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Mobile site. Reproduction in whole or part in any form or medium without specific written permission is prohibited. Flat view. It's easy and fast, and my favorite Panasonic menu yet. Surprisingly I accessed the Film menu most of all, as I frequently wondered what a shot would look like in black and white. As such, I wish those two menu items were right next to each other rather than four to six items away.
Eventually I figured out that I could use the Multifilm mode to fire off three different film styles in rapid succession, much like bracketing. You have to press the shutter three times in succession. I made the three shots above before I learned that trick. Of the three shots, the Nostalgic film mode fits the character of a hot dog vendor although I may also favor this shot because of the extremely tasty Chicago Dog in the foreground. Nostalgic mode does remind me of the old days.
It has that "Sorry, I left the camera in the truck on a hot day, honey" appearance. There are three black and white modes, including Standard, Dynamic, and Smooth. Dynamic delivers more dramatic contrast, adjusting for the scene to produce good black and white tones, while the other two produce a more boring image. I'm not as crazy about the Dynamic color mode, but I'm glad there are quite a few options. More images. Dave spent the day before launch in Berlin taking test images and videos with the Lumix GF1.
We've also captured hundreds more test shots and gallery images since then. See our Thumbnails page for test shots and the Gallery page for real-world sample images from the Panasonic GF1! We found that the Panasonic GF1's dynamic range was lower than you'll see from most modern digital SLRs, which means that you're more likely to have plugged shadows or blown skies in your images, especially landscape shots in daylight. It's not uncommon, and we saw the same thing with the Olympus E-P1's images.
You'd also want to be careful shooting a wedding with the GF1 without dialing the EV back a bit and metering carefully. But the Panasonic GF1 has such great bracketing feature, allowing capture of three, five, or seven EV-adjusted frames, that landscape photographers should feel fairly confident of getting the shot when shooting the GF1 in bright daylight.
I have a hard time thinking of this as a consumer camera, so I focused more on using it as a camera an enthusiast like myself would enjoy. It's a straight shooter that I used mostly in Aperture Priority mode, with the center AF point tweaked down to its smallest size, adjusting ISO and film type when necessary.
Auto white balance was pretty well spot-on most of the time, even indoors, so I have no complaints there. I was more comfortable shooting videos with the Panasonic GF1 than I was with the Olympus E-P1, probably because the GF1 has a built-in Record button that enables instant start to movie recording without having to attend to a mode dial. We didn't get to play with an External Live Viewfinder after the launch, which is a shame.
The Panasonic GF1 is the type of camera that experienced SLR users will instinctively want to bring up to their eye, so I could see some people wanting one.
It's easier to hold a camera steady with three points of contact right hand, left hand, face than just two. Also missing from this experience was more time with other Micro Four Thirds lenses. We'd have liked to try the GH1's new mm HD lens, which offers faster and quieter focus while recording movies, and more than one of us wants to experience the mm lens on this sweet little camera; perhaps soon. The Panasonic GF1 also earns the distinction of being the only camera I've carried around with a strap, let alone the included strap.
I hate straps, but this thing fits into a strange size range: it's too big to pocket, and too small for me to dedicate a hand to holding it. The strap still gets in the way when composing vertical images, which I don't like, but that's the only time I've noticed it. And its cloth-to-metal interface to the camera doesn't make any noticeable noise, so it's a perfect combination.
The one concern I have with the GF1 also applies to the GH1 and G1, and so is something we've already covered: the camera's handling of yellows and oranges. Yellows have a green cast, and oranges become muted, almost brown. Switching to Dynamic Film mode goes a long way toward correcting the problem, but it also changes the overall contrast, tweaking colors like red and purple in undesirable ways.
If you're okay shooting and processing RAW images all the time -- not to mention storing them on a massive hard drive -- this peculiar color problem won't bother you, but take note if JPEG is your preferred shooting method.
How a camera performs at ISO 1, is of concern to me, because I like to take shots in low light without flash. Since most cameras these days at least go to ISO 1,, it's a reasonable benchmark for natural light shooters, revealing how well a camera controls the tradeoff between squelching sensor noise and maintaining color and detail.
The sensor in the GF1 is supposedly the same as the sensor in the G1, but the processor is said to be from the GH1. It's really hard to tell any difference here, because the exposures are different. Take that into account, and they seem to be pretty similar.
