Panasonic Lumix DMC-GH2

In summary

A mirrorless camera with SLR-like styling, touch-screen controls and sophisticated video recording capabilities.Although it was announced at Photokina 2010, we only received a review unit for the Panasonic GH2 at the end of January, which is a pity as this camera has plenty to offer to Photo Review readers. Replacing the DMC-GH1, it offers higher resolution and an extended ISO range as well as adopting popular features from the DMC-G2including the touch-screen monitor and re-designed control layout. . . [more]

Full review

Although it was announced at Photokina 2010, we only received a review unit for the Panasonic GH2 at the end of January, which is a pity as this camera has plenty to offer to Photo Review readers. Replacing the DMC-GH1, it offers higher resolution and an extended ISO range as well as adopting popular features from the DMC-G2including the touch-screen monitor and re-designed control layout.

Front view of the Panasonic Lumix DMC-GH2 with the 14-140mm f/4-5.8 lens. (Source: Panasonic.)

What’s New?
1. Effective sensor resolution has been increased from 12 to 16 megapixels (details below).
2. Touch screen capabilities have been added to the LCD monitor, making it similar in functionality to the G2 and GF2.
3. The electronic viewfinder (EVF) has been enlarged to minimise image cropping when the aspect ratio is changed.
4. ISO sensitivity now extends to 12,800.
5. Although autofocusing is still contrast-based, it’s faster, thanks to improved read-out speeds from the sensor.
6. Video recording capabilities have been enhanced. The GH2 records video in progressive mode at the maximum AVCHD frame rate of 24 Mbps.
7. The menu system has had a minor update but most changes are largely cosmetic and aimed at making the different settings clearer and easier to find.
8. Three display modes are provided for the touch-screen monitor. Pressing the Display button toggles between normal and detailed information displays and you can toggle between histogram and highlight alerts.
The display for the EVF shows the shooting parameters on a strip at the bottom of the frame. Pressing the Display button toggles image quality and battery status on/off. The Custom settings let you engage a handy display style, known as the LCD Info Display, which shows icons for settings that can be changed by touch or the arrow pad. It includes a graphical exposure compensation dial, which is adjusted with a fingertip or the supplied stylus.
Build and Ergonomics
The new model retains the SLR-like styling and is physically almost identical to its predecessor. However, the slightly slippery surface coating on the GH1 has been replaced by a more textured cladding that provides a more secure grip, which should suit most users. However, the camera remains relatively small and best suited to users with small or average-sized hands.
The body is still made mainly from plastic over a metal chassis. Construction standards remain high and all components fit together almost seamlessly. Stainless steel appears to have been used for the lens mounting plate and tripod socket, making both fittings very durable.

Front views of the DMC-GH1 (left) and the new DMC-GH2 (right). (Source: Panasonic.)

The most conspicuous change on the front panel is the new Full HD tag just above the lens release button. It replaces the HD label on the GH1, indicating a shift to 1080p video recording. The AF Assist lamp/self-timer indicator sits above this logo.

Rear views of the DMC-GH1 (left) and the new DMC-GH2 (right). (Source: Panasonic.)

A few, minor changes have been made to the rear panel layout. The dial wheel that was formerly at the top edge of the grip on the front panel is now located on the top right hand corner of the rear panel, where it’s much easier to use.

Your index finger can now rest above the shutter button while your thumb adjusts the rear dial. Pressing the dial in switches between exposure compensation and exposure shift, the parameter for the latter dictated by the shooting mode selection.

The direct Movie recording button has been shifted to the top panel, while the Q.Menu (quick menu) button moves from the top panel to sit beside the Display button. The LCD monitor is now a touch-screen and its aspect ratio has changed from 4:3 to 3:2. Resolution and vari-angle adjustability are unchanged.

Top views of the DMC-GH1 (left) and the new DMC-GH2 (right) with the Lumix G Vario HD 14-140mm, f/4.0-5.8 ASPH./MEGA O.I.S. lens. (Source: Panasonic.)

A new focus mode selection lever has been added to the dial carrying the focus area settings on the left side of the top panel. Four positions cover centre, multi-point, moveable point, face detection settings. The mode dial now carries three Custom Setting modes, instead of just one. These can be used to store frequently-used combinations of camera settings for quick recall.

The Sports and Night Portrait modes have been relocated into the Scene sub-menu, where they join the Peripheral Defocus, Night Scenery, Sunset, Party, Baby (x2) and Pet settings. A new Fn1 button (the first of three, the other two being on the arrow pad) replaces the Film Mode button (this function has been moved into the shooting menu). The Function buttons can be set to give quick access almost any of the camera’s functions.

