- Panasonic Lumix DMC-G1 video tour in Standard Definition
- Panasonic Lumix DMC-G1 design and controls
- Panasonic Lumix DMC-G1 lens and stabilisation
- Panasonic G1 vs Canon EOS 450D / XSi vs PowerShot SX10 IS
- Panasonic Lumix DMC-G1 Studio resolution comparison
- Panasonic G1 vs Canon EOS 450D / XSi vs PowerShot SX10 IS
- Panasonic Lumix DMC-G1 gallery
- Panasonic G1 vs Canon EOS 450D / XSi vs PowerShot SX10 IS
- Panasonic Lumix DMC-G1 gallery
- Panasonic Lumix DMC-G1 verdict
Panasonic Lumix DMC-G1 design and controls
The Panasonic Lumix DMC-G1 looks like a traditional DSLR from the outside, with a large grip, defined viewfinder head, and protruding lens barrel, but place it alongside most DSLRs and its size advantage becomes clear. We’ve pictured the Lumix G1 below in the middle, flanked by the Canon PowerShot SX10 IS super-zoom on the left and the Canon EOS 450D / XSi DSLR on the right.
Measuring 124x84x45mm for the body alone, the Lumix G1 is comfortably shorter than both the Canon super-zoom and DSLR pictured above. It’s pretty light too at just 385g for the body only, or 635g when fitted with the G VARIO 14-45mm kit lens and rechargeable battery. This makes it 45g lighter than the operational weight of the SX10 IS and 90g lighter than the EOS 450D / XSi with its kit lens and battery. Unusually, the Lumix G1 is also available in three colours: black, red or blue.
Pictured from above, the G1 kit is obviously thicker than the SX10 IS when powered-down, but remains noticeably smaller than the EOS 450D / XSi. So at first glance the Micro Four Thirds standard really does appear to have delivered an interchangeable lens camera that’s comfortably smaller than a traditional DSLR, but it’s important to note the Canon EOS 450D / XSi, and even the slightly smaller EOS 1000D / XS are not the smallest and lightest DSLRs on the market.
That claim goes to the Olympus E-420, which despite conforming to the full-sized Four Thirds standard and accommodating a reflex mirror and optical viewfinder, measures just 130x91x53mm and weighs 380g for the body alone. Fit their respective kit zooms and the G1 may remain 8mm thinner but actually becomes 10g heavier.
Interestingly the new Panasonic kit lens is virtually the same size and weight as the Olympus 14-42mm kit zoom – just 6mm shorter, 1mm less in diameter and 5g heavier, although it does feature built-in optical image stabilisation. If you’re after a really small DSLR kit, you could alternatively fit the Olympus 25mm pancake prime to the E-420 and end up with a combination that’s actually 105g lighter than the G1 kit and 19mm thinner. Of course in this instance the G1 would boast stabilisation and a zoom, but it does prove there are truly tiny DSLRs available – albeit with compromises which see the G1 take a lead as we’ll explain below.
Compared to most DSLRs though, the Lumix G1 is pretty compact, but a generous grip and thumb rest allow you to hold it comfortably and securely – there’s certainly much more to hold onto than the Olympus E-420. The build quality and finish are on par with most budget DSLRs, and like them, there’s no mention of weather-proofing. The G1 may be fairly light, but feels well-balanced and solid, unlike the Lumix FZ28 super-zoom which is so light it feels like something’s missing from the inside.
The Lumix G1’s controls are a cross between a traditional DSLR and one of the company’s super-zooms. The main mode dial is on the upper right side with positions for PASM, Intelligent Auto, Custom settings, My Colour (offering quick access to hue, brightness and saturation), five dedicated scene positions (each with sub-categories such as Normal, Soft Skin, Outdoor, Indoor and Creative for Portrait), and a SCN position to access five further presets. We’ll go into more detail in the Exposures and Metering section on the next page.
Two rotary switches sit to the right edge of the mode dial: one to power the camera on and off, and the other to select the four drive modes (see next page). It’s nice to find a physical switch for the drive settings when most comparably priced models force you to enter a menu instead. To the right of these are dedicated buttons to switch the G1’s Film Mode (see next page) or fire-up the on-screen Q.Menu. Following the strategy for physical controls, the G1’s AF modes are selected using a small dial on the upper left side of the body: there’s positions for Single, Continuous and Manual focus.
Like similarly-priced DSLRs, there’s only one finger dial, located at the front of the grip below the shutter release. Unusually though, this dial also has a push control that’s used in modes like Aperture Priority to switch between adjusting the f-number and exposure compensation, or in Manual to switch between adjusting aperture and shutter speed. In use it’s so quick and intuitive you wonder why more cameras don’t implement it.
Round the back of the G1 you’ll find the usual four cross-keys with a Menu / Set button in the middle: pushing up sets the ISO, pushing right sets the White Balance, pushing left sets the AF area, while a downward push gets you a programmable Function key. Above this group is a button to switch the Display mode, while below is one for the camera’s Preview mode.
