Panasonic Lumix DMC-FZ200

The Lumix DMC-FZ200 ($599) is Panasonic's flagship super-zoom digital camera. While recent models have been relatively minor upgrades, the FZ200 returns to its roots by featuring a lens with an F2.8 maximum aperture across its entire zoom range. The early models in the FZ series (FZ1 - FZ20) had lenses with constant maximum apertures, but that stopped with the FZ30, launched back in 2005. Last year's DMC-FZ150 had an F2.8 - F5.2 lens, so the lens on the FZ200 is a huge improvement, and the extra brightness should make a real difference at long focal lengths and/or in poor light, allowing you to shoot at lower, less noisy ISO settings.

In combination with the newly-developed 12MP MOS sensor, this makes the FZ200, at least on paper, by far the best choice in the superzoom segment for low light shooting. That large aperture allows it to offer faster shutter speeds at the same ISO settings as its peers, or use lower sensitivities at the same shutter speeds as the competition.

While the Leica-badged lens is definitely the number one head-turner on the FZ200's spec-sheet, the remainder reads very well too. As usual you can frame and review your images on either on the rear LCD or the electronic viewfinder. The latter is a new 0.2-inch variant with 1,312,000-dot equivalent resolution. The 'equivalent' part of this statement stems from its 'field-sequential' design - instead of having triplets of dots showing red, green and blue at all positions, it displays one color, then the next, at each position. The downside of this approach can be that if you move your eye quickly, or blink, you become aware of delays between the three colors being drawn - with colorful, rainbow-like edges appearing. Thankfully this display runs at 60hz, so this effect isn't too noticeable.

Panasonic Lumix FZ200 key specifications 24x 25-600mm equivalent lens with F2.8 across the zoom range 12.1-megapixel High Sensitivity MOS sensor 12 fps continuous shooting High Speed Video at 120 fps (HD) or 240 fps (VGA) 1080 60p video recording in AVCHD or MP4 formats 0.2-inch EVF (Electronic View Finder) with 1,312,000 dot equivalent resolution 3.0-inch, free-angle 460,000-dot LCD screen Panorama Shot mode RAW and RAW

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Panasonic Lumix DMC-LX7

Please note that in addition to this collaborative review, we have also produced a 6-page hands-on preview of the LX7, which contains plenty of additional information. You can find that preview here.

The ($499) is the long-awaited replacement to the very popular DMC-LX5. The LX5 (and its predecessors) was well known for its low light ability, and Panasonic has improved on that in two ways. First, there's the LX7's lens: with a maximum aperture range of F1.4 - F2.3, it lets in way more light than what you'd find on a compact camera. The fast aperture range also allows for better background blurring than what you'll find on nearly every fixed-lens camera on the market. In addition, the LX7's sensor and image processor have both been improved, allowing for less noise at high sensitivities.

Other new features on the LX7 include a manual aperture ring, higher resolution LCD display, neutral density filter, 11 fps continuous shooting, HDR capability, and the ability to record movies at 1080/60p (with stereo sound).

For the full breakdown of what separates the 2010's LX5 and the new LX7, take a look at this chart:

  Lumix DMC-LX5 Lumix DMC-LX7 Street price $359 $499 Sensor resolution (size / type) 10.1 MP (1/1.63' CCD) 10.1 MP (1/1.7' MOS) Lens max aperture range F2.0 - F3.3 F1.4 - F2.3 Lens focal range (zoom power) 24 - 90 mm (3.8X) ND filter No Yes Aperture ring No Yes AF system Sonic Speed AF Light Speed AF LCD size/resolution 3-inch / 460k dots 3-inch / 920k dots Burst rate (full resolution) 2.5 frames/sec 11 frames/sec ISO range (full resolution) 80 - 3200

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Panasonic Lumix DMC-GF5

Incredibly tiny, even for a mirrorless digicam, the review DMC-GF5 came equipped with the same lens as the review G5: the Lumix G Vario f3.5-5.6/14-42mm pancake lens, a lens that I came quite to like over the few days that I used it, notwithstanding its not-so-wide end of 28mm as a DSLR equivalent.