The combination of the touch screen, buttons and levers means you seldom need to use the camera’s menu while shooting. The GH2 also sports the same Intelligent Auto Mode setting as its siblings. This mode includes auto scene selection from five pre-set modes: Portrait, Landscape, Close-up, Night Portrait and Night Scenery and it works for shooting both stills and video clips.

Image stabilisation is still supplied via the lens, rather than being in the camera body. But the menu system provides three mode settings and an off position for use when the camera is tripod-mounted. Mode 1 provides anti-shake compensation all the time and is useful for providing a steady image in the viewfinder or on the monitor when you’re composing shot. However, it consumes more battery power.

Mode 2 only provides compensation when the shutter button is half-pressed. Mode 3 is used for panning and only corrects vertical movements.

In addition to the regular digital zoom function, Panasonic provides an EX Tele Conversion function, which extends the zoom range without reducing picture quality. It works by cropping the frame. You can get up to 2x magnification for still pictures and up to 4.8x magnification for movies (details in the video section).

Sensor & Image Processor
The GH1’s 4/3-type Live MOS sensor is a new chip with significantly higher resolution. This chip has a total of 18.31 million photosites but supports an effective resolution of 16.05 megapixels. The reason for the different pixel counts is to allow for aspect ratio cropping with minimal resolution loss.

It seems both sensor and processor chips are made by Panasonic. Readers interested in a detailed description of these chips can find it at http://www.chipworks.com/en/technical-competitive-analysis/resources/recent-teardowns/2011/01/teardown-of-the-panasonic-lumix-gh2/.

Panasonic has adopted the same sensor strategy with the GH2 as it did with the GH1; using a larger pixel array to maintain the same image diagonal measurement at different aspect ratios. Accordingly, the photosite array actually contains 18,310,000 light-capturing elements but only 16,050,000 are used at any time for recording the picture.

When the camera is set for a 4;3 aspect ratio, the image pixel array is 4608x 3456 pixels; for a 3:2 aspect ratio, it becomes 4752 x 3168 pixels, covering a slightly wider area horizontally but less vertically. This ‘stretching’ is more evident with the 16:9 aspect ratio, where the horizontal dimension extends to 4976 pixels but the height is cropped to 2880 pixels. In 1:1 aspect ratio mode, the maximum vertical dimension of 3456 pixels restricts the horizontal dimensions of shots. Examples of the coverage of the four aspect ratios are shown below.

4:3.

3:2.

16:9.

1:1.

The selected aspect ratio is reflected in the image displayed on the monitor and EVF. Like its predecessor, the GH2 supports JPEG, RAW and RAW+JPEG recording. Typical still image sizes are shown in the table below.

Aspect ratio	Image Size	Resolution	Fine	Standard
4:3	RAW	4608 x 3456	20.48MB
	L	4608 x 3456	9.48MB	4.65MB
	M	3264 x 2448	5.12MB	2.55MB
	S	2336 x 1752	3.01MB	1.53MB
3:2	RAW	4752 x 3168	19.69MB
	L	4752 x 3168	9.14MB	4.49MB
	M	3360 x 2240	4.97MB	2.49MB
	S	2400 x 1600	2.99MB	1.51MB
16:9	RAW	4976 x 2800	18.29MB
	L	4976 x 2800	8.68MB	4.27MB
	M	3520 x 1980	4.83MB	2.43MB
	S	1920 x 1080	1.14MB	0.6MB
1:1	RAW	3456 x 3456	16.52MB
	L	3456 x 3456	7.01MB	3.51MB
	M	2448 x 2448	3.82MB	1.93MB
	S	1744 x 1744	2.56MB	1.16MB

The Venus Engine HD processor chip has been upgraded to a new Venus Engine FHD processor, which manages multiple signals simultaneously, making it possible to record high resolution consecutive shots and full HD video recording. Its advanced signal processing also separates chromatic and luminance noise processing, providing selective noise reduction.

The new processor also underpins the camera’s fast 60fps Live View and reduces the detection time for autofocusing to roughly 0.1 secondby doubling the drive speed from 60 frames/second to 120 fps.

Unfortunately, the buffer memory in the camera remains relatively small. Although smaller JPEG images can be recorded to the limit of memory capacity, for Large/Fine JPEGs and RAW files, the buffer was full after seven shots, reducing to six shots for RAW+JPEG pairs.

