In summary
It’s tempting to compare the GX85 with the slightly more sophisticated GX8, which has been on sale for a while. Resolution-wise there’s not much difference between them (16MP vs 20MP), so if you’re looking for an enthusiast-orientated, compact, interchangeable-lens camera with 4K support the GX85 is an attractive option. The new sensor (without low-pass filter) delivers sharp pictures with natural-looking colours and excellent movie recordings.
Both cameras give you all the Panasonic 4K shooting modes, in-camera stabilisation and panorama stitching, focus peaking, Wi-Fi, HDMI output and touch-screen controls. Neither provides built-in GPS, a headphone jack, dual card slots or separate compartments for battery and memory card.
While not shirt-pocketable, the GX85 and bundled lens won’t weigh you down and it’s well set up as a traveller’s camera. Users can benefit from the 5-axis Dual I.S., which makes the camera usable at slow shutter speeds, as well as the new electromagnetic shutter mechanism, which minimises shutter shock. Panasonic’s integrated Wi-Fi system is one of the easiest to use and the camera’s logical menu system will help novice users to capitalise on the many functions on offer.
Full review
Panasonic’s new DMC-GX85 camera, which was announced on 5 April, 2016, slots into the company’s interchangeable lens compact camera line-up just below the DMC-GX8, which we reviewed in September 2015. The two cameras have similar body styling, although the GX85 is smaller and lighter. Its resolution is also lower at 16 megapixels, like most of Panasonic’s G-series models.
Angled view of the Panasonic DMC-GX85 camera, silver/black version, with the 12-32mm kit lens. (Source: Panasonic.)
Photo Review received an early production quality sample for this review. It was supplied with the 12-32mm f/3.5-5.6 ASPH. MEGA O.I.S. lens. New firmware was issued shortly after we received the camera and we were able to install it before embarking on any tests and also check the lens had the latest firmware. The camera was tested with Firmware Version 1.0, while the lens had Version 1.1.
In Australia, the GX85 is being sold with the Lumix G-Vario 12-32mm f/3.5-5.6 ASPH. MEGA O.I.S. lens, which we reviewed with the GM1 in January 2014. The body only (DMC-GX85GN) is available for AU$1099 (RRP). The single-lens kit (DMC-GX85KGN) has a local RRP of AU$1199, the twin lens kit with and 45-150mm lenses (DMC-GX85TWIN) will sell for AU$1449 and the zoom lens kit with 14-140mm lens (DMC-GX85ZOOM) is priced at AU$1699.
Who’s it For?
Positioned below the 20-megapixel GX8, the GX85 is designed for photo enthusiasts who enjoy shooting video as well as still pictures and want the high level of functionality provided in the larger, more expensive camera. Slightly more compact and lighter than the GX8, the GX85 can be sliped into a capacious jacket pocket when fitted with the 12-32mm kit lens.
This makes it worth considering as an option for travellers, for whom the 5-axis Dual I.S. stabilisation, redesigned shutter mechanism and 22 Creative Control filter modes are likely to be attractive. So will the lack of an optical low-pass filter on the sensor, a first for a Panasonic camera. This should result in higher resolution.
The new Venus Engine image processor, which has been configured to address moirø©, false colour and other aliasing artefacts associated with filterless sensors should deliver more detail per pixel. This should provide some compensation for the small difference in resolution between the 10-megapixel GX8 and the 16-megapixel GX85.
Face/Eye Detection AF will be advantageous for both travellers and family snapshooters and the ability to record continuous bursts of frames at eight frames/second will be handy for sports and action photographers, particularly those who use long lenses like the 100-400mm lens we reviewed in March 2016, which can integrate in-lens and in-body stabilisation systems to support 5-axis Dual I.S.. Panasonic’s 4K shooting modes also offer plenty of potential for both still shooting and movie capture.
