Panasonic Lumix DC-G9 Mark 2

      Photo Review 9.0

      In summary

      The Lumix G9 Mark II is arguably the best Micro Four Thirds (M4/3) system camera Panasonic has produced to date. It’s easy to operate, thanks to Panasonic’s consistently excellent camera and menu designs, and it’s well-suited to both stills shooting and video capture.

      Photographers who want a DSLR-like shooting experience in a relatively small and light camera with a high degree of sophistication should certainly consider this camera.

      Full review

      This report follows on from our initial, detailed First Look at the Lumix DC-G9 Mark 2 (G9II or G9M2) camera, which was published on 13 September, 2023.

      The camera supplied at that time had pre-production firmware so it was ineligible for our tests. A subsequent firmware update has now been provided so we’re able to supplement the original review by adding the results of our normal Imatest test. Links have been provided to enable readers to jump between the two reports.

      Angled view of the new G9II camera with the updated Leica DG Vario-Elmarit 35-100mm f/2.8 Power O.I.S. lens. (Source: Source: Panasonic.)

      We tested the G9II with the updated Leica DG Vario-Elmarit 35-100mm f/2.8 Power O.I.S. lens, which is reviewed separately. Publication of this review has been delayed until Adobe had updated its Adobe Camera Raw software to add support for the G9II.

      Our Imatest tests showed slightly elevated colour saturation in JPEG files, along with drifts in the orange, red and purple bands of the spectrum. Smaller drifts towards warmer hues were also detected in both Caucasian and Black skin tones. Other hues, however, were close to the ideal values.

      Interestingly, the JPEG files were universally under-sharpened, often to a considerable (20% or more) extent. This undoubtedly led to a reduction in the calculated resolution figures, which fell short of expectations for the sensor’s 25-megapixel sensor and is accounted for in our ratings.

      To provide a more realistic assessment of the combined camera and lens performance, we changed the default sharpening setting in Adobe Camera Raw from 40 to 50, when processing the RW2.RAW files that were captured simultaneously with the JPEGs. As expected the resulting resolutions were much closer to or somewhat above expectations.

      Resolution remained relatively high across the camera’s sensitivity range, as shown in the graph of our test results below. This supports the assessments we made of test shots taken during our First Look review.

      Colour accuracy was better in the raw files we converted into 16-bit TIFF format with Adobe Camera Raw, even without any further adjustments. Low-light exposures were slightly better than those we obtained from the G9, especially at higher ISO settings.  Noise was only just visible in areas of sky at ISO 6400 and became more apparent as sensitivity was raised. As before, we found no colour blotches at the two highest ISO settings and, although noise was obvious in shadowed areas at ISO 25600, the image files could be usable for small prints and some web applications.

      Autofocusing was generally very fast and accurate and there were no instances of failure to focus in any of our test shots or video clips. Even after dark, we found no instances where the camera hesitated briefly before finding focus, including with low-contrast subjects.

      Focus tracking was impressive when shooting moving subjects and the camera was able to find focus, lock on and track subjects easily, regardless of where they were in the frame. This was equally true when shooting stills and movies.

      Auto white balance performance was similar to the original G9’s. As before, the AWBc setting proved better able to correct the warm hues of both incandescent and warm-toned LED lighting than the regular auto setting. Fluorescent lighting was well corrected but the incandescent pre-set, the only option we were able to test, slightly over-corrected. Manual measurement produced images with neutral colour rendition and the camera provides plenty of adjustments for tweaking colours as you shoot.

      The review camera’s stabilisation system was as good as in the previous model, although when we tried out the High Resolution Mode with the camera hand-held, almost all of the resulting photos were blurred. In a few cases, the blurring was slight, although with most the blurring was obvious. We’d recommend using some kind of camera support if you plan to use this mode. Note: these tests were carried out before the latest firmware was installed. Although we didn’t repeat them, we assume the issue has been addressed.

      Not surprisingly, the review camera delivered even better-looking video clips than the G9 we’d reviewed previously, with natural-looking colours and plenty of detail. We experimented with a number of different settings in different shooting situations and found the AF system was relatively quick to find the subject after the lens was de-focused and when something passed between the camera and the subject during a recording. Subject tracking was also extremely good. Audio recordings were generally clear and easily discernible, with a bit more ‘presence’ than we’re accustomed to from a review camera – even without an accessory microphone.

      The review camera took roughly two seconds to power-up, which was noticeably slower than the G9. Panasonic tells us the camera goes into a deep power saving mode at initial start-up to reduce the draw on battery. Subsequent start-up times ranged between one and two seconds.

      Otherwise processing speeds were similar – or a bit faster. We measured a capture lag ranging from 0.2 seconds with seriously out-of-focus subjects to a fairly consistent 0.1 seconds when small shifts is focus were required. In both cases, lag was eliminated by pre-focusing.