Video
Like the GH1, the GH2 provides two video recording modes: AVCHD and Motion-JPEG. AVCHD, which uses MPEG-4/H.264 compression, is used for high-definition video capture with a widescreen (16:9) aspect ratio. AVCHD provides almost twice the recording time in HD quality than Motion JPEG supports. You can also grab a still picture at any time by pressing the shutter button.

The GH2 provides three movie mode selections for AVCHD movies:
Manual Movie Mode allows you to adjust lens apertures and shutter speeds.
Cinema Mode provides a film-like effect by recording at 24 frames/second.
Variable Movie Mode allows you to select slow or fast motion recording.

Interestingly, the camera no longer doubles its output to create high-speed video. Instead, it can record progressive frames at 50 frames/second and output them in interlaced or progressive formats. Frame doubling is used for the Cinema Mode to produce 24 frames/second with high output quality.

The Variable Movie Mode enables footage to be saved with different frame rates. Four settings are provided: 0.8x, 1.6x, 2.0x and 3.0x. The faster capture rates are used to provide slow-motion playback, while slow rates produce high-speed effects. These effects aren’t available with Motion JPEG recording.
Two resolutions are available in AVCHD format: 1920 x 1080 pixel Full HD and 1280 x 720 pixel HD. The former is the recommended mode for shooting clips that will be played back directly from the camera to an HD TV set and provides higher resolution. HD 1280 x 720 can also be played back on HD TV sets and is compatible with the AVCHD Lite format provided in previous G-series cameras. Motion JPEG best for clips that will be uploaded to the web, emailed or played on a computer screen.

The 24H and 24P produce video clips that can be played back on Blu-Ray players. For other types of players, the supplied PhotoFun Studio 6.0 BD Edition software is required. It’s a Windows-only application, which leaves playback for Mac users unsupported.

When shooting video, up to 2GB of video can be recorded continuously, regardless of which format and frame rate is selected. Typical recording times on a 2GB capacity card are shown in the table below.

Video format	Aspect ratio	Picture Mode	Picture size (pixels)	Frame Rate	Bit rate	Recording time/2GB card
AVCHD	16:9	24H	1920 x 1080	24p	24 Mbps	10 minutes
		24L			17 Mbps	13 minutes
		FSH		50i	17 Mbps	13 minutes
		FH			13 Mbps	17 minutes
		SH	1280 x 720	50p	17 Mbps	13 minutes
		H	1280 x 720		13 Mbps	17 minutes
Motion JPEG	16:9	HD	1280 x 720	30 fps	n.a.	7 minutes 20 seconds
		WVGA	848 x 480		n.a.	18 minutes 30 seconds
	4:3	VGA	640 x 480		n.a.	19 minutes 10 seconds
		QVGA	320 x 240		n.a.	53 minutes 20 seconds

Using the EX Tele Conversion function in movie mode when the resolution is set at VGA crops out a 640 x 480-pixel section in the centre of the frame to provide a magnification of 4.8x. When the movie resolution is set to 720p, the image is enlarged to 1280 x 760 pixels and the magnification is 3.9x. For Full HD movies, the central 1920 x 1080 pixels of the movie are used, with a magnification of 2.6x.

Playback and Software
Playback settings for still pictures are essentially the same as in the GF2 and include the same touch-screen capabilities. Users can view the regular single and index displays, slideshow playback with/without music, calendar and category playback and take advantage of in-camera cropping and resizing, aspect conversion and rotation.

The Title Edit and Text Stamp functions are supported, along with aspect ratio conversion, Video Divide and Face Recognition Editing, which lets you clear and replace data relating to face recognition in selected images. DPOF tagging for automated printing is also supported and selected images can be tagged for protection against accidental deletion when memory cards are formatted.

The supplied software is the same as you get with the GF2 and includes the latest versions of PhotoFun Studio and Silkypix Developer Studio plus a 30-day trial version of Super LoiLoScope (a Windows-only video editing program with a game-like GUI).

Performance
All tests were conducted with the Lumix G Vario 14-140mm f/4-5.8 lens, which was supplied with the camera. We reviewed this lens in June 2009 and found it a good match for the GH1 body. It is equally well-suited to the GH2.

Overall performance for still shooting was as we expected on the basis of our tests on previous Lumix G-series cameras. Out-of-camera images were slightly soft at the default sharpening setting but this is easily rectified with editing software.

