Panasonic Lumix DMC-G1

Change is in the air: while compact digital cameras have evolved rapidly in the past few years--so much so, in fact, that one of today's digital compacts has almost nothing in common with an analog compact from a few years ago--things have, until now, been moving more slowly when it comes to more advanced cameras with interchangeable lenses.

For a long time, the only way to tell digital SLRs from their film-based equivalents was the use of a digital sensor instead of film stock.

Panasonic's Lumix DMC-G1, however, the first camera to support the micro four-thirds standard (µ4/3), promises to bring a generational change to the world of digital SLRs.

The manufacturer's marketing machine has gone into overdrive, but does the new G1 actually deliver revolutionary results?

Handling

The first thing you notice is that the G1 has a relatively small case, but the grip is good and it doesn't feel flimsy.

If you're used to using one of Panasonic's bridges--like the FZ30 or the FZ50--then this will be familiar territory for you.

The large screen in 3:2 format has a decent resolution and can be turned in any direction, meaning you can get great viewing angles for shots at almost any angle.

On the top, a set of sliders control the focus mode (standard autofocus, continuous autofocus or manual) and the settings for burst mode.

A single button gives direct access to basic settings in each of these modes.

The traditional click wheel still controls the choice of scene mode, and allows you to choose 'iA' or Intelligent Auto as one of the options/

As with Panasonic's compacts, activating this setting allows the camera to judge the type of scene and choose the appropriate scene mode (portrait, landscape, sport, etc.).

In practice it works very well--so well, in fact, that we found we didn't even have to use the semi-manual modes much of the time.

Despite its insistence that it is moving on from traditional film-based technology, Panasonic has stuck resolutely with an old-fashioned system for controlling ISO settings.

We would have much preferred the Panasonic G1 to have a more well thought-out way of controlling film speed, like the Sv mode found on Pentax's reflexes.

One area in which Panasonic has been to stress the G1 has made improvements is its responsiveness.


One area in which Panasonic has been to stress the G1 has made improvements is its responsiveness.

Indeed, the manufacturer suggests that the G1 should be as fast as digital SLRs, but that's a rather ambitious claim.

Here's why: whereas an SLR uses phase detection to work out exactly where to focus, the G1--like any other compact--has to rely on measuring the amount of contrast in different areas of the frame.

To get around this limitation, Panasonic's engineers have doubled the frequency with which the G1 calculates contrast, as well as tweaking the algorithms used to calculate how far away the subject it is.

The results are amazing, and, as long as light levels are good, bear comparison with a simple digital SLR.

When light levels fall, the G1 looks even better next to SLRs, whose phase detection typically begins to wobble in low light.

The G1, though, keeps on focusing in under half a second in almost any conditions.

In burst mode, the comparison with a decent reflex camera also stands up. 

Nevertheless, the autofocus slows down a little in burst mode, especially if you ask it to refocus in between each shot of a burst.

It's an understandable failing, and one that it's hard to criticize the G1 for--especially as most of its intended users aren't professional sports photographers.

Image Quality

Given the hardware it's got, we weren't surprised to observe that the G1 took photos that came close to a regular 4/3 digital SLR.

Its handling of very short exposure times is a little behind some of the very best contacts out there (like the Nikon D90) but it remains reasonable all the way up to 800 ISO, and useable at 1600 ISO.

Things are a little less polished at 3200 ISO, where the noise manifests itself in the form of ugly strips across the frame.

In short, even if the G1 isn't up there with the most advanced 4/3 SLRs when it comes to these very fast film speeds, it walks all over other compacts.

What's more, excellent image stabilization allows you to remain at 400 ISO even when light levels are very low.


The colors the G1 produces are rather easy on the eye, giving bright, lively photos.

It can handle white balancing pretty well, and the G1 doesn't escape the general tendency of imaging equipment to produce photos that are a little too warm under incandescent light.

Under warmer lighting, things are a lot more natural.

The G1 vs. the Competition

Does the G1 actually have any direct competitors?

It's difficult to say, because, technologically at least, it's a pretty unique camera.

Its size makes it comparable with today's fixed-lens bridges, but it doesn't yet have the same amount of zoom--although a 14-140 mm lens will be on its way in 2009.

On the other hand, the G1 beats these cameras hands down in terms of image quality, noise handling and depth-of-field detection.

Looking at some of its other features, the G1's large sensor and interchangeable lenses (not to mention its price point) make it seem closer to some of today's entry-level SLRs.

But looking at is size and shape, it's abundantly clear that this isn't a reflex.

In a case this small, the light from the lens is falling straight onto the sensor with none of the complicated optics that are found inside an SLR.

The G1 also offers plenty of automatic settings that are likely to appeal to photographers who are used to a compact--but includes the ability to customize features that a compact could never even dream about.


By trying to make a camera that offers the best of both worlds, Panasonic has fundamentally reexamined many aspects of digital camera design to produce a quality product.

Nevertheless, we'd like to draw your attention to two weak spots:

• The first is a lack of video, which seems difficult to justify when the majority of modern SLRs do support it.  Naturally, Panasonic has sought to justify this decision, explaining that still photography and filming moving images are two very different technical challenges.  Autofocus in particular is hard to get right, but we're told that engineers are currently working out on smoothing out some of the practical problems so that the next µ4/3 camera can capture video.  It's certainly a shame that it wasn't ready in time, and we can't help but wonder if Panasonic might not have been wiser to wait six months or so before bringing a more complete product to market.

• The second problem is the inclusion of mechanical shutters, another surprising decision on Panasonic's part.  On a camera that is suppose to be the first of a new digital generation, it seems odd to rely on such old technology.  If an electronic shutter had been used (and Panasonic can't claim ignorance--they've used them elsewhere), then the G1 would be a much quieter camera.