Panasonic Lumix G80 preview: Affordable foray into 4K

Panasonic is laying out its stall in the compact system camera market – and its shelves are well and now truly stacked. The new Lumix G80 (or G81 in Germany; G85 in other territories, just to confuse the bejeezus out of you) is like a bulked-out DSLR-style version of the Lumix GX80, or, in some respects, a budget version of the Lumix GH4 – with plenty of the same high-end specs for a cut of the price.

Some months ago we got to sample a pre-production G80, testing it out around London Zoo to get a feel for where this camera fits into the range and what else it can bring to the table. Since then we’ve received the final version in-hand, which we’ve been using for a few days ahead of our full review.

So does this mid-level mirrorless deserve its place in the current compact system camera line-up?

Panasonic Lumix G80 review: DSLR-like design

Panasonic has a busy G-series line-up. One glance at the Lumix G80 might leave you – like us – wondering whether it makes sense to have this camera present in addition to the Lumix G7.

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In the face of a glut of numbers and letters it’s perhaps easy to lose sight of the core differentiators of the G80: it has the latest in-camera dual image stabilisation technology (as per the GX8) and a new super-quiet shutter unit, that works a treat. It’s also 16-megapixel rather than the higher resolution 20MP outlay of the GX8.

In terms of design the G80 is a lot like a mini-DSLR; an echo of the G7. If you want all the dials and buttons at short reach then the G80 doesn’t disappoint: dual thumbdials, a mode dial, continuous shooting dial, even distinct controls for single/continuos autofocus sit on the back. Five numbered function (Fn) buttons also allow for customisation, so you can setup and shoot with the camera as you please.

The only oddity, perhaps, is a sixth unmarked function button mounted in the centre of the rear thumbwheel, which feels impractical to press when holding the camera up to the eye. By default this doubles-up the thumbwheels’ controls – front for white balance and rear for ISO, instead of the typical aperture and shutter speed controls – in a similar manner to the 2×2 level found in some of the Olympus OM-D range.

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During early testing we arrived at London Zoo on a lovely rainy day – typical British mid-summer, then, eh? – but perhaps that was meant to be: for the G80 is both splash and dust resistant. And it sure did survive a soaking, no problems asked (our lens choice, on the other hand, might have been questionable, as that’s not officially sealed).

Panasonic Lumix G85 review: Impressive autofocus

Now we use a Panasonic Lumix GH4 almost all of the time for lead product shots on this very website, because it’s a capable and portable interchangeable lens camera. Having switched from that camera to this G80 for a few days, it’s impressive just how well it translates. Because the G80’s autofocus is actually more refined in use (we really need to jump on a GH4 firmware update, by the looks of things).

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There are a multitude of focus types, from face detection and tracking automated options, through to 49-Area, Custom Multi, 1-Area and Pinpoint AF. The latter, which we use for most still shot compositions, zooms in on a crosshair to 100 per cent and, as the name says, pinpoints the focus. In the G80, however, this hunts even less than the already speedy GH4, with the lock-in final focus that much more refined than before. Good job.

A fully vari-angle LCD touchscreen joins a built-in OLED viewfinder, which offers a 2,360k-dot resolution and large 0.74x magnification. It’s impressive how high-spec even £700 camera bodies have become these days. Both work a treat.

We’ve become so accustomed to using a variable screen these days for waist-level work. Because in a mirrorless camera there’s no compromise in focus speed between screen and viewfinder, shooting is super fast – and the touch-to-focus option is particularly useful. We were snapping monkeys munching on leaves in bursts, which made for some great shots (and some other comical ones, mouth caught open).

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The G80’s new shutter mechanism is far quieter than that of the GH4, too. Indeed it’s the quietest we’ve heard (or not heard) in a system camera to date. And if you want no sound whatsoever then an electronic shutter means there’s no shutter movement at all, for wonderful silence (up to 1/16,000th sec – which is useful, but can cause issues with flicker in certain scenarios).

