Panasonic GF1 Review: With the Lumix DMC-GF1, Panasonic brings a compact system camera

With the Lumix DMC-GF1, Panasonic is also introducing an ultra-compact system camera similar to the Olympus Pen E-P1 in the Micro-FourThirds system. With a similar size, the Panasonic brings along some of the features that are missing on the E-P1. For example, an integrated flash or the possibility of attaching an electronic viewfinder. Only with the image stabilizer, the GF1, unlike the Pen, which has a sensor shift image stabilizer, relies on lenses with optical image stabilizer. Otherwise, the GF1 largely corresponds to a Lumix DMC-GH1 that is slightly shrunk in dimensions, sensor and video resolution.

Brief assessment

Pros

• Built-in pop-up flash despite small size
• Overall still good picture quality
• High functional range with relatively simple operation
• Fast autofocus with super-fast shutter release delay
• High-quality processing with noble, simple design

Cons

• Screen reflects too much
• Strong, structured noise above ISO 800
• Low input dynamic range and too high black level in the output dynamic

The design of the Panasonic Lumix DMC-GF1 is very simple and elegant in contrast to the retro Olympus Pen E-P1. This is a matter of taste at first, but owners of the Olympus Pen E-P1 can become jealous at the very latest when looking at the equipment details: The GF1 offers not only a built-in flash, but also a higher resolution screen and optional electronic viewfinder. The Panasonic even reaches DSLR level in terms of autofocus speed. As an ultra-compact system camera with interchangeable lenses, the GF1 appeals to both SLR owners and compact camera users.

The metal housing of the Lumix DMC-GF1 is visually very similar to the Lumix compact cameras such as the DMC-LX3. The GF1 is not only available in elegant black, but also in titanium silver, mother-of-pearl white and red. The case measures only 119 x 71 x 36.3 mm in size and weighs a mere 285 g. The lithium-ion battery has an ID security chip that prevents third-party batteries from working with the GF1. So you are dependent on original propietary products from Panasonic. The battery has a voltage of 7.2 V and a capacity of 1,250 mAh, which is enough for 350 shots according to CIPA standard measurement procedures. Although outward appearances should not be neglected, it is the inner values that count. This is exactly where the GF1 can score points. It comes with a 12 megapixel resolution LiveMOS sensor (unfortunately not a multi-format), which takes photos in an aspect ratio of 4:3. If you switch to 3:2, 16:9 or 1:1, you lose a few pixels of resolution and also a little bit of picture angle. Image processing is handled by the powerful Venus Engine HD image processor.

Photos can not only be exposed manually or semi-automatically, but also automatically. The GF1 draws on the entire arsenal of Lumix compact cameras, which Panasonic has to offer: on the one hand, the intelligent automatic and the subject automatic, which selects the appropriate subject program based on typical subject characteristics. But there’s also a smart ISO function that takes into account not only lighting conditions but also subject movement when selecting the sensitivity to prevent motion blur, automatic contrast adjustment for particularly bright subjects, and of course face detection. The camera can also memorize certain faces, and the photographer can also enter the names and dates of birth of the person in question so that they appear on the screen or can be filtered for during playback.

The same intelligent functions, including face recognition (without recognition), also work with the video function. It records with a maximum resolution of 1,280 x 720 pixels. Storage is optionally in Quicktime Motion-JPEG with 30 fps, whereby the video length is limited to a file size of 2 GBytes. Alternatively, AVCHD Lite can be selected as the storage format. Then the memory size limitation of 2 GBytes is removed and replaced by a recording time limitation of 29 minutes and 59 seconds. The refresh rate is then 50p. The sound is picked up by the integrated mono microphone, whereby wind noise can be filtered out. Unfortunately the GF1 does not have a microphone connection.

The rear screen is 3″ (7.6 cm) in size and has a resolution of 460,000 pixels (approximately 480 x 320 pixels). Those who prefer to look through a viewfinder can purchase one as an accessory. It is plugged onto the hot shoe and makes digital contact with the camera via an interface below. The DMW-LVF1 external viewfinder has a resolution of 202,000 pixels and is equipped with dioptre correction and a folding mechanism so that it is possible to view not only from behind, but also in all intermediate stages up to a view vertically from above. Like the screen, it offers a 100% field of view. The price of the plug-on viewfinder is around EUR 230.