Features

Using the Micro Four Thirds System, the CMOS sensor can capture a maximum image size of 4000×3000 pixels, or 34x25cm as a print. Effective pixel count: 12.1 million.

Movies: again, like the G5, this one can take Full HD 1920×1080 video with 1920×1080 pixel resolution in either AVCHD or MPEG: the latter has many followers who indulge in post production. You can shoot video and capture stills at the same time without interrupting the movie’s flow.

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Panasonic Lumix DMC-ZS20 (Lumix DMC-TZ30)

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Panasonic Lumix G X Vario 12-35mm F2.8 ASPH Power OIS

Preview based on a pre-production Lumix G X-Vario 12-35mm F2.8 (H-HS12035)

It's almost four years since Panasonic introduced the first mirrorless interchangeable lens camera in the shape of the Lumix DMC-G1, a most unrevolutionary-looking product that ushered in a brave new era of camera system design. In the intervening years we've seen a slew of cameras of this type as all of the major manufacturers (with the curious exception of Canon) have joined the fray. We've also seen a welcome resurgence of compact fast primes along with the development of clever collapsing zooms, as manufacturers have sought to capitalise on the inherent size advantage over SLR designs. But one type of lens highly valued by more-serious photographers has been conspicuous by its absence - the high quality, large aperture zoom. Panasonic has now addressed this with a lens it's labelling H-HS12035 - an optically-stabilized 12-35mm F2.8 in its premium 'X' range.

Unlike Panasonic's previous X lenses, the 12-35mm is not a powerzoom, instead featuring a conventional rotary zoom ring as favoured by stills photographers. It boasts metal-barreled construction, and in a first for Panasonic a degree of environmental sealing, with a rubber seal around the lens mount to prevent dust or water ingress into the camera. But perhaps most striking is its compact size; at less than 3" (75mm) in either diameter or length it's scarcely bigger than a typical 18-55mm F3.5-5.6 kit zoom for APS-C SLRs, and it weighs in at under 12oz (

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Panasonic Lumix DMC-ZS15 (Lumix DMC-TZ25)

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Panasonic Lumix DMC-FZ200

Preview based on a pre-production

Despite the hype surrounding mirrorless interchangeable lens cameras, and the fact that entry level DSLRs are becoming more and more affordable, superzoom cameras are as popular with consumers as ever. It is easy to see why. The combination of a large zoom range from wideangle to super telephoto, DSLR-like appearance and an attractive price point guarantee that these cameras appeal to a very broad audience.

Panasonic was arguably the first manufacturer to popularize the superzoom concept with the Lumix DMC- FZ10 in 2002 which sported a 12x 35-400mm zoom lens. Over the years zooms have been steadily growing, at both the wide-angle (again spearheaded by Panasonic) and telephoto ends. The more recent Panasonic models such as the FZ150 which was launched last year come with a 24x, 25-600mm zoom lens. But this is far from the most extreme model in the superzoom sector: Nikon's Coolpix P510 for example comes with a whopping 24-1000mm (41.7x) zoom range.

This abundance of focal length comes at a cost though. Even Japanese camera manufacturers cannot defy the laws of physics and as the zoom lenses were getting longer and longer the maximum apertures had to be reduced in order to keep the camera and lens dimensions in check. Competition on price has also seen specs other than zoom multiplier get scaled-back. While in 2002 the 12x FZ10 had a maximum aperture of F2.8 across its entire zoom range, the 24x FZ150 in 2011 only offers this setting at its wider zoom positions. At the long end of the lens the maximum aperture is reduced to F5.2 which, in combination with the limited high-ISO capabilities of the small sensors typically used in superzooms, makes shooting at long focal lengths a difficult task in anything less than perfect light.