Panasonic Lumix G80 review: Image quality

Ultimately the G80 is similar to the G7 in its ability: it’s got the same 16-megapixel resolution, but it does away with the low-pass filter in front of the sensor for potentially sharper results. Panasonic cites an approximate 10 per cent improvement in this camera compared to the Lumix GX80. (Still with us? Yes there are a lot of numbers; the GX80 is like the more “pocketable” version of the G80).

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Partly to try and hide from the rain, partly to test out low-light scenarios, we opted to shoot many of our zoo visit photos indoors, capturing fast-moving fish, super-slow lizards and other reptiles. In the darkest of scenes the G80 finds some struggles, depending on the lens used, but we’ve largely been impressed with what the camera can do.

At present we’ve not shot enough frames with the G80 to get a final thought about the camera, with the shots in this review being pre-production samples to give a smaller-scale taste of what’s possible.

Panasonic Lumix G85 review: In-camera stabilisation

Part of the improvement comes down to in-camera stabilisation, which is handy when trying to keep track of subjects and that extra lick of sharpness. It can be felt in hand and even works in conjunction with lens-based stabilisation, for Panasonic’s best setup yet. Not even the top-end GH4 offers that (we suspect a GH5 isn’t far away now, although it’s not been revealed at Photokina 2016 as the rumours suggested).

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As pulled from the GX8, the G80 has a dual image stabilisation system, pairing in-camera sensor-based stabilisation with lens-based stabilisation. By using a gyro sensor to detect the direction of camera shake, the combination of stabilisation systems (both of which are mechanical) can be actioned in the most proficient way. That means greater combat of pitch and yaw than before, for the sharpest possible images.

However, the on-sensor stabilisation maxes out at the 100mm mark (the physical movement of the sensor can only be so much, and as focal length increases that movement becomes amplified), while stabilisation for video capture is electronic only instead.

Panasonic Lumix G81 review: 4K smarts

And so much of what the G80 offers is beyond its all about 4K capture – both in stills and video formats. Panasonic has been pushing this idea for a while: that 4K video clips can be captured and each frame made available as an 8-megapixel image, so you won’t miss a second. There’s even a pre-burst option to capture a second of footage before even fully pressing the shutter.

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Video-wise 4K capture can be saved straight to the SD card (in 2:2:2 8-bit), or there are 1080p options.

New this time around are Post Focus and Focus Stacking options, where the camera takes multiple frames at different focal depths which can be used for touchscreen-based refocus after shooting, or the merger of select images to select the in/out of focus depth. What’s nifty about this is that it can be done inside the camera, so there’s no need to fiddle about with software on a computer (which is so often slow).

First Impressions

The Panasonic Lumix G80 strengthens the bustling G-series camera line-up. Think of it like a DSLR-like version of the Lumix GX80 and we can see its place (although why the G7 is still in the line-up we’re less sure).

If you’re looking for a comprehensive, capable and affordable interchangeable lens camera then the G80 has plenty to offer. Speedy autofocus, comprehensive controls, in-camera stabilisation and a bevy of 4K still and video capture options head up its specification.

The competition remains stiff, of course, with the retro style Fujifilm X-T10 an obvious lure – but, ultimately, a less capable one in the autofocus department (you’ll want a Fujifilm X-T2 for that).

Panasonic Lumix FZ2000 preview: A 4K video feast, the end of the camcorder as we know it?

In the middle of 2014 Panasonic dipped its oar into the premium superzoom market with the Lumix FZ1000. As a do-it-all DSLR alternative with a 1-inch sensor size it ticked a lot of boxes.

Its update for 2016, the Lumix FZ2000, is an even more standout product that, with a huge focus on 4K video capabilities, might be the kind of camera to spell the end of the camcorder as we know it. Here’s why.

Panasonic Lumix FZ2000 review: New lens

Often updated cameras will tweak the sensor or add a new feature here and there, but the FZ2000 is a total rework over the original FZ1000. The FZ2000’s new lens, for example, provides a 20x optical zoom, ranging from a wide-angle 24mm through to a 480mm equivalent. That’s a notable amount of extra zoom, ensuring the FZ2000 keeps the “super” in “superzoom”. Plus it can focus just 3cms from the lens front glass at its widest-angle, which is rather impressive.

