Panasonic Lumix LX100 II

In summary

LX100 II retains most of the features that made the original LX100 such a pleasant camera to use, making it a good choice for serious photographers who want a compact walkaround camera.

Full review

Announced on 22 August, Panasonic’s new Lumix LX100 II camera is the seventh generation model in the popular LX high-end compact camera series. It retains some of the features of the previous model, including the 4/3-inch (17.3 x 13.0 mm) MOS sensor and Leica DC Vario-Summilux 10.9-34mm f/1.7-2.8 lens but boosts effective resolution from 12.8 to 17 megapixels, increases the resolution of the LCD monitor and adds a collection of new camera functions.

Angled front view of the DMC-LX100 II with the lens cap removed. (Source: Panasonic.)

When we reviewed the LX100 back in January, 2015 we found it to be a good performer and a very pleasant camera to use. So it’s nice to see the best aspects of the LX100 augmented by some worthwhile improvements.

As before, the camera comes with a compact flashgun that clips into the hot-shoe on the top panel. It’s easy to use but not particularly powerful. Unfortunately, the camera no longer comes with a battery charger and you won’t find the DMW-BTC12 charger easy to buy locally, even through Panasonic’s website. So you’ll have to be resigned to USB charging via the supplied AC adaptor and USB cable.

What’s New?
The big story here is the increase in sensor resolution. The new 17.3 x 13.0 mm chip has 21,770,000 photosites in total, which is the same number as the sensors in the GH5 and G9. It is paired with a Venus Engine processor that includes advanced Multi-process NR (Noise Reduction) algorithms, which combine frequency-based noise reduction and detail processing.

Aside from the higher-resolution sensor, the other improvements are relatively minor and mostly involve internal processing adjustments. L.Monochrome and L.Monochrome D modes have been added to Photo Style options and grain effects can be applied in all the monochrome modes.

The new model also has the latest 4K Photo capabilities, including Auto Marking, Sequence Composition, Post Focus, Focus Stacking and Light Composition. In the Post Focus and Focus Stacking modes, users can bracket both focus and aperture settings.

Panasonic’s DFD (Depth from Defocus) autofocusing technology enables the camera to lock onto a subject within a claimed 0.10 second and users can choose between focus and release priority AF or a balance between them. Useful manual focus assist functions include Focus Peaking and two magnification options, one being a picture-in-picture setting with 6x magnification in the inset view and the other a ‘full frame’ view with 20x magnification.

The LX100 II also provides a Level Gauge display and bracketing options that include aperture, focus and white balance bracketing. Two zebra patterns are available for gauging exposures, along with adjustments for highlight/shadow control.  HDR (high dynamic range) recording is also supported.

Low energy Bluetooth 4.2 replaces NFC in the connectivity options, enabling a constant connection to be maintained between the camera and a smartphone. Wi-Fi options have been expanded to enable users to save raw files, although only with the latest Android or iOS operating systems. (AVCHD and 4K movies can’t be transferred; nor can 4K burst sequences.)

Power management has been marginally improved and the Mark II camera uses a different battery from its predecessor, raising the number of shots per charge from 300 to 340 with the monitor but leaving capacity at 279 shots/charge when the EVF is used. Long exposures are supported for up to 30 minutes, with exposure durations selected by having the shutter speed dial at the 1+ position and turning the arrow pad control dial.

The nearest current rival to the LX100 II is the Canon PowerShot G1 X Mark III, which has a larger sensor and offers much the same zoom coverage but with a slower lens. The table below compares both LX100 models with the Canon camera.

The LX100 II  is supplied with a lens cap and an 80-page Basic Operating Instructions guide. A more detailed user manual is supposed to be available for downloading from the support page on Panasonic’s website. Unfortunately, when we visited the local site the camera wasn’t even listed on the support pages and when we went to the US site, we got the message: Operating Manuals not available so early purchasers will have to work out the finer aspects of using the camera unaided.

