We got our hands on the world's first Micro Four Thirds camera, and it dazzled us in so many ways. You'll just have to read all about it in our Panasonic Lumix DMC-G1 review.
Review summary of the Panasonic Lumix DMC-G1:
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 The Micro Four Thirds revolution is here and the Panasonic Lumix DMC-G1 is the ringmaster. We were clawing away at our test images, attempting to find flaws, but in the end our complaints were all but a set of disposable trifles. The Lumix DMC-G1’s image quality was too powerful. Its micro grip-clad chassis and advanced controls were top-notch as well, and we took advantage of the Front dial for nearly all of our manual adjustments. The electronic viewfinder display offered one of the best live previews we’ve ever come across, and the swivel LCD came to our rescue in tight, photographically challenging spots. The Lumix DMC-G1 is packed with features, including a manual arsenal that will impress pros. For the price, the Panasonic Lumix DMC-G1 is a steal, so advanced amateurs and budget pros will want to jump on this bad boy. We had minimal complaints across the board with this Micro Four Thirds prodigy, and all we can say is viva la revolution! Release: November 2008. Price: $670.
Pros: Rivals prosumer models in terms of image quality. Packed with features. Excellent electronic viewfinder performance and swivel LCD is highly convenient.
Cons: Compatible with a limited number of interchangeable lenses. Buttons are too small.
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Full Panasonic Lumix DMC-G1 Review:
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Design - Very Good
The Panasonic Lumix DMC-G1 belongs to a rare, eccentric breed known as Micro Four Thirds, co-developed by Panasonic and Olympus and announced last August. At first glance, the Lumix DMC-G1 appears to be another feature-rich fixed-lens compact geared toward budget power shooters and advanced consumers. However, a closer look will reveal the fact that the Lumix DMC-G1 has a fully interchangeable lens system that is compatible with Micro Four Thirds lenses and other aftermarket optics and standard Four Thirds lenses via an adapter. You might be slightly baffled regarding the proper categorization of this compact enigma, but prepare to be further bewildered.
The Panasonic Lumix DMC-G1 is devoid of a mirror box and pentaprism, two components that are essential in the constitution of a DSLR imaging system. As a result, the Panasonic Lumix DMC-G1 is approximately half the thickness of a conventional DSLR. The Lumix DMC-G1 also supports smaller lenses because the flange back is closer to the lens mount. Smaller lenses are more portable and cost-effective, which are key factors for shooters in this price range. In place of the optical viewfinder, we have an electronic viewfinder with live view.
The Lumix DMC-G1 also has a large 4/3 sensor that stared us right in the face when we removed the lens. The vulnerable nature of the bare sensor frightened us a bit, and we hope Panasonic will provide some form of transparent protection on future models. Unfortunately, the Lumic DMC-G1 lacks in-camera OIS as a result of the camera's size reduction, so shooters will have to rely solely on lenses with built-in OIS systems.
In the field, we were exceedingly pleased with the Panasonic Lumix DMC-G1. From a design standpoint, the micro textured chassis was just gummy enough to provide an adequate grip. In addition, we loved the 3-inch swivel LCD screen, which enabled us to capture many images at peculiar angles. The pop-up flash was more professional than most models we've come across and the ample Mode dial shifted with ease. We liked the On/Off and Bracketing switches attached to the Mode dial, but the four-way directional pad was a bit on the small side. The Panasonic Lumix DMC-G1 was one of those cameras that seemed to fit our hands like a glove, thanks to the middle finger notch and thumb rest.
Interface - Very Good
We hadn't experienced an LCD/viewfinder tag team of awesomeness like the Panasonic Lumix DMC-G1's in quite some time. In fact, no electronic viewfinder had even come close to the Lumix DMC-G1's crisp display. We took advantage of the viewfinder 75% of the time and used the LCD for awkward angle shots. The 1,440,000-pixel resolution was just too tempting to pass up and the rubberized eyecup was beyond comfortable. The LCD resolution wasn't too shabby either, but its display quality was nowhere near the caliber of the viewfinder's. We're also not sure why the LCD is a 3:2 aspect ratio when the sensor is a native 4:3 aspect, but it appears as though Panasonic couldn't accommodate the height of a 4:3 monitor.
