Best for lowlight

Canon PowerShot S90 ($400)

The camera of the moment, the popular PowerShot S90 is a small but perfectly formed compact for the keen photographer. Concentrating on image quality rather than simply joining in the megapixel race (just like Sony's TX1 / WX1 models), the S90 offers DSLR-like results in a pocketable device, making it the perfect second camera for any self-respecting DSLR owner. A sensible resolution of 10 megapixels and fast zoom lens make the S90 an excellent choice when the lighting drops. This is one camera that you carry everywhere and still achieve breath-taking photos that will look great on your wall. [Review]

Best bang for your buck

Samsung HZ15W ($250)

Samsung can always be relied upon to deliver more for less, and the HZ15W is certainly no different. The HZ15W can't quite match every feature that its main rivals offer, but it does cost a lot less than them. With an amazingly versatile 10x zoom lens, high-definition video and a wealth of beginner-friendly modes, this well-designed camera is simple to use yet offers enough features and quality to satisfy more experienced photographers. The HZ15W could well be the only camera that you ever need. [Review]

Best video/still crossover

Panasonic Lumix DMC-TZ7 ($400)

The Panasonic Lumix DMC-TZ7 is not only one of the best video compacts on the market, it's also one of the best cameras full stop. Support for the AVCHD Lite format almost doubles the recording time, albeit at the expense of editing ease. The dedicated Record button, stereo microphone, wind cut function and audio sampling at 48kHz combine to make the TZ7 a star performer for moving images. It's also a fantastic stills camera too, with an incredibly versatile 12x zoom and top-notch image quality - a great do-it-all, carry-everywhere device. [Review]

Best super slim model

Sony TX1 ($300)

Sony has long ruled the roost in the "it's so slim you can barely see it" category, and the desirable TX1 continues that tradition. Combining a sturdy yet stylish metal body, clever sliding front plate and impressive folded lens optics in a frame that's just 14.1mm thick, the TX1 still manages to pack in a 4x zoom lens and 3-inch touch-sensitive rear screen. You also get the added bonus of Sony's impressive "Exmor R" back-illuminated CMOS image sensor, which greatly improves low-light performance. Available in a variety of attractive colors to match your personality, the TX1 is guaranteed to look as good as you. [Review]

Best wet and rugged

Pentax Optio W80 ($210)

Ed note: Brian Lam reviewed most every rugged camera under the sun last summer, and his favorite all around performer went to the Pentax W80, a Jack-of-all-trades rugged cam featuring a 5x internal zoom lens. Its picture quality doesn't compete with the best point and shoots, and the W80 can only be dropped from around 3 feet, but it can go underwater up to 16 feet and function in temperatures down to 14 degrees. [Review]

There are obviously a lot of other great cameras this year for every budget and level of experience. See all of Photography Blog's camera reviews here (http://www.photographyblog.com/reviews/).

Mark Goldstein is the Editor of Photography Blog. Photography Blog has been independently reviewing cameras and reporting photography news since 2003.

The Price:

$400

The Toughness:

It's rated to about 10 feet and for drops of 5 feet, which places it at the lower end of the spectrum of waterproofing. Well, it's not the lower end, but given the shock and dust proofing and the lens reinforcement system, I'd expect the makers of the Toughbook to best cameras like the fluffy Fuji z33 and the slimmer Pentax w80 waterproofs for depth. Again, I wouldn't call this a weakness, but if the DMC-TS1 had one, this would be it. Update: Wow, there's an external dive case for this camera which extends the depth rating to 130 feet. It's rated down to 32 degrees, which isn't quite as low as the Pentax W80, Canon Powershot D10 and Olympus Tough 8000's 14 degrees F op temps.

The Visuals:

The photos were among the best in low light, high ISO and daylight. There was a simple beach/surf macro mode which worked well enough. Colors were accurate, and I only noticed a slight distortion around the edges while zoomed out. (Many periscoping internal zoom cameras have this issue.) The lens went pretty wide at a 28mm equivalent and the zoom was almost top of the class at 128mm (only the Pentax did better). Images, overall, were second best to the Canon with its traditional lens system, but this camera doesn't have that problem of a protruding snout which makes it a lot more pocketable. The camera has optical stabilization, which is pretty kick ass. The uncovered lens caused some photos to look smudged, which is perhaps the rule, not the exception in these cameras. Shots are at 12.1MP, but you can get variations of that in 16:9 mode. (My favorite!) As usual, waterphotos are generally limited in quality by water clarity and color, so, well, above the sea shots work fine.

The TS1's video recording happens at a high res of 720p, stabilized and recordable in motion jpg or AVCHD lite, giving you more recording time and quality. It looks better than good.

The Design:

I'm into the spartan, square design. And the camera's responsive shooting, burst modes, and menus made it the easiest to use without being overly simple like the Canon D10.

Yeah, I don't know yet:

The Lumix is a fantastic all-around camera that is somewhat tough and waterproof. I'd originally gone into this review thinking it would be king, but given the shallow depth rating, I may have to wait 'til I see the new Olympus in action before I give a stronger rating. Especially at $400. At that price, the smaller, Pentax w80, rated to 16 feet with decent shots and shitty video looks like a lot better of a deal. And the super cheap and small Fuji z33 does, too. I don't know. I'm not giving up on this camera yet. Strong video playback is an important thing these days. I guess its my camera of choice and should be yours too (for now) if you don't go beyond 10 feet down and image quality and relative pocketability is a priority. Until I check out that Olympus Stylus Tough-8000 which has some really solid stats all-around and cost a bit less.

Great images

Great case design and menus

Great video at 720p

Despite the all-around toughness of the device, only waterproof to a middling (not poor) 10 feet

[DP Review, Panasonic, Giz]

Summermodo is a chance for Giz to get outside and test our gear where it belongs.

Besides the size and shape, the Lumix GF1 is very similar to the E-P1: Same 12.1 MP sensor, same 720p video and HDMI-out and same $900 kit price. But it does bring a handful of improvements, most notably the addition of a built-in flash. For the E-P1, the flash is a $200 attachment that hikes up the price and lowers the portability, so some people will be pleased to see it integrated in the GF1.

The other big refinements over the E-P1 is the LCD. Since there's no optical viewfinder—or even a high-res digital one like on the G1 and GH1, it's important to get all the dots you can on the 3" LCD itself. The E-P1's has a paltry 230,000 dots, while the GF1's has 460,000 dots.

The lenses Panasonic is offering in the kits also look great, though of course we can't make a definitive judgment until we try them out. One kit has the Lumix G 20mm f1.7 "pancake" lens, which seems better, on paper, than the E-P1's 17mm f2.8 kit lens. The other kit includes the LUMIX G VARIO 14-45mm f3.5-5.6 zoom lens. Both kits should retail for $900 when they're released in early October.

PANASONIC INTRODUCES ITS LATEST LUMIX G SERIES DIGITAL CAMERA – THE LUMIX DMC-GF1

The LUMIX GF1, the world's smallest and lightest system digital camera with built-in flash*, packs powerful DSLR and HD video capabilities into a sleek and easy-to-use compact body

Secaucus, NJ (September 2, 2009) – Today, Panasonic announced the new LUMIX DMC-GF1, the latest addition to the award-winning LUMIX G Series, which debuts as the world's smallest and lightest system digital camera with a built-in flash*. The LUMIX DMC-GF1 distinguishes itself from previous models with its elegant, compact design reminiscent of classic film cameras, yet builds on Panasonic's success with the revolutionary LUMIX G Series of digital interchangeable lens system cameras based on the Micro Four Thirds system standard. With its compact size, user-friendly design and ability to record High Definition (HD) video and take professional-quality photos, the LUMIX GF1 continues to redefine digital photography standards.