In addition to the viewfinder, the GF1 stands out from the Olympus Pen E-P1 mainly due to the integrated flash unit. It opens mechanically to the left of the hot shoe, but has a guide number of 6, the shortest flash sync speed is 1/160 second. The contrast autofocus of the GF1 has 23 measuring fields and works extremely fast (approx. 0.3 s with 14-45 mm lens). It is dependent on a light value of at least 0 to be able to work. Underneath it there is an auxiliary light at his side. The GF1 is on the market since October 2009. The case should cost 650 EUR in black only. In the set with the 14-45mm zoom, the price climbs to 850 EUR, then in all four colours.

 

Panasonic Lumix DMC-GF1 with Panasonic Lumix G 1.7 20mm ASPH [Photo: Panasonic]

Ergonomics and Workmanship

The design of the Panasonic Lumix DMC-GF1 is rather simple, but looks all the more elegant. It is very similar to compact Lumix digital cameras such as the LX3. The housing is made of metal and is precisely processed. Due to the flat design without a pronounced handle, the camera body is extremely compact, only the attached interchangeable lens gives a hint of the system camera character. In terms of dimensions, the GF1 is as compact as its Olympus counterpart, the E-P1 pen. If you want to show off a little color instead of the noble matt black, the GF1 is also available in mother-of-pearl white, red or titanium silver.

The ergonomics of the GF1 are slightly different from those of a camera with a pronounced handle. It is not suitable for one hand, the second hand should always support the camera either on the lens or the left side of the housing, which still offers enough room for the fingers. Except for a non-slip plastic piece for the thumb on the back, there are no elements that increase grip. Nevertheless, the GF1 sits quite well in the hands, which is not least due to its balanced weight (approx. 345 g without lens) and the extremely solid looking case.

Most of the controls are easily accessible with the right thumb, only the mechanical flash opening, the bayonet release and of course the lens controls (zoom ring, focus ring and image stabilizer switch) can be operated with the left. Even though the buttons are not too big, they have a good pressure point and are easy to “feel”. However, this is less true for the thumbwheel. It’s a bit too deeply sunk and not handy enough, it looks a bit cheap in contrast to the rest of the camera. Very smart, however, is that you can press the wheel to change its function (for example, from aperture to exposure time).

On the left side of the housing there is a plastic flap, behind which there are three interfaces for remote release, HDMI and USB/AV-Out. On the underside of the case there is a metal tripod thread in the optical axis and a flap behind which the battery and SDHC memory card slot are concealed. However, when mounted on a tripod, this flap is blocked. The battery with its 7.2 V and 1,250 mAh is sufficient for about 350 recordings according to CIPA standard measurement procedures. It is equipped with a security chip that is interrogated by the camera – i.e. only original batteries from Panasonic work, which are quite expensive at 70 to 100 EUR. The power supply via a power supply unit is indirect via a battery dummy and a recess on the battery compartment through which a cable can be led.

The rear 3″ (7.6 cm) screen is a real feast for the eyes. It has a fine resolution of 460,000 pixels and an aspect ratio of 3:2. The reflective protective screen makes the colour display look very brilliant, but in bright environments, the reflections have a negative effect. It is sometimes difficult to read the monitor image at all instead of the mirror image – especially if you look at the display at an angle when shooting close to the ground or overhead. Although the GF1 does not have a built-in viewfinder, it offers an electronic plug-on viewfinder as an accessory for about 230 EUR. This is plugged onto the hot shoe and is connected electronically to the GF1 via a special socket on the back of the camera. The viewfinder can be conveniently swivelled up to 90° upwards, so that it can be easily viewed from many perspectives. The resolution is not too high with 202,000 pixels, but the “gap” (space between the pixels) is very small, so that a quite homogeneous image is obtained. With a magnification of 0.52x, based on 35 mm, it is not particularly large, but it can easily stand comparison with the viewfinder sizes of entry-level DSLRs. However, the eye distance is quite small with 13 mm, so that even without glasses there are shadows in the corners. With glasses you have no chance to see the viewfinder image. Fortunately, the dioptre compensation is quite generous with +/- 4 dpt. Switching between the viewfinder and screen is done with a button located on the right side of the viewfinder.

 

The GF1 does not compromise the quality of the live image – whether in the viewfinder or on the screen. The refresh rate is very high with sufficient light, you can almost not see any drag or wipe effects when panning. Even in low light, you still have a reasonably reasonable live image. The menus are very classic – if you know one Panasonic, you know them all. It is clearly legible, has a modern look and does not require any unnecessary gimmicks. The range of settings varies depending on the selected program. For example, the menu is very clear in “intelligent automatic” (iA) mode, but in the creative programs P/A/S/M it is very extensive and leaves little to be desired. Beside the menu and the numerous direct selection buttons, there is also a quick menu in which one jumps directly to the parameters displayed in the live image in order to change them. It could not be more intuitive or simple. Of course, this does not absolve the user from knowing the basic photographic functions, without which the settings are sometimes of little use.

