Panasonic GH1 Review

Panasonic GH1 Review: Micro FourThirds Panasonic Lumix DMC-GH1 with video recording

This Panasonic GH1 is a Micro FourThirds camera with a large image sensor and interchangeable lenses, which does not require a mirror and instead uses a high-resolution electronic viewfinder with LiveView – but the flexible swivel and foldable screen can also be used for image composition.

Brief assessment


  • Almost unlimited possibilities for adapting lenses
  • Consistently implemented LiveView with fast autofocus, flip/swivel monitor and excellent viewfinder
  • Multiformat sensor with image diagonal independent of aspect ratio
  • Outstanding video function


  • Protective flaps of the connections do not appear very high quality due to darker colour
  • Quite small buttons
  • Video recording button is easily accidentally pressed
  • Small selection of original lenses

At first glance, the Panasonic Lumix DMC-GH1 appears to be a G1 with video function, but there are a few more changes in detail. For example, the new oversized multi-format image sensor, which always uses the same image diagonal size with aspect ratios of 4:3, 3:2 and 16:9. The kit lens is also a new one that has been specially optimized for video recording. We were able to test one of the very first production models.

The biggest difference to the smaller sister G1 is certainly the video function, about which there has been much speculation. It records in FullHD (1,920 x 1,080 pixels) at 24 or 25 frames per second. If the resolution is reduced to HD (1,280 x 720 pixels), the GH1 can even achieve 50 or 60 frames per second. All this with stereo sound – optionally with an external microphone – and in AVCHD format, which is also used as a quasi-standard in camcorders from Sony and Panasonic. But with this, the movies are no longer playable as single files directly on the PC. Instead, one needs a real video editing software or the included program Photofunstudio HD in order to view, edit and convert the video files. AVCHD uses MPEG4/H.264 compression. The frame rate depends on the mode used: PAL is 25 full frames per second (25p) in FullHD, 50 full frames per second in HD. However, FullHD saves in 50 fields per second (50i). If, on the other hand, the camera is set to NTSC, slightly different frame rates will result. With FullHD, 24 full frames/s are then recorded (24p) but stored as 50 fields (50i), with HD resolution this results in 60 full frames/s (60p) both during recording and storage. NTSC can be set in the United States. According to Panasonic, however, only PAL can be set for models available in the European Union, something that I could not test, of course.

However, the GH1 is still primarily a photographic camera. The LiveMOS sensor has a physical resolution of 14 megapixels. It is an “oversized” multi-format sensor, which means that no matter which aspect ratio is chosen, the diagonal and therewith the viewing angle always remains the same. 12 megapixels come out at an aspect ratio of 4:3. Alternatively, the aspect ratios 3:2, 16:9 or 1:1 can be selected. But in the latter case, the image angle wanders a little in the tele direction, as the 1:1 aspect ratio is not covered by the multi format sensor. Image stabilization is done in the lenses, although Panasonic is initially only selling the GH1 together with the new 14-140 (see further links), which has been specially adapted to the video recording function – especially the autofocus is also adjusted.

Two highlights of the GH1 are the viewfinder, which resolves 800 x 600 true color dots (1,440,000 pixels), and the 3″ (7.6 cm) screen, which takes it to 460,000 pixels. The viewfinder offers not only dioptric correction from -4 to +4 dpt., but above all a particularly large viewfinder image with a magnification factor of 0.7x relative to a 35 mm camera and is thus similar in size to full-frame DSLRs. The screen, on the other hand, offers the photographer maximum flexibility by being foldable and pivotable. So self-portraits, overhead shots or pictures close to the ground are no problem at all. In addition, the monitor can be folded with the sensitive side facing the camera for protection.