"Panasonic changed the digital camera industry with the world's first Micro Four Thirds digital camera, the LUMIX G1 – a compact "DSLR-like" digital camera that produces exceptional image quality. Then, as we continued to raise the innovation bar, Panasonic launched the LUMIX GH1, adding full High Definition 1080p video recording with continuous auto focus," said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. "The new LUMIX GF1 continues the evolution and is the perfect addition to our LUMIX G Series, as its sophisticated, small body makes it easier and more convenient to carry. The GF1 is ideal for point-and-shoot consumers looking to step-up to DSLR-quality or for current DSLR users who want greater convenience without compromising performance quality or creative flexibility."

With its lightweight body, the LUMIX GF1 provides experienced photographers with the ideal digital camera to carry with them at all times. Like its predecessors in the LUMIX G Series, the LUMIX GF1 eliminates the pentaprism found in traditional interchangeable lens cameras. Thus, this mirror-free structure allows Panasonic to dramatically reduce both size and weight.

Though small in size, the LUMIX GF1 does not compromise in advanced features. The LUMIX GF1 thoroughly optimizes the advantages of a system camera to ensure high performance, whether capturing photos or HD video. The LUMIX DMC-GF1 can record 1280 x 720 High Definition video in AVCHD Lite, a format that enables longer recording times. With a dedicated video record button, capturing video is convenient and easy. The LUMIX GF1 can also record HD Motion JPEG in 1280 x 720 and other video recording formats include: QVGA, VGA and WVGA. The LUMIX GF1 has a unique Movie Program Mode that allows consumers to adjust the depth-of-field while shooting in HD video, so background and foreground can be blurred to give creative effects – something typically only possible with expensive professional camcorders.

The LUMIX DMC-GF1 includes the new My Color mode, which includes seven preset effects – Expressive, Retro, Pure, Elegant, Monochrome, Dynamic Art, Silhouette and Custom – all which let users manually set the color, brightness and saturation levels. With the Live View function, users can see how these settings will effect the photo before they shoot, making it easier to capture the exact mood or atmosphere desired. For even more elaborate effects, users can choose from a total of nine Film modes, and set the contrast, sharpness and saturation levels for each. A custom function lets users store their favorite settings in memory. Furthermore, the exposure meter can be displayed in other shooting modes and the correlation between shutter speed and aperture is shown, with a color-coded warning that alerts users when the settings are not in the proper range.

For those users not quite comfortable with extensive manual and creative controls, the LUMIX GF1 provides a user-friendly setting that can address a beginner's comfort level, while helping them evolve their photography skills. For instance, Panasonic's new Scene mode, Peripheral Defocus, lets users take a photo where the foreground is in focus and background is blurred – or vice versa. This popular effect can be intimidating for a beginner, but in the Peripheral Defocus mode, by simply selecting the objects to be blurred and focused using the camera's keypad, it is simple for photographers of any level.

Also, helping to make the LUMIX GF1 more approachable, Panasonic's popular iA (Intelligent Auto) mode, a system of technologies that engage automatically – no setting changes needed – allows for intuitive use when shooting still or video images. While shooting video, iA activates Panasonic's O.I.S. (Optical Image Stabilization), which helps reduce video-blurring due to handshake. In addition, Face Detection automatically detects a face in the frame and adjusts focus, exposure, contrast, and skin complexion on it so it always turns out beautifully. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. For still photos, the iA system encompasses: Face Recognition (up to six faces can be registered); Auto Focus (AF) Tracking; Mega O.I.S.; Intelligent ISO; Intelligent Exposure; and Intelligent Scene Selector.

The LUMIX GF1 also comes fully-equipped with a built-in flash and a large, 3.0-inch Intelligent LCD with a wide viewing angle and a 460,000-dot resolution. The Intelligent LCD offers automatic backlight control, which when combined with its high-resolution, helps improve visibility in all light environments – from sunny outdoors to low-light interior settings. New for the LUMIX G Series, the LUMIX GF1 is compatible with an optional Live View Finder (DMW-LVF1), which provides the full-time live view function boasting 100% field of view regardless of the attached lens. To further expand the LUMIX G Series system, Panasonic Micro Four Thirds digital cameras can be used with Four Thirds System interchangeable lenses via an optional mount adaptor DMW-MA1 and with the prestigious Leica M/R lenses using Panasonic's DMW-MA2M DMW-MA3R. These adapters give the user access to the unlimited number of lens properties.

The LUMIX GF1's sensor technology offers the best of both worlds - the superior image quality of a CCD sensor, and the low-power consumption of a CMOS sensor. Advanced technology makes it possible to read four channels of data simultaneously, helping the LUMIX GF1 deliver 60 frames-per-second full-time Live View images, while maintaining fine detail and rich gradation. The LUMIX GF1's Venus Engine HD records stunning high-resolution 12-megapixel images using its advanced Live MOS Sensor. This sophisticated LSI circuit separates chromatic noise from luminance noise and applies the optimal noise reduction to each, helping to capture clear and beautiful images even when shooting at high ISO levels.

The contrast AF system adopted in the LUMIX GF1 is not only accurate, but also very quick – approximately 0.3 seconds with the LUMIX G H-FS014045 lens. Users can choose from a wide-range of AF modes, including multiple-area AF with up to 23 focus areas; 1-area AF with a selectable focus area; Face Detection; and AF Tracking. The LUMIX GF1 also has a Quick AF function that begins focusing as soon as the user aims the camera - without pressing the shutter button halfway.

As with all Panasonic LUMIX G Series digital cameras, the LUMIX GF1 is equipped with a highly-effective Dust Reduction system. Thus, if dust gets inside the camera (when changing lenses), Panasonic's Dust Reduction system addresses this problem by placing a supersonic wave filter in front of the Live MOS sensor which vertically vibrates around 50,000 times per second, thus repelling the dust.

The content captured on the LUMIX GF1 can easily be viewed on a Panasonic VIERA® HDTV by simply inserting the SD/SDCH Memory Card into the VIERA's SD/SDHC Memory Card slot or into a Panasonic DIGA Blu-ray Disc Player. Alternatively, an optional mini HDMI cable can be used to output still and motion images recorded with the LUMIX DMC-GF1 directly to the TV for easy VIERA Link™ operation, with control of playback functions, such as slideshows, managed from the VIERA HDTV's remote control.

The Panasonic LUMIX DMC-GF1 will be available in early October 2009 with the option of two kits – both with a suggested retail price (SRP) of $899.95. One kit option includes the newly-announced LUMIX G 20mm/F1.7 ASPH, a compact and lightweight "pancake" lens, while the other kit features the LUMIX G VARIO 14-45mm/F3.5-5.6 ASPH/MEGA O.I.S. The optional Live View Finder DMW-LVF1 has an SRP of $199.95; while the DMW-MA2M and DMW-MA3R both have an SRP of $249.95. All new accessories will also be available in early October.

For more information about Panasonic and its LUMIX G System cameras and accessories, please visit www.panasonic.com/lumix.