But, crucially, the FZ2000’s lens has internal focusing – so once the camera is switched on and the lens has extended into position it doesn’t physically move, no matter how much you adjust the zoom toggle or other controls. It does make a little noise when zooming, though, which might be a nuisance for video capture – but, and having tried the FZ1000 side-by-side, it’s not louder, precisely, just tonally different in its motor sounds.

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A long focal length is one thing, but if there’s not a great deal of aperture control then it limits the practicality. There are a couple interesting elements about the FZ2000’s lens: first, its f/2.8-4.5 aperture ensures ample light can enter the camera (it’s not quite as special as the FZ200’s fixed f/2.8 aperture, but that camera has a smaller sensor); plus with nine aperture blades and an actuator for their control it means more rounded bokeh and no “stepping” for iris control during video capture.

However, the camera does rapidly arrive at f/4.0 by the 80mm equivalent, then to f/4.5 by the 250mm equivalent – so that f/2.8 maximum does fall off rather quickly beyond its 24mm wide-angle.

Panasonic Lumix FZ2000 review: A big deal

Some of those above points are a big deal, but then the FZ2000 is a big camera. It’s effectively DSLR-sized, so perhaps not your casual carry-around. That doesn’t affect its enthusiast target audience, though, and is unavoidable when pairing such a lens with a 1-inch sensor size.

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Other big-deal features in the FZ2000 include its built-in optical viewfinder, which is the best we’ve yet seen in a superzoom, and a 3-inch vari-angle touchscreen LCD.

First to the viewfinder: its 0.74x equivalent magnification means it’s huge to the eye, the kind of level top-end interchangeable lens cameras offer, while its OLED panel and 2360k-dot resolution ensure best quality. We’ve not used it in low-light yet, but even in daylight with maximum zoom extension the return image is great.

The LCD screen might be a more standard offering for cameras these days, but the ability to move it around as you please is useful – and we suspect this will be a standout point for videographers.

More to the point is the level of performance provided by the FZ2000. With many of its features pulled directly from the Lumix GH4 (which is Panasonic’s current top-end interchangeable lens camera) and other Lumix G-series cameras, it has a highly impressive autofocus system with all the mod cons. Press-to-focus on the screen, make adjustments via the camera’s rear controls, select between a huge array of focus types – including Pinpoint cross-hair type and 1-Area adjustment – and toggle the dedicated single/continuous/manual focus switch, there’s little to nothing absent from this camera.

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A new feature for many of Panasonic’s cameras is a 5-axis image stabilisation system, to counter pitch, yaw and roll. And, yep, the FZ2000 takes benefit of this system, too, with that 20-megapixel sensor strapped into the cockpit to make the most of it (excluding during 4K capture).

Panasonic is also really going for the 4K market, with all its latest cameras offering 4K video capture, plus 4K still image modes which can be used in a number of different ways. Whether shooting a couple of seconds of footage both before and after pressing the shutter to avoid missing the moment, or merging a stack of images after shooting to combine the focus depth, it’s a versatile set of options.

Panasonic Lumix FZ2000 review: 4K capture

We’ve already mentioned the internal focusing and smooth iris control, but there are stacks of additional controls that will appeal to videographers. To the side of the lens, for example, are slow zoom-in and zoom-out buttons (Fn1 and Fn2 respectively) for more precise control. The lens also features two control rings for zoom and focus, one larger than the other to segregate them.

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To make the most of the wide aperture there are built-in neutral density (ND) filters, controlled via the switch to the side of the camera. Its placement of off at the base and auto at the top – sandwiched between are 1/64, 1/16 and 1/4 step-downs – seem like they should be side-by-side to us, but it’s a nifty and easily accessible feature.

