Panasonic Lumix DMC-G7

      Photo Review 9
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      In summary

      The compact body size and relatively light weight of the camera will suit all kinds of travellers. We found the kit lens supplied with the camera to be an excellent performer and would recommend it as a good partner to the camera for photographers who want to travel light.

      Travelling photographers could also find the integrated Wi-Fi handy, although the process of posting shots to sharing websites via camera-to-app-on-smart-phone is more complicated than simply shooting with a smart-phone and posting directly to your favourite sharing site. But the G7 with its kit lens will provide much greater shooting versatility and better picture quality than the best smart-phone.

      Its 4K video capabilities, while not at the high standard of the GH4, well exceed those of most cameras and deliver a great combination of quality and functionality that is difficult to beat in a camera at its price point. Photographers who enjoy shooting movies will find a lot to like in this camera, particularly if they also like capturing still images.

      We were impressed by how easy it is to switch between stills and movie recording and the useful options provided by the 4K Photo modes, which could appeal to some serious shooters. The camera’s well-designed control layout makes it easy to access frequently-used functions and five programmable function buttons give plenty of scope for customisation of controls.

       

      Full review

      The new Panasonic Lumix DMC-G7 camera replaces the two-year old G6 as the sixth generation model in its line and slots in just below the GH4 (which we reviewed in May 2014, with which it shares some important features although in a smaller and lighter body. Equipped with a 16-megapixel Live MOS sensor and Venus Engine image processor, it’s the latest model to offer 4K video recording (UHD at 24, 25 or 30p) in addition to 1080p at up to 50/60p.    

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      Angled view of the Panasonic Lumix DMC-G7 with the H-FS1442A (14-42mm f/3.5-5.6) kit lens used for our review. (Source: Panasonic.)

      The G7 provides the same movie recording options as other G-series cameras, with a choice between AVCHD and MP4 formats, the latter being required for 4K movie recording, a new addition to this category.

      Internally, the camera has been equipped with built-in Wi-Fi, time-lapse recording and silent shooting as well as a focus peaking display and an enhanced 360-degree panorama mode.  Photographers looking for in-body stabilisation (as in the GX7 which we reviewed in October 2013 will be disappointed; stabilisation is only available via a Panasonic OIS lens.

      Panasonic offers the G7 as a body alone or in various kit formats that include one or more lenses. The body alone carries an RRP of AU$899, while the single lens kit (as reviewed) is AU$999. A twin lens kit with the H-FS1442A 14-42mm lens and H-FS45150 45-150mm lens is priced at AU$1199, while the zoom lens kit with the H-FS14140 14-140mm lens has an RRP of AU$1499.

      Who’s it for?
       Photographers looking for an affordable mirrorless camera with a decent viewfinder will be the main target for this camera, particularly those who want to record 4K video as well as stills. The relatively light weight of this camera (only 410 grams with battery and SD card installed) would also make an ideal second body for anyone who already has a GH4 since it supports most of that camera’s functions.

      These features also make the G7 ideal for travellers, although the lack of in-body stabilisation means they will need stabilised lenses (which are larger, heavier and more expensive than unstabilised ones). Integrated Wi-Fi enables users to upload images and video to social media or email them directly via a smart device. Unfortunately, NFC is not supported so you’ll have to connect the devices via a QR code displayed on the camera’s monitor.

      Build and Ergonomics
       The re-design of the camera body has produced a squarer, more boxy looking camera than the G6 model it replaces (which we didn’t review). However, it has also allowed for some distinct improvements in usability.

      The grip moulding is larger and the shutter button and surrounding front dial control are positioned in easy reach of the user’s index finger.   There’s a well-designed indentation for the second finger just below the shutter button that helps make the grip comfortable and secure.
       

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       Front view of the G7 with no lens fitted. (Source: Panasonic.)

      The only other controls on the front panel are the lens release button and the embedded AF-assist LED, which sits just below the mode dial between the front control dial and the top of the lens mount. Neck strap lugs with attached D-rings are located on each side of the camera near the lower edges of the top panel.  

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      Top view of the G7 with the 14-42mm kit lens fitted. (Source: Panasonic.)

      Two new dials have been added to the top panel, complementing the mode and single control dials on the G6. The drive mode dial, which sits left of the EVF housing is probably the most important since it carries both continuous shooting and self-timer positions as well as positions for the auto bracketing, 4K Photo and time-lapse/animation modes.