The Panasonic Lumix GF1 Micro Four Thirds has a similar size to the Olympus EP1, as you can see in this comparison thought. Just a bit smaller. Looking at the hardware, it may also include a flash, and a special movie record button to capture 720p video in AVCHD format. Sweet. [Xitek and V-Angle via DPreview forums via Electronista]

They all use the same 12.1-megapixel sensor, so the feature set, from a picture perspective, comes down to differences in the body and lens. The FZ35 carries on the 18x sorta-super-zoom tradition of the FZ28, while the ZR1 uses a "world's first" 0.3mm-thick aspherical lens so it can cram 8x of zoom into the body (as you can see), while the FP8 is standard-for-Lumix 28mm wide-angle.

PANASONIC INTRODUCES NEW LUMIX DIGITAL CAMERA SERIES WITH AN EYE ON STYLISH DESIGN AND FUNCTIONALITY

New LUMIX FP8 has a 28mm wide-angle lens, 4.6x optical zoom, and records High Definition video

Secaucus, NJ (July 27, 2009) – Today, Panasonic announced the new LUMIX DMC-FP8 digital camera as part of its new FP-Series, which pursues excellence in both design and function. The LUMIX FP8, with 12.1 megapixels, features a high-quality 28mm wide-angle, 4.6x Leica DC lens with folding optics* - encased in a futuristic-looking stylish body.

In addition to its unique design, the FP8 also features advanced functions including high-speed Auto Focus (AF) and Panasonic's Intelligent Auto (iA) suite of technologies. With a fast AF, combined with a high-speed start-up of only 0.95 seconds, the FP8's fast response catches even the most fleeting shots. Panasonic's iA, a popular feature on LUMIX cameras, now includes POWER Optical Image Stabilization (O.I.S.) which features double the repression power compared to the previous image stabilization system, MEGA O.I.S. The hand-shake generated when pressing the shutter button, or when shooting at night with a slow shutter speed, is significantly minimized by the improved POWER O.I.S. to help reduce blurry photos.

"We realize that consumers are looking for fashionable and slim digital cameras that still take high-quality photos and feature advanced photo settings," said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. "With the LUMIX DMC-FP8, we are giving users that sleek and compact design, while not compromising the advanced, yet easy-to-use features and technology for which the Panasonic LUMIX line of cameras is known."

The FP8's design has intricate detailing which features blue LED cursor buttons that glow when pressed, and its centered back panel gives it an overall ultra-modern and unique look. Additionally, the 2.7-inch large Intelligent LCD offers a dynamic and clear view of the scenes and subjects being photographed. In the Face Recognition** mode, up to three people can be simultaneously recognized to show their names on the monitor once registered. Additionally, the powerful battery life of the highly energy-efficient image processing LSI, Venus Engine V***, allows users to take approximately 380 pictures.

Other features of the DMC-FP8 include:
HD Movies with VIERA Link Networking – Records dynamic HD motion pictures in 1280 x 720p at a smooth 30 fps, in addition to WVGA (848 x 480) and normal VGA (640 x 480)****. With HD component output capability, the user can enjoy watching photos and video in stunning HD quality by simply connecting the camera to a television via an optional component cable (DMW-HDC2).
Scene Modes – Twenty-seven scene modes are available with the FP8, including the High Dynamic mode which helps to capture a scene with moderate exposure, even though the scene may contain both bright and dark areas together.
PHOTOfunSTUDIO 4.0 – Included with the FP8, this software allows users to view, edit and archive captured photos and videos with greater ease. The new PHOTOfunSTUDIO 4.0 features dramatic speed-up of operation and also allows users to store and sort for photos by a specific, recognized face in the image.

The LUMIX DMC-FP8 will have a suggested retail price of $299.95 and will be available in September 2009 in black, red and silver.

PANASONIC LUMIX FEATURES WORLD'S FIRST 0.3MM THIN ASPHERICAL LENS*, MAKING SUPER-SLIM DIGITAL CAMERA

New Compact LUMIX DMC-ZR1 Digital Camera Packs 25mm Ultra-Wide-Angle,
8x Optical Zoom Lens** Into Ultra-Slim Design

Secaucus, NJ (July 27, 2009) – Today, Panasonic introduced the new LUMIX DMC-ZR1 digital camera, featuring the world's first 0.3mm thin aspherical lens*, allowing for a compact body that still features a powerful, 25mm-ultra-wide-angle, 8x optical zoom** LEICA DC VARIO-ELMAR lens. Known for its long-zoom, yet compact digital cameras, Panasonic's newest ZR1 compact digital camera gives consumers increased flexibility.

"The ZR1 answers the call of consumers looking for a truly pocketable digital camera, while still featuring a zoom more powerful than typical compact cameras," said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. "We know consumers want to catch every shooting opportunity, and with the ZR1, this is possible through unique features such as the ultra-wide-angle lens and Panasonic's popular iA Mode."

With a zoom range of 25-200mm, the ZR1 allows for both expansive scenery photos as well as close-ups. This powerful zoom also works during video recording. The 12.1-megapixel resolution allows photos to be greatly enlarged while still retaining outstanding detail.

Another key feature of the ZR1 is its fast, high-speed Auto Focus (AF). This, combined with a high-speed start-up of only 1.1 second, helps the ZR1 to catch even the quick action shots. Making this camera even more versatile and easy-to-use, the ZR1 has a 2.7-inch Intelligent LCD, and a powerful battery life with the highly energy-efficient image processing LSI – Venus Engine V*** – which takes approximately 330 pictures during a single charge. As found in all Panasonic LUMIX cameras, the ZR1 features Intelligent Auto (iA) Mode, now with POWER Optical Image Stabilizer (O.I.S.), which features double the repression power, compared to MEGA O.I.S., the previous image stabilization system, to help capture blur-free images.

Other features of the DMC-ZR1 include:
Additional Intelligent Auto (iA) Mode Features
Hand-Shake Component – Answers the problem of natural hand-shaking that goes along with pressing the shutter button.
Face Recognition – Up to six faces can be registered, and up to three can be simultaneously recognized to show their names once registered.
Travel Mode – Users can quickly organize information related to travel, including destination, date and time. Playback of these photos is just as easy, by designating the date or period of travel on the calendar menu interface.
High Dynamic Mode – Helps to capture a scene with moderate exposure even when the scene may contain both bright and dark areas.
PHOTOfunSTUDIO 4.0 – Included software allows the user to view, edit and archive captured photos and videos. It features dramatic speed-up of operation and also allows users to store and sort photos by a specific, recognized face in the image.

The LUMIX DMC-ZR1 will have a suggested retail price of $279.95 and will be available in September 2009 in black, red, blue, and silver.

NEW PANASONIC LUMIX, 18X OPTICAL SUPERZOOM DIGITAL CAMERA FEATURES HIGH DEFINITION VIDEO RECORDING

LUMIX DMC-FZ35 Features New POWER O.I.S. and HD Motion Zoom Video Capture

Secaucus, NJ (July 27, 2009) – Today, Panasonic announced the new LUMIX DMC-FZ35, a digital camera featuring AVCHD Lite, High Definition (HD) video recording capability, combined with a powerful 27mm wide-angle, 18x optical zoom LEICA DC lens. A successor to the popular FZ28, the FZ35 packs enhanced creative features combined with the power to shoot HD videos, including motion zoom capabilities to take full advantage of the 18x zoom. The operational layout of the FZ35 includes a dedicated video record button, making it a true hybrid – a single model that performs seamlessly at capturing both still and motion images – while still providing smooth and easy operation in either mode.