 

On the display the user can show information such as a histogram or grid lines. The AE Metering Preview and the live histogram, on the other hand, only deserve their names in automatic or semi-automatic exposure, whereas in manual exposure mode the monitor image is not adjusted to the selected exposure even when the shutter-release button is pressed halfway.

Equipment

Two different user groups are equally addressed by GF1. Numerous “help snippets” support the beginner in his handling of the GF1. This includes the intelligent automatic system from Panasonic, which you can rely on very well. It not only selects the appropriate scene mode (such as portrait, landscape, macro, or sports) based on the subject composition, but also detects subject movement, allowing you to adjust sensitivity to prevent blur and reduce motion blur. Intelligent Contrast Control, on the other hand, detects high-contrast subjects and makes the otherwise black shadows more vivid and detailed. Even the optical image stabilizer in the lens is controlled by the automatic. In addition, an orientation sensor recognizes whether you are shooting in portrait or landscape format, stores this information in the image, and so the images are correctly rotated during playback.

Those who like to be a little more creative will find electronic gadgets such as various film effects or color modes. The latter have even been given their own position on the program dial, so you can give the images a very individual expression such as “Expressive”, “Monochrome”, “Silhouette” or “High Contrast”. It is also possible to define your own effects, which can then be saved. Personalization goes further with two user programs, where you can save your personal recording settings and recall them directly via the program dial. In addition, there is a self-assignable “My Menu” for saving frequently used menu functions so that you don’t always have to search for them. You can even put a function on the Fn key, but you are limited to one of eight choices. For example, the film mode, the exposure metering method or the aspect ratio can be stored here. Since the GF1 only has a “normal” 4:3 image sensor, pixels are cut off depending on the set aspect ratio. One has the choice between 4:3, 3:2, 16:9 and 1:1 and the angle of view narrows a little in the diagonal.

But the GF1 not only records photos, it can also film videos. As an alternative to the outdated Quicktime Motion JPEG, the AVCHD-Lite standard is used, which is already known from other Panasonic digital cameras and even more so from the world of camcorders. This is worthwhile not only in terms of image quality, which is slightly higher than with Motion-JPEG, but also in terms of memory consumption, which is lower thanks to effective MPEG-4 compression. But the biggest achievement is the breaking of the 4 GBytes file limit of FAT32. This means that you are no longer limited in length by the file system when filming, but by the European customs. This classifies cameras as camcorders that are expensive to declare if they record at least 30 minutes of film in high quality at a time. Therefore the GF1 stops recording just before reaching the limit and you have to start recording again. However, the sound recording only works in mono via the built-in microphone above the lens bayonet. However, thanks to fast automatic focusing and manual zoom, both functions are possible during video recording.

In addition to the video capture button on top of the camera, which can also be used to start a video capture in any photo program, there is also a special video mode on the program dial. Although the aperture of the lens cannot be directly influenced, you can determine on a scale whether the background should be in focus or out of focus. Here, the creativity of experienced users is somewhat slowed down. Effects such as monochrome or the colour filters are also available during video recording.

In the photo mode, a continuous shooting mode is just as much a part of the equipment as bracketing or self-timer. The mode is conveniently set by a mechanical switch at the front underneath the program selector wheel. The mechanical pop-up built-in flash is difficult to identify at first sight and clearly distinguishes the GF1 from the Olympus competition. With a measured guide number of 8.7, it is sufficiently strong to brighten up nearby objects or illuminate smaller rooms. Here, automatic flash, fill-flash, long flash sync, red-eye reduction, and second curtain sync are available. Unfortunately, the flash cannot open automatically even in the automatic mode, so that this has to be done manually. Advanced users can find flash exposure compensation in the menu. For a system camera, the system hot shoe, where Olympus and Panasonic flashes can be attached, is a matter of course. Unfortunately, the internal flash of the GF1 does not have wireless flash control. A small drop of bitterness is the rather slow flash sync speed of only 1/160 s, which is due to the purely mechanical shutter in the photo function. This limits the brightening possibilities in very bright environments, as it is not possible to work with the aperture wide open. Only an external flash with high-speed synchronisation can help here.