In addition to program auto, semi-automatic with aperture or shutter speed selection, and manual exposure mode, the GH1 also offers subject programs including scene auto and face detection – the automatic modes are also available in video mode, by the way. Other “intelligent” automatic features at Panasonic ensure that the Image Stabilizer is optimally controlled, that high-contrast subjects are reproduced with good definition in both highlights and shadows, and that the camera detects when a subject is moving quickly so that it can set a correspondingly fast shutter speed for a photo without motion blur. The camera increases the sensitivity in a range from ISO 100 to a maximum of 3,200.

In addition to lenses, flashes and microphones, the accessories include a remote shutter release, a power supply unit or, via HDMI, a television. If it’s from Panasonic and has the Viera-Link technology, you can even control the camera with the TV remote control. For the time being, the GH1 will only be available together with the 14-140mm lens. The set is available since 2009 and was sold for around 1,550 EUR at market launch more than ten years ago, with the lens alone worth 900 EUR.

Ergonomics and Workmanship

Panasonic provided us with a Lumix DMC-GH1 from the very first serial production for testing. Interestingly enough in champagne gold, a case color that is not supposed to be launched in the United States. Instead, the camera is available in black or blue. The workmanship of the small housing is first-class, the soft-touch surface conveys a very smooth feeling and is also slip-resistant. Friends of small cameras will be delighted with the housing dimensions, especially since the ergonomics are still very good thanks to the handle. However, people with big hands don’t enjoy the compact case and the partly quite small buttons, which are scattered all over the case, so that you need a good fine motor skills to avoid problems during handling. Whether the video recording button at the top right of the back of the case was placed conveniently is debatable. Although it is easy and quick to reach, it is also often operated by mistake. Fortunately, you can also simply turn off the button in the menu.

Unfortunately, the good workmanship and especially the nice finish is clouded by one detail: The rubber protection flaps of the connectors have a different surface shimmer due to their material, which differs from the case, so that the color slightly differs from the case’s color. This disturbs the demanding and spoiled eye especially with the coloured versions, but less so with the black one. The variety of interfaces, however, is to be welcomed. There’s a true digital HDMI connection, and if you have a Panasonic TV with Viera-Link, you can even control the camera with the TV remote control. A suitable HDMI cable must be purchased separately, though. The picture quality during playback is breathtaking. There is also a classic AV output with the included special cable (video signal and stereo sound), which can be set to PAL or NTSC. In the same connection, the attached USB cable also fits in case one does not want to transfer the images to the computer by card reader. A further connection with a jack plug is optionally intended for the optional cable remote control or an external microphone. There is no AC adapter connection directly provided, but there is a rubber flap at the battery compartment, so that a battery dummy with cable can be inserted to supply the camera with power.

The battery compartment on the underside of the camera accommodates the powerful 9 Wh (7.2 V and 1,250 mAh) Li-Ion battery, which provides energy for around 300 pictures according to the CIPA standard measurement procedure (120 minutes of video recording with AVCHD SH). This is less than in the G1, which is probably due to the more powerful processor and the “more” of energy-hungry functions. The tripod thread is made of sturdy metal and is arranged in the optical axis. But due to the small camera size, it is very close to the battery compartment, so that – depending on the used tripod and/or removable plate – it is not possible to remove the battery. The memory card compartment, on the other hand, is located on the right side of the camera so that it remains accessible. It’s best to insert a fast SD or SDHC card, preferably a speed class 6 card, because FullHD videos require a constantly high write rate.

Two highlights of the GH1 are the monitor and viewfinder. As a Micro-FourThirds camera, the GH1 does not need a oscillating mirror, so it relies fully on LiveView with an electronic viewfinder. The latter has a resolution of 1.44 million pixels, which corresponds to 800×600 true color pixels. In addition, the viewfinder is as large as that of a full format SLR camera. The dioptre correction covers an enormous range from -4 to +4 dpt. You still look at an artificially created image, but it comes closer to a reflex viewfinder than any other electronic viewfinder, and above all you can hardly make out a pixel grid. In particular, there are advantages such as white balance preview, exposure preview, live histogram, menus in the viewfinder, fade-in grid, and also image playback in the viewfinder. Very useful is the proximity sensor, which turns the viewfinder on and the monitor off.