      The single, semi-recessed rotating wheel that served as a control dial on the G6 has been replaced by front and rear control dials. The front one encircles the shutter button, while the rear one is located on the right hand side rear corner and has a central button, which can be customised to access one of up to 55 functions (40 for shooting, five specific to movies and 10 custom menu settings).

      The G6’s Intelligent Auto (iA) button has been replaced by a Fn button (which defaults to adjusting EV compensation) and the iA mode has been added to the mode dial settings. The two Custom settings (C1 and C2) on the G6 have been consolidated into a single C position.

      There’s been a bit of button shuffling that sees the Fn1 and Movie buttons located just aft of the front control dial. The pop-up flash/EVF housing remains in the same position with a hot-shoe on its top. But the twin stereo microphone grilles have been reduced in size to single holes, although their positions are unchanged. The G6’s speaker grille has been shifted to the thumb grip on the rear panel.

      Panasonic has boosted the resolution of the EVF from 1,440,000 dots in the G6 to 2.36 million dots in the G7. It has also extended the eye relief for the EVF from 17.5 mm to 21 mm in the new camera for more comfortable viewing (particularly if you wear glasses). Magnification remains unchanged.  

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      Rear view of the G7 with the monitor extended. (Source: Panasonic.)

      In contrast, the G7’s monitor is almost unchanged since the G6, being the same size and with the same resolution and touch controls. However, Panasonic claims stronger backlighting provides an increase of around 50% in the brightness of the screen, which makes it a little easier to read in outdoor lighting.

      A new focus mode switch surrounds the AF/AE lock button, while a new Fn5/LVF button joins the flash pop-up button on the left side of the EVF. The Quick Menu button has been moved down to the right hand side of the monitor, where it sits just below the Fn2 button.

      The arrow pad controls are mostly unchanged since the G6, although the lowest one, which controlled drive function in the G6 is now the Fn3 button. Like the G6, the G7’s monitor is fully articulated, thanks to a tilt/swivel mechanism.

      Three access ports are located below a lift-up cover on the right hand side panel. From the top they are the remote control socket, the HDMI port and the AV Out/Digital (micro USB) connection. On the left hand side a repositioned microphone jack sides at the junction of the top and side panels.

      The battery and memory card share a compartment in the base of the camera, which is effectively identical to the G6. The metal-lined tripod socket is in line with the optical axis of the lens and quite close to the front of the camera body.

      Improved Functions
       The big story here is the addition of 4K video support, although the G7 isn’t quite as capable as its more professionally configured sibling, the GH4. Nonetheless, when the MP4 format is selected, it can record at a frame size of 3840 x 2160 pixels with a frame rate of 30 or 24 frames/second (fps) and a bit rate of 100 Mbps.

      UHS speed class 3 cards are required for recording 4K movie clips and the G7 is the first in its line to support the faster UHS-II cards. Time-lapse and interval shooting are also supported, enabling animated movies to be created.

      Selecting the 4K Photo mode optimises shutter speed settings to produce sharp still images at 30 fps and enables the camera to record JPEG images at 3328 x 2496 pixels. These can be printed at up to A3 size. Interestingly, images recorded in this mode contain the EXIF metadata, enabling you to see the camera settings used for each shot.

      The G7 provides three recording options in 4K Photo mode. In the 4K Pre-burst mode the camera will record 30 frames before and after the shutter is released, capturing a total of 60 frames. This setting is ideal for recording unpredictable events like a child’s first steps.

      The 4K Burst mode operates like a regular burst mode and records at 30 fps for as long as the shutter button is held down. Bursts are limited to 29 minutes and 30 seconds.

      The 4K Burst start/stop mode lets you press the shutter button once to start recording and again to stop it. This mode is ideal if you don’t know exactly when the action will happen, a common situation in sports and wildlife photography. The maximum recording time is 29 minutes and 30 seconds.

      Highlight/Shadow adjustment enables users to tweak the brightness of each end of the tonal scale. In MP4   mode, you can also set the luminance level to either 0-255 or 16-255.

      The wind noise canceller filter provides three levels of adjustment and works with stereo soundtracks, instead of just mono, apply diffraction compensation, engage flicker compensation at shutter speeds between 1/50 and 1/120 second and use Extra Tele Conversion and Digital Zoom functions. Microphone levels can also be displayed.