The contrast-based AF system appeared to be somewhat faster than in previous models, particularly in low light levels and the touch-screen almost eliminated AF lag for our night shots. The dynamic tracking function in the tracking AF was even better than we had hoped in some potentially tricky situations. However, occasionally it failed marginally, usually with complex subjects where many elements were in the same plane, as shown in the illustrations below.

Tracking AF managed to keep a fast-moving cyclist sharp in a video clip.

However in this shot, it was ‘confused’ by background elements in roughly the same plane as the main subject, which was rendered slightly unsharp.

Metering was accurate under most conditions, particularly with the multi-pattern mode. The dynamic range recorded by the sensor was slightly wider than we’ve found with previous models, although slightly blown-out highlights were sometimes found in subjects shot in bright outdoor lighting.

Imatest showed JPEG resolution to be slightly below expectations for a 16-megapixel camera at ISO 160 (the lowest setting available). Raw files converted with the supplied Silkypix Developer Studio 3.1 SE software without any tweaking provided little or no improvement. The same raw files converted with Adobe’s Camera Raw plug-in for Photoshop with no additional tweaking, produced images with a resolution that was up to expectations for the GH2’s sensor resolution and delivered some files that were nice to work with.

Imatest showed a very gradual decline in resolution across the camera’s sensitivity range. Interestingly the highest sensitivity settings still held up well with respect to resolution, an unexpected finding in our tests. The inherent superiority of raw file capture is clear in the graph below showing the results of our tests.

Subjective assessment of test shots confirmed the Imatest findings. Little noise was visible in long exposures up to (and including) ISO 6400, doubtless because dark-frame subtraction processing is applied by default.

From that point we found a progressive increase in granularity and loss of colour fidelity. However, even at ISO 12800, image quality was good enough for printing at snapshot size, although slight colour shifts and increased granularity were obvious when images were viewed on a computer screen.

Flash shots fared rather better and we found little evidence of granularity and colour shifts throughout the camera’s sensitivity range. Slight softening could be seen at ISO 12800 but images remained usable at small output sizes. The flash also provided well-balanced fill-in light for portraiture, both outdoors and indoors.

A backlit subject photographed without (left) and with (right) flash fill.

Auto white balance performance was slightly better than the GF2. Although the test camera failed to eliminate the colour cast of incandescent lighting, it produced neutral colours in shots taken under fluorescent lighting. The pre-sets for both lighting types came much closer to neutrality than we’ve seen with previous G-series models and manual measurement removed any residual colour casts.

Users can use the Kelvin temperature setting to match colour reproduction to specific lighting conditions. There’s also plenty of scope for fine-tuning colour rendition, including three-shot white balance bracketing.

Our video tests were recorded on a Verbatim 16GB Class 6 SDHC card. Movie clips recorded in AVCHD mode with the highest quality setting were visually very impressive. Differences between the three top resolution settings were almost imperceptible and even the lowest setting was a cut above the Motion JPEG clips. Unfortunately, the closeness of the stereo microphones meant the audio quality was adequate – but nothing to write home about.

In the Motion JPEG mode, video clips were slightly better than those from the previous model (and other G-series cameras). The HD and WVGA settings, although not as good as the AVCHD clips, were still very watchable. Even VGA clips were above average, and although clips shot with the QVGA setting were soft and artefact-affected, they were nevertheless quite usable.
We conducted our timing tests with the same Verbatim card as we used for our video recordings. It took just over a second to power-up the camera for shooting and power-down after we switched it off. Otherwise, despite its higher resolution, file handling times for the review camera were similar to those from the GF2.

We measured an average autofocusing lag of 0.2 seconds and a shutter lag of less than 0.1 seconds when shots were pre-focused. For single-frame capture, it took three seconds, on average, to process each JPEG file, 3.1 seconds for each raw file and 4.8 second for a RAW+JPEG pair. Using flash added only fractions of a second to image processing times.
For full-sized image capture, the high-speed burst mode recorded seven per burst, regardless of the file format. In the new super-high-speed (SH) mode, the camera recorded 40 frames at 2336 x 1752 pixel resolution in 0.9 seconds, which is just under the 40 frames/second speed claimed for this setting. It took just over 20 seconds to process this burst.

Frame rates for recording images at 4608 x 3456 pixels were close to the five frames/second claimed in the specifications, again regardless of file format. A burst of six JPEGs was processed in 5.4 seconds, while a burst of raw files took 19.2 seconds and seven RAW+JPEG pairs took just over 30 seconds.