"The LUMIX FZ35 is truly unique as it includes advanced features like HD video recording, but still resembles and functions like an intuitive point-and-shoot with the ability to capture beautiful photos and video," said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. "This model's versatility makes it a great choice for a new or advanced user who wants a hybrid device that shoots high-quality still and motion images."

For users looking for increased creativity while shooting both video and still images, the LUMIX FZ35 delivers. New manual controls and creative options, include:

Creative Movie Mode – Allows the user to set the shutter speed and aperture manually to make even more impressive movies. Changing the shutter speed brings special effects to movies, which is especially suitable for shooting fast-moving subjects. The ability to control the aperture is convenient when there are several subjects at different distances.
My Color Mode – This special option gives free reign to the user's creativity. The color, brightness and saturation parameters can be freely adjusted while seeing how the adjustments affect the picture, live on the monitor.
High Dynamic Mode – Helps to capture a scene with moderate exposure even though the scene may contain both bright and dark areas.

The 12.1 mega pixel-FZ35 features the upgraded POWER Optical Image Stabilizer (O.I.S.), which allows for double the repression power compared to the conventional image stabilization system, MEGA O.I.S., and ultra high-speed Auto Focus (AF) for capturing action scenes as they happen. Additionally, with the super-powerful 18x optical zoom lens, it is easy to capture subjects that are far away or take dramatic close-ups.

With the enhanced energy-efficient image processing LSI – the Venus Engine HD* – the FZ35 has an extended battery life of approximately 470 pictures, making it the ideal choice for active photo enthusiasts. As with all Panasonic LUMIX cameras, the FZ35 features Intelligent Auto (iA) Mode, a suite of intuitive technologies including Face Detection, Intelligent Scene Selector, Intelligent Exposure and Face Recognition. With the improved Face Recognition, the FZ35 recognizes up to three faces simultaneously while taking photos** and allows users to specify the age of the registered subject. When babies under 3 years-old are registered, the camera will automatically switch to Baby mode if the baby appears to be in the frame.

The LUMIX DMC-FZ35 will have a suggested retail price of $399.99 and will be available in September 2009 in black.

That little red dot with the word Leica etched inside. Everything else, Ken Musgrave says, is the same: "They have the same sensor, lens, LCD, housing material, embedded software, battery, and battery charger. Both take identical pictures." Yet, the Leica "is often described as taking warmer, smoother, somehow better pictures, which would be amazing given the technology is identical."

Update: A few commenters have pointed out that there are a couple minor but significant differences between the two cameras: They say the firmware is in fact different, meaning they process pictures slightly differently, giving the Leica slightly warmer colors, and that the Leica has a less reflective lens coating.

Even if you grant that the pictures the two cameras take aren't exactly the same, they are pretty damn close, as these excellent comparison shots show. Regardless of whether you think they're the exact same or just really close, Musgrave still raises worthwhile question about the power of branding and history on one's perception of quality.

The Leica is definitely a more beautiful camera, though. [FastCompany]

Let me say first that I did not use either of these cameras in their ideal conditions—namely, outside, underwater while swimming. For some reason, Canon and Panasonic did not tailor the release dates of these cameras to coincide with my trip to Egypt a few months ago, which is where I wanted to test them out (why not guys??). Back here in New York, any outdoor body of water is way too frigid right now, and there's something pretty creepy and ultimately unacceptable about taking an underwater camera to the YMCA for test shots. So, instead of the verdant coral reefs of the Red Sea off the Sinai coast, which were straight out of Planet Earth, our test shots are of me playing with a Kraken Attackin' Lego Pirates playset in my kitchen sink. Which is a cool playset, but, you know, not the same.

But still, we've gathered enough data I think to inform your decision, if you're thinking of picking up a waterproof toughcam for this summer. Here are the main points of differentiation I see:

Form Factor/Interface
Both cameras are waterproof, but the Canon D10 is protected up to 10 meters (around 32 feet), where the Panasonic TS1 is only protected up to three meters (around 10 feet). And that's immediately apparent in their shapes:

The D10 looks like it was designed by Ringo on the set of Yellow Submarine—its bulbous shell and porthole-like screws drive home the fact that this baby is going underwater. But on land, it'll be tough to fit it into a pants pocket without some serious bulging.

It does have some nice, easy-to-press buttons for changing into video mode, for instance, and the icons on the LCD screen are nice and big, easily spotted through a snorkeling mask. There are some superfluous button presses to lock in settings which could be tedious underwater, but the UI is not horrible, and you'll easily get used to it. The D10 also has come big screw-mounts on each corner for mounting various underwater grips and other accessories that you can buy from Canon.

The TS1 takes a totally different approach, with a sleek rectangular slab shape that at first glance is hard to distinguish from regular non-tough weeniecams. The buttons are a bit smaller, but not prohibitively so, and shootings modes are selected with a thumb dial instead of dedicated buttons—I didn't see anything I couldn't operate with a bit of practice while snorkeling. A basic locking wrist-strap comes in the box.

The important thing is that the TS1 is not at all out of place in non-toughcam situations, where the D10 may be. But if you're a deep snorkeler, three meters may not be enough for you compared to the D10's 10 meters (I imagine if you're a serious SCUBA diver, you'll need something beefier than either of these), but where you lose usability under water with the TS1 you will gain it on land. Consider that.

Video
Another big difference, if not the biggest, is that the Panasonic TS1 shoots 720p in the AVCHD format, where the Canon only does 640x480 VGA vids. The TS1 video recording mode isn't the most polished—there's a good two to three second delay from when you hit the dedicated video button to when recording actually starts and stops, and it's unclear exactly when everything does start, but if you're OK with that, the HD video mode is awesome. I mean, underwater HD in such a tiny package—that's a no-brainer right? I would kill to have some HD clips of my friends and I swimming around in crazy schools of neon fish in Egypt.

Here are some sample clips from the sink:

TS1 720P Clip:

Note: There is a current bug with the TS1 that makes video imported into iMovie '08 and '09 play at double speed. I had to do some conversion to avoid this, which is a pain. Panasonic says they're working with Apple on this to include a fix in future versions of iMovie.

Canon D10 VGA Clip:

Keep in mind that the AVCHD format is kind of annoying, in that you might have to install special codecs and import video straight into your video editing software of choice and then export it in friendlier formats, rather than just grabbing an AVI or MOV clip from the memory card and uploading it to YouTube.

And yeah, the quality of these videos is pretty bad, but the difference in the actual output is clear: 720p underwater rules.

Shooting
Both cameras are 12-megapixels, for full-res shots at 4000x3000. Both have the same size CCD sensor, but the TS1's ISO goes up to 6400 where the Canon D10's only to 1600. I didn't do a thorough sensitivity test with either camera, but I would imagine you don't want to go much higher than 800 on either one, so the difference is probably fairly moot.

A difference that does matter is the TS1's wider-angle lens: it's a 28mm-128mm f/3.3-f/5.9 effective focal length zoom, compared to the D10's 35mm-105mm f/2.8-f/4.9.

As you can see, color reproduction via the TS1's Leica lens is far better than the D10s, which has to fight through a bit more protective plastic. Also, the TS1 tends to autofocus underwater with much greater ease—important, because you won't always be able to look at the LCD when composing shots while snorkeling.