      Users can crop frames to produce other aspect ratios than 16:9 when extracting stills from 4K movie clips and there’s no limit to the number of stills you can extract. P, A, S and M shooting modes are also usable when recording movies as well as some of the scene pre-sets.

      Improvements have also been made to autofocusing, most significantly with the introduction of Depth from Defocus (DFD) technology, which was introduced in the GH4 and claims to roughly double AF performance. This technology only works with Panasonic’s lenses and Panasonic says the G7 can achieve a focus lock in as little as 0.07 seconds, compared with 0.15 seconds in the G6.

      The 49 point contrast detect system in the G7 can also focus in lower light levels. A new Starlight AF function calculates the contrast value in each AF zone and integrates these values to enable focusing in very low light levels.

      The standard Face Recognition AF and Face/Eye Detection AF functions are supported, along with Pinpoint AF, which magnifies the target area to allow greater focusing precision. AF Tracking has been improved with a new algorithm that takes account of the colour, size and direction of motion of subjects. The G7 is the first Panasonic camera with this capability.

      Continuous shooting is supported at up to eight frames/second with focus fixed at the first frame or six frames/second with continuous autofocusing. Using the electronic shutter lets you achieve frame rates of up to 40 fps with focus, exposure and white balance locked in at the first frame. The super-high-speed   (SH) mode is JPEG only.

      Other improvements include an extension to the range of the electronic shutter, which now has a top speed of 1/16,000 second. Panoramic image recording has also been tweaked to enable creative filters to be used with the P, A, S and M capture modes. New monochrome filter functions are also available and users can trade off image height to record a wider angle of view in panorama mode.

      Connectivity
       Interfacing the G7 with Android devices has been made slightly more complex by the removal of NFC (near-field communications), although it 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 but users are required to pair their smart devices with the camera via a QR code.

      You’ll need to download and install the Panasonic Image App in the smart device to make this happen. The camera should display an SSID and QR code when the devices are connected for the first time. The SSID lets you enter a password to set up a connection, while the QR code must be photographed by the smart device’s camera.

      After that you can use the smart device’s screen to control the camera remotely and access many of the camera’s functions, including the ‘Self Shot’ modes introduced in the GF7. You can also playback images and movies on the device’s screen. Geotagging of images is also available using GPS data from a connected smart-phone.  

      Most images can be sent directly to the smart device for storing or posting to sharing websites. However, still images in RW2.RAW format, AVCHD movies and 4K movie clips 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.

      Wired connectivity is included, via USB 2.0, which supports ‘high-speed’ data transfer to a computer or composite video output. A Micro HDMI Type D video output lets you stream high-definition movies to a compatible TV set (but you’ll need to supply the cable). There’s also a 3.5mm microphone jack, which doubles as a port for an optional wired remote control.

      Sensor and Image Processing
       The sensor in the G7 has the same 16-megapixel resolution as most other G-series cameras. However, it’s paired with the latest Venus Engine IX quad-core processor, which was introduced in the GH4  and has also been used in the LX100, which we reviewed in January 2015.

      Still image sizes are the same as those offered by the GH4. Like the GH4, the G7 supports an extended ISO sensitivity range with a maximum ISO of 25,600 and a minimum of ISO 100 for stills. The movie range extends from a minimum of ISO 200 to ISO 6400.

      The fastest continuous shooting speed is 40 frames/second (fps) with the electronic shutter for up to 60 frames. Focus and exposure are locked in with the first frame.   The electronic shutter can also support continuous shooting at up to 10 fps in the High Speed drive mode.

      When used with the mechanical shutter, the High Speed drive mode supports eight fps with focus and exposure locked or up to six fps with continuous AF.

      Playback and Software
       Nothing much has changed since the G6. The software bundle is the standard Panasonic offering 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.

      If, like us, you dislike Silkypix, and can’t wait for Adobe to update Adobe Camera Raw, the freeware converter, Raw Therapee, which we used for processing raw images used for this review, will do the job competently. (It’s available at  http://rawtherapee.com/blog/list/13.)