Conclusion
While the camera-plus-lens bundle we tested provides the best pairing for shooting stills and video movies, its very high price tag may deter some potential buyers. As a cheaper alternative, you can also buy the GH2 with the Lumix G Vario 14-42mm lens for an RRP of $1699. Panasonic Australia’s website doesn’t list a body-only option as yet; nor does the GH2 body appear to be bundled with the 20mm ‘pancake’ lens that is offered with some other models.
Buy this camera if:
– If you’re a stills shooter who wants the best quality video from an interchangeable lens system camera.
– You require relatively noise-free images at high ISO settings.
– You’d like an adjustable touch-screen monitor with above-average resolution.
– You’d like most of the controls and functions offered in professional DSLR cameras – including manual focusing and zooming.
– You’re interested in shooting raw files and are prepared to edit them in Photoshop or Photoshop Elements.

Don’t buy this camera if:
– You require high burst speeds and buffer capacity plus fast cycle times. (The buffer can only hold seven raw files!)
– You want a wide range of accessories to build your system. (You’ll have to wait a while for the MFT system to grow.)

IMATEST GRAPHS
JPEG images

Raw images converted in Adobe Camera Raw

SAMPLE IMAGES

Auto white balance with incandescent lighting.

Auto white balance with fluorescent lighting.

ISO160, 30 second exposure at f/4.3, 25mm focal length.

ISO 800, 20 second exposure at f/5.6, 25mm focal length.

ISO 3200, 10 second exposure at f/8, 25mm focal length.

ISO 12800, 5 second exposure at f/10, 25mm focal length.

ISO 160 flash exposure; 1/60 second at f/5.8; 78mm focal length.

ISO 800 flash exposure; 1/60 second at f/5.8; 78mm focal length.

ISO 3200 flash exposure; 1/60 second at f/5.8; 78mm focal length.

ISO 12800 flash exposure; 1/60 second at f/5.8; 78mm focal length.

Wide-angle shot with strong backlighting; 14mm focal length, ISO 160, 1/800 second at f/11.

Photographed from the same position with the 140mm focal length; ISO 160, 1/500 second at f/7.1.

Dynamic range with strong backlighting; ISO 160, 1/160 second at f/5.6; 48mm focal length.

Dynamic range for a front-lit subject with a wide brightness range; ISO 160, 1/500 second at f/6.3; 140mm focal length.

Portrait shot taken with the super-high-speed burst mode, showing reproduction of skin tones; ISO 200, 1/80 second at f/5.3.

Close-up; 140mm focal length, ISO 400, 1/100 second at f/5.8.

Still frames from video clips at different resolution settings:

AVCHD FSH.

AVCHD FH.

AVCHD SH.

AVCHD H

Motion JPEG HD.

Motion JPEG WVGA.

Motion JPEG VGA.

Motion JPEG QVGA.

 