We mentioned the audible motor when zooming, but this can be bypassed by using an external microphone, which the camera offers via 3.5mm jack, in addition to an extra 3.5mm headphones monitoring jack.

A mini HDMI out can also be used for ATOMOS devices to monitor externally, including start/stop recording control. Or, if you want 4K 4:2:2 10-bit colour output then the HDMI out can be used to capture via an external recorder (it’s 4:2:2 8-bit onto the SD card – of which, there’s only one slot on the camera).

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Leaving barely any stone unturned there’s also time code, synchro scan, luminance level and colour bar control for those higher-end videographers. And if you want V-Log output it’s available for an additional £79.

In addition to 4K capture in 30/25/24p, Full HD recording is available at up to 120fps in a special slow-mo option. As superzoom cameras go, the FZ2000 is without compare when it comes to video capture.

First Impressions

The Panasonic Lumix FZ2000 is a high-end superzoom camera with a hybrid focus on both stills and video. Really, though, this is one for the videographers out there, with its myriad controls, 4K options and internal focusing lens opening up a whole host of capture possibilities.

If you’ve been looking for a do-it-all body and aren’t fearful of a DSLR scale, then as a stills camera there’s plenty on offer too (such as 12fps burst). Its £1,099 price point might make you baulk, though, but given all that’s available here it’s not an unruly asking price by any means. And that’s a snip compared to many larger-sensor interchangeable cameras or camcorders.

Which is why, in our view, the FZ2000 paints a red cross on the door of the enthusiast camcorder market. It’s one thorough bit of kit.

Panasonic Lumix LX15 preview: The best high-end compact camera yet?

It was only a handful of years back that Panasonic ruled the high-end yet pocketable compact camera market with its Lumix LX7. In the years since Sony has been the manufacturer to forge an enviable position at the top with its RX100 models. And now Panasonic looks set to come back fighting, with the announcement of the Lumix LX15 (or the better-named LX10 in other territories).

In some regards the LX15 feels like the LX7 Mark II. But it’s so much more than that: with a 1-inch sensor size it’s on par with the Sony, yet offers a faster 24-72mm f/1.4-2.8 equivalent lens, ensuring bright aperture availability throughout its zoom range. Does this make the LX15 a contender for the best high-end compact camera to date?

Panasonic Lumix LX15 review: The power of touch

Having handled the LX15 ahead of Panasonic’s Photokina-based launch, it’s the way the camera handles that really sells it. Simple things like the addition of a tilt-angle touchscreen mean it’s easy to tap where to focus without needing to fiddle around within the menus.

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And with the same focus types as found in the Lumix G series – including zoom-in Pinpoint focus and 1-Area adjustable control – the LX15 feels every bit the high-end camera. This is the kind of control we’ve been wanting in a camera at this level, which puts it a peg beyond what Sony and Canon offer with the their equivalents.

Sure, the Sony RX100 IV has a built-in pop-up viewfinder. That’s a potentially enviable feature – and one which the Lumix LX15 can offer no equivalent. But we can perhaps see why: Panasonic also makes the Lumix LX100, which has a larger sensor again and can facilitate an accessory viewfinder.

Panasonic Lumix LX10 review: A lens to love

Key to the LX15’s make-up is that lens, which also incorporates a click-stop aperture ring (with 1/3rd stops) to physically select your desired setting. This ring is tucked in tight against the body, but to stop it feeling too fiddly there are two nubs for additional grip control.

Ahead of this ring is a manual focus ring, which rotates smoothly and infinitely. As we often say of Panasonic cameras we’d prefer these to be slightly larger to make handling simpler.

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The lens collapses back into the camera body when its switched off, which keeps the overall size down considerably. That also, to a point, defines the size of those two control rings and their closeness.

There’s another trick up the lens’ sleeve, too: close-up macro functions as near as 3cm from the lens, when at its widest-angle, which makes for some great background blur.

Otherwise, visually speaking, the LX15 keeps everything neat and tidy without trying to show off. Controls are kept to a minimum – a zoom toggle is up top, along with a mode dial, and just the one rotational thumbnail to the top/rear – and finished with well considered material choices, such as the metal dials.