Build and Ergonomics
Size-wise, the GX85 is similar to the GX7, which we reviewed in October 2013. The sensor-shift stabilisation introduced in the GX7 carries across to the new camera, but has been upgraded from 4-axis to 5-axis correction.
The two colour options for the GX85 camera. (Source: Panasonic.)
Like the GX7, the GX85 will be offered with a classic silver and black cladding or totally black. The front panel of the GX85 is almost identical to the GX7’s with a slightly smaller grip moulding covered by a textured elastomer cladding.
The lens mount takes up roughly half of the front panel, which is otherwise sparsely populated, having only a recessed LED that doubles as a self-timer/AF-assist lamp and the lens release button to interrupt the smooth exterior surface.
The top panel layout is almost identical to the GX7’s, although both the mode dial and shutter button assembly are stepped down. The three Custom memories in the GX7’s mode dial have been consolidated into one on the GX85.
The top panel of the GX85 with the 12-32mm kit lens fitted and the pop-up flash retracted. (Source: Panasonic.)
Panasonic doesn’t specify what materials the camera body is made from but its build quality is generally excellent, although the camera isn’t weather resistant like the GX8. It has similar rangefinder-like styling to the GX7 with a LCD touch-screen monitor that tilts up by 80 degrees and down by 45 degrees.
The dual control dials are also similar, with one surrounding the shutter button and the other below the on/off switch for quick setting and/or exposure adjustments. They control the same functions as those on the GX7. The movie record button is in the same position as on the GX7 and includes a Scene presets mode (unlike the GX8). The pop-up flash sits between it and the hot-shoe.
Front view of the GX85 with the pop-up flash raised. (Source: Panasonic.)
Unlike the GX7 and GX8, the LVF (Live View Finder) is integrated into the GX85’s body and doesn’t tilt. It has a resolution of 2,764,000 dots and 16:9 aspect ratio, boasts a magnification of 1.39x (0.7x in 35mm camera equivalent) and covers the sensor’s field of view, delivering accurate colour reproduction.
The LVF eyepiece protrudes roughly 5 mm from the rear panel and has a soft rubber surround. A dial inset into its right hand side enables the dioptric setting to be adjusted between -4.0 and +3.0 dioptres, a range wide enough to encompass most users’ requirements.
The built-in pop-up flash is slightly weaker than the GX7’s, with a GN of 4.2 (m/ISO 100) against 5.0 for the GX7 (the GX8 has no built-in flash). The hot-shoe for external flashguns is the same as on the GX7 and GX8 and supplied with a slide-off cover.
Angled rear view of the GX85 showing the tilting monitor screen. (Source: Panasonic.)
On the rear panel, the AF/AE Lock button has lost its lever switch, which was provided on the GX7 and GX8 for swapping focus modes. To change the focus mode you must toggle to page 2 in the shooting menu or open the Quick Menu settings.
Like other recent cameras, GX85 includes built-in Wi-Fi connectivity, although without the convenience of NFC technology. Users must download and install the Panasonic Image App to enable easy sharing of images and videos and access the camera’ remote control capabilities. Functions available via Wi-Fi are the same as in other G-series cameras.
What’s New?
The GX85 is the first G-series camera to use an electromagnetic drive in the shutter unit, instead of the spring-powered system used in previous models. This provides greater control over the shutter mechanism, reducing shutter shock by a claimed 90% and making it much quieter.
Users can choose between mechanical and electronic shutters, with the former having a maximum speed of 1/4000 second and supporting exposures of up to 60 seconds, while the electronic shutter ranges from one second to 1/16,000 second. Flash synch is supported at shutter speeds up to 1/160 second.
The GX-85 introduces extra finesse in bracketing capabilities. In addition to the regular exposure and white balance bracketing, focus bracketing adjusts the focus point while maintaining depth of field, a useful capability for precise macro shots. Aperture bracketing maintains focus while adjusting depth of field.
