Panasonic Lumix G1 Micro Four Thirds Camera Review

Posted on 01/16/2009

The Panasonic G1 represents a new frontier in digital photography, bringing high-end power to smaller, lighter bodies. By Joseph Ben Keough

Let's start with a short, declarative sentence: Panasonic's Lumix G1 represents a bold new step for the company, and for the digital camera market as a whole.

When their digital SLR models, the L1 and L10, failed to find an audience, Panasonic partnered with Olympus and went back to the drawing board. What they came up with is the vaunted "Micro Four Thirds" format, which refines the pre-existing Four Thirds format in an effort to reduce the size and weight of "interchangeable lens digital cameras."

I use that unwieldy phrase here because the G1, the first Micro Four Thirds camera to reach shelves, doesn't really qualify as a digital SLR. It's digital, yes, but it entirely lacks the SLR element—the single lens reflex mechanism and attendant optical viewfinder that have been the defining and crucial feature of interchangeable lens cameras since they were first developed. The G1 replaces it with a huge articulating rear LCD and a high-quality electronic viewfinder. Let me repeat: there is no mirror, no optical viewfinder… just an EVF. In essence, the two companies have created an entirely new breed of camera.

This leap naturally raises a number of concerns for camera enthusiasts:

1. 1. Viewfinder: To begin with, one of the best and most-loved features of digital SLRs and film SLRs before them has been their large, bright, and true-to-life viewfinders. How will the G1 fare as a high-end photographic tool with only an EVF to light the way?
2. 2. Autofocus: Perhaps the hottest topic when it comes to the new camera is its autofocus ability. Most dSLRs use a phase detection system, which is generally regarded as superior to the contrast measurement system used by the G1.
3. 3. Price-to-value: Finally, while it is positioned and marketed as an ideal camera for the point and shoot convert, the G1's price (MSRP: $799, but already well under $700 at online retailers) places it in a well-trod arena with competitors like the Canon Rebel XSi, the Nikon D40 and D60, and Pentax's K200D and K2000. Can it justify its cost in the face of such stiff competition?

Read on, and we'll find out.

Design and Ergonomics

The chief motivation behind the creation of the Micro Four Thirds format was to create interchangeable lens cameras that are smaller and lighter than standard dSLR cameras. The G1 certainly achieves this goal, but it must be said that it's not that much smaller than the smallest dSLRs out there, such as the Olympus E-420. However, place it next to a larger dSLR like the Canon 40D or the Pentax K20D and you can immediately see a significant difference. Perhaps the biggest change is not in the size of the body (which has to stay above a certain size threshold to fit the contours of the human hand) but in the size of the lenses. My test unit was equipped with the 14-45mm kit lens (2x crop factor, for a 28-90mm equivalent in 35mm film terms), which was enough to convince me that lenses in the new system will be smaller in all dimensions than those found on traditional dSLRs and film cameras.

The body has a very solid feel in-hand, with a pleasing density and good balance. It's got a wonderfully tactile feel thanks to a subtly rubberized coating on the plastic exterior. In general, the design is slightly boxier than most dSLRs, but still very ergonomically designed. The only real complaint I have about the layout is that the grip seems a trifle shallow at times, but issues like this will be difficult to avoid if your stated goal is to shrink the camera down.

The control layout is straightforward, but with fewer dedicated buttons and dials than you would typically see on dSLRs. The top of the camera features two dials. The one on the left controls the focus mode, allowing you to choose between AFS (autofocus single), AFC (autofocus continuous), and MF (manual focus, using fly-by-wire lens focusing). Manual focus works surprisingly well given the lack of range indicators on the lens barrel or the viewfinder. This means that you have to focus entirely relying on your eyesight, but this potential problem is given a big assist by the fact that when you use manual focus the EVF and rear LCD employ an 11x spot magnification to aid you.

On the right-hand side of the camera's top edge you'll find the mode control dial, the on-off switch, shutter release, continuous shooting toggle, and buttons for the Quick Menu and the oddly-named "Film Mode," which controls a variety of color modes (sepia, black & white, vivid, etc). The mode dial contains what would be an unusual number of modes for a dSLR, but we must remind ourselves that this is no ordinary dSLR. The modes are: iA (Intelligent Auto), P (Program), A (Aperture Priority), S (Shutter Priority), M (Manual), CUST (three sets of custom-programmable settings), My Color (allows adjustment of color, sharpness, and contrast), and SCN (Scene). The scene modes are actually broken up into two groups: five get dedicated mode dial settings and another five are accessible via the on-screen menu when the mode dial is set to SCN. A hot shoe in the center of the body completes the top side.

The back of the G1 is dominated by a huge 3.0", 460,000 pixel LCD panel, which can be conveniently flipped out and twisted around to be used in virtually any orientation you'd like (even completely backwards, for self-portraits). Above the LCD is the EVF, which is flanked by an LCD/EVF toggle, a playback toggle, and an AF/AE Lock button. To the right of the LCD is a Display button (which controls the information overlaid on the LCD), a four-way controller surrounding a main Menu button, and a Delete button below that. Each of the four-way controller buttons also doubles as a dedicated settings button. Starting from the top and going clockwise they are: ISO, White Balance, Custom Function (metering by default), and Autofocus Mode.

The battery compartment and lens-centered metal tripod mount are on the bottom side. On the left you'll find USB and HDMI outputs, while on the right is the SDHC memory card compartment. All of the doors and compartments feel relatively solid—certainly none feel like they'll snap off in a light breeze, as has often been the case with digital cameras.