Conclusion
Like I said, I only played with these cameras in the sink, so I didn't push their waterproof capabilities to their max. But having a waterproof and shockproof camera around the house is kind of cool in its own right—imagine taking bath time photos of your kid without having to worry about getting the camera wet, or taking shots with dirty hands while you're barbecuing, or anything like that. You can always dunk these cameras underwater to clean them off. It's nice. You don't have to be a snorkeler to use them and have fun with them.

Which is why for me, the balance shifts heavily toward the Panasonic TS1. Its form factor makes using it on land a lot more convenient, and the added HD video option is a huge plus. And my ears hurt if I go down much further than three meters underwater anyway. At a premium of only $70 ($400 list vs. $330 for the D10), I'd say it's well worth spending up for.

Panasonic Lumix DSC-TS1
HD video capture

Unobtrusive form factor good for both land and sea

28mm wide-angle lens

Buttons perhaps more difficult to use underwater

Only waterproof up to 3 meters

Canon PowerShot D10
Super-rugged body waterproof up to 10 meters

Big, simple buttons and LCD icons

Only shoots video at 640x480

Very bulky

Redrock's Hybrid Cinema Rig is both lighter than cheaper than the company's earlier offerings. Starting at $195, the stabilizing frame allows attachments like LCDs and mics, while offering an easier means to focus on the fly. Compatible with the Canon EOS 5D Mark II, Canon EOS Rebel T1i, Nikon D90, and Panasonic Lumix GH1, peripherals like this one are just the sort of dSLR accessories the industry needs for indie filmmakers to start take these still cameras seriously. [DVICE]

According to Impress, the GH1 will be available April 24 at an estimated cost of ¥150,000. That's a dissapointing price, since ConvertBot-ed over to dollars, that's an ugly $1,500. Regardless, that doesn't mean we won't get it cheaper over here, but it's not the most comforting detail.

The other thing to keep in mind, though, is that the GH1's video capture mode (which is basically the only differentiation from its $800 predecessor, the G1) does things the others from Nikon and Canon can't: that is, the cinema-friendly 24fps framerate at 1080p (60fps at 720p), as well as continuous contrast-based autofocus with an especially silent-focusing lens. [Impress]

Here's a sampling of user interfaces across compact cameras from every major digital camera maker: Canon, Nikon, Sony, Panasonic, Casio, Olympus and Fujifilm. User interfaces matter in these cameras more than ever because they're increasingly the major way you drill down to change settings or switch modes—rather than manually cranking a dial, like on a pro DSLR. Some are pretty good (Canon, Samsung) while some are pretty bad (Casio).

The better ones tend to use a list or grid style, where everything is clearly laid out and easy to access, and more UIs seem to be trending toward the branching list model—when you highlight something, you can see its parameters underneath it. Fonts are rough on some but clearly polished on others. This is a make-or-break issue, since quick visibility is key when you shift from a button UI, or a visual one that only relies on icons.

Canon actually now has two sets of user interfaces: The old one you're used to if you've used Canon lately, and a totally new one that they're rolling out on two of their new cameras. It's slicker, with pop out animations and a more modern font, but I think a bit more confusing since it doesn't show you everything at once. It uses a list style for displaying settings. Once you get the hang of it, though, it's a solid UI.

Nikon has a few different UIs, but the style isn't even consistent within one camera. Oddly, its touchscreen camera shares its ugly UI with some of their other cameras, with few, if any tweaks to make it touch-friendly. It's only Nikon's second-gen touch camera, but its meh UI stands in contrast to the pretty capable one on their DSLRs.

Sony, too, uses the same UI on their touchscreens as they do on their non-touchscreen cameras. It works about as well in touch as it does on non-touch cameras—which is better than Nikon's I feel, since it uses a cross bar type of GUI that Sony's good at. Maybe slightly bigger buttons would help. Overall, Sony's is one of the nicer camera UIs—not terribly confusing.

Too much stuff happens on the back of their cameras, but Panasonic's touch UI seems 'specially designed for fingers, with big, finger-friendly options. (I didn't notice it on their other cams, so I think it was just for the touch FX580, but I could be wrong.) Their standard non-touch UI isn't too bad—I'd put it in the middle of the pack.

Olympus goes with a unique icon style, but it's pretty confusing in terms of trying to get to stuff quickly or navigate backwards and forwards, since you don't know what becomes before or after something in the hierarchy, conceptually speaking. That said, it looks better than the messy menu on the back of their latest DSLR.

Casio has the worst UI out of any camera I checked out. It's cluttered, tiny, ugly and every other sin in the book.

Basic, boring, not particularly helpful.

I mentioned how much I liked Samsung's list UI on the TL320 earlier. It's straightforward, easy to navigate and looks pretty good. When you highlight something, its sub-settings pop up as a list on the right, so you know what you'll be adjusting when you drill down a level. Their other UI isn't quite as good, but it's also fairly straightforward, if slightly more cluttered.

Here are all the touch UIs together. You'd think Panasonic's was the best, except it's wildly inconsistent about when you can touch a menu item and when you can't. So Sony wins by a nose. Weird, Sony winning a UI battle, I know. Nikon's touch interface is just too grotesque to be considered.

Camera UIs can definitely get better, and really need to, because it's clear that the feature-bloat train isn't going to slow down anytime soon. But it's a tricky balance: How do you simplify a user interface for quick, easy access to functions while containing the smorgasbord of new features crammed into every generation of cameras? Can you even make a truly usable touch camera? Uneasy questions without easy answers.

PMA is an annual show where we get to see tomorrow's digital cameras—the ones that'll be populating pockets and purses for the rest of the year.

This is what I picture when I think of a camera that doesn't take any shit, like a Marine. (There's an army green and charcoal, not just orange, speaking of.) It's a no BS block of brushed metal that's slim enough to actually slide into your pocket. (To me, despite being bright orange, it's still less Mountain Dew EXTREME style than Olympus's yellowyellowyellow Tough 6000.) Spec-wise, it's a lot like the D10, actually—12-megapixel, but it shoots 720p video instead of VGA, stands up to beatings and diving—though it costs $70 more, at $400. Clarification: Canon's D10 doesn't shoot 720p, it shoots VGA—I lumped 'em together a little too hard.

It's lighter than you would expect, and fairly comfortable to use, despite having a really rigid appearance. What did throw me off is the shutter button—it's that textured rectangle on top that's right behind the slider for zooming in and out. It's an unnatural shape and position, at least for me. Still, even based on form factor only, while I like the D10's design as a concept, the TS1 is what I'd be more likely to bring with me—mostly because it's actually small enough to come along.

PMA is an annual show where we get to see tomorrow's digital cameras—the ones that'll be populating pockets and purses for the rest of the year. We'll be here for the next couple of days.

We couldn't pull any video off the cam—it is a prototype, after all—but we did notice while playing around with it that even on its dinky LCD screen, the video produced by its 60 frame-per-second 720p mode is noticeably smoother and less jerky with fast motion than 24fps 1080p mode, so it's what you're gonna wanna shoot your kids' soccer games or your home sex movies with.

Besides video, the camera is otherwise identical to the G1, a Panny rep confirmed—even the screen is the same. And the electronic viewfinder still sucks. =( It should theoretically, he said, have slightly better noise reduction, but that's about it for other differences.

They're being stingy with the price and release date. All the rep would venture is by summer, and for under $1500, neither of which is very helpful—-it better be out by summer, and it better be under $1500, by god. But for now, it will be the cheapest DSLR still camera with swappable lenses to shoot 1080p HD video, which counts for something.