For the most part, buttons and controls are strategically mapped out and conducive to many shooting environments. We utilized the Film Mode button on numerous occasions, in addition to the stacked Mode dial. However, we found the four-way directional pad to reside on the small side, and many inadvertent menu selections were made. We loved the dedicated White Balance, ISO and Metering buttons, but adult fingers just tower over the minute buttons. We could have done without the Auto/Manual Focus switch and settled for an ISO or White balance dial in its place, like the Canon PowerShot G10. The Front dial helped us race through shutter speed and aperture adjustment, and we liked its functionality within the menus as well.
There is a specific learning curve regarding the Panasonic Lumix DMC-G1's menu interface. The Q. Menu is highly convenient once you master the tiny icons sprawled along the top and bottom of the monitor, but the icons are difficult to see. We also had to dive into the manual in order to decipher what certain icons represented. The Main menu is chock full of options, but the most important controls are located in the Q. Menu, which is what we used throughout our shoots. We're not in Point-and Shoot Land anymore, folks.
Features - Very Good
Thus far, the Panasonic Lumix DMC-G1 has scored straight As within the realms of design and interface quality, so it's no surprise that this Micro Four Thirds gladiator is chock full of features as well. We had a blast shooting at night, thanks to the 60-second shutter speed capability, as the risk of underexposure was nearly inconceivable. The Lumix DMC-G1 also has an aperture range that can be closed down to f/22 for images that contain varying degrees of depth, and opened up to f/3.5 for macro shots. The vast shutter speed and aperture ranges truly came to our aid in numerous shooting environments, and we felt like we were shooting with a prosumer DSLR. The Lumix DMC-G1 also has an Exposure Compensation tool governed by the Front dial if dabbling with the shutter speed and aperture is too advanced.
We've always praised Canon as the top dog when it comes to Color, but the Panasonic Lumix DMC-G1 is packed with a plethora of filters and tools that offered enhanced creative control over the hues and tonality of our images. Just like the Panasonic Lumix DMC-LX3, the Lumix DMC-G1 has a stellar white balance system that includes an adjustable Kelvin meter that allowed us to fine-tune the color temperature to the degree. We also took advantage of the white balance presets and Custom settings that allowed us to store a particular temperature for instant access. One of our favorite features was the Lumix DMC-G1's Film Mode, which is a series of filters that can be individually adjusted via Contrast, Saturation and Noise Reduction. Black and White, Positive Film and Dynamic were a few filters we took advantage of, and the results were great.
The Panasonic Lumix DMC-G1 also has a smattering of Scene modes including Sunset and two Baby settings (we're not sure what percentage of the Micro Four Thirds crowd will be purchasing a Lumix DMC-G1 for extensive baby portraits). This is a minimal amount of Scene modes, but with good reason, and ther most important ones, like Sports and Scenery, are located on the Mode dial. All of the fun is derived from shooting manually with the Lumix DMC-G1. There's a Macro Scene mode, but we found it was easier and more effective to shoot up close and focus manually. Of course, the Lumix DMC-G1 has an Intelligent Auto mode that works without a hitch most of the time, but it will hike up the ISO. The Lumix DMC-G1 can handle higher ISO levels compared to other cameras with smaller sensors, but its detail at low ISO levels is unprecedented in this class. Playback is miles ahead as well, offering RGB histograms and all image information pertaining to the shot. The Panasonic Lumix DMC-G1 never left us starving for more, but rather encouraged us to tap into our creative wild side.