Equally impressive is the 3″ (7.6 cm), 460,000 pixel resolution, hinged and swivel monitor, which allows shots from the most impossible perspectives without the photographer having to dislocate or roll on the ground. By the way, it has a 3:2 aspect ratio, whereby – depending on the adjusted aspect ratio – black bars appear at the top and bottom of 16:9 or at the left and right of 4:3. By the way, the camera can automatically adjust the monitor brightness based on the ambient light, which is very practical.

In terms of the operating concept, the GH1 has no need to hide from any other system camera. Many direct dial buttons (e.g. white balance, sensitivity, or color mode) are provided, as well as the programmable Fn button, the continuous-advance drive mode selector, and a quick menu that allows direct adjustment of the parameters displayed on the monitor. The program selector wheel has a generous 14 positions including user memory, and the obligatory setting wheel on the handle is also available. It can not only be rotated, but also pressed to change its adjustment function, e.g. from aperture to exposure time.


The Panasonic Lumix DMC-GH1, which is virtually packed with functions, is aimed at both beginners and advanced users. First and foremost, the (intelligent) automatic functions that make the user think straight away. The camera not only selects the appropriate scene mode, recognizing whether you are taking portraits, landscape, sports, night or macro shots, but also the optimal setting of sensitivity (depending on light and subject movement), aperture and shutter speed. It also detects high-contrast scenes and adjusts the tone curve to get as much detail as possible in highlights and shadows, while low-contrast scenes with more contrast are reproduced more crisply. The camera also automatically detects portrait format shots thanks to the position sensor.

Impressive is the advanced face recognition function with recognition. It is possible to register individual faces with name and date of birth. Then, during recording and playback, the camera shows who was recognized and how old they are – to the year, month and day. The playback function can even be limited to recognized faces. The registered persons can be prioritized, so that e.g. the grandmother on her birthday party has the highest priority and is always shown sharply in the photos, no matter how many other people are in the photos.

Those who like to determine how the camera records photos themselves will find extensive setting options. From sensitivity, which can be selected in 1/3 EV increments from ISO 100 to 3,200, to exposure time and aperture, everything is manually adjustable. The GH1 can handle bracketing as well as continuous shooting, although here the GH1 is slightly slower than the G1. Those who like to shoot in other colour schemes than the neutral one can let off steam with the film simulation modes, where for example black and white, sepia or vivid colours are available.

The flash functions have numerous setting options. Whether you want to work automatically, manually forced, with pre-flash or with long-term synchronization is up to you. In addition, the flash can be fired at the end of the exposure (second shutter curtain) instead of at the beginning, and the flash output can also be changed by correction. What is missing, however, is a manual flash control, which would also make the measuring pre-flash superfluous. A wireless ignition of external flashes is also not planned, but at least there is a standard system hot shoe with which flashes from Panasonic or Olympus work best, others can only be triggered by a center contact.

But the most outstanding feature of the Lumix DMC-GH1 is the video function. Above all, amateur film-makers who are looking for creative leeway should also be very attentive. Interchangeable lenses and such a large sensor, which allows the play of selective sharpness, as well as FullHD resolution and tracking autofocus during shooting are nowhere else to be found in this price range. Thus, extreme wide-angle shots are no longer a problem with the 7-14 mm, but with the 14-140 mm, especially in the telephoto range, a subject can be perfectly clear of the background. The camera offers almost all creative photo functions in video mode, such as control of aperture, sensitivity and shutter speed. Values that have a considerable influence on the videos and can produce interesting effects. The built-in stereo microphone is equipped with a digital wind filter, but if you really want to film in high quality, you should get the external, forward-facing microphone, which is simply plugged onto the hot shoe and, unlike the built-in microphone, which is directed upwards, picks up the sound directly from the subject. Face detection, autofocus and manual focus are available during video recording. The AF is practically inaudibly quiet, especially with the 14-140mm lens. The maximum video resolution is FullHD 1,920 x 1,080 pixels, but lower resolutions are also possible. In FullHD the camera records in the quasi-standard of the camcorder world – AVCHD – with a recording time per video (in the European Union only) limited to 29:59 minutes. Quicktime Motion-JPEG videos are also possible up to 1,280 x 720 pixels, which then end up on the memory card as individual files as usual. Here the size of the video file is limited to 2 GBytes due to the system (FAT32 file system), which corresponds to a length of 8:20 minutes for HD videos. Depending on the mode, the camera records 25 (FullHD in AVCHD), 30 (Quicktime) or 50 (HD in AVCHD) frames per second – again, these figures only apply to the European PAL version of the GH1. A simple video editing software is of course supplied by Panasonic.