Who’s it For?
Like its predecessor, the LX100 II is designed for serious photo enthusiasts who want a take-everywhere camera that is small enough to slip into a jacket pocket, briefcase or handbag.  The 4/3-inch sensor gives it a quality advantage over competing cameras with 1-inch type (13.2 x 8.8 mm) sensors, although it’s smaller than cameras with APS-C sensors. Nonetheless, it should enable users to make excellent A3+ sized prints, particularly from raw files.

Panasonic is renowned for its easy-to-use menu system and powerful 4K recording capabilities, the latter covering both video and bursts of 8-megapixel stills. It’s a pity the camera isn’t supplied with a decent raw file converter (something Fujifilm has learned and rectified by its alliance with Phase One to provide Capture One support for recent Z-series cameras).

While we had the review camera, Adobe issued a major software upgrade that included Camera Raw, our preferred raw file converter. The LX100 II was among the cameras newly added to the list of models supported by this software, which meant we weren’t stuck with an inferior raw file converter.

Build and Ergonomics
The classic rangefinder-style body looks and feels very similar to the previous model. Cosmetic changes are minimal. The grip moulding is a little wider and the faux-leather cladding has a bolder texture that looks a bit more leather-like. The Lumix logo on the lower corner has also been removed.

Side-by-side views showing the LX100 (left) and the new LX100 II (right). (Source: Panasonic.)

Otherwise, all key controls remain in the same places with both cameras. Like its predecessor, the Mark II lacks a dedicated mode dial so apertures are set with a ring on the lens and shutter speeds are adjusted with a dial on the top panel.

Aspect ratio adjustments are provided via a slider at the camera end of the lens barrel. Distinct click stops mark each of the four settings, which cover four aspect ratios, achieved by cropping the image frame, as shown in the table below.

This system of frame cropping was used in the original LX100 model, where it also influenced the effective focal length of the lens, particularly when recording video (see below). It is not used in Panasonic’s G-series interchangeable-lens cameras, where the maximum frame width is maintained for the 4:3, 3:2 and 16:9 aspect ratios.

The top panel of the LX100 II with the lens extended, showing the shutter speed and exposure compensation dials and the aspect mode selector on the lens barrel, close to the main camera body. (Source: Panasonic.)

To shoot in P mode, you set each dial to the red A mark. The A mode is selected by setting the shutter speed dial to the A mark and turning the  aperture ring on the lens. Setting the S mode involves moving the aperture ring to the A mark and turning the shutter speed dial.


The rear panel of the LX100 II showing the Movie button with its red central dot just above the monitor screen. (Source: Panasonic.)

Movie recordings are triggered and switched off by pressing the red-dot button on the rear panel. The viewfinder is identical to the LX100’s and has a resolution of 2.764 million dots and magnification of 0.7 times. An eye sensor automatically switches between the monitor and EVF when the camera is raised to the eye.
The size of the monitor is unchanged and it is still affixed to the camera back. However, its resolution has been increased to 1,240,000 dots and it’s now touch-enabled. Touch AF and Touch AF/AE are available but not Touch Shutter.

The new camera provides the same programmable Function buttons as its predecessor and they’re in the same places.  The battery and memory card share a compartment in the base of the camera, alongside a metal-lined tripod socket. A speaker grille is located near the left hand end of the base plate.

The battery is charged via a USB cable, which plugs into the USB port, which is located below the HDMI port beneath a lift-up hard plastic cover on the right hand side panel. It’s CIPA rated capacity is 340 pictures with the rear monitor or 270 pictures with the EVF.

Sensor and Image Processing
The LX100 II’s sensor appears to be a similar 21.3-megapixel chip to that used in the GH5 and G9 cameras. As usual, the LX100 supports both JPEG and RW2.RAW file formats, including RAW+JPEG with three image sizes and two JPEG quality levels for each size.