Bear in mind that the Canon T1i has a I see a little more luminance noise left in the GF1's images, thanks to the aggressive noise suppression, but also greater contrast. The green cast is noticeable, but will vary depending on the light source.
Here again, a little more luminance noise in the GF1 image, though it's also cleaner in terms of chroma noise.
The Nikon D's Mosaic rendition is a little more photographic looking, with more richness in color as well. The Nikon D handled the tough red swatch better than any others as well. Detail comparison. An ISO 1, comparison is only so helpful; a camera's ISO performance is also of value, as is its ISO 3, detail, so I've pitted the same set of cameras against each other in the high-contrast detail department.
I'd still put the All three show evidence of edge enhancement around the letters, though. I also give the slight edge to the T1i at ISO 3, Though the image is hazier, it retains more of the color of the red letters, and more salvageable separation between the lines inside the letters, like inside the L in Lager. Bear in mind that the T1i also beat out the Also consider that this test is not independent of lens quality, focus errors, and other variables, so again take this mostly as a comparison of what each camera was able to do with the best standardized optics we could muster.
The GH1 used its mm kit lens. I and so many of my colleagues in this business have been calling for at least one of the major camera manufacturers to give us this kind of small digital camera: a digital-only design with an interchangeable lens system, something we're calling "SLD" for Single Lens Direct-view.
After a long wait and many compromises and disappointments we get not just one, but two manufacturers delivering two quite compelling solutions. And the best part? They're relatively compatible with each other, since both are Micro Four Thirds designs. With as much as Nikon and Canon have invested in their systems and lens lines, it's starting to seem unlikely that they'll follow anytime soon.
The Panasonic GF1's faster autofocus makes it a better choice for journalists and people with kids, though those shooting JPEGs will have to be careful about the yellow and orange performance. Olympus's E-P1 has considerably slower autofocus, though we didn't notice it much until we set the camera in front of our timing test bench. This autofocus difference, though, really becomes noticeable when you try to focus while shooting video, and it's not just the Olympus camera, but the Olympus lens that perturbs the focus much more dramatically, while the 20mm Panasonic lens we tested was both tame and quiet while refocusing.
We're hoping that this will prove true with the rest of Panasonic's lenses, and that Olympus can somehow update their firmware to improve their focus speed. What's absolutely clear is that Panasonic and Olympus have identified and quickly exploited a niche in the market.
Much like the Netbook in the computer space, the Micro Four Thirds camera comes at an ideal time, offering a compact solution for quality imaging. They're not quite as inexpensive as Netbooks, but many of the peripherals seem priced for the market. Possessing nearly everything you want in a digital SLR with the convenience of a smaller digital camera, the Panasonic GF1 is the most refined of the new category of small, interchangeable-lens digital cameras.
Its small size allows it to fit into very small bags or briefcases along with an accessory lens, but its large sensor size and interchangeable lens design means you're not sacrificing image quality or versatility by leaving the SLR behind. Just like most pocket digital cameras, the Panasonic GF1 has no optical viewfinder; it's Live View all the time, so framing stills seems natural to the upgrading user. And video is just a button press away, because the GF1 has its own Record start button right next to the shutter release.
An optional Electronic Viewfinder EVF mounts in the Panasonic GF1's hot shoe for those shooting in bright daylight, or who just like to shoot that way. The Panasonic GF1's build is tight and compact, and the design fits right in with several of Panasonic's recent, very popular enthusiast digital cameras, namely the LX3 and ZS3.
It's extremely handsome hanging from its black, red, and white neckstrap. Performance is quite good, with the Panasonic GF1 shooting as fast as some digital SLRs in the shutter lag department, and image quality is also quite impressive, with ISO shots comfortably turning out 13xinch prints.
We found the continuous shooting mode to be a little slower than the company's stated 3 frames per second, there's a slight bauble in the yellow and orange color rendering with JPEG files, and dynamic range could be better, but overall the Panasonic GF1 really impressed us.
For certain, though, the Panasonic GF1 isn't the ideal choice for sports photography, because the lack of an optical viewfinder makes subject tracking and framing so difficult. Optical quality is no small part of the Panasonic GF1's high image quality. Both kit lenses look very good in our shots with excellent corner-to-corner sharpness, and they also test well on SLRgear. Their build is tight, distortion is low, and their focus performance is smooth and fast. We were also impressed with the Panasonic GF1's Auto White Balance performance, as it most often picked the right setting as we moved through different lighting scenarios, outperforming most digital SLRs in this respect.