Specifications

Image sensor: 18.0 x 13.5 mm Live MOS sensor with 18.31 million photosites (16.05 megapixels effective
A/D processing: 12 bit
Lens mount: Micro Four Thirds System
Focal length crop factor: 2x
Image formats: Stills -.RAW, JPEG (Exif 2.3), RAW+JPEG, MPO (with 3D lens); Movies – AVCHD/ QuickTime Motion JPEG (MPO with 3D lens)
Image Sizes: Stills – 4:3 aspect: 4608x 3456, 3264 x 2448, 2336 x 1752; 3:2 aspect: 4752 x 3168, 3360 x 2240, 2400 x 1600; 16:9 aspect: 4976 x 2880, 3520 x 1984, 1920x 1080; 1:1 aspect: 3456 x 3456, 2448 x 2448, 1744 x 1744; Movies: AVCHD – 1920 x 1080 (24p at 24/17/13 Mbps); 1280 x 720 (50p / Average bit rate 13 Mbps), MJPEG – 1280 x 720, 848 x 480, 640 x 480, 320 x 240 (30 fps)
Image Stabilisation: Lens-based
Dust removal: Supersonic wave filter
Shutter speed range: 60 seconds to 1/4000 second plus Bulb (Max. 120 seconds); flash synch at 1/160 second
Exposure Compensation: +/- 5EV in 1/3 EV increments
Exposure bracketing: 3 continuous exposures in 0.3 or 0.7-stop steps
Self-timer: 2 or 10 seconds delay plus 3-shots timer
Focus system: 23-area Contrast AF; AF-assist lamp provided
Focus modes: Single-shot AF, Continuous AF, Manual Focus, multi-sensor and single sensor AF; face detection, AF tracking; Quick AF/continuous AF; Touch-screen AF (1-area-focusing in Face detection, AF Tracking, Multi-area-focusing, 1-area-focusing)
Exposure metering: 144-zone multi-pattern with Intelligent Multiple, Centre Weighted and Spot modes
Shooting modes: Program AE, Aperture priority, Shutter priority, Manual
Picture Style/Control settings: Standard, Vivid, Portrait, Landscape, Sunset, B/W
Colour space options: sRGB, Adobe RGB
ISO range: Auto, ISO 100 to 12,800 (in 1/3-stop increments)
White balance: Auto, Daylight, Shade, Cloudy, Halogen, Flash, White Set 1, 2, Colour Temperature (2500 to 10,000K), Blue/Amber and Magenta/Green compensation; WB bracketing of 3 exposures in either axis
Flash: Built-in Auto Pop-up, GN 13.9 (metres at ISO 160)
Flash exposure adjustment: +/- 2EV in 1/3 EV increments
Sequence shooting: Up to 40 fps in Super high-speed mode, up to 5 fps in High-speed mode or 2 fps in low speed mode; max. 7 raw frames; unlimited JPEGs
Storage Media: Single slot that accepts SD/SDHCSDXC cards
Viewfinder: Colour EVF with 1.53 million dots, approx. 100% FOV, dioptre adjustment from -4.0 to +4.0 dpt
LCD monitor: 3.0-inch (100% field of view), 460,000-dot TFT colour touch panel
Live View modes: Quick AF Live View using translucent mirror mechanism
Data LCD: No
Playback functions: Single-frame, Index (12 or 30 frames), Calendar plus thumbnail, touch enlargement (1x, 2x, 4x, 8x, 16x), Slideshow, Category play, Histogram (independent luminance/RGB available), Shooting information (basic overlaid/extended + thumbnail), title edit, text stamp, video divide, crop, resize, rotate, favourite tagging, DPOF tagging
Interface terminals: USO 2.0, HDMI (Type C Mini), Mic./remote terminal (2.5 mm jack) A/V out/digital
Power supply: DMW-BLC12E rechargeable lithium-ion battery; CIPA rated for approx. 320 shots (LCD) or 160 minutes of video with the Lumix G Vario 14-140mm f/4-5.8 lens
Dimensions (wxhxd): Approx. 124 x 89.6 x 75.8 mm
Weight: Approx. 329 grams (without battery, memory card or accessories); 904 grams with 14-140mm lens, battery and card

 

Retailers

 

CamBuy

 

www.cambuy.com.au
Digital cameras, lenses and accessories with 100% genuine Australian manufacturer’s warranties.
Ph: (02) 9029 2219

Camera House

 

www.camerahouse.com.au
Ph: 133 686
The largest speciality photographic retail chain in Australia.

Camera Pro

 

www.camerapro.net.au
CameraPro Pty Ltd
Suite 607, 180 Queen St, Brisbane 4000
Tel: 07 3333 2900
Australian owned and run company based in Brisbane.

Camerasdirect

 

www.camerasdirect.com.au
Retailer of digital camera equipment and more.
Secure online shopping and delivery across Australia.
Ph: 1300 727 056

Camerastore.com.au

Camerastore.com.au
Ph: 1800 155 067

Camera-Warehouse

 

www.camera-warehouse.com.au
Comprehensive range of digital cameras and accessories online (www.camera-warehouse.com.au) and an online print service (www.royalexpress.com.au).

Digital Camera Warehouse

 

www.digitalcamerawarehouse.com.au
174 Canterbury Road 367 High Street
Canterbury Northcote
NSW 2193 VIC 3070
Ph: 1300 365 220

Electronics Warehouse

 

www.electronicswarehouse.com.au
1300 801 885
Australian retailer of Vapex rechargeable batteries offering factory direct prices and fast, free shipping Australia wide.

<

 

Photographic Equipment & Supplies – Retail & Repairs. Click here for list of stores.

Ted’s Cameras

 

www.teds.com.au

1800 186 895
Big range of cameras and photographic products with stores in most states and online.

Rating

 

RRP: $2,299 (as reviewed with Lumix G Vario 14-140mm f/4-5.8 lens)

Rating (out of 10):

• Build: 8.5
• Ease of use: 9.0
• Autofocusing: Stills – 9.0; Video – 8.5
• Still Image quality: JPEG – 8.0; Raw – 8.5
• Video Quality: 9.0
• OVERALL: 8.5

Buy