The new 5-axis Dual I.S. (Image Stabiliser) integrates with the O.I.S. (Optical Image Stabiliser) functions in Panasonic’s lenses to provide greater compensation for larger movements, enabling users to hand-hold the camera at shutter speeds 4EV slower than possible with unstabilised cameras. The system works for both photo and motion picture recording including 4K video.
Panasonic has refined its 4K Photo modes since they were introduced in the GH4 in early 2014. The GX85 offers all the regular options outlined in our review of the G7 and adds a few worthwhile refinements.
Among them is the new 4K Live Cropping function for video recording, which takes advantage of the entire sensor area, but only captures a smaller 4K-sized frame within that area. This provides an all-digital, programmable and automated panning and zooming feature while recording video.
Users can pre-set set the viewing angle to start and end panning shots to record smooth video pans without requiring special equipment. When zooming, the after-zoomed viewing angle can be pre-selected, so that the subject will fit within the frame, resulting in a smooth zoom in or out without physically moving the zoom control.
The GX85 also offers Panasonic’s new Post Focus feature, which lets users select the frame with your preferred area of focus after the fact. The Fn 1 button on the rear panel (just above the arrow pad) accesses this function by default. Pressing this button records a short clip of 4K footage while the focus moves between the nearest and most distance areas in the scene during the clip. Users select which frames to save as a separate image.
Another new feature is the 4K-based Light Composition mode, which continuously records a 4K video stream, but only integrates new brighter pixels into the final shots. This mode is ideal for recording shots of fireworks and other night-time scenes.
A new ‘L Monochrome’ profile has been added to the Photo Style settings, offering a simulation of classic black and white film. It’s available for both still and movie recording modes.
What’s Missing?
Although the GX85’s video capabilities are impressive, two missing features could be deal-breakers for anyone looking for a compact, affordably-priced stills/video hybrid camera. There’s no external microphone jack. Audio soundtracks are recorded via small stereo microphone ports on the top panel in front of the hot-shoe. Nor is there a port for a headphone jack, which means there’s no way to monitor audio recordings.
Another downside of the camera is shared by many compact mirrorless cameras: limited battery capacity (the battery pack is CIPA-rated for 290 shots/charge with the LCD or 270 shots with the EVF, when using the 12-32mm kit lens). In addition, the memory card also occupies the battery compartment. Fortunately, the arrangement isn’t as cramped as in some cameras and the memory card is easy to remove and replace.
Sensor and Image Processing
The sensor in the GX85 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 G85 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.
Video
The GX85 supports the same movie recording capabilities as other recently-released Panasonic cameras with 4K recording 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’), as the regular Full HD, HD and VGA resolutions. Users can choose AVCHD and MP4 formats, the latter being required for 4K movie recording.
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 |
10 minutes |
|
|
24p |
|||||
|
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.
Time-lapse and interval shooting are also supported, enabling animated movies to be created. Most of the functions available for shooting still pictures can also be accessed in movie mode, including the P, A, S and M modes and Photo Style filters as well as many of the Creative Control settings.
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
Shots taken with the review camera were generally nicely exposed with a decent dynamic range and good colour fidelity, even with traditionally difficult hues like purples and apricots, as shown in the Samples section below. Saturation in JPEGs was well constrained and plenty of detail was recorded in shots.
Autofocusing was very fast, even in low light levels and the camera also handled backlit shots with aplomb, focusing quickly and accurately. We encountered no problems with moirø© in either still shots or movie clips.
Imatest showed JPEGs from the review camera came very close to meeting expectations for the GX85’s 16-megapixel sensor. RW2.RAW files converted into 16-bit TIFF format with Raw Therapee exceeded expectations by a comfortable margin. Resolution held up well with both file types across the camera’s sensitivity range, as shown in the graph of our Imatest results below.
Long exposures were handled well and the camera maintained consistent brightness and contrast levels as the sensitivity was increased. Dynamic range was acceptable at low ISO settings but very good in the middle of the ISO range. Noise could be seen in long exposures at ISO 12800 and ISO 25600 but these images would be usable at small output sizes.