The latter is particularly cunning, offering not just a depth-of-field preview to see the effect of different aperture settings, but an additional shutter-speed option which previews on-screen the effect of a slow or quick exposure. This will actually show a subject in motion as a blur if you have a slow shutter speed selected.
The Panasonic Lumix G1 is equipped with a small popup flash with a Guide number of 11; this is a little less powerful than the more typical Guide number of 13 found on models like Canon’s EOS 450D / XSi. But the G1 is also fitted with a hotshoe that can use the optional DMW-FL220, DMW-FL360 or DMW-FL500 flashguns if you need greater power and range. Like most cameras at this price-point, there’s no PC Sync port.
Like the Lumix FZ28, the G1’s popup flash is manually raised by pushing a lever to the side of the viewfinder head – this means there’s no surprises where the flash pops-up on its own accord. With the flash popped-up you can choose between a variety of red-eye and slow-sync options. The flash output can be varied between +/-2EV and there’s also rear-curtain options. The fastest flash sync speed is 1/160.
Panasonic Lumix DMC-G1 viewfinder
The Micro Four Thirds standard does away with the optical viewfinder of a traditional DSLR, and in its place, the Lumix G1 is fitted with an electronic viewfinder. This is no normal electronic viewfinder though with a low resolution, heavily pixelated image. The G1’s electronic viewfinder, known here as a Live View Finder or LVF, inherits technology from Panasonic’s industrial video cameras and is the first time it’s been implemented in a consumer model.
While models like Panasonic’s own Lumix FZ28 employ electronic viewfinders with just over 200,000 pixels, the G1’s Live View Finder boasts nothing less than 1,440,000 dots. According to Panasonic, this equates to a 480,000 pixel display with an 800×600 resolution and 4:3 aspect ratio which matches the native aspect ratio of the sensor.
In use, the G1’s Live View Finder is a revelation. It’s a little wider than the view through the Canon EOS 450D / XSi, but much taller thanks to its squarer 4:3 aspect ratio. Nikon’s D90 viewfinder appears a tad wider, but again is dwarfed by the height of that in the G1. In both cases, the G1’s view simply looks much larger. This also means the G1’s view is considerably larger than all the consumer Four Thirds DSLRs such as the E-420 and E-520. As an electronic system, it also delivers 100% coverage.
It’s not just about size though. The G1’s viewfinder image may coincidentally appear roughly the same size as that in the Canon’s PowerShot SX10 IS, but the difference in quality is like night and day. The EVF in the SX10 IS is heavily pixelated, whereas the G1’s LVF looks incredibly detailed. You’re never in any doubt you’re looking at an electronic image, but there’s virtually no evidence of individual pixels or jagged edges in the image itself.
The technology behind the LVF is an LCOS panel which employs a Field Sequential technique to display red, green and blue images in quick succession, to deliver what appears as full colour, gapless pixels at every location. A quick glance from one side to the other can see the image tear momentarily with a rainbow effect similar to that seen on DLP projection systems, but this artefact aside, it’s a very successful implementation.
The G1 of course additionally enjoys the benefits of other electronic viewfinders which replicate the graphics you see on the main screen. On the G1 these include a live histogram, alignment grid, dynamically formatted characters depending on the mode and conditions, the depth-of-field and shutter previews mentioned above, along with magnified manual focus assistance, which with the fine image resolution is very practical in use. The G1’s LVF is also very bright and like other electronic viewfinders will adjust its gain depending on the conditions – although this will result in visible noise speckles and a reduced frame rate in darker environments.
In terms of operation, there’s a button to the left of the viewfinder which switches between it and the screen, although sensors to the right side will automatically do it for you. In fact such is the quality of the LVF image and ease of switching between it and the screen, you find yourself instinctively raising the camera to your eye during playback for a closer look when bright conditions make the screen harder to view.
So with its superb LVF, Panasonic has not only addressed a major concern over Micro Four Thirds’ lack of optical viewfinder, but actually improved upon what you’ll see when looking through most budget DSLRs – especially those of the Olympus E-4×0 and E-5×0. Traditionalists will be hard to sway, but we urge everyone to try the G1’s LVF for themselves – ultimately some may still personally prefer an SLR optical viewfinder, but compared to other electronic viewfinders, it’s a triumph.
Panasonic Lumix DMC-G1 screen and menus
The Panasonic Lumix DMC-G1 is equipped with a 3in fully-articulated screen which can flip and twist to any angle, including to face the subject or back on itself for protection. Like other fully-articulated screens, this gives the G1 great compositional flexibility and after the superlatives used to describe the Lumix G1’s viewfinder, it’s a relief to find the screen also delivers a great quality image.
The G1’s screen has 460k dots, which corresponds to a resolution of 480×320 pixels. This delivers a noticeable step-up in detail over the 230k / 320×240 pixel screens of most budget DSLRs, although isn’t as classy at the 920k / 640×480 monitors on higher-end models. The screen looks detailed in both composition and playback with a bright image and smooth refresh. It also has a decent viewing angle, although obviously the ability to flip and twist the panel ensures it can always be viewed square-on.