The Panasonic GH1 belongs to the new Micro FourThirds system. It is similar to the normal FourThirds, uses the same sensor size (focal length extension factor 2.0), but has a much smaller flange focal length, which allows both a more compact camera and more compact lenses – especially in the wide-angle range, as Panasonic impressively demonstrates with the new 7-14 mm, which is significantly smaller than its FourThirds counterpart from Olympus. But the new system also has the disadvantage that it is new and the choice of lenses is currently limited to four models. A little annoying about the system is that Panasonic, in contrast to Olympus, which stabilizes the image sensor, relies on image stabilization in the lens, but doesn’t equip all lenses with it. Thus, in case of the 7-14 mm, one has to abstain from the image stabilizer, but this can be aggravated in view of the focal length (14-28 mm corresponding to the 35mm). The small flange focal length has another advantage: mechanical adapters can be built for practically all lens mounts available on the market. Not only FourThirds lenses, some with autofocus, but also Leica-M lenses can now be used – with exact manual focusing via magnifying glass directly on the sensor. Other lens mounts will surely follow.

With the sensor used in the GH1, Panasonic deviates slightly from the FourThirds standard. The sensor is “oversized” and has a resolution of 14 megapixels. However, the sensor uses only one image section at a time in order to use the same diagonal in every aspect ratio. Thus, instead of simply cropping the image at 3:2 and 16:9, as it is the case with a normal sensor, the GH1 adds something to the left and right, while the top and bottom are cut away. As a result, there is no change in the angle of view or extension of the focal length. However, this means thatareas of the lenses are also used that were not intended for this purpose, but this does not cause any problems in practice. Because only LiveView is used, there are no disadvantages in terms of image composition. So whoever has previously avoided FourThirds because of the 4:3 aspect ratio can now strike.

With the GH1, Panasonic has introduced a new kit lens, the 1:4-5.8/14-140mm, which is specially optimised for recording HD video. Firstly, the autofocus and aperture are particularly quiet, and secondly, a special autofocus drive is used that does not use a rotating motor but pushes the lenses in the lens linearly back and forth. This allows a particularly quiet, exact and above all fast focusing (approx. 0.3-0.45 s). This can also be noticed during video filming, the autofocus is not audible and the automatic tracking of the focus works very fast, is not nervous at all and does not pump or hardly noticeable, as the focus point is not passed over at a distance like in other live AF variants and the camera does not have to focus back and forth several times.

In photo mode, an autofocus assist light is available that glows red orange. A magnifying glass with various magnification factors is available to assist manual focusing, and the magnified section can be moved. In multi-field AF mode, on the other hand, the camera has 23 AF fields, but you can also select a focus field and move it freely on the image field. The speed of the autofocus can compete even with full-size SLR cameras. A pity is the rather slow and loud mechanical shutter of the camera. It is always open, must first be closed for exposure, then opened, closed again and opened again. Discreet, quiet photography is not possible, and the fastest flash sync speed is only 1/160 of a second.