PMA is an annual show where we get to see tomorrow's digital cameras—the ones that'll be populating pockets and purses for the rest of the year. We'll be here for the next couple of days.

In fact, it looks as though allthe GH1's changes revolve around that single new feature, which was sorely missed in the G1. But first, about that HD: the camera will record full, 1080p video at 24fps in the relatively common AVCHD format, or 720p content at an buttery 60fps, framed through either the new digital viewfinder or a flip-out, 3-inch LCD screen.

Checking out some of the video they're demoing, it's definitely impressive and—other than the depth of field control for sharp subjects and soft backgrounds—indistinguishable from any other 1080p camcorder, at least in daylight—they're not showing any night footage though.To bolster video performance, Panasonic is bundling the GH1 with a video-optimized 14-140mm/F4.0-5.8 lens. What qualifies the lens as "optimized", apparently, is the autofocus system: the smooth, continuous AF is driven by a silenced motor to minimize sound pollution during video sessions. To round out the video capabilities, Panasonic has included a "Creative Mode", which provides aperture and exposure control during video recording—a capability that is conspicuously absent from some pricier video-enabled DSLRs.

As far as still shooting goes, the GH1 isn't meaningfully differentiated from its predecessor, so you can get an idea of what to expect in our G1 review. Check the presser below for full details.

PMA is an annual show where we get to see tomorrow's digital cameras—the ones that'll be populating pockets and purses for the rest of the year. We'll be here for the next couple of days. [Panasonic]

The Panasonic LUMIX DMC-GH1, a Creative HD Hybrid, Offers Professional-Level Still Photos and HD Video Performance Yet is Easy Enough for Entry-Level DSLR Consumers

Las Vegas, NV (March 3, 2009) – Panasonic today introduced the DMC-GH1, the newest member of the company's revolutionary LUMIX G Micro System – a new digital interchangeable lens camera system that delivers professional-level features and performance in a compact and easy-to-use camera body.

Compatible with the Micro Four Thirds System standard, the new LUMIX GH1 features advanced video photography functions, such as the ability to record High Definition (HD) AVCHD 1080p/24p video.* In addition, the new LUMIX GH1 comes with a newly developed long-zoom interchangeable lens – the LUMIX G VARIO HD 14-140mm/F4.0-5.8 ASPH./MEGA O.I.S. This lens was specifically designed to support HD movie recording and features a silent motor and continuous auto focusing (AF) capability; two features which distinguish the LUMIX GH1 from DSLRs that offer HD video recording capabilities.

"Photographers of all levels – professionals, amateurs and beginners – will be stunned by the range of creative possibilities that the LUMIX GH1 creates in the world of high-quality photography and HD video. Users will be equally amazed by the camera's easy-to-use design and small size," said David Briganti, National Marketing Manager, Imaging, Panasonic Consumer Electronics Company. "Beyond its creative potential, the LUMIX GH1, a sister product to the award-winning LUMIX G1, is also innovative and differentiates itself from the pack by recording High Definition video with continuous AF, an indispensable feature for practical video recording."

In late 2008, Panasonic redefined the traditional DSLR category with its launch of the Panasonic LUMIX G1 – a digital, interchangeable lens camera system that takes the radical step of eliminating the large, internal mirror structure that is currently contained in all traditional DSLR cameras. This innovation allows for dramatically smaller camera body and lens sizes and permits many new, advanced consumer features such as LUMIX G1 "Live View Finder". With its 2008 launch, the LUMIX G1 achieved several honors, including:
World's first entry into the Micro Four Thirds Standard system camera segment
World's first interchangeable lens camera to offer colored body options to consumers
Winner, 2008 Camera of the Year (Popular Photography & Imaging magazine)

The new LUMIX GH1 provides cutting-edge video recording features, including the ability to record high-resolution full HD (1920 x 1080) video at 24 fps or smooth HD video (1280 x 720) movie at 60 fps using an AVCHD format (MPEG-4/H.264). The AVCHD format provides the important benefit of doubling the HD quality recording time compared with Motion JPEG. The LUMIX GH1 hosts a dedicated video record button on the back of the camera which lets users instantly start recording videos, even while shooting still photos – removing the fear of potentially missing a must-see video moment. The LUMIX GH1 also records video in high-quality stereo sound via Dolby Digital Stereo Creator, the global standard of audio recording. An optional stereo microphone (DMW-MS1) is also available to achieve a more intensive sound recording experience. Finally, a convenient Wind Cut function is provided to help to block out distracting video background noise.

Like the LUMIX G1, the LUMIX GH1 features the Live View Finder system which enables something that simply is not possible with conventional DSLR cameras – the ability to preview the effects of camera settings (e.g., exposure, aperture, shutter speed) before taking the photo. This helps take the guesswork out of the camera setting process and helps users ensure that every photo they capture comes out exactly as they envisioned.

The brilliant 1,440,000-dot equivalent Live View Finder system can also display information settings that a user can see without removing their eyes from the subject. Furthermore, a built-in eye sensor automatically switches on the viewfinder when the user looks into it, then switches it off and turns on the swivel 3.0-inch large 460,000-dot high-resolution LCD when the user looks away from the viewfinder. The 60-frames-per-second Live View is made possible by the Live MOS sensor, which takes real-time signals directly from the image sensor and sends them continuously to the LCD. Both the Live View Finder and LCD provide a 100% field of view – allowing the user to accurately frame and compose a shot from most any position.

The LUMIX GH1 kit lens – the LUMIX G VARIO HD 14-140mm/F4.0-5.8 ASPH./MEGA O.I.S. –provides a broad focal length range of 28-280mm (35mm camera equivalent) and supports continuous AF using the contrast AF system for both photo and movie capture. The low-noise lens design also seamlessly supports video recording by minimizing the mechanical sound generated by AF/AE actions.

At the core of the LUMIX GH1 lies a newly developed 12.1-megapixel high speed Live MOS sensor and Venus Engine HD, which features twin CPUs for outstanding processing capabilities. The Live MOS sensor is capable of high-speed readout over four channels to be compatible with full-HD movie recording. This sensor is also advantageous for photo recording with a high signal-to-noise ratio thanks to the new circuit structure that is unaffected by the noise generated in each of the circuits. This results in crisp photos – even those taken at high ISO levels. The multi-aspect type sensor allows users to take photos in 4:3, 3:2 or 16:9 aspect ratios with the same angle of view. The Venus Engine HD is also energy efficient, supporting long periods of AVCHD video recording on a single battery charge.

In addition to the digital camera's HD video recording capability, the DMC-GH1 features the LUMIX Creative Movie mode which lets the user manually set the shutter speed and aperture, making their videos more creative and representative of their own personal video style preference. Changing the shutter speed gives the videos a special look, particularly suitable for shooting fast-moving subjects. Controlling the aperture is convenient when there are several subjects at varying distances, so the user can focus on the foreground and blur the background – or vice versa.

While the LUMIX DMC-GH1 has cutting-edge still image and video capture features, the LUMIX GH1 is also incredibly easy-to-use, thanks to Panasonic's iA (Intelligent Auto) mode** – a user-friendly setting made popular in the LUMIX line of digital point-and-shoot camera products. Panasonic's iA mode is a suite of technologies which engage automatically (no settings needed). The latest addition to the iA suite of features is Face Recognition, a feature that directs the camera to prioritize focus and exposure on a specific face that that the user had previously registered in the camera.*** This invaluable function makes it especially easy to take sharp and beautifully exposed images of things the user values most in their photos – the user's friends and family.