Hardware - Very Good
The Panasonic Lumix DMC-G1 represents the world's first Micro Four Thirds camera, but the sensor is the same size as a standard Four Thirds DSLR. A 12-megapixel 17.3mm x 13mm 4/3 type MOS sensor lies within the heart of the Panasonic Lumix DMC-G1, providing a much larger surface area than the Canon PowerShot G10's 1/1.7-inch sensor and the Panasonic Lumix DMC-LX3's 1/1.63-inch CCD. The larger sensor came to our aid in low light, allowing us to shoot at higher ISO levels with decreased levels of noise.
In terms of optics, the Panasonic Lumix DMC-G1 ships with a 28mm-wide kit lens that features built-in OIS. Don't expect a massive zoom range on this lens, for it has a 28mm – 90mm focal length at the 35mm equivalent. The lens has a Manual Focus ring that spins rather smoothly, and we were impressed with the clarity of Panasonic Lumix DMC-G1's lens. Panasonic will be releasing three new Micro Four Thirds-compatible lenses this year, one of which is an extreme wide-angle lens. An adapter can also be attached to the lens mount in order to accommodate standard Four Thirds lenses.
The Panasonic Lumix DMC-G1 delivered one of the most impressive Power On to first shot performances we've seen in a long time. We were able to capture an image in just under a second from a completely powered off state. After flipping the On switch, the Lumix DMC-G1 fired right off with the first image and the second image was slightly quicker. The Panasonic Lumix DMC-G1 runs on a large rechargeable Lithium Ion battery pack and captures RAW and JPEG images to SD/SDHC cards. We had some good luck with the flash, but a hot shoe is mounted to the top of the Lumix DMC-G1 for more professional options.
Image Quality - Very Good
At the end of every shoot, it saddened us to shroud the lens and toss the Panasonic Lumix DMC-G1 back into our camera bag. In fact, we extended our testing schedule because shooting with the Lumix DMC-G1 was so much fun. Also, we were blown away by the image quality. Exceptional detail, crisp lines and vibrant colors merely skim the surface of what the Lumix DMC-G1 can do. This camera exhibited one of the best dynamic ranges we've ever come across, and we rarely experienced blown-out highlights or underexposed shadows. Nighttime shooting was cake, thanks to the broad shutter speed, and noise levels were consistently low in all shooting environments. Of course, we shot at the lowest ISO level for most of our images and used a tripod at night, as you would with any professional DSLR. The Panasonic Lumix DMC-G1's large sensor soaked up plenty of light and cranked out beautiful images, and we feel that the camera a completely viable alternative to a prosumer model.
New York Scenery
Hinsch Soda
We shot this image in various different Film Modes, including Nostalgic and Smooth before settling on Dynamic with the Saturation, Contrast and Noise Reduction boosted two notches up. We're exceedingly pleased with the detail and color, even at full resolution and the Dynamic filter adds a more dramatic feel to the overall image, due to the contrast. The Noise Reduction works wonderfully here as well, as we can see noise is virtually nonexistent. Our one tiny gripe pertains to the fringing within the chain attached to the sign at then top of the image, but it's barely noticeable and does not detract from the image.
Footprints by the Verrazano
Here we employed the Black and White Film Mode with the Saturation, Contrast and Noise Reduction pumped two notches up, just like the previous image. Again, we're very impressed with the level of detail in this image, particularly within the glistening snow and turbulent water. We do experience a little blowing out within the water though, but the sun was glaring down fiercely. The Verrazano, however, is rendered beautifully and this image looks like it came from a scrapbook from the mid 30's. Other images we captured in different modes displayed a more well-rounded exposure, especially within the trees, but the dynamic contrast is what we were interested in here, in which the Panasonic Lumix DMC-G1 succeeds.
State Street Moon
This was a spur of the moment, single shot taken while we waited for the sun to sink; a simple point at the sky in Program mode and hope for the best scenario. Though the lighting was highly conducive to the image, the detail amongst the building is nearly flawless. The sky is rendered perfectly with barely any noise present, and we can even catch a faint jet trail at the base of the image. Though many images may require an extensive setup and numerous shots, the Panasonic Lumix DMC-G1 also thrives on spontaneity.