Image quality

The Panasonic Lumix DMC-GH1 had to demonstrate its image quality potential not only in practice but also with the testing software. For this purpose, it was measured in the DCTau laboratory using both the 14-140mm set lens and an adapted Olympus FourThirds macro. The laboratory report with all individual diagrams, tester comments and school grade table on which the observations here are based are available for a small fee (see further links). One thing becomes clear in the lab test: Panasonic has eliminated some of the G1’s weaknesses, which means that the GH1 performs better overall than its older sister.

The Micro FourThirds sensor’s rather high resolution of effectively 12 megapixels places high demands on both the lens used and the camera’s internal image processing algorithms. Thus, Panasonic smoothes the noise across all sensitivities very well, color noise practically does not occur. However, the brightness noise becomes visible from ISO 800 onwards, and above that, mainly due to a slight structure formation that looks unnatural and is caused by the noise reduction. Thanks to the good noise reduction, especially in the shadows, the input dynamic range is good, reaching its maximum at 8.7 f-stops at ISO 200, 400 and 800, only above that it breaks down to a passable 7.8 f-stops at ISO 1,600 and less good 6.9 f-stops at ISO 3,200. Therefore, for a good image quality, the camera should be used up to ISO 800 maximum, above that only in an emergency. The output dynamics show a weakness in the deep black tones that are not present, the otherwise astonishingly neutral linear tonal value curve runs out very smoothly here. This makes the images look a little dull in the shadows, but can be easily corrected in image processing with a histogram correction and/or by setting a black point.

In terms of resolution, the 14-140mm lens shows typical superzoom weaknesses. The resolution is quite good in the center of the image, but shows a clear edge drop. Closing the aperture by two steps brings here only insignificant improvement, whereas the resolution in the center of the image already decreases due to diffraction. The resolution is still most uniform at an average focal length of about 45 mm (or 90 mm converted to 35 mm). The artefact rate on fine structures is not very pronounced due to the not so high resolution of the lens, only on rising structures are color moirés particularly noticeable. The fact that these only occur in one direction is due to the fact that Panasonic has arranged the anti-aliasing filter, which is supposed to reduce interference on fine structures, diagonally. The sharpness is well dosed and tends to a slight white clipping only on bright edges occasionally.

The edge darkening of the 14-140 mm is quite small and can only be observed in the outermost corners of the image, but shows an unattractive spontaneous part when using an open aperture, which is clearly helped by the fade. Exemplary for a superzoom is the distortion corrected. Only in the wide angle is it noticeable with 1.6% barrel shape, but it is very small compared to similar lenses. At medium and long focal length, the lens is virtually distortion-free.

In practice, the image quality is well balanced with a pleasant reproduction of details and colors. The automatic white balance usually works very reliably. The usual exception is warm artificial light (incandescent lamps, candles, etc.), where a colour cast towards yellow-orange-red is evident. Unfortunately, the white balance presets still lack presets for fluorescent tubes, for artificial light situations there is only one preset that fits quite well to incandescent light. If in doubt, a manual white balance or the manual input of the color temperature will help.

The automatic exposure control works just as reliably as the white balance control. It is very balanced and usually prevents overexposed images in particular. In extreme lighting conditions, however, the automatic system can also be overtaxed – here, the photographer’s skill is called for, and the camera certainly offers all the necessary intervention options. The flash light is well dosed, although the built-in pop-up flash with a measured guide number of 11.2 is somewhat (approx. 7-14%) weaker than we would wish for a system camera. In any case, the illumination is fully OK from 28 mm focal length (corresponding to 35 mm).


The Panasonic Lumix DMC-GH1 is a consistent further development of its little sister G1. Above all, the video function is a real challenge, delivers excellent quality (especially when playing with selective sharpness) and is unique in the system camera sector with its good, continuously tracking autofocus. The GH1 is also very useful as a photo camera, with the practical multi-format sensor representing the greatest advance over the G1. The choice of lenses is still quite limited, but the adaptation possibilities are all the better. Thanks to simple and reliable automatic functions and LiveView as well as numerous setting options, both beginners and advanced users should be able to get along with the camera well.