      Performance
       Subjective assessment of test shots from the review camera showed them to be sharp and colour accurate and similar in appearance to shots from other G-series cameras we’ve reviewed in the past year or so. The bundled kit lens proved to be a superior performer, despite its light weight and cheap build with a plastic mounting plate.

      Imatest showed JPEG files could meet expectations for a 16-megapixel camera with optimal lens and ISO settings.   RW2.RAW files converted  with Raw Therapee delivered noticeably higher resolution across more focal length and aperture settings. 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.

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       Long exposures taken in dim lighting showed little visible noise up to ISO 3200, with a progressive increase in noise thereafter. By ISO 12800 traces of speckling became noticeable, along with slight softening. Both noise granularity and softening were evident in shots taken at ISO 25600, which were just printable at snapshot size.

      Flash exposures were evenly exposed across the supported ISO range for shots taken with the 42mm focal length. Colour reproduction was reasonably faithful at all ISO settings but images became rather soft and flat from ISO 12800.

      The auto white balance setting delivered similar results to previous G-series cameras we’ve reviewed recently. An obvious warm cast remained in shots taken under incandescent lighting, although shots taken under fluorescent lights and flash shots were largely free of colour casts.

      The incandescent pre-set introduced a very faint purple cast, while the flash preset remained colour neutral. No preset is provided for fluorescent lighting. Manual measurement produced neutral colours with all three lighting types and there’s plenty of scope for fine-tuning colour rendition via the touch screen.

      Autofocusing while shooting stills was fast and accurate in most situations, particularly when the touch screen was used to set the focus position. No significant slowing was evident when shooting stills in low light levels or while panning.

      Metering was as accurate as we’ve found with previous G-series cameras. The default Standard setting in the iDynamic mode delivered well-balanced highlight and shadow detail, even in quite contrasty situations.

      Video quality was superior to the quality we obtained from the GF7, the last G-series camera we reviewed, largely because the G7 can record 4K movies.   Movies recorded with 1080p resolution were similar in quality to those from the GF7.

      The higher resolution of the 4K files could only be discerned when clips were viewed on a high-resolution screen. Clips were clearer and more detailed than those shot at Full HD resolution and appeared to have more dynamic range.

      In most movie modes, the AF system was able to keep pace with slow and medium-paced movements, although it occasionally failed to lock on quickly when subjects changed their distance from the camera rapidly. Soundtracks were generally clear with satisfactory stereo presence, considering the sizes and separations of the tiny in-camera microphones. Clips showed no interference from focusing and zooming and the wind-reduction filter did a good job of suppressing wind noise.

      Our timing tests were conducted with a 16GB Panasonic SDHC Class 10 UHS-3 card which was supplied with the camera. The review camera powered up in just under one second.  

      Capture lag was effectively negligible at less than 0.1 seconds and was eliminated when shots were pre-focused.  Shot-to-shot times averaged 0.4 seconds without flash and 2.4 seconds with.

      It’s difficult to measure the processing times for individual JPEG and raw files in this camera because there appears to be no on-screen indicator. An icon flashed for less than half a second just after each frame is recorded and it took approximately two seconds for the live view screen to refresh, regardless of whether we shot JPEG, RW2.RAW or RAW+JPEG files.

      Recording times and buffer capacities for the four continuous shooting modes available were mostly in line with Panasonic’s specifications.   Live view is not available with either the JPEG-only Super high-speed mode or the high-speed setting. The Super high-speed mode recorded a burst of 60 frames/second in 1.6 seconds. Processing this burst of shots took 8.6 seconds.  

      The High-speed mode appears to have ‘unlimited’ capacity for JPEGs.  We recorded 92 frames in 10.7 seconds, which  is a bit better than the specified eight frames/second. Processing of the final frame was completed within three seconds of its capture.

      With RW2.RAW files, the camera slowed after 17 frames, which were captured in 2.7 seconds. It took 7.6 seconds to process this burst. Changing to RAW+JPEG capture, we found the buffer memory filled after 10 frames, which were recorded in 1.3 seconds. It took 9.8 seconds to process this burst.

      The middle and low speed settings record at six and two frames/second respectively with live view supported during capture. Frames are processed on-the-fly and processing was completed within roughly a second of the last frame captured.

      Conclusion
       The compact body size and relatively light weight of the camera will suit all kinds of travellers. We found the kit lens supplied with the camera to be an excellent performer and would recommend it as a good partner to the camera for photographers who want to travel light.