      Shot-to-shot times averaged 0.3 seconds, which is the same as we found with the G9. As before, we found no perceptible blackout in the EVF or monitor between successive shots. Processing of individual frames was virtually instantaneous, regardless of whether it was a JPEG or RW2.RAW file.

      Although the G9II’s buffer can’t hold quite as many shots as its predecessor’s – due in part to its higher resolutions – nonetheless, it’s relatively large at more than 200 Large/Fine JPEGs and more than 170 RAW files and while the G9 is limited to 50 frames in one second in the High-speed mode, the G9II can capture 200 RAW + JPG (400 files) images in roughly three seconds . Up to 14 frames /second frame rates are available with the mechanical shutter and fixed focus or up to 75 fps (AFS/MF) with electronic shutter.

      As before, we had difficulties measuring the review camera’s burst speeds with what we’d consider an adequate degree of precision. With the mechanical shutter, the camera recorded 125 frames in 10.1 seconds, which is a bit faster than 12 frames/second. Switching to the electronic shutter, the camera recorded 200 frames in 2.4 seconds before pausing, which is slightly faster than the specified 75 fps rate. In each case, focus and exposure were locked on the first frame.

      Because the camera doesn’t display a processing indicator, we were unable to measure processing times for either single-frame or burst shooting.


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      Image sensor: 17.3 x 13.0 mm Live MOS sensor with 26.52 million photosites (25.21megapixels effective)
      Image processor: Venus Engine
      Lens mount: Micro Four Thirds
      Focal length crop factor:  2x
      Digital zoom: 2.0x (EX S), 1.4x (EX M) Extra Tele Conversion (stills only)
      Image formats: Stills: JPEG (DCF, Exif Ver. 2.31),  RW2.RAW, RAW+JPEG; Movies: MOV (H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes), MP4 (H.264/MPEG-4 AVC, H.265/HEVC)
      Audio: MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit) (4ch 48kHz/24-bit, 96kHz/24-bit); MP4: AAC (2ch 48kHz/16-bit)
      Image Sizes: Stills   Movies (PAL system):  [5.8K] 5760 x 4320 (4:3) 25p 200Mbps; 5.7K] 5728 x 3024 (17:9) 50p 300Mbps/25p 200Mbps; [4.4K] 4352 x 3264 (4:3) 50p 300Mbps; [C4K] 4096 x 2160 100p 300Mbps, 50p 800/600/200Mbps, 25p 400/150Mbps; [FHD] 1920 x 1080 200p 800/200Mbps, 100p 400/150Mbps, 50p 200/100Mbps, 25p 200/100Mbps
      Aspect ratios: 4:3, 3:2, 16:9, 1:1
      Image Stabilisation: Sensor-shift B.I.S. (5-axis / 8.0-stops) plus Dual I.S. 2 (7.5-stops)
      Shutter (speed range): 60-1/8000 seconds plus Bulb (max. 30 minutes); Electronic shutter: 60 to 1/32,000 second plus Bulb (max. 1 minute); 1/25,000 – 1/25 (to 1/8 sec. in Creative Video M mode / MF mode
      Exposure Compensation: +/- 5EV in 1/3EV steps (+/-3EV for movies)
      Exposure bracketing: 3, 5, 7 images in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst
      Other bracketing options: Aperture, Focus, White Balance
      Self-timer: 2 or 10 seconds delay plus 10sec, 3 images and Custom settings
      Interval recording: Yes, for time-lapse and stop motion animation
      Focus system: Hybrid Phase Detection AF/Contrast AF system with DFD technology, 779 points
      AF  selection: Zone / 1-Area+ / 1-Area / Pinpoint; Tracking / Full Area AF / Zone (Horizontal/Vertical); Automatic Detection for Human / Animal / Car / Motorcycle (except when Pinpoint is set).
      Focus modes: AFS (Single) / AFC (Continuous) / MF
      Exposure metering: 1,728-zone multi-pattern sensing system with Multiple, Centre-weighted average, Spot and Highlight Weighted metering patterns
      Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure plus Creative Video (P/A/S/M) / Slow&Quick / Custom 1, 2, 3 / Intelligent Auto
      Photo Style modes: Standard / Vivid / Natural / L. Classic Neo / Flat / Landscape / Portrait / Monochrome / L. Monochrome / L. Monochrome D / L. Monochrome S / Leica Monochrome / Cinelike D2 / Cinelike V2 / Like709 / V-Log / REAL TIME LUT / Hybrid Log Gamma / My Photo Style 1-4 (5-10)
      Filter modes: Expressive / Retro / Old Days / High Key / Low Key / Sepia / Cross Process / Bleach Bypass
      Colour space options: sRGB and Adobe RGB
      ISO range: Auto, ISO 100-12800 with extensions to ISO 50
      White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4)
      Flash: TTL External Flash (sold separately)
      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 only); 1st/2nd curtain sync available
      Flash exposure adjustment: +/-3EV in 1/3EV steps
      Sequence shooting: Max. 14 frames /sec. (AFS/MF), 10 fps (AFC) (with Live View) with mechanical; shutter; Max. 75 fps (AFS/MF) with electronic shutter
      Buffer capacity: More than 200 Large/Fine JPEGs, more than 170 RAW files
      Storage Media: SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class 3 standard compatible)
      Viewfinder: OLED Live View Finder with approx. 3.68 million dots; 100% FOV, 0.8x magnification, 21 mm eyepoint, -4 to +2 dioptre adjustment, eye sensor
      LCD monitor: Free-angle, 3.0-inch TFT LCD monitor with static touch control, approx. 1.84 million dots, 100% coverage
      Weather sealing: Yes
      Interface terminals: USB Type-C (SuperSpeed USB 10Gbps USB 3.2 Gen2), HDMI Type A, 2.5 mm remote terminal, 3.5mm jack for external microphone / external audio device, 3.5mm headphone terminal
      Wi-Fi function: Built-in Wi-Fi 2.4GHz (STA/AP) (IEEE802.11b/g/n) and 5GHz (STA) (IEEE 802.11a/n/ac) (; Bluetooth v5.0 (Bluetooth Low Energy)
      Power supply: DMW-BLK22 rechargeable Li-ion battery; CIPA rated for approx. 390 shots/charge  or up to 90 minutes of video recording
      Dimensions (wxhxd): Approx. 134.3 x 102.3 x 90.1 mm (excluding protrusions)
      Weight: Approx. 658 grams with battery and card