Lens

Micro Four Thirds can – only one year after its introduction – offer a choice of eight lenses in total. In addition to standard, telephoto and super zoom, there are pancakes, a macro and an ultra wide angle. Additional lenses such as a wide-angle pancake, fisheye and a larger telephoto zoom focal length have been announced for 2010. The small flange focal distance (distance bayonet sensor) of Micro Four Thirds (approx. 20 mm) not only allows a more compact design, especially with wide-angle lenses, but also unrivalled adaptation possibilities. Four-Thirds lenses are electronically compatible via adapter, depending on the lens even the autofocus works. All other lens systems from Leica M and R to Nikon, Canon, Pentax and Sony can be mechanically adapted and used on the GF1. Especially owners of Leica-M lenses should take a look at the Lumix. For all lenses, however, the focal length extension factor of 2 must be taken into account, since Micro Four Thirds uses a smaller sensor than the full format. The focal lengths of the offered Micro-Four-Thirds lenses are of course matched to it, and so the ultra wide angle ranges from 7-14 mm, which corresponds to 14-28 mm of 35 mm. In this combination, the GF1 achieves a compactness that DSLR owners can only dream of – and that with respectable imaging performance of this combination.

 

But it’s not only the compactness that makes many a DSLR owner green with envy, but also the autofocus speed. Focusing is by contrast autofocus, which is snail-slow on DSLRs. The GF1, on the other hand, can take on the fast phase autofocus of DSLRs and beats many an entry-level combination in speed. Focusing usually takes only 0.3 to 0.4 s. Against the shutter release delay of only 0.06 s, even many expensive DSLRs look old – with the GF1, no mirror has to be raised mechanically. The autofocus finds the sharpness surprisingly good even in dim light, in contrast to the Olympus Pen E-P1, which quit the service much too early in our test. In addition, the GF1 has a red AF auxiliary light, so that it can focus safely even in complete darkness at least up to a distance of about 4-5 m. The Lumix has 23 “virtual” AF points and detects faces, but the AF point can also be moved freely on the screen.

Manual focusing is also very easy thanks to the switchable two-stage magnification, which is particularly important for adapted MF lenses. This allows you to focus precisely on the spot – more precisely than with any optical viewfinder, no matter how good. With Panasonic, image stabilisation is achieved optically via the lenses. But this also means that, depending on the lens, one has to do without image stabilization. Olympus, on the other hand, relies on a movable sensor in the camera body to stabilize each lens. This system inconsistency regularly puts both manufacturers in need of explanation, for the user it is simply annoying.

Image quality

In terms of imaging performance, the Panasonic Lumix DMC-GF1, as a system camera with interchangeable lenses, has to put up with the comparison with DSLRs, even though it has the smaller sensor in relation to the APS-C or full format. Compared to compact cameras, the GF1 plays in a much higher league, because they use much smaller image sensors with corresponding disadvantages (image noise, diffraction blur, lack of cropping possibilities due to low depth of field). In the test, the Lumix had to prove itself both in the test laboratory and in practice, with the laboratory measurements being used primarily for objective comparability. In addition to the standard zoom, the 20mm pancake, an adapted 50mm macro from Olympus and the 7-14mm wide-angle lens from Panasonic were also measured in the laboratory. For this test, however, the image quality with the 14-45mm standard zoom is mainly relevant.

For a standard zoom, the resolution of the 14-45 mm at the GF1 is good, the edge drop is limited and is most pronounced at 14 mm. In the center of the image, the dimming does not increase the resolution, even at the edges of the image it hardly increases. The edge dimming, on the other hand, decreases significantly due to the dimming, especially in the wide angle, but is also not too strong when faded in. The vignetting in the outermost corners of the image shows a slightly spontaneous component that indicates a limitation of the image circle. But this is more of a cosmetic nature. The distortion is less than 1% at all focal lengths and is always barrel-shaped. The barrel shape corresponds to the natural view of the human eye and is only perceived at this height if straight lines run close to the edge of the picture. The low level of distortion suggests that the camera compensates for this, but given the measured resolution this has no negative effects. With these results, the 14-45 mm can be attested a very solid performance and open-fade suitability – neither of which can be taken for granted with a cheap standard zoom.

 

It becomes more critical when you take a closer look at the camera parameters. Up to ISO 800, noise is low and soft, but above that it rises sharply, and the noise reduction creates unpleasant structures. Color noise plays practically no role. From ISO 800 at the latest, the loss of resolution due to noise reduction also becomes visible. This is not a paraded discipline of GF1. The same can be said about the input and output dynamics. The input dynamic range is only average and too low compared to most DSLRs. Up to and including ISO 800, the Lumix can handle a maximum of 8.2 f-stops dynamic range, while at ISO 1,600 and 3,200 it drops significantly to 7.2 and 6 f-stops respectively. In addition, the GF1 has a black level that is clearly too high. The 255 available tonal value gradations are far from being utilized. The GF1 does not show true black, but this can be easily corrected in image editing, even by beginners (set black point or histogram compensation or auto tone correction). The tone value curve itself is surprisingly linear and therefore very neutral.