Battery Park Sunset
Battery Park Sunset Phase 2
There's nothing quite like an early evening bone chill while you're waiting for the sun to descend next to Lady Liberty in the heart of winter. Between jumping about in order to reactivate our circulation, we took a series of images until the sun had finally crested the horizon. These are our two picks, though it was a very difficult decision. Both images were shot in Program AE mode rather than the Sunset Scene mode because we wanted the most detail and knew we could rely on the Panasonic Lumix DMC-G1's color reproduction. The first image exemplifies the Lumix DMC-G1's ability to render a flawless sky. Even the billowing smoke and Statue of Liberty are sharp and detailed in the background. Our money shot is the second image, which displays the Lumix DMC-G1's exceptional ability to handle the color gradation of the sky and detail within the turbulent water. At the moment, this is our favorite sunset camera.
G1 Color
Junk in the Trunk
What's a New York test shoot without a little graffiti? In this case, we get a lot more than we bargained for, but there's no denying that the colors are on point. There's no bleeding or washing out of any sort, just a very natural representation that consists of vibrant hues and an accurate palette. There's also a whole lot of booty, but that's not courtesy of the Panasonic Lumix DMC-G1.
St. Marks T-Shirts
We shot this image at night in Program AE mode using a tripod and a 2 second shutter speed. The lighting was extremely warm, but we were able to dial the white balance to neutralize the color temperature. The result was excellent, as we can see true, lifelike colors. Our one main concern was overlapping colors of the same hue, but the two pink shirts at the top of the image can clearly be distinguished from one another. In addition, look at the superb detail within the fabric of the shirts.
Curbside Flowers
This image was captured in Program AE mode also, but notice how different the colors appear compared to the previous image. They almost appear desaturated, which is exactly how we wanted this image to look. We could have applied the Nostalgic Film Mode to offer a more antique feel to the image, but it wasn't necessary. In actuality, the colors look exactly as they did the day we shot this image and the detail is also top notch.
Macros and Closeups
Tails in the Sun
Misty Moss
Multiview
The Great Escape
Here's a compilation of images that best represent the Panasonic Lumix DMC-G1's ability to dish out exceptional detail if you haven't already been convinced. We couldn't believe the intricate, noiseless rendering of the tails in the sun and the grass and moss. You can see nearly every speck of dust and debris on the lenses of the sunglasses, which was another one-shot special. We honestly have no complaints. The barbed wire image exhibits the Lumix DMC-G1's exceptional sharpening, and this image was captured in Program AE mode without any manual contrast or sharpening adjustments. Also, the wide dynamic range enabled us to properly expose the metal against the bright sky. We're talking magazine quality detail here, folks.
East Village Nights
Van of Character
Looming Building
We closed the aperture down to f/16 and went with a 25 second shutter speed in order to capture the lovely van in all its glory. Of course we used a tripod for this shot, as no average human hand would be able to steady anything for more than 2 seconds. As a result, we obtained an image with great depth and wonderful detail. The exposure is nearly perfect and noise levels are very low. We also dig the stripes of light in the background due to the low shutter speed.
We get a larger dosage of the stripe effect in the second image, which was captured at the same f/16 aperture, but a 40 second shutter speed in order to tackle the extreme lack of light toward the top of the building. Exposure is great, and we're able to liven it up with exploding streetlamps and spaceship light paths, courtesy of Manhattan liveliness. We begin to see the increasing effects of noise the further we crawl up the building, but it's minimal compared to the lack of natural light the Panasonic Lumix DMC-G1 had to work with.
Badger Woodchuck From Hell
Trash
This foreboding character is another study in G1 detail, which abounds in this image. At a 4 second shutter speed, the Panasonic Lumix DMC-G1 is able to properly expose this ominous beast and provide exceptional detail within its grooved, demonic face. The second image took a few more takes, but we were finally able to dial in the white balance and apply a fitting f/10, 4 second aperture/shutter speed ratio in order to properly expose the image and obtain a well-rounded focus.
Price and availability
The Panasonic Lumix DMC-G1 can be found online for approximately $670.
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