechanical): 60-1/8000 second plus Bulb (Max. 30 minutes); Electronic shutter: 1/16,000 – 1 second (min. 1/25 second for movies)
Exposure Compensation: +/- 5 EV in 1/3EV steps (+/-3EV for movies)
Exposure bracketing: 3, 5, 7 frames in 1/3, 2/3 or 1 EV steps, Max. ±3 EV, single/burst
Other bracketing options: WB – 3 exposures in blue/amber axis or in magenta/green axis
Self-timer: 2 or 10 seconds delay plus 10 sec., 3 images
Focus system: Contrast AF system with DFD technology plus Face/Eye Detection, Tracking, 49-Area/Custom Multi/1-Area / Pinpoint AF
Focus modes: AFS (Single) / AFF (Flexible) / AFC (Continuous) / MF
Exposure metering: 1728-zone multi-pattern sensing system with Multiple, Centre-weighted and Spot metering patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual
Creative Control: Expressive, Retro, Old Days, High Key, Low Key, Sepia, Monochrome, Dynamic Monochrome, Rough Monochrome, Silky Monochrome, Impressive Art, High Dynamic, Cross Process, Toy Effect, Toy Pop, Bleach Bypass, Miniature Effect, Soft Focus, Fantasy, Star Filter, One Point Colour, Sunshine
Photo Style Modes: Standard, Vivid, Natural, Monochrome, Scenery, Portrait, Custom, plus Cinelike D, Cinelike V when Creative Video Mode is selected.
Function buttons: 13
Colour space options: sRGB and Adobe RGB
ISO range: Auto, Intelligent ISO, ISO 100 to ISO 25600 adjustable in 1/3 EV steps
White balance: Auto, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1, 2 , Colour temperature setting; Blue/Amber, Magenta/Green bias adjustments
Flash: TTL External Flash (Optional)
Flash modes: Auto*, Auto/Red-eye Reduction*, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off (* For iA, iA+ only); 1st. Curtain Sync, 2nd Curtain Sync.
Flash exposure adjustment: +/-3EV in 1.3EV steps
Sequence shooting: Max. 10 frames/sec. with electronic shutter; 8 frames/sec. with mechanical shutter; 4K Burst: 30 frames/sec
Buffer capacity: Max. 100 Large/Fine JPEGs, 30 RAW files or RAW+JPEG pairs
Storage Media: SD, SDHC, SDXC cards (Compatible with UHS-I standard SDHC / SDXC Memory Cards)
Viewfinder: Tilting OLED Live View Finder with 2,360,000 dots; approx. 100% field of view, approx. 1.54x magnification, 21mm eyepoint, -4.0 to +3.0 dpt dioptre adjustment, eye sensor (adjustable)
LCD monitor: Free-angle 3.0-inch OLED monitor with static touch control; 3:2 aspect ratio, 1.04 million dots, adjustments for Brightness, Contrast, Saturation, Red Tint, Blue Tint
Playback functions: 30-thumbnail display, 12-thumbnail display, Calendar display, Zoomed playback (Max. 16x), Slideshow (All / Picture Only / Video Only / 4K PHOTO / 3D / Category Selection / Favourite, duration & effect is selectable), Playback Mode (Normal / Picture / Video / 4K PHOTO / 3D Play / Category / Favourite), Location Logging, RAW Processing, Clear Retouch, Title Edit, Text Stamp, Video Divide, Time Lapse Video, Stop Motion Video, Resize, Cropping, Rotate, Rotation Display, Favourite, DPOF Print Set, Protect, Face Recognition Edit, Picture Sort, Creating Still Pictures from a Motion Picture
Interface terminals: USB 2.0 High Speed Multi; microHDMI TypeD / VIERA Link; AV-Out: Monaural Type, NTSC/PAL; 2.5mm jack for remote; 2.5mm jack for external microphone
Wi-Fi & NFC: Wi-Fi ““ IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi / WPA / WPA2, Infrastructure mode; NFC ““ ISO/IEC 18092, NFC-F (Passive Mode); QR Code Connection
Power supply: Li-ion Battery Pack (7.2V, 1200mAh, 8.7Wh); CIPA rated for approx. 340 images (rear monitor), 320 images (LVF) with H-FS1442A lens
Dimensions (wxhxd): Approx. 133.2 x 77.9 x 63.1 mm (excluding protrusions)
Weight: Approx. 435 grams (body only); 487 grams with battery and card
RRP: AU$1399; US$1200
SAMPLES
14-42mm lens, 21mm focal length, ISO 100, 60 second exposure at f/4.6.
14-42mm lens, 21mm focal length, ISO 200, 40 second exposure at f/4.6.
14-42mm lens, 21mm focal length, ISO 800, 15 second exposure at f/4.6.
14-42mm lens, 21mm focal length, ISO 6400, 5 second exposure at f/11.
14-42mm lens, 21mm focal length, ISO 12800, 3.2 second exposure at f/13.
14-42mm lens, 21mm focal length, ISO 25600, 2.5 second exposure at f/13.
14-140mm lens, 14mm focal length, ISO 200, 1/1000 second exposure at f/6.3.
14-140mm lens, 35mm focal length, ISO 200, 1/1000 second exposure at f/6.3.
14-140mm lens, 70mm focal length, ISO 200, 1/1000 second exposure at f/6.3.
14-140mm lens, 140mm focal length, ISO 200, 1/320 second exposure at f/6.3.
14-140mm lens with 2x digital zoom, 140mm focal length, ISO 200, 1/320 second exposure at f/6.3.
14-140mm lens with 4x digital zoom, 140mm focal length, ISO 200, 1/400 second exposure at f/6.3.
Close-up; 14-140mm lens, 14mm focal length, ISO 200, 1/500 second exposure at f/5.
Close-up; 14-140mm lens, 140mm focal length, ISO 200, 1/500 second exposure at f/5.6.
Strong backlighting with auto dynamic range adjustment and spot metering: 14-140mm lens, 140mm focal length, ISO 100, 1/320 second exposure at f/5.6.
Backlighting; 14-140mm lens, 14mm focal length, ISO 200, 1/500 second exposure at f/7.1.
Backlighting; 14-140mm lens, 102mm focal length, ISO 200, 1/400 second exposure at f/6.3.
14-140mm lens, 46mm focal length, ISO 200, 1/100 second exposure at f/5.6.
14-140mm lens with 4x digital zoom, 140mm focal length, ISO 100, 1/100 second exposure at f/5.6.