Sharpness is visible and increases from shadows to highlights, resulting in crisp detail, especially in the medium and bright areas of the image. However, this leads to slight white clipping or light-colored seams, which can be disturbing on larger prints. On the other hand, the crisp preparation of fine details leads to an increased occurrence of artifacts on fine structures, so that the GF1 is less suitable for object-exact reproduction. The compression, on the other hand, is well tuned again. The lowest compression setting results in visually lossless images in JPEG. The higher compression halves the file size, and individual compression artifacts may occur. However, this compression level can be used.

The GF1 behaves well during exposure. By measuring directly on the image sensor, it is very safe and well balanced, even in backlight situations the GF1 copes well. The same applies to flash exposure, which is also balanced. In addition, the photographer can check the live and playback histograms at any time and can adjust the exposure and flash output using exposure compensation to suit the conditions or the desired image effect. The white balance is also quite reliable, the only problem here is warm artificial light, such as from incandescent lamps or candles, which the GF1 reproduces quite warmly in the automatic mode, i.e. with a red-orange color cast. What is annoying here is that there is only one artificial light preset, namely halogen. With fluorescent light, the automatic system works reliably, but is not 100% controllable. Manual color temperature selection and fine correction are helpful here, but the GF1 is also capable of measuring, for example, a gray card for manual white balance.

Conclusion

There is simply nothing to criticize about the noble design, the high-quality workmanship, the relatively simple and clear operation and the extensive features of the Panasonic Lumix DMC-GF1. Although the Olympus Pen E-P1 has to admit to having clearly beaten the Olympus Pen E-P1 in terms of image quality, it still offers a high level of performance, but with room for improvement in details such as dynamic range, black level and noise at high sensitivities. In autofocus, on the other hand, the GF1 does not only depend on the pens, but also on some entry-level DSLRs – the pure shutter release delay is even at professional level. If you agree with the concept of Micro Four Thirds, there’s practically no getting around the GF1.

Firmware updates for the Panasonic Lumix DMC-GF1 and lenses: Version 1.3 and 1.4

Panasonic releases firmware updates for the Micro-Four-Thirds system in a big sweep. Both the Lumix DMC-GF1 and the five lenses Lumix G Vario 14-45mm/F3.5-5.6 Asph. OIS, Lumix G Vario HD 14-140mm/F4.0-5.8 Asph. OIS, Lumix G Vario 45-200mm/F4.0-5.6 OIS, Lumix G Vario 7-14mm/F4.0 and Lumix G 20mm/F1.7 will thus receive a newer software version. Not only has the autofocus been improved, but also the white balance, and there are new functions.

The Lumix DMC-GF1 receives its first firmware update with version 1.3. With the new firmware, a magnifying glass is now available for manually focused lenses – even adapted ones – that can be activated by pressing the rear control dial. Until now, the magnifier was only available for autofocus lenses in manual focus mode and faded in automatically as soon as you turned the focus ring of the lens. Other functions have been improved, according to Panasonic, including image quality in high-sensitivity shooting, automatic white balance, and the display of faces in the Portrait, Night Portrait, Baby and Beautiful Skin scene modes. The autofocus performance during shooting and the time/aperture combinations in the landscape and architecture modes have also been improved.

The firmware 1.3 for the lenses Lumix G Vario HD 14-140mm/F4.0-5.8 Asph. OIS, Lumix G Vario 7-14mm/F4.0 and Lumix G 20mm/F1.7 and the version 1.4 for the lenses Lumix G Vario 14-45mm/F3.5-5.6 Asph. OIS and Lumix G Vario 45-200mm/F4.0-5.6 OIS improves the autofocus during filming. With the new firmware, the autofocus finally works in FullHD (1920 x 1080) film mode (previously only up to HD 1280 x 720) on the 7-14 mm, 14-45 mm and 45-200 mm, and the aperture control of the 7-14 mm has also been improved during filming.

The firmware update can be downloaded by the user from the Internet and imported via the memory card. If you want to update the lenses on an Olympus camera, you can do this as usual using the OlympusMaster or OlympusStudio software. The update instructions on the website should be followed carefully (especially important: a fully charged battery). If you are not confident about the procedure, you should contact your trusted dealer or the manufacturer’s service department.

Panasonic Lumix DMC-GF1 data sheet