      Travelling photographers could also find the integrated Wi-Fi handy, although the process of posting shots to sharing websites via camera-to-app-on-smart-phone is more complicated than simply shooting with a smart-phone and posting directly to your favourite sharing site. But the G7 with its kit lens will provide much greater shooting versatility and better picture quality than the best smart-phone.

      Its 4K video capabilities, while not at the high standard of the GH4, well exceed those of most cameras and deliver a great combination of quality and functionality that is difficult to beat in a camera at its price point. Photographers who enjoy shooting movies will find a lot to like in this camera, particularly if they also like capturing still images.

      We were impressed by how easy it is to switch between stills and movie recording and the useful options provided by the 4K Photo modes, which could appeal to some serious shooters. The camera’s well-designed control layout makes it easy to access frequently-used functions and five programmable function buttons give plenty of scope for customisation of controls.

      Discounted prices for this camera in its various kit formats have already begun to appear in local stores so it’s worth shopping around. We wouldn’t recommend purchasing any of the kits online from an overseas website as it would cost considerably more when you take account of the exchange rate and shipping costs.  

       

      SPECS

       Image sensor: 17.3 x 13.0 mm  Live MOS sensor with 16.84 million photosites (16.0 megapixels effective)
       Image processor:  Venus Engine IX
       Lens mount: Micro Four Thirds
       Focal length crop factor: 2x
       Digital zoom: 2x or 4x for stills; 2.4x (FHD), 3.6x (HD), 4.8x (VGA) for movies
       Image formats: Stills – JPEG (DCF, Exif 2.3), RW2.RAW, MPO (with 3D lens); Movies – AVCHD (Audio format: Dolby Digital 2ch), MP4 (Audio format: AAC 2ch)
       Image Sizes: Stills ““ 4:3 aspect: 4592 x 3448, 3232 x 2424, 2272 x 1704; 3:2 aspect: 4592 x 3064, 3232 x 2160, 2272 x 1520; 16:9 aspect: 4592 x 2584, 3840 x 2160, 1920 x 1080; 1:1 aspect: 3424 x 3424, 2416 x 2416, 1712 x 1712; Movies ““ MP4:   [4K] 3840 x 2160/25p or 24p 100Mbps, [Full HD] 1920 x 1080: 50p/28Mbps, 25p/20Mbps; [HD] 1280 x 720 25p/10Mbps, [VGA] 640 x 480 25p/4Mbps; AVCHD: 1920×1080:FHD/50i 17Mbps or FHD/25p 24Mbps (50i recording), 1920×1080:FHD/24p 24Mbps
       Image Stabilisation: Lens-based
       Dust removal: Supersonic wave filter
       Shutter (speed range): Mechanical shutter – 60 to 1/4000 second plus Bulb (Max. 2 minutes); electronic shutter – 1 to 1/16,000 second
       Exposure Compensation: +/- 5EV in 1/3EV steps (+/-3EV for movies)
       Exposure bracketing: 3, 5, 7 frames in 1/3, 2/3 or 1 EV step across +/-3EV
       Self-timer: 2 or 10 seconds delay plus 10 sec/3 images
       Focus system: 49-Area Contrast AF system with DFD technology
       Focus modes: AFS (Single), AFF (Flexible), AFC (Continuous) and MF modes; Face/Eye Detection, Tracking, 49-Area, Custom Multi, 1-Area  and Pinpoint detection options; Full area touch AF is available
       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
       Scene presets: 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, Handheld Night Shot, Clear Night Portrait, Soft Image of a Flower, Appetising Food, Cute Dessert, Freeze Animal Motion, Clear Sports Shot, Monochrome
       Photo Style Modes: Standard, Vivid, Natural, Monochrome, Scenery, Portrait, Custom, Cinelike D*, Cinelike V* (*when Creative Video Mode is selected)
       Creative Control Modes: 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
       Colour space options: sRGB and Adobe RGB
       ISO range: Auto, Intelligent ISO, 100 (Extended), 200, 400, 800, 1600, 3200, 6400, 12800, 25600 (changeable to 1/3 EV steps)  
       White balance: Auto, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x4), Colour temperature setting; Blue/Amber, Magenta/Green bias adjustments
       Flash: Built-in flash GN 9.3 equivalent (ISO 200/m)
       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)
       Flash exposure adjustment: +/-3EV in 1/3Ev steps
       Sequence shooting: Max. 8 shots/sec.  with mechanical shutter, 40 fps with electronic shutter
       Buffer capacity: Max. 100 Large/Fine JPEGs, 13 RAW files or 12 RAW+JPEG pairs
       Storage Media: SD, SDHC, SDXC cards (Compatible with UHS-I standard SDHC / SDXC Memory Cards)
       Viewfinder: OLED Live View Finder with 2,360k dots, approx. 17.5 mm eyepoint, -4.0 to +4.0 dioptre adjustment, eye sensor
       LCD monitor: 3-inch, 3:2 aspect, free-angle TFT LCD monitor with static touch control and approx. 1,040k dots
       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, 2.5mm remote control jack, 3.5 mm jack for external microphone
       Wi-Fi function: IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi / WPA / WPA2, Infrastructure mode, QR code connection
       Power supply: Rechargeable Li-ion Battery Pack; CIPA rated for approx. 360 shots/charge with H-FS1442A lens
       Dimensions (wxhxd): Approx. 124.9 x 86.2 x 77.4 mm (excluding protrusions)
       Weight: Approx. 360 grams (body only); 410 grams with battery and card