Panasonic Lumix LX15 review: Features

Looking at the camera from the rear and it’s not immediately obvious it has a tilt-angle screen. It’s been subtle incorporated, which is great, allowing the 3-inch, 1040k-dot screen to be pulled away from the camera body to be used for waist-level or overhead work. It can even flip all the way forward for selfies, if that’s your thing.

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When it comes to stills shooting, the mechanical shutter maxes out at 1/4000th sec, but an electronic shutter option means that can extend to 1/16,000th sec – ideal if you want to use the f/1.4 aperture in those brighter conditions, without an ND filter.

To cater for the other end of the scale the 5-axis image stabilisation system is ideal to counter pitch, yaw and roll and maintain sharper images at slower shutter speeds. It’s the kind of level of stabilisation you’re more likely to find in interchangeable lens cameras, so a bonus to find it here.

Panasonic Lumix LX10 review: 4K capable

Panasonic is really going for the 4K market, with all its latest cameras offering 4K video capture, plus 4K still image modes which can be used in a number of different ways. Whether shooting a couple of seconds of footage both before and after pressing the shutter to avoid missing the moment, or merging a stack of images after shooting to combine the focus depth, it’s a versatile set of options.

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Not that it’s all 4K. There’s also 1080p video capture, including a slow-mo 120fps mode. Oddly, though, this slow-mo option is only available when digging into the menus (not the quick menu), which seems like a backwards way to acquire what could be a really popular feature.

Only the standard frame-rate 1080p video capture can make use of the 5-axis image stabilisation system, though, as this isn’t possible when capturing 4K or at higher frame-rates.

First Impressions

The Panasonic Lumix LX15 is high-end, but, critically, comes minus the highest-end price point. Its initial £599 is a significant chunk of cash less than the Sony RX100 IV, and is more than competitive against the Canon G7 X Mark II.

Of those mentioned competitors, its the Lumix that stands out of the pack. Finally there’s a high-end compact with an easy-to-use touchscreen, great autofocus abilities, a lens that’s best in class, along with a stack of other top-end features like 4K video and close-up macro.

From our initial time handling the Lumix LX15 it seems this may just well be the best viewfinder-free compact camera out there. Shame about the name though, we’d have gone with LX10 as the international name – it’s got a better ring to it.

Hasselblad’s V1D concept is a modular 75-megapixel camera

With Chinese company DJI as an investor, Hasselblad appears to (mostly) be moving away from its period of treating cameras like jewellery. Following the launch of the the first-ever medium-format mirrorless camera, the X1D, it has revealed the V1D concept camera. Its aim was to build a 75-megapixel shooter that resembles its classic Hasselblad V, but can be customized to suit the user.

Hasselblad calls the V1D concept a “black box,” that lets you equip the top and back with “displays, viewfinders and holders for accessories,” while the sides can be fitted with controls, grips and the like. You could use it as is or configure it more like a classic Hasselblad V, the company says. The idea is to make it suit as many users as possible, including left-handers. At the same time, the body proportions and square, 75-megapixel image format are meant to evoke classic Hasselblad models. Hasselblad hasn’t said if it has any plans to build one, though.

The company still likes squeezing money out of the luxury market, and launched a special edition “4116” version of the X1D. The mirrorless, 50-megapixel X1D medium format camera is Hasselblad’s best product in a long time, with a huge 50-megapixel, medium-format sensor and modern features like WiFi, GPS, decent 25,600 ISO low-light sensitivity, dual SD slots and USB 3.0.

So, naturally it had make a pricier special edition, the X1D “4116.” The $13,000 model comes is all black, and includes a leather hand-strap, extended warranty and custom box. However, it also comes with a $2,300 XCD 45mm lens, so the other items are “just” a $1,700 premium over the regular model. Since this is a company that added some wood to a stock Sony A7 and quintupled the price, we’d call that a win.