      Distributor: Panasonic Australia



      Based upon JPEG files recorded with the Leica DG Vario-Elmarit 35-100mm f/2.8 Power O.I.S. lens.

      Based on RW2.RAW files recorded simultaneously and converted into 16-bit TIFF format with Adobe Camera Raw.



      Auto white balance (AWB setting) with incandescent lighting

      AWBc setting with incandescent lighting.

      AWBw setting with incandescent lighting.

      AWB setting with fluorescent lighting.

      AWBc setting with fluorescent lighting.

      AWBw setting with fluorescent lighting.

      AWB setting with warm-toned LED lighting.

      AWBc setting with warm-toned LED lighting.

      AWBw setting with warm-toned LED lighting.

      40-second exposure at ISO 50, f/3.5, 35mm focal length.

      30-second exposure at ISO 100, f/4.5, 35mm focal length.

      15-second exposure at ISO 800, f/8, 35mm focal length.

      5-second exposure at ISO 6400, f/11, 35mm focal length.

      2.5-second exposure at ISO 12800, f/11, 35mm focal length.

      1.6-second exposure at ISO 25600, f/16, 35mm focal length.

      Strong backlighting; 100mm focal length, ISO 100, 1/2000 second at f/6.3.

      Subject tracking AF; 85mm focal length, ISO 100, 1/800 second at f/4.5.

      50mm focal length, ISO 50, 1/320 second at f/5.6.

      49mm focal length, ISO 100, 1/250 second at f/11.

      70mm focal length, ISO 100, 1/500 second at f/5.6.

      100mm focal length, ISO 100, 1/1000 second at f/5.

      Still frame from MP4 4K 10-bit 50p video recording at 100Mbps; Full area; 4:2:0 Long GOP compression.

      Still frame from MP4 4K 10-bit 25p video recording at 72Mbps; Full area; 4:2:0 Long GOP compression.

      Still frame from MP4 4K 10-bit 50p video recording at 100Mbps; Pixel by Pixel;
      4:2:0 Long GOP compression.

      Still frame from MP4 FHD 10-bit 50p video recording at 100Mbps; Pixel by Pixel; 4:2:0 Long GOP compression.

      Still frame from MP4 FHD 8-bit 25p video recording at 100Mbps;
      Full area; 4:2:0 Long GOP compression.

      Still frame from MP4 FHD 10-bit 25p video recording at 72Mbps;
      Pixel by Pixel; 4:2:0 Long GOP compression.

      Still frame from MOV 4K 10-bit 100p video recording at 300Mbps; Pixel by Pixel; 4:2:0 Long GOP compression.

      Still frame from MOV FHD, 10-bit 25p video recording at 200Mbps; Pixel by Pixel; 4:2:2, ALL-I compression.

      Still frame from MOV 4K 10-bit 25p video recording at 400Mbps; Pixel by Pixel; 4:2:2, ALL-I compression.

      Additional image samples can be found with our review of the Leica DG Vario-Elmarit 35-100mm f/2.8 Power O.I.S. lens, which was tested with the G9 Mark II camera.



      RRP: AU$3299 (body only); $3599 (with12-60mm f/3.5-5.6 kit lens)

      • Build: 9.1
      • Features: 8.9
      • Ease of use: 9.0
      • Autofocusing: 9.1
      • Still image quality JPEG: 8.8
      • Still image quality RAW: 9.0
      • Video quality: 9.1