More than just that lens...

However, with Lumix DMC-FZ200, Panasonic has executed a veritable engineering coup by creating the first Lumix superzoom since 2004's FZ20 to come with a F2.8 maximum aperture across the entire zoom range. And, unlike the 12x, 36-432mmm equivalent range of the FZ20, the FZ200 maintains F2.8 on a 24x, 25-600mm equivalent lens.

In combination with the newly-developed 12MP MOS sensor, this makes the FZ200, at least on paper, by far the best choice in the superzoom segment for low light shooting. That large aperture allows it to offer faster shutter speeds at the same ISO settings as its peers, or use lower sensitivities at the same shutter speeds as the competition.

While the Leica-badged lens is definitely the number one head-turner on the FZ200's spec-sheet, the remainder reads very well too. As usual you can frame and review your images on either on the rear LCD or the electronic viewfinder. The latter is a newly-developed 0.2-inch variant with 1,312,000-dot equivalent resolution. The 'equivalent' part of this statement stems from its 'field-sequential' design - instead of having triplets of dots showing red, green and blue at all positions, it displays one color, then the next, at each position. The downside of this approach can be that if you move your eye quickly, or blink, you become aware of delays between the three colors being drawn - with colorful, rainbow-like edges appearing. Thankfully this display runs at 60hz, so this effect isn't too noticeable.

On the the pre-production unit we had a chance to play with this EVF makes a very good impression, with a large bright image and fast refresh rates. You can shoot 12 frames per second bursts at full resolution and high speed video at up to 240 fps at reduced sizes. Full-HD 1080 60p can be captured in either AVCHD or MP4 formats (though European versions are limited to 1080p50 to match local TV frame rates).

The camera also features Panasonic's 'Light Speed' AF and is overall more responsive than its predecessors, powering up in under one second. On paper the Panasonic Lumix FZ200 is the most exciting superzoom camera we have seen in a long time and is bound to stir things up in this segment of the market. We're looking forward to getting our hands on and shooting with a full production unit.

Panasonic Lumix FZ200 key specifications 24x 25-600mm equivalent lens with F2.8 across the zoom range 12.1-megapixel High Sensitivity MOS sensor 12 fps continuous shooting High Speed Video at 120 fps (HD) or 240 fps (VGA) 1080 60p video recording in AVCHD or MP4 formats 0.2-inch EVF (Electronic View Finder) with 1,312,000 dot equivalent resolution 3.0-inch, free-angle 460,000-dot LCD screen Panorama Shot mode RAW and RAW

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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.

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Panasonic Lumix DMC-G5

Preview based on a production DMC-G5

This year marks the 10th anniversary of Panasonic's Lumix digital camera brand which makes it an appropriate year for launching some exciting new products. One of those is the Panasonic Lumix G5, the ninth model in the G-series which introduced the world to the Micro Four Thirds standard and mirrorless system cameras in the shape of the DMC-G1, in 2008.

With its electronic viewfinder and SLR-like form factor the G5 is arguably the most direct competitor to 'traditional' entry-level SLRs in the current Lumix lineup. It sits above the simpler GF5 and below the top-of-the-line and enthusiast models GH2 and GX1.

Under the hood, the G5's 'newly developed' 16MP Live MOS sensor is what Panasonic calls a 'digital sensor' with some of the processing happening on the chip itself. In theory this translates into improved high-ISO performance which is very welcome news, the more so because the G5's maximum ISO setting has been increased to 12,800. The continuous shooting rate has also been bumped up compared to the DMC-G3, from 4 to 6 frames per second, but almost certainly more important to most users is the increase in resolution for the touch-sensitive rear LCD, from 460,000 to 920,000 dots. The LCD now also comes with a feature that is called 'Touchpad AF'. It allows you to move the AF area across the frame with your finger on the LCD while you're framing the shot through the EVF.