Manufacturer Panasonic
Model Lumix DMC-GH1
Price approx. See prices here
Sensor Resolution 12 megapixels
Max. Image resolution 4.000 x 3.000
(aspect ratio) (4:3)
Lens Lumix G Vario 1:4-5,8/14-140mm Asph. OIS
Filter thread 62 mm
Viewfinder LCOS EVF
Resolution 1.440.000
Field of view 100%
Enlargement 0,7-fold
Dioptre compensation -4 to +4 dpt.
LCD monitor 3″
Resolution 460.000
rotatable yes
swiveling yes
as viewfinder yes
Video output PAL/NTSC
as viewfinder
Automatic programming yes
Automatic aperture control yes
Automatic timer yes
manual exposure yes
BULB long time exposure
Scene modes
Portrait yes
Children/baby yes
Landscape yes
Macro yes
Sports/action yes
More 4 additional scene modes
Exposure metering Multi-field, centre-weighted Integral, Spot
Flash yes
Guide number 11.2 (measurement)
Flash connection System hot shoe
Remote release Cable
Interval recording
Storage medium SD/SDHC, MMC
Video mode
Format AVCHD (or MOV)
Codec MPEG4 (or Motion-JPEG)
Resolution (max.) 1.920 x 1,080 (AVCHD only
)1,280 x 720 (for MOV)
Frame rate (max.) 25 (for AVCHD
)30 (for MOV)
automatically 100-1.600
(upper limit adjustable)
manually ISO 100-3,200
White balance
Automatic yes
Sun yes
Clouds yes
Fluorescent lamp
Incandescent lamp yes
Miscellaneous Shadow, flash, manual color temperature selection, WB fine correction
Manually yes (2 memories)
Number of measurement fields 23
AF auxiliary light red-orange
Speed approx. 0.3-0.5 s
Languages English
More 14 additional languages
Switch-on time 0,8 s
One-hand operation
(zoom and shutter release)
Weight (Ready for operation) 431 g (body only) 889 g (with lens**)
Continuous shooting function*
Number of serial images 11 (JPEG
)4 (RAW)
2.5 (JPEG
)2.5 (RAW)
Continuous run
0.7 (JPEG
)0.5 (RAW)
with lightning
Zoom adjustment at the lens
Zoom levels infinitely variable
Time WW to Tele
Memory speeds*
JPEG 1.5 s (3.9 MByte)
RAW 2.8 s (13.1 MByte)
Trip during
.Saving possible.
Battery life about 300 pictures (according to CIPA)
– = “not applicable
“* with Panasonic 4 GB Class 6 SDHC memory card**
with lens Lumix G Vario 1:4-5.8/14-140mm Asph. OIS

Brief assessment


  • Almost unlimited possibilities for adapting lenses
  • Consistently implemented LiveView with fast autofocus, flip/swivel monitor and excellent viewfinder
  • Multiformat sensor with image diagonal independent of aspect ratio
  • Outstanding video function


  • Protective flaps of the connections do not appear very high quality due to darker colour
  • Quite small buttons
  • Video recording button is easily accidentally pressed
  • Small selection of original lenses

Panasonic Lumix DMC-GH1 data sheet


Sensor CMOS sensor 4/3″ 17.3 x 13.0 mm (crop factor 2.0
)14.0 megapixels (physical) and 12.1 megapixels (effective)
Pixelpitch 4.3 µm
Photo resolution
4.000 x 3.000 pixels (4:3)
2.816 x 2.112 pixels (4:3)
2.048 x 1.536 pixels (4:3)
Image formats JPG, RAW
Color depth 24 bits (8 bits per color channel), 36 bits (12 bits per color channel)
Metadata Exif (version 2.21), DCF standard
Video resolution
1.920 x 1.080 (16:9) 25 p
1.280 x 720 (16:9) 50 p
848 x 480 (16:9) 50 p
Video format
MPG4 [codec MPEG-4]
AVCHD (Codec H.264)


