Panasonic Lumix DMC-LX7

Preview based on a pre-production DMC-LX7

It's now four years since Panasonic almost single-handedly revived the enthusiast compact sector with the release of the Lumix DMC-LX3. With its fast wideangle zoom lens, relatively large sensor, and extensive manual control, it revitalized a moribund sector and sparked the release of a slew of competitors from the likes of Canon, Samsung and Olympus. These days every manufacturer worth its salt offers a fully-specced compact designed as a portable alternative for SLR users.

The DMC-LX5, released two years after the LX3, offered an extended zoom range and revised controls, but was always going to struggle to make quite the same impact against the increased competition. A perfectly attractive camera in its own right, it was caught in a slightly-uncomfortable middle ground between the pocketability of the Canon Powershot S95 and the versatility of the faster-lensed Olympus XZ-1, while arguably lacking a single key selling point of its own relative to its contemporaries.

With the launch of the DMC-LX7, Panasonic will be hoping to regain lost ground, and the route it has chosen is to retain the same form-factor but add the fastest lens we've yet seen on a compact camera. Its 24-90mm equivalent optic has an aperture range of F1.4-2.3, surpassing the recently-released Samsung EX2F's 24-80mm equivalent F1.4-2.7 at the long end. To make the most of the fast lens, Panasonic has added an aperture ring around the lens barrel, alongside a 3-stop neutral density filter that has its own external control point. The lens also employs Panasonic's Nano Surface Coating to reduce flare and ghosting.

The LX7 gets a new sensor, a 'High Sensitivity MOS' design that's slightly smaller than the LX5's CCD (1/1.7" type vs 1/1.63", or roughly 80% of the area). As before this offers multiple aspect ratios - 16:9, 3:2, 4:3 - that use different crops from the overall sensor area to give the same diagonal angle of view. These are easily selected using a switch on the top of the lens, which also has a 1:1 position that's effectively cropped-down from the 4:3 frame. Continuous shooting specs are impressively high; 11 fps at full resolution with focus and exposure fixed, or 5 fps with tracking AF, compared to the LX5's 2.5 fps.

The MOS sensor enables a dramatically-improved video specification, with the LX7 capable of recording Full HD video in either the AVCHD Progressive or MP4 formats. Frame rates depend on your region - the European model records AVCHD at 50 fps and MP4 at 25fps, while the US model runs at 60 fps and 30 fps respectively. The lens can zoom and refocus during recording too. Sound is provided by a stereo microphone that's squeezed onto the top plate in front of the hot-shoe; behind this on the back of the camera is a port for the DMW-LVF2 electronic viewfinder (as used by the Lumix G DMC-GX1). With a 1,440K dot-equivalent resolution, this is a far superior unit to the LX5's LVF1.

Beyond this the LX7 offers a number of additional improvements, including a dual-axis onscreen electronic level, time lapse shooting, and Panasonic's image-processing 'Creative Controls'. The screen is higher resolution, with an anti-reflective coating; surprisingly, though, it's not touch sensitive, unlike those on Panasonic's Lumix G Micro Four Thirds models and its latest TZ-series travelzooms. Overall, though, the LX7 looks like a very solid update to LX5.

key features Fast F1.4 - F2.3, 24-90mm equivalent lens Built-in 3 stop neutral density filter 10.1 MP multi-aspect ratio 'High Sensitivity MOS' sensor (1/1.7"-type, 12.7 MP total) ISO 80-12800 Aperture ring around lens barrel, combined ND/manual focus control on rear 11 fps continuous shooting, 5 fps with AF tracking 920K dots 3" screen with Anti-Reflective coating Full HD 60p/50p video, built-in stereo microphones Port for DMW-LVF2 accessory electronic viewfinderMultiple aspect ratio sensor

Like the LX5 and the Micro Four Thirds Lumix G DMC-GH2 (and the LX3 and GH1 before them), the LX7 uses a multi-aspect ratio sensor. It's slightly 'oversized', meaning that at any given aspect ratio the camera only uses a crop from the total available sensor area. It's designated as a '1/1.7" type' sensor, which means that at 4:3 the active area is about the same as a conventional 1/1.8" type.

View the Original article