Video specs have also been improved. Like the GF5 the G5 now records video in the MP4 format, as well as the now-standard (for Panasonic) AVCHD. The latter Video clips shot in the MP4 format are easier to organize because they're not stored in a separate file structure to stills, and are far more widely compatible when it comes to playback. However, shooting in the AVCHD format allows you to capture footage at 1080 60/50p, vs 1080 60i on the G3. In this mode the camera captures video a t a bit rate of 28 Mbps which is in line with Panasonic's high-end consumer camcorders.

With most of the competitors in the mirrorless system bracket of the market offering a variety of digital filter it was only a matter of time before Panasonic followed. The G5 boasts nine new filter options in the camera's Creative Control Mode (namely Soft Focus, Impressive Art, Cross Process, Star Filter, Miniature Effect, Dynamic Monochrome, One Point Color and Low key). As with the GF5 these filter effects can be previewed before they are applied and when the camera is set to intelligent Auto or intelligent Auto Plus mode it will suggest filter effects that it thinks might enhance your photo, based on an analysis of the scene.

All in all the G5 comes with some interesting improvements over its predecessor. We will have to see how many G3 users can be tempted into upgrading to the new model but on paper the G5 certainly looks like a compelling camera that should be attractive to a wide range of photographers. We are looking forward to putting the G5 through its paces to see what the sensor is capable of and what difference the new features make in real-life shooting. In the meantime we've produced a 3-page preview which should give an overview of the salient points.

Panasonic GF5 specification highlights 16 MP Live MOS sensor ISO 160-12,800 3.0", 920k dot touch-sensitive LCD with Touchpad AF control 1.44 million dots electronic viewfinder with eye sensor
Full AVCHD 1080/60p video with 1080 30p MP4 recording option 6 frames per second continuous shooting, 3.7 fps with AF-tracking 14 Creative Control filter effects options Differences between the G5 and the G3 16MP 'digital' Live MOS sensor (vs analog) Maximum ISO of 12,800 (vs 6400) 6 frames per second burst shooting (vs 4 fps) 1080/60p AVCHD and 1080/30p video recording (vs 1080/60i) MP4 video recording option (vs AVCHD and 720p MJPG only) 3 inch 920,000 dot LCD screen (vs 460,000 dots) Eye-sensor below the EVF Function lever Touchpad-AF control Aluminium front plate (vs plastic) Position of the shutter button Redesigned rubber hand grip and four-way controller Improved battery life (320 shots vs 270) 14 filter options in Creative Control Mode (vs 5)Compared to its peers:

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Panasonic Lumix DMC-GH3

Preview based on a pre-production DMC-GH3

NOTE: The grip material on the unit used for this preview was not final.

Since the introduction of the Lumix DMC-GH1 back in 2009, the GH-series' place in Panasonic's Lumix lineup has been clear; a flagship stills and video model designed for enthusiasts who demand a well-handling, responsive and customizable camera with all the latest technology the company has to offer. The goal was to show that a camera did not need to be the size of a DSLR to perform like one. The enthusiastic and largely unanticipated response to the GH2's movie capabilities by working videographers (Google 'GH2 video hack' to get an idea for how keenly its capabilities are being exploited) has meant that Panasonic must now also consider that its camera is being integrated into professional video rigs.

With the announcement of the , the quest to offer a smaller-than-a-DSLR alternative has shifted noticeably to one that seeks to maintain its appeal to video professionals and stills photographers for whom small size is easily trumped by accessible manual camera controls, expandability and durability. If that sounds like a description of a DSLR user, we suspect it does to Panasonic as well. The GH3 is the company's largest Micro Four Thirds camera yet, with dimensions that essentially match those of the APS-C Sony SLT-A65.