Despite having a relatively low guide number (6 metres at ISO 200), the built-in flash performed well when used within its output range. Shots were slightly under-exposed at ISO 100 and ISO 200 and slightly over-exposed at ISO 25600. Between those settings, flash exposures were consistent and correct.
White balance performance was similar to other G-series cameras we’ve reviewed. In the auto mode, a slight warm cast remained under incandescent lighting while shots taken in both fluorescent lighting and with the camera’s built-in flash had close to natural colours. Manual measurement delivered neutral colours under each type of lighting and plenty of in-camera adjustments are available.
We were impressed by the review camera’s video recording capabilities, particularly when the two 4K modes were selected. Clips shot in these modes were virtually identical so we’ve only included an example of the higher resolution to show the dynamic range and natural colour balance recorded.
Both the MP4 and AVCHD recordings had similar levels of sharpness ““ and both were excellent. Colours were also accurately recorded, although contrast was a little higher than normal. This can be advantageous when shooting in flat lighting.
The AF system, which defaults to continuous AF in movie mode, also performed well and appeared able to lock on quickly and track moving subjects, even while they were moving and if light intensity varied. The built-in microphones delivered usable soundtracks with no apparent interference from camera noise, although they were somewhat susceptible to wind noise. A wind-reduction filter is available with High and Standard settings plus an off mode.
Our timing tests were carried out with a 64GB Lexar Professional SDXC Class 10 UHS-3 card, the fastest in our collection. Provided the lens was unlocked first, the review camera powered up in roughly half a second.
We measured an average capture lag of 0.1 seconds, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.38 seconds without flash and 3.1 seconds with.
There’s no indicator light to show when files have been processed but we estimate the following average processing times: high-resolution JPEGs – 0.3 seconds to process, while RW2.RAW files were processed in 0.9 seconds and RAW+JPEG pairs in 1.2 seconds.
Recording times and buffer capacities for the four continuous shooting modes available matched Panasonic’s specifications.
The Super high-speed mode was able to record at 120 frames in 2.9 seconds but is JPEG-only. The High-speed mode captures records JPEG and raw frames at 8 frames/second and appears to have ‘unlimited capacity for JPEGs. The review camera recorded 29 frames in 5 seconds before pausing, which equates to approximately 5.9 frames/second. Processing of the final frame was completed within a second of its capture.
With RW2.RAW files, the camera slowed after 76 frames, which were captured in 16.1 seconds. Changing to RAW+JPEG capture, we found the buffer memory filled at the 51st frame which was reached in 11.2 seconds.
The middle and low speed settings record at six and two frames/second respectively with live view supported during capture. Both settings are available for bursts of RW2.RAW files and the buffer limit is seven frames. Frames are processed on-the-fly and processing was completed within roughly a second of the last frame captured.
Conclusion
It’s tempting to compare the GX85 with the slightly more sophisticated GX8, which has been on sale for a while. Resolution-wise there’s not much difference between them (16MP vs 20MP), so if you’re looking for an enthusiast-orientated, compact, interchangeable-lens camera with 4K support the GX85 is an attractive option. The new sensor (without low-pass filter) delivers sharp pictures with natural-looking colours and excellent movie recordings.
Both cameras give you all the Panasonic 4K shooting modes, in-camera stabilisation and panorama stitching, focus peaking, Wi-Fi, HDMI output and touch-screen controls. Neither provides built-in GPS, a headphone jack, dual card slots or separate compartments for battery and memory card.
While not shirt-pocketable, the GX85 and bundled lens won’t weigh you down and it’s well set up as a traveller’s camera. Users can benefit from the 5-axis Dual I.S., which makes the camera usable at slow shutter speeds, as well as the new electromagnetic shutter mechanism, which minimises shutter shock. Panasonic’s integrated Wi-Fi system is one of the easiest to use and the camera’s logical menu system will help novice users to capitalise on the many functions on offer.