Because different strategies are used when cropping the area to obtain the four supported aspect ratio settings, the highest resolution in the LX100 II is approximately 17 megapixels with the 4:3 aspect ratio, whereas the G-series cameras deliver 20 megapixels.

Frame cropping takes place when 4K Photo bursts are recorded, regardless of the aspect ratio setting and also for movies, which are always recorded with the 16:9 aspect ratio. This changes the effective focal length of the zoom lens. The table below shows the effective focal length changes.

The Extra Optical Zoom setting achieves zooming through cropping, reducing image sizes to 8.5 megapixels with the 4.3x zoom and 4 megapixels with 6.2x zoom. The ‘Intelligent Zoom’ setting operates in a similar fashion, providing a maximum enlargement of 6.2x. Associated ‘Intelligent Resolution’ technology interpolates the resulting image to minimise loss of image quality.

The sensor is coupled with the latest quad core Venus Engine processor, which enables the camera to record 4K movies and supports continuous shooting speeds of up to 30 fps with the 4K Photo modes or 11 frames/second at full resolution in AF-S mode. Frame rates slow to 5.5 fps in AF-C mode. The buffer memory is a bit larger in the new model, particularly for raw files, where there’s been an increase from 20 to 33 frames.

Video
Video capabilities are effectively identical to those provided in the LX100, which means movies can be recorded in either AVCHD or MP4 format, with only MP4 supporting 4K resolution. Full-HD (1920 x 1080) recordings can be made with a choice between top frame rate of 50i and 50p in AVCHD Progressive (MPEG-4 / H.264) format or 50p in MP4.

In addition, 25p and 24p frame rates are supported in both codecs. There is no high-frame-rate option for capturing slow-motion movies and no dedicated video profiles in the camera for recording ‘flat’ images for subsequent editing.

Like its predecessor, the LX100 II provides full manual control over exposures and supports continuous autofocusing, which allows the lens to be zoomed in and out while a clip is being recorded. Clip limits are unchanged, with up to 15 minutes available for 4K clips and just under 30 minutes for Full HD.

As in the LX100, there are no provisions in the Mark II for connecting an external microphone or headphone jack. These omissions limit the use of this camera for professional video recordings.

Playback and Software
Playback options are the same as in the previous model and include the normal protect, delete, cropping, rotating, rating and slideshow settings as well as in-camera raw processing (to JPEGs), 4K Photo bulk saving, title and face record editing. The multi-shot 4K sequences can be combined post-capture with the Light Composition and Sequence Composition functions.

The former combines image by saving brighter pixels, making it ideal for night shots, including fireworks. Sequence Composition lets users produce a time-lapse sequence from a burst of 4K shots. 4K Photo functions like Focus Stacking and Post Focus selection are also available.

Panasonic makes several software application available for downloading free of charge. PHOTOfunSTUDIO 10.0 AE is a Windows-based image and video management application with basic editing functions. SILKYPIX Developer Studio SE, which is available for Windows and Mac operating systems, is the bundled raw file converter. Many years of experience have shown us this software produces very poor results so we refuse to use it.

LoiLoScope is another Windows application that is used for video editing. A 30-day trial download is also available.

Performance
Subjective assessments of test shots showed them to be similar to shots taken with the previous model. As expected, the higher resolution in the Mark II is reflected in our Imatest tests, which also showed the camera tended to over-sharpen JPEG files as was done in the previous model.

Fortunately, over-sharpening didn’t occur with raw files that were converted into 16-bit TIFF format with Adobe Camera Raw, where slight under-sharpening tended to be the rule. Our Imatest tests yielded some outstanding results with converted RW2.RAW  files from the review camera, as shown in the graph below.

As before, our Imatest tests revealed the lens showed some edge and corner softening at wider apertures, particularly with the shorter focal length settings but, overall there has been a measurable improvement in image quality. Colour accuracy is also significantly better, and saturation has been pulled back slightly in JPEGs, although less so with the Camera profile in ACR, which also introduced a few slight colour shifts in the purple and cyan hues.