The GH3 gains a weather sealed (dust/splash proof) magnesium alloy body which now gives Panasonic a camera body to match their moisture- and dust-sealed G X Vario 12-35mm F2.8 ASPH lens and G X Vario 35-100mm F2.8 ASPH fast zooms. Additional highlights include 6 fps shooting (or 4fps with live view) and five customizable function buttons. While the camera's still image resolution remains at 16MP, the GH3 has a new Live MOS sensor, three-core Venus 7 FHD processing engine and a new low pass filter. Panasonic claims improvements in high ISO shadow detail, color reproduction and white balance over its predecessor. The GH3 also offers in-camera HDR and multiple exposure image modes, as well as Wi-Fi connectivity that Panasonic hopes to leverage with its own (as yet unreleased) remote triggering and image transfer apps for iOS and Android phones. One thing the GH3 loses, however, is the multi-aspect ratio sensor size found on its predecessor, with 3:2 and 16:9 format images being a crop from the camera's 4:3 ratio chip.

There are pro-focused additions to the GH3's video capabilities, with timecode-supported broadcast quality video that is capable of bit rates as high as 72Mbps. Video pros may want to re-read that last bit. Only the US $3500 Canon EOS 5D Mark III offers higher bit rates and Panasonic suggests its compression might offer better quality. The GH3 gains the ability to shoot in MOV (h.264) format, freeing it from the restrictive frame- and bit-rates laid out in the AVCHD standard. This means the camera can capture files natively as 30p, as well as 60i. There is also the choice of All-I or IPB compression (more of which later in the preview), which Panasonic is hoping will further endear it to videographers currently using GH2s.

The GH3's new EVF is a 1.7 million dot OLED panel with a 16:9 ratio of 873 x 500 pixels. Panasonic lists a robust 1.34x magnification (equivalent to 0.67x on a full frame SLR) ,and says that because information is transmitted to the panel 8x faster than the GH2, the onscreen image will remain smooth and natural even while panning quickly across a scene. The rear display panel is a 3" 614k dot resolution OLED unit that, like that of its predecessor, is touch-sensitive. For both stills and video shooters looking to extend the camera's abilities, the GH3 offers a 3.5mm mic input (GH2 users had to resort to a 2.5 - 3.5mm adapter), headphone jack, PC sync socket and a new optional battery grip that attaches to base plate providing the option for additional power.

key features 16MP Live MOS sensor with three-core Venus 7 FHD engine Magnesium alloy body with weather sealing (dust and splash proof) 1.7 million dot 16:9 ratio OLED viewfinder ISO 200-12800 (extended range of ISO 125-25600) 6 fps continuous shooting AF speed of .07 seconds 614k dot 3" OLED rear screen Full HD 60p/50p video with 30p/25p option MOV (h.264), MP4 and AVCHD formats Video bit rates of 50Mbps in IPB and 72Mbps in All-I compression modes Timecode support in MOV(H.264) and AVCHD formats 3.5mm mic socket and headphone socket Four channel wireless control for the optional DMW-FL360L external flash PC socket iOS and Android app control via Wi-FiKey differences from the DMC-GH2 Improved sensor and latest Venus image processor Weather sealed magnesium alloy body OLED EVF and rear display (versus LCD) 60p video capture (versus 60i /30p) 72Mbps bit rate maximum (versus 24Mbps) 3.5mm mic socket (rather than 2.5mm) Headphone socket 6 fps continuous shooting (versus 5) Five custom Fn buttons (versus three) and a second control dial Compatible with new DMW-BGGH3 battery grip PC socket for external flash Interval shooting HDR and multiple exposure modesCompared to the Panasonic Lumix DMC-GH2

With the GH2 having gained such a strong following among enthusiasts and videographers, Panasonic has clearly prioritized external controls and accessory compatibility. As such, the GH3 is a noticeably more bulky camera than its predecessor, comparable in size to the Sony SLT-A57. As you'll see in the image below, control points have been redesigned and much of the camera's layout has been re-adjusted for the larger body.

Note that this pre-production unit of the GH3 is not a cosmetically-finished version.

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