Lens mount
Micro Four Thirds


Autofocus functions Single AF, Continuous AF, Manual, AF Assist Light

Viewfinder and monitor

SLR viewfinder 17 mm eye relief
Monitor 3.0″ TFT LCD monitor with 460,000 pixels, transreflective
Video finder Video viewfinder available, dioptre compensation


Exposure metering Center-weighted integral measurement, matrix/multi-field measurement over 144 fields, spot measurement
Exposure times 1/4,000 to 60 s (Automatic
) Bulb function
Exposure control Programmed automatic, Shutter priority, Aperture priority, Manual
Exposure bracketing function Exposure bracketing function with a maximum of 3 shots, increments from 1/3 to 2/3 EV
Exposure Compensation -3.0 to +3.0 EV with step size of 1/3 EV
Photosensitivity ISO 100 to ISO 3,200 (manual)
Scene modes Baby, Landscape, Night scene, Close-up, Party, Portrait, Sunset, Sports/action, Animals, 0 additional scene modes
Picture effects various tint and filter effects in the parameterizable B/W mode, nostalgic
White balance Automatic, Clouds, Sun, Fine Tuning, Shadow, Tungsten Light, Manual
Color space Adobe RGB, sRGB
Continuous shooting 3.0 fps at highest resolution, or 3 fps with max. 7 consecutive images for RAW recording
Self-timer Self-timer with 2 s interval, special features: or 10 s (optional)
Recording functions Live histogram


Flash built-in flash (hinged
)Flash shoe: Olympus/Panasonic (also Leica compact camera), standard center contact
Flash code Guide number 11 (ISO 100)
Flash functions Auto, fill-flash, flash on, flash off, slow sync, flash on second shutter curtain, red-eye reduction


Image stabilizer no optical image stabilizer
Microphone Stereo
Power supply unit Power supply connection
Power supply 1 x Panasonic DMW-BLB13E (Lithium Ion (Li-Ion), 7.2 V, 1,250 mAh
)300 images according to CIPA standardPanasonic
DMW-DCC3E Battery compartment Adapter cable
Playback functions Red eye retouching, image rotation, image index, slide show function
Image parameters Sharpness, contrast, color saturation
Connections Data interfaces: USBUSB type
:USB 2.0 High Speed
AV Connections AV output: HDMI output Micro (Type D)
Supported direct printing methods PictBridge
Tripod thread 1/4″
Special features and miscellaneous Dust protection filter with ultrasonic self-cleaning functionAutofocus
with scene recognition and trackingAdjustable
exposure parameters in program mode (shift function)
AE lock (AE lock)
AF lock (focuslock)5-step color saturation adjustment5-step
sharpness adjustment5-step
image contrast adjustment3-step
graduation adjustment (high-key, normal, low-key)
LCD image cover: 100%16x
zoomCalendar view
playbackLight panel viewSimultaneous

RAW and digital recording

JPEG format possibleDisplay of
the highlightsVenus

image resizing (resolution)
Subsequent saturation correctionRAW processing functionVideo codec

AVCHD lite

Size and weight

Dimensions W x H x D 124 x 90 x 45 mm
Weight 437 g (ready for operation)


standard accessory DMW-BLB13 Li-ion battery chargerUSB connection cableAV cableStretch strapCamera software

Photofunstudio Viewer 3.1 HDImage editing software
Silkypix Developer Studio 3.1 SE

additional accessories Olympus FL-700WR Flash with swivel reflectorPanasonic
DMW-DCC3E Battery compartment Adapter cablePanasonic
Leica DG Vario-Summilux 10-25 mm 1.7 (H-X1025) Zoom lens Removable memory cardFourThirds adapterDMW-MA1Stereomicrophone
DMW-MS1Flash units
DMW-FL220, DMW-FL360 and DMW-FL500


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