Panasonic's iA mode offers other innovative features which help deliver consistently outstanding photos: O.I.S. (Optical Image Stabilization) to help reduce blurring from hand-shake; Intelligent ISO Control to help limit motion blur by adjusting the ISO sensitivity if the subject moves as the shot is taken; AF Tracking that lets the camera lock onto any subject and keep it in focus even if it moves; Intelligent Exposure which optimizes the exposure for each part of an image, preventing blocked shadows and blown highlights, and helps ensure that gradation and details are reproduced beautifully; and Intelligent Scene Selector which automatically detects the five most common shooting situations - Portrait, Night Portrait, Scenery, Night Scenery and Close-up - and switches to the appropriate Scene mode.

Best of all, the benefits of Panasonic's iA mode extend to motion image recording on the DMC-GH1. For example, the LUMIX GH1 motion iA includes O.I.S. and Face Detection, which automatically detects a face in the frame and adjusts focus, exposure, contrast, and skin complexion. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. Intelligent Scene Selector automatically switches between Normal, Portrait, Close-up, Scenery, and Low Light modes according to the environment.

The Contrast AF system adopted by the LUMIX GH1 is accurate, easy-to-use and fast. Users can choose from a wide range of AF modes, including multiple-area AF with up to 23 focus areas, 1-area AF with a selectable focus area, Face Detection, and AF Tracking. To help keep the images free of spots from dust and particles, the Supersonic Wave Filter dust reduction system helps prevent foreign contaminants from adhering to the image sensor.

After users capture their images using the LUMIX GH1, it's easy for them to enjoy their photos or HD videos immediately on a large-screen Panasonic VIERA® high-definition television. All that is required is to remove the SD Memory Card from the LUMIX GH1 and insert it into the VIERA Image Viewer (SDHC/SD Memory Card slot) located in the VIERA HDTV or in the Panasonic Blu-ray disc player. Alternatively, an optional mini HDMI™ cable is available to output the images from the LUMIX GH1 directly to the Panasonic HDTV via VIERA Link™. Then, using the VIERA HDTV's remote control, users can take advantage of the LUMIX GH1's advanced playback and slideshow features.

In addition to the new LUMIX G lenses, the DMC-GH1 and LUMIX G Micro System is compatible with any interchangeable lens that complies with the Four Thirds standard.**** This gives users access to the entire range of Four Thirds lenses. Additional Micro Four Thirds lenses will be announced in the future, giving users a large, diverse line of high-performance lenses to add to their photographic toolboxes. With the LUMIX G Micro System and the growing assortment of lenses becoming available, the creative possibilities are endless.

The LUMIX DMC-GH1 is a system camera with a wide variety of options to choose from to match a wide range of shooting situations and styles. Accessories compatible with the LUMIX G Micro System include: External Flash: DMW-FL220(GN22) / DMW-FL360(GN36) / DMW-FL500(GN50); PL Filter: DMW-LPL62; ND Filter: DMW-LND62 (New); MC Protector: DMW-LMCH62; Mount Adapter: DMW-MA1; Stereo Microphone: DMW-MS1 (New); Battery Pack: DMW-BLB13; DC Cable: DMW-DCC3; Soft Cases: DMW-CG1, DMW-CG2 (New); Soft Bag: DMW-BAG1; Shoulder Strap (Stylish) DMW-SSTG1-A/C/R/K(New); Shoulder Strap (Woven) DMW-SSTG2-W; Shoulder Strap (Leather) DMW-SSTG3-T; Remote Shutter: DMW-RSL1.

For more information about the DMC-GH1 and all of Panasonic's LUMIX G Micro System accessories, please visit http://www.panasonic.com/lumix

We've actually seen most of these cameras already—it's not just Apple, but everybody's schedules revolve less and less around trade shows—since Canon, Nikon and others have already revealed their cameras for the rest of the year, instead of waiting for the Photo Marketing Association show this week. PMA's one of the two major photo trade shows, though it's more about consumer cameras, the ones that'll populate purses and pockets starting this month for "Dads and Grads" season, than the fall Photokina show, which is where we usually see more pro gear.

And as you've already seen, tomorrow's cameras actually look a like today's techwise—just with a few more megapixels (10 megapixels is now the bottom of the barrel, it seems), wider angles (28mm and 24mm lenses everywhere in point-and-shoots) and the mainstreaming of HD video in what used to be simply hold-still-dammit cameras. Maybe there will still be a few surprises, though.

Hopefully our run-up of camera features—a shoot-out between the two hottest cameras you can buy, and primers on why lenses are more important for stunning photos than megapixels—got you hungry for more, since we'll be here for the next couple of days.

Pairing a Micro 4/3 body with loads of vintage lenses is one of the things that could set it apart as a nice, compact alternative to a DSLR, should the price come down for Micro 4/3 bodies. The FD adapter appears to be done DIY style by a Japanese guy with pretty awesome circa-1995 web skills: you can buy for ¥147,000 (~$160), and he also makes a Leica M-Mount adapter as well. Impress took it for a spin with a variety of different old school FD lenses—check out their test shots for a closer look. [Product Page (Translated) via Impress Digicam Watch (translated)]

If you may recall from our G1 review, the camera's DSLR form-factor pretty much nullified all of the potential of the Micro Four Thirds system to offer an entirely new class of compact, digital rangefinder-like cameras with interchangeable lenses. With an M-mount adapter, you can use 50 years' worth of classic lenses made by Leica, Zeiss and others with a Micro Four Thirds digital. Now if Olympus would just get around to making the rangefinder concept they teased us with back in September a reality.

And while you may be better off capturing all that beautiful Leica light on film rather than Micro Four Thirds's sub-APS-C sensor, it's always nice to have options. [Amateur Photographer via Gadget Lab Photo: Enixii (Flickr)]

There is a single photo that you should think long and hard about before deciding whether to plunk down $800 for the G1. And oddly enough, it wasn't even shot with the camera itself. Want to see it?

Yeah, there it is—the G1 posing next to my Canon Rebel XT. As you can see, for all practical purposes, they are the same size and shape. The G1 is smaller by a hair, but unless you're carrying both at the exact same time, it's a difference you would never, ever think about. This seemingly small fact completely undermines the system's potential to set itself apart from the big boys' entry-level DSLRs, which are the G1's direct competitors whether Panasonic likes it or not. The G1 fails to deliver on Micro Four Thirds' potential to produce cameras with small, unique form factors—those Leica-style "digital rangefinders" we pined for when the system was announced—that could be very worthy of your consideration. For now, an entry level Canon or Nikon DSLR is a better bet, coming in with humongous lens and accessory systems and lower price tags.

The thing is, a Micro Four Thirds camera doesn't have to look like a conventional DSLR. There is no pentaprism, which allows for a direct through-the-lens viewfinder in a DSLR and is responsible for the traditional bulge up top. There is no long legacy of lenses and hardware that dictate how the camera body should be formed. But there the G1 is, with its faux prism bulge and totally traditional DSLR shape.

Panasonic apparently chose this route to drive home the fact that the G1 is a serious camera, not just a gussied-up point-and-shoot. I guess that makes some logical sense for a minute, but for people who buy an $800 camera based on more criteria than just the way the body looks (read: most), it will probably prove to be a fatal mistake. Which is too bad, because when form factor is ruled out, Micro Four Thirds' unique characteristics show a lot of potential for greatness. Let's look at those.