HD movie mode likewise turned out good video quality, and we liked the ability to shoot in aperture priority mode as well, something only a few digital SLRs offer.
We missed the shutter speed option, though, and the ability to record stereo audio with the mic or an external mic. Though it's weak, we also like the inclusion of a flash to fill in when needed, as well as the hot shoe for mounting an external flash.
However, the Panasonic GF1's low light mode is good enough that we're not sure we'd use the flash much, as we didn't often need it in our personal and gallery shooting. The high ISO performance is just so good. Overall, the Panasonic GF1 is an extremely good camera for such a small package, recording impressive detail thanks to its quality sensor, image processor, and fine optics. While we'd never say it's for everyone, the Panasonic GF1 will be irresistible for many of our readers; and it's a sure Dave's Pick.
GF1 vs GX GF1 vs M1. GF1 vs A GF1 vs E-PL8. GF1 vs E-PL9. GF1 vs GX8. GF1 vs X-E3. GF1 vs E-PL GF1 vs G7. GF1 vs X-A3. Imaging Resource rating 4. We used the default Standard Film Mode throughout our tests and found it delivered a natural-looking, if slightly restrained style to its JPEGs; interestingly the default JPEG output from the Olympus E-P1 applies noticeably greater sharpening and contrast.
If you want punchier output from the GF1, choose one of the other Film Modes, or boost the settings as desired. The GF1 also offers an Intelligent Exposure mode which adjusts the contrast to balance scenes with extremes of brightness.
When testing the earlier Lumix G1, we found this setting made little effect, but we repeated the test on the GF1 with our standard indoor Church shot which contains dark shadowy ceilings and brightly backlit windows.
Above you can see samples complete with Histograms showing the same composition taken with Intelligent Exposure Off, then set to its maximum High option — and as you can see, the two images look essentially identical.
Certainly there was no brightening of the dark areas or greater protection for those which had become saturated. Of course you may enjoy greater mileage with different subjects. Finally, the GF1 also applies a number of in-camera optical corrections, including the reduction of coloured fringing on JPEGs. AVCHD also has the major benefit of recording until you run out of memory, in theory allowing you to record hours of uninterrupted footage given a big enough card.
But a second shy of half an hour still gives you much more flexibility than eight minutes of Motion JPEG, so why would you bother with the old format? In a word, compatibility. Another difference worth noting between the two formats is their location on the memory card itself.
Either way, just remember to copy the MTS files out of this folder before reformatting your card. The GF1 offers two ways to start recording: you can either press the handy red button on top of the camera at any time, or turn the main dial to Motion Picture P mode. To be fair, the GF1 also lets you display the movie aspect ratio and remaining time when shooting stills if preferred, but most will have the screen showing the photo aspect ratio and remaining shots instead.
The second advantage to using the Motion Picture P mode is having control over the depth-of-field. The downside to filming with this lens on the GF1 though is lack of stabilisation, which resulted in a few wobbles during our tests, especially so under the very windy conditions of the sample clip shown below.
As always, we recommend using VLC for playback under Windows. In terms of recorded detail, both formats were roughly the same, although interestingly the Motion JPEG footage had more sharpening and contrast applied for a punchier result. As such the AVCHD footage looked more natural, although the choice between them again mostly lies between compatibility and file lengths.
Once again you can see some more samples in our HD compilation. With Continuous, Bracketing or Self-timer selected, the options change in the super-imposed Q. The GF1 offers the same two continuous shooting speeds as the G1 before it: Low speed shoots at 2fps, while High speed shoots at the maximum rate of 3fps.
So in terms of continuous shooting speed, the GF1 may perform slightly slower than quoted, but roughly matches the speed we measured from the Olympus E-P1.
They all still feature physical shutters, so the sound you hear when shooting photos is real and not a recording. It is a little quieter than the sound of a traditional DSLR taking photos, but not by a great deal. Both the Gf1 and E-P1 share similar volume in this regard. All words, images, videos and layout, copyright Gordon Laing. May not be used without permission.
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