The highest resolution was recorded at around f/4, although centre-of-frame resolution remained relatively high up to f/8, where diffraction took effect. The graph below plots resolution across the camera’s aperture range for four focal length settings.

Lateral chromatic aberration varied between negligible and low, creeping into the ‘low’ band at shorter focal lengths and with the smallest aperture settings.  We found very little evidence of coloured fringing in test shots. In the graph below showing the results of our Imatest tests, the red line marks the border between ‘negligible’ and ‘low’ CA.

The auto white balance setting produced close-to-neutral colours with both fluorescent lighting and flash but, as expected, failed to eliminate the orange casts from incandescent and warm-toned LED lighting. No pre-sets are provided for either LED or fluorescent lighting and  tungsten pre-set didn’t quite correct the warm colour casts of incandescent and LED lighting.  Manual measurement generally produced neutral colours.

The camera also supports Kelvin temperature settings and provides adjustments for fine-tuning colours on the amber/blue and green/magenta axes. White balance bracketing is also available across three shots on both axes.

Little noise could be seen in long exposures at ISO settings up to about ISO 3200 but images became progressively softer thereafter. The first signs of granularity and coloured speckling became visible at ISO 6400 and noise increased rapidly to the top setting of ISO 25600, where shots were visibly softened, blotchy and granular, with reduced contrast and saturation levels.

The supplied GN7 flash was rather weak but managed to illuminate a subject taken with the lens at the 34mm position at ISO settings up to 1600, although slight under-exposure occurred at the ISO 100  and ISO 200 settings. Usable exposures were obtained up to (and including) ISO 6400, but by this point the resulting images were a little soft.

Over-exposure occurred at the two highest sensitivity settings. By ISO 25600, shots looked rather flat and the camera’s AE system was unable to adjust the shutter speed to compensate, seemingly being stuck at a minimum shutter speed  of 1/125 second when the camera was in Program AE mode.

Video quality was as good as we found with the LX100 and clips shot at 4K resolution were generally of excellent quality. As with the previous model, the soundtracks contained a lot of noise from the camera’s autofocusing and stabilising systems as well as noises created when the lens was zoomed in or out.

You can adjust the sensitivity of the microphone with  the Sound Rec Level Adj setting in the movie menu. But you can’t set the camera for silent recording.  The Wind Noise Canceller has three settings: High, Standard and Off. There is a perceptible difference between the High and Standard settings but neither was able to prevent wind noise from interfering with recordings in moderately windy conditions.

Our timing tests were carried out with a 128GB Panasonic Class 10 UHS 3 SDXC card with a rated read speed of 95 MB/s and write speed of 90 MB/s. The review camera took roughly 1.5 seconds to power up and a little less time to close down.

Capture lag averaged 0.1 seconds but this slight lag was eliminated with pre-focusing. Shot-to-shot times averaged 0.7 seconds. It took approximately 1.6 seconds to process each image, regardless of whether it was a Large/Fine JPEG, RW2.RAW file or RAW+JPEG pair.

In the high-speed continuous shooting mode with auto shutter selection and focus and exposure locked on the first frame, the review camera recorded 104 Large/Fine JPEG frames in 8.8 seconds before hesitating. This works out at just over 11 frames/second (fps). It took 10.6 seconds to process this burst, which is faster than the previous model’s time for a smaller burst of shots.

With RW2.RAW files, we were able to record 35 frames in 2.9 seconds, indicating a slight increase in the capture rate and a larger buffer capacity than the previous model. It took 17.1 seconds to process this burst. Changing to RAW+JPEG capture, we found the capture rate slowed after 31 frames, which were recorded in 2.6 seconds. It took roughly 25.2 seconds to process this burst.

In the 4K Burst mode, the camera appeared to be able to record almost indefinitely. It was able to keep shooting JPEGs for just over 15 seconds with no signs of hesitation at a rate of just under 50 fps. The camera provided no indication of how long it took to process this burst.

Conclusion

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