Live Viewfinder

When you look through the G1's viewfinder, you see a digital image of the sensor's live view output. Generally this is a really terrible way to compose a photograph, but the G1's is actually really usable. It's not jerky at all in good light (it does tend to slow down in low-light, though), and it's sharp, bright and clear for focusing thanks to a resolution of 1,440,000 dots. It's the best digital viewfinder I've ever used personally.

For auto focus, the G1 uses a 23-area contrast-based system, again because there is no mirror to reflect light to a dedicated AF sensor found in most DSLRs (contrast detection is also occasionally used by DSLRs when they're in live view or video capture mode). It tended to work well in good light and in bad. Manual focus is also possible, but a zoomed-in view PIP-style—like many DSLRs have—would have been nice.

There is a dedicated button for switching between the digital viewfinder and the LCD, which you can swivel out from the camera's back. There's a sensor next to the viewfinder that automatically switches between the two depending on where your face is.

The Sensor

Micro Four Thirds (like the Four Thirds true-DSLR system that came before it) gets its name from the 4:3 aspect ratio of its 13-megapixel "Live MOS" sensor. The sensor is basically a hybrid compact/DSLR type—the 4:3 aspect ratio is more common in compacts (although you can set the aspect ratio to the more traditional DSLR standard 3:2 easily), but the sensor's physical size is more on par with the APS-C sensors found in low-end DSLRs. That's a good thing, because a bigger sensor always equals less noise at high ISO sensitivities, more control over limited depth of field, and better image quality all around. That's why the prospect of a truly compact camera with a Micro Four Thirds sensor is so exciting.

As you can see, though, with the lens removed the sensor is directly exposed to the elements. If you have an industrial grade clean room in your house, I would advise changing lenses in there. Dust spots on your sensor are the worst.

Interchangeable Lenses

Right now there are only two Micro Four Thirds lenses: The 14-45mm/F3.5-5.6 kit lens and a 45-200mm/F4.0-5.6 telephoto zoom. Thankfully, you can mate the G1 with the larger selection of standard Four Thirds lenses via an adapter (which includes some nice high-end Leica glass). Here you see a Lumix/Leica 14-40mm mounted.

Controls

Controls and menus are generally well thought out. There's a bunch of flexibility built in here—from the customizable ISO intervals (full or 1/3 stop) to the handy Quick Menu—which lets you access just about all of the basic shooting functions from within the viewfinder without diving into a menu.

Mad props for the clickable main scroll wheel. I don't know if this is standard on Panasonic's other performance cameras, but it's incredibly helpful—a single press cycles between controlling the aperture or shutter speed (depending on your mode) to setting a quick exposure compensation or going between shutter and aperture in full manual mode, all with a single wheel. Nice.

I can easily live with the annoyances noted above, balanced as they are by the niceties I also mentioned. However, the G1 does have three drawbacks that, when considered with the baffling form factor decision, are dealbreakers:

ISO Noise

Noise levels are not great. Here you can see a progression of shots from ISO 100 to ISO 3200. As you can see, ISO 3200 is pretty useless:



And here, a quick and dirty crop comparison with a Rebel XT (which is three generations old, keep in mind) at ISO 1600 (the XT's max). Even my three-year-old Rebel does better at ISO 1600. The Micro Four Thirds sensor is large, but it's still smaller than APS-C and not as adept at handling noise as Canon or Nikon sensors, which get trickle-down sensor tech from noise-busting high-end cameras.

No Video

This makes absolutely no sense: The G1 does not have a video capture mode, even though all the challenges of recording video on a DSLR are completely non-existent here. Panasonic has said that its future Micro Four Thirds cams will have HD video. This is precisely where the system has a natural leg-up on entry-level DSLRs and it's a shame—perhaps a fatal omission—that the G1 couldn't take part.

Cost

Panasonic G1 with 14-45mm f/3.5-5.6 kit lens: $799

Canon EOS Rebel XSi with 18-55mm f/3.5-5.6 kit lens: $669

Nikon D60 with 18-55mm f/3.5-5.6 kit lens: $599

As long as that's the competitive landscape, the G1 has no chance.

Conclusion

I am optimistic about Micro Four Thirds, but there's just no reason anyone should buy a G1. Less money could get you a real DSLR that is, for all practical purposes, the same size. The G1's digital viewfinder is excellent, but it's no comparison to looking at the real world as you shoot. Factor in the G1's relatively poor high-ISO performance and tiny lens selection and it's a no brainer.

All is not lost for Micro Four Thirds. Remember Sigma's DP-1, the super-compact, rangefinder-looking point-and-shoot that packed a DSLR-sized sensor and manual controls? Micro Four Thirds could add to that paradigm a great electronic viewfinder and a system of interchangeable lenses. How about a Leica M-looking body with a few interchangeable prime (not zoom) lenses? What about using tons of legacy Leica lenses via a rumored M-mount adapter, in addition to the Leica (non-Micro) Four Thirds lenses that already exist? Sign me up for that any day. There is hope that a remedy is coming soon, as Olympus, Panasonic's partner in this endeavor, will unveil its Micro Four Thirds camera early next year. For now, though, it's back to the drawing board for Panasonic, and back to DSLRs for me.

Test Shots

All full-resolution shots straight from the camera with no cropping or processing.

PANASONIC ANNOUNCES PRICING FOR LUMIX DMC-G1, THE WORLD'S FIRST MICRO
FOUR THIRDS SYSTEM CAMERA

Secaucus, NJ (October 16, 2008) – Panasonic today announced pricing
for the world's first Micro Four Thirds System camera, the LUMIX
DMC-G1 – available in mid-November for a suggested retail price of
$799.95, which includes the LUMIX G VARIO 14-45mm/F3.5-5.6 ASPH/MEGA
O.I.S. kit lens. Also available in November, the LUMIX G VARIO
45-200mm/F4.0-5.6/MEGA O.I.S. telephoto Micro Four Thirds lens has a
suggested retail price of $349.95.

The LUMIX G1, available in black, blue and red models, is the first
interchangeable lens camera to offer consumers a choice of colors.
Weighing about half as much as a standard digital single-lens reflex
(DSLR) camera (1.28 lbs)*, the LUMIX G1 is loaded with features that
both entry-level and more experienced DSLR users will appreciate. The
LUMIX G1 introduces a new Contrast AF (Auto Focus) system that is
accurate and fast. Additionally, the LUMIX G1 features Panasonic's
Intelligent Auto mode found across the LUMIX line of cameras, which
includes AF Tracking, Intelligent Exposure, MEGA O.I.S., Intelligent
ISO, Intelligent Scene Selector, and Face Detection.

"The LUMIX G1 provides the power of a DSLR with many of the
easy-to-use features from our point-and-shoot digital cameras," said
David Briganti, National Marketing Manager, Imaging, Panasonic
Consumer Electronics Company. "With the LUMIX G1, we're able to
provide manual controls and professional-quality images, while also
making the camera much more compact and with intuitive features easy
for those new to DSLRs to learn and use."

The LUMIX G1's electronic Live View Finder, with a high-resolution
1,440,000-dot equivalent, allows the user to shoot the exact image
seen, while also displaying information about the camera's settings.
The LUMIX G1 also features a free angle 3.0-inch LCD, enabling the
user to see the adjustments as they are being made, a valuable
learning tool for users new to manual controls, as the effects can be
confirmed visually before snapping the shot.