       

      TESTS

       Based on JPEG files.

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       Based on RW2.RAW files converted into 16-bit TIFF format with RawTherapee.

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      SAMPLES

       

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       Auto white balance with incandescent lighting.

       

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      Auto white balance with fluorescent lighting.
       

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       Auto white balance with flash.
       

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      30-second exposure at ISO 100; 38mm focal length, f/4.5.
       

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      20-second exposure at ISO 400; 38mm focal length, f/5.
       

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      10-second exposure at ISO 1600; 38mm focal length, f/6.3.
       
       

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      3-second exposure at ISO 6400; 38mm focal length, f/6.3.
       

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      2.5-second exposure at ISO 12800; 38mm focal length, f/8.
       

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      2-second exposure at ISO 25600; 38mm focal length, f/13.
       

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      Flash exposure at ISO 100;1/60 second at f/5.6, 42mm focal length.
       

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      Flash exposure at ISO 400; 1/60 second at f/5.6, 42mm focal length.
       

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

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

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

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      Flash exposure at ISO 25600; 1/100 second at f/5.6, 42mm focal length.

       

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      14mm focal length, ISO 100, 1/500 second at f/8.
       

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      42mm focal length, ISO 100, 1/800 second at f/8.

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      Close-up; 33mm focal length, ISO 200, 1/500 second at f/11.
       

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      Portrait; 42mm focal length, ISO 200, 1/160 second at f/5.6.
       

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      Strong backlighting; 42mm focal length, ISO 100, 1/1600 second at f/11.
       

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      Flare; 14mm focal length, ISO 200, 1/400 second at f/6.3.
       

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      42mm focal length, ISO 200, 1/320 second at f/7.1.
       
       

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      42mm focal length, ISO 200, 1/320 second at f/8.
       

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      14mm focal length, ISO 1600, 1/30 second at f/5.
       

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      Mixed lighting; 14mm focal length, ISO 400, 1/60 second at f/4.5.
       

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      14mm focal length, ISO 100, 1/640 second at f/9.
       

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      3:2 aspect ratio; 26mm focal length, ISO 200, 1/200 second at f/7.1.

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      Still frame from MP4 4K (3840 x 2160) movie clip.
       

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      Still frame from MP4 Full HD (1920 x 1080) movie clip recorded at 50p/28Mbps.

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      Still frame from MP4 Full HD (1920 x 1080) movie clip recorded at   25p/20Mbps.

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      Still frame from MP4 HD (1280 x 720) movie clip recorded at   25p/10Mbps.

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      Still frame from MP4 VGA (640 x 480) movie clip recorded at   25p/4Mbps.

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      Still frame from AVCHD Full HD (1920 x 1080) movie clip recorded at 50i/17Mbps.

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      Still frame from AVCHD Full HD (1920 x 1080) movie clip recorded at 24p/24Mbps.
       

      Rating

      RRP: AU$899 (body only); AU$999, US$800 (as reviewed with H-FS1442A lens)

       

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

       
       

      Buy