Handling and Shooting Performance

The G1's shooting performance is stunning in many regards. But to begin with, I'd like to complement its handling. Shutter lag is basically non-existent, as it would be on a dSLR. I was surprised to find that, despite being mirrorless, the camera nevertheless has a physical shutter. The shutter release sound is a satisfying little click, quieter than most dSLRs, but much louder than a typical point and shoot. Continuous shooting mode performance is on par with the lower end of the dSLR market, averaging around 3 frames per second in its "high speed" mode. The camera can shoot continuously in JPEG, RAW, or JPEG+RAW.

Now we come to the most intriguing aspect of the new system—complete reliance on contrast detection autofocus. Shockingly, Panasonic seem to have excised all the bugs that have traditionally plagued this technology, and the AF system works nearly flawlessly. In good light it feels instantaneous, and in dim light it performs better than some dSLRs I've used. It never seems to hunt and give up on finding focus—at worst it takes about a second to lock on. Really, I can't get over how good it is.

Framing shots with the G1 is similarly painless. One of the big advantages of its total reliance on the LCD and EVF is that these views provide 100% coverage of the captured frame, as opposed to the ~95% coverage that typical dSLR optical viewfinders provide. Moreover, the G1 provides a customizable grid overlay for aligning your shots. You can choose the number of grid lines and where they're placed in the frame, or use the default options. The EVF's screen is something of a revelation, providing an unheard-of 480,000 pixel resolution and a jaw-dropping framerate of 180 frames per second. While it still isn't nearly as good as a pentaprism or pentamirror optical viewfinder, it is a huge leap relative to past EVFs and is extremely usable.

The Intelligent Auto mode is as good here as it is on Panasonic's point and shoot models, intelligently choosing between various shooting modes based on the subjects you're framing. In most cases, it produces excellent exposures. The camera's program, priority, and manual modes are excellent as well, providing just as much customizability as comparable dSLRs. You can even manually fine tune the RGB settings in custom white balance mode, for example. In short, the G1 should represent an extremely easy transition to advanced shooting for point and shoot users.

Playback is smooth, with virtually no delay when paging through the photos you've taken. Photos can be cropped and color-adjusted in-camera, which many point and shoot users will be familiar with. As on other Panasonic cameras, you can select a calendar view, which conveniently lets you see which shots were taken on which day.

Image Quality

In past reviews of their point and shoot cameras, I've gotten on Panasonic's case for a tendency toward high noise levels and aggressive noise reduction. I expected the problem to be lessened by the G1's larger sensor, and it turns out that my hopes were justified. The image quality the G1 produces is uniformly excellent up to ISO 800, whether shooting in JPEG or RAW. Beyond 800, things begin to get grim, but images taken at ISO 1600 and 3200 are still far, far more usable than their point and shoot counterparts. Images are slightly soft out of the camera by default, but that's not uncommon in dSLRs across the board. Sharpness can be adjusted in-camera, or, for better image quality, in an external photo editing program like Photoshop or Lightroom. I found these traits in the Olympus E-520 as well (See full review.

The kit lens provided with the camera is very good. It's sharp, contrasty, and doesn't seem to suffer from much barrel distortion at the wide end, pincushion at the telephoto end, or vignetting at the corners. Edge to edge sharpness appears to be very good, without soft spots at the corners. It's similar in range to the 18-55mm lenses provided in most dSLR kits. At the moment, the only other lens made specifically for the G1 is a 45-200mm telephoto zoom, which covers an effective range of 90-400mm. This is an extremely good reach, and reports are that it too is a very capable piece of glass. According to Panasonic, several more Micro Four Thirds lenses are coming to market, including a 7-14mm f/4, a 20mm f/1.7 prime, and a 14-140mm f/4-5.6 superzoom.

Lenses made for Four Thirds cameras may also work with the G1 and other Micro Four Thirds cameras that will eventually come out, but not all will be able to make use of their autofocus capabilities. They will also require an adapter that retails for $170. At the moment, the list of approved Four Thirds-mount lenses can be found here.

Conclusion

The Panasonic Lumix G1 is an impressive feat of engineering. It almost succeeds in making it feel natural to use a SLR-styled camera without an optical viewfinder. The size is, frankly, about as small as I think I'd want in a camera of this type—a nice bridge between the smaller dSLRs and the larger point and shoot superzooms (such as the Canon SX10 IS and the Sony DSC-H50). In some cases, it's actually smaller than the superzooms as well.

Image quality is excellent, considering the sensor size. Noise and noise reduction are well-controlled, and the camera produces punchy, well-exposed shots. Its automatic mode is ideal for those new to more advanced cameras, while its advanced modes have all of the depth of the other cameras in this price range.

Unfortunately, that price range may ultimately be the G1's Achilles heel—for the cost, many consumers may simply choose a full-fledged dSLR. Many popular models are at or below the G1's current shelf price, including the Pentax K2000 (aka K-m) and K200D, the Canon XSi, and the Nikon D40 and D60, and the Sony A300. While the G1's EVF performance is stunning in context, it's still inferior to a true optical viewfinder in many respects. And while it is indeed smaller than any dSLR on the market, it's not that much smaller. It also, perhaps crucially, doesn't offer a video recording mode. For a camera whose entire existence revolves around live view, this is a very odd choice. Finally, the small selection of available lenses may hamper the usefulness of the G1 to all but the newest neophytes to interchangeable lens shooting. It remains to be seen whether the public will judge Panasonic's experiment to be worth the cost.

Newer and cheaper models from Olympus and Panasonic (and perhaps even other manufacturers) are sure to come down the pipe in the near future. Panasonic has already made noises indicating that a successor to the G1, with HD video recording technology, will be available soon.