The GX85 doesn’t go in sale in Australia until May so it’s not surprising to find few online re-sellers listing it on their websites for ‘pre-order’. Yet already, those sites publishing prices have begun to discount, which further drives home the message that it’s cheaper to buy locally than off-shore. Even without discounts, the price differential between buying the camera with and without the bundled 12-32mm lens is only about AU$100 so, if you could use a compact, retractable standard zoom lens, we’d recommend buying the basic kit.
Discounting of the GX8 is well-established, with listed on-line prices between AU$1100 and AU$1200 without a lens and AU$1300 and AU$1500 with the 14-42mm kit lens. (The 12-32mm f/3.5-5.6 lens isn’t listed as a kit option, although the faster GX Vario 12-35mm f/2.8 ASPH. POWER O.I.S. lens is.) Once again, prices from off-shore re-sellers for this camera are close to or slightly more than the cheapest local prices ““ and that’s without shipping and insurance costs.
SPECS
Image sensor: 17.3 x 13.0 mm Live MOS sensor with 16.84 million photosites (16 megapixels effective)
Image processor: Venus Engine
A/D processing: Not specified
Lens mount: Micro Four Thirds
Focal length crop factor: 2x
Digital zoom: 2x, 4x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver.2.3), RW2.RAW, RAW+JPEG, MPO (for 3D); Movies: MP4, AVCHD
Aspect ratios: 4:3, 3:2, 16:9, 1:1
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: 4K/25p 100Mbps, 4K/24p 100Mbps; Full HD -1920 x 1080: FHD/50p 28Mbps, FHD/25p 20Mbps, HD 1280 x 720: HD/25p 10Mbps, VGA 640×480: VGA/25p 4Mbps; AVCHD – Full HD 1920 x 1080, 50p/28Mbps, 50i/17Mbps, 25p/24Mbps, 24p/24Mbps
Image Stabilisation: Image Sensor Shift Type (5-axis)
Dust removal: Supersonic wave filter
Shutter (speed range): Mechanical & electronic focal-plane shutter; mechanical – 60-1/400 sec.; electronic – 1- 1/16,000 sec., time (Max. 2 minutes); flash synch at max. 1/160 second
Exposure Compensation: +/- 5EV in 1/3EV steps (+/-EV for movies)
Exposure bracketing: 3, 5, 7 frames in 1/3, 2/3 or 1 EV Step, Max. ±3 EV, single/burst
Other bracketing options: White balance, aperture. focus
Self-timer: 2 or 10 seconds delay, 10 sec, 3 images
Focus system: Contrast AF system with DFD technology
Focus modes: AFS (Single), AFF (Flexible), AFC (Continuous), MF, Face/Eye Detection, Tracking, 49-Area,Custom Multi, 1-Area, Pinpoint AF, Starlight AF
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
Photo Style modes: Standard, Vivid, Natural, Monochrome, L. Monochrome, Scenery, Portrait, Custom
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, adjustable in 1/3EV steps; up to ISO 6400 for movies
White balance: Auto, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1, 2, 3, 4, Colour temperature setting; Blue/Amber, Magenta/Green bias adjustments
Flash: TTL Built-in-Flash, GN6.0 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: Mechanical shutter: max. 8 shots/sec.; electronic shutter: max 40 frames/sec; 4K Burst: 30 frames/sec; time lapse
Buffer capacity: Max. 100 Large/Fine JPEGs, 13 RAW or RAW+JPEG pairs
Storage Media: SD, SDHC, SDXC cards (Compatible with UHS-I standard SDHC / SDXC Memory Cards)
Viewfinder: LCD Live View Finder with 2,764,800 dots, approx. 100% field of view coverage, approx. 1.39x / 0.7x (35mm camera equivalent) with 50 mm lens at infinity; 17.5 mm eyepoint, dioptre adjustment of -4.0 – +3.0 (dpt)