Like recent Panasonic cameras, you can choose a Power LCD mode which boosts the brightness of the screen or an Auto Power option which effectively adjusts it depending on surrounding lighting – beware of using the latter if you need to critically evaluate the exposure on-screen though.
Interestingly despite having a 4:3 shaped sensor and a 4:3 shaped viewfinder, Panasonic has chosen to fit the G1 with a slightly wider 3:2 aspect ratio screen. As such when you’re shooting in the native 4:3 aspect ratio of the sensor, there’s thin black bars running vertically down either side of the image, although the shooting information still extends right to the edges. To be fair, the black bars aren’t particularly obtrusive (it’s nowhere near as bad as shooting 4:3 on a 16:9 screen), and had the screen been 4:3 in shape, it couldn’t have physically been any taller. As such, it’s a reasonable compromise, regardless of whether you’re shooting in 4:3, 3:2 or 16:9 aspect ratios.
Since there’s no reflex mirror or optical viewfinder in Micro Four Thirds cameras, the G1 effectively operates in Live View at all times, always showing the composition on-screen or through the electronic viewfinder like a compact camera.
Pressing the Display button cycles between detailed shooting information running along the top and bottom of the image, the exposure basics alone, and a full-screen presentation of various settings alongside a large circle graphically indicating exposure compensation; this latter view (with its choice of three colour schemes) is not available in the viewfinder.
Options in the menu additionally allow you to overlay a live histogram (with an adjustable position on-screen) and the choice of three different guide lines: a traditional three-by-three grid, a star pattern, or two lines who’s positions can be adjusted to pinpoint any spot on the frame.
With the dial on the upper left side of the body set to Manual focus, the G1 can display a small frame on-screen which can be moved using the cross-keys and adjusted between two sizes using the finger dial – these represent magnifications of five and ten times respectively, the latter corresponding to a view that’s a little greater than 1:1. Pressing the Menu / Set button then implements the magnification, which again you can adjust in position and size as desired. With the maximum magnification and fine resolution of the screen or viewfinder, precise manual focusing is quite possible.
Pressing and holding the Q.Menu button on top of the camera allows you to highlight and adjust any of the shooting details running along the top and bottom of the screen. In Program mode, these include the Flash setting, Film and Stabilisation Modes, Burst Rate, Resolution and Aspect Ratio, Compression, LCD mode, Intelligent Exposure, AF area, Metering, Exposure Compensation, ISO and White Balance. Like Panasonic’s other cameras, it’s a quick and easy way to access and adjust a wide range of options.
Pushing the Menu button in Program mode presents four pages of recording options, five pages of Custom options, four setup pages, the My menu items and two pages of Playback options; many of the common options like Image Quality and Stabilisation mode are duplicated in the Q.Menu system.
With the G1 switched into playback mode, the Display button cycles between a clean image, one with basic shooting information, a third with a thumbnail and detailed shooting information, and a fourth which keeps the thumbnail but switches the right hand detail for red, green, blue and brightness histograms. You can use the finger dial to zoom-into 16 times filling the full width of the screen, or zoom-out to display increasing numbers of thumbnails: first 12, then 30, followed by a calendar view.
Unlike models like the Lumix LX3, there’s no Dual Display option to show two thumbnails with the screen turned on its side, nor the fine rotation of its Levelling command, just basic 90 degree flipping, resize and trimming options. Sadly orientation sensors aren’t used to rotate portrait images to fill the screen during playback when the camera’s held on its side either.
Panasonic Lumix DMC-G1 battery and connectivity
The Panasonic Lumix DMC-G1 is powered by a 1250mAh rechargeable Lithium Ion battery pack, model number DMW-BLB13E. Panasonic quotes 330 or 350 photos under CIPA standards using the screen or viewfinder respectively. Compare this to the 500 shots Canon quotes for the 1080mAh battery on the 450D / XSi when using its optical viewfinder, although it’s not so bad when you consider the Lumix G1 is effectively operating in Live View mode all of the time.
Battery life is indicated by a three segment graphic, and it’s a shame give the high-tech nature of the G1 that Panasonic hasn’t implemented an accurate percentage remaining figure. Unsurprisingly considering small size is a key selling point of the G1, there’s also no optional battery grip, so with up to 350 shots per charge and no optical viewfinder to fall back on, it’d be sensible to carry a spare.
As a Panasonic camera, it’s no surprise to find the Lumix G1 takes SD memory cards. Panasonic quotes compatibility with cards up to 32GB in size, so long as anything 4GB or greater conforms to the SDHC standard.
Behind a small door on the left side you’ll find the G1’s only two ports: a combined USB and TV output alongside a mini Type-C HDMI port. The latter can be used to deliver high definition slideshows to an HDTV (although not a Live View from the camera) and can be configured to output 1080i or 576p / 480p, the latter modes depending on whether it’s set to PAL or NTSC. There’s also a Viera Link option which allows the G1 to be controlled by compatible Panasonic TVs over an HDMI link.