LCD monitor: Tilting 3-inch TFT LCD monitor with static touch control, 3:2 aspect, approx. 1,040,000 dots, wide viewing angle
Playback functions: 30-thumbnail display, 12-thumbnail display, Calendar display, Zoomed playback (Max. 16x), Slideshow (All / Picture Only / Video Only / 4K PHOTO / Post Focus / 3D / Category Selection / Favourite, duration & effect is selectable), Playback Mode (Normal / Picture Only / Video Only / 4K PHOTO / Post Focus / 3D Play / Category / Favourite), Location Logging, RAW Processing, Light Composition, 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 Micro-B, microHDMI TypeD / VIERA Link
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. 290 shots/charge (rear monitor), 270 shots/charge (LVF) with H-FS12032 / H-FS35100 lens
Dimensions (wxhxd): Approx. 122 x 70.6 x 43.9 mm (excluding protrusions)
Weight: Approx. 383 grams (body only); 493 grams with battery and card
Panasonic Australia www.panasonic.com/au
TESTS
Based on JPEG files from the camera.
Based on RW2.RAW files converted into 16-bit TIFF format with RawTherapee.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash.
60 second exposure at ISO 100; f/5.6; 19mm focal length.
40 second exposure at ISO 200; f/5.6; 19mm focal length.
13 second exposure at ISO 1600; f/6.3; 19mm focal length.
6 second exposure at ISO 6400; f/10; 19mm focal length.
4 second exposure at ISO 12800; f/13; 19mm focal length.
2 second exposure at ISO 25600; f/13; 19mm focal length.
Flash exposure at ISO 100; 32mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 200; 32mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 1600; 32mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400; 32mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 12800; 32mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 25600; 32mm focal length, 1/80 second at f/5.6.
Close-up; 32mm focal length, ISO 200, 1/80 second at f/5.6.
Close-up; 32mm focal length, ISO 200, 1/100 second at f/5.6.
Close-up of strongly backlit subject; 32mm focal length, ISO 200, 1/320 second at f/5.6.
Strong backlighting; 32mm focal length, ISO 200, 1/200 second at f/7.1.
Strong backlighting; 12mm focal length, ISO 400, 1/1000 second at f/11.
4K Photo sequence; 32mm focal length, ISO 1600, 1/100 second at f/5.6.
16mm focal length, ISO 100, 1/320 second at f/8.
24mm focal length, ISO 400, 1/10 second at f/5.
16:9 aspect ratio; 19mm focal length, ISO 200, 1/25 second at f/4.3.
16:9 aspect ratio; 32mm focal length, ISO 6400, 1/15 second at f/5.6.
25mm focal length, ISO 800, 1/30 second at f/5.6.
L.Monochrome Photo Style mode; 18mm focal length, ISO 640, 1/60 second at f/5.6.
Still frame from 4K video clip recorded at 25p / 100Mbps.
Still frame from Full HD (1080p) MP4 video clip recorded at 50p / 28Mbps.
Still frame from Full HD MP4 video clip recorded at 25p / 20Mbps.
Still frame from HD (720p) MP4 video clip recorded at 25p / 10Mbps.
Still frame from VGA MP4 video clip recorded at 25p / 4Mbps.
Still frame from a Full HD AVCHD video clip recorded at 50p / 50p / 28Mbps.
Still frame from a Full HD AVCHD video clip recorded at 50i / 50p / 17Mbps.
Still frame from a Full HD AVCHD video clip recorded at 50i / 25p / 24Mbps.
Still frame from Full HD AVCHD video clip recorded at 24p / 24p / 24Mbps.
Rating
RRP: AU$1199; US$800 (as reviewed with 12-32mm lens)
- Build: 8.8
- Ease of use: 8.9
- Autofocusing: 9.0
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 9.0
