Recently we’ve seen manufacturers back away from the megapixel race with regard to image quality, and today we’re seeing Panasonic back away from the race toward miniaturization.
Panasonic GX1 Preview
Because the Sony NEX-5, we’ve seen successively smaller designs such as the Olympus E-PM1 and Panasonic’s own GF2 and GF3 that moved from the rangefinder ethos of the GF1 with regard to fitting to the silhouette of the NEX-5. These smaller digital camera worked very well for japan domestic market, we’re told, but it’s still primarily enthusiasts buying compact system cameras in the USA and Europe. Panasonic browse the writing on the wall and took heed, wisely time for the GF1 design, giving it a brand new name: Lumix GX1.
With a slightly more refined air, the Panasonic Lumix DMC-GX1 is definitely a much better fit for enthusiasts who like a bit more get a grip on. I understand this enthusiast is pleased. I actually do miss a get a grip on or two, but two new function buttons help replace with that. I also skip the very Japanese minimalism of the GF1, that we hailed for the reason that review. It’s still there, I guess, however it appears to have more American big-handedness about this, using its larger grip and two-tone paint scheme. We got the silver version, which plays a role in the result.
The grip is pretty nice, with a great leather-like texture. It’s hard rubber, but nonetheless soft to touch, and warm. The perfect blend for a camera likely to obtain a large amount of use. Panasonic moved the AF-assist lamp from the left to the best, a great move that means it is less inclined to be blocked with a finger. Used to do find my thumb blocking it sometimes, when i worked the zoom get a grip on, but I still prefer this position.
Panasonic also went with an easier design for the pop-up flash than appeared in the GF1. That design was precise with a scissors-like architecture, but was harder to stow; this design allows an imaginative photographer to pull the flash back again to bounce it off a wall for unique close-quarters lighting, though I doubt it might have sufficient capacity to illuminate good enough for ceiling bounce.
Stereo microphones sit right while watching hot shoe. The hot shoe itself was abandoned in the GF3, so we’re glad to view it right back on the Panasonic Lumix DMC-GF3. Note the locking protective cover. Intelligent Auto moved from the Mode dial to the now-standard button on top deck. Retained on the Mode dial are two Custom settings, items which disappeared with the Mode dial on the GF2 and GF3 (a minimum of one was obtainable in the touchscreen Mode menu, but to visual people who prefer to see and activate their primary controls whatever the LCD’s status, it might as well have already been deleted).
The ability switch is nested underneath the Mode dial, a neater solution compared to simple slider on the GF1. And both Shutter and Record buttons are about where we’d are expecting them, more in-line left to right than in past designs. Gone, sadly, may be the Drive-mode switch which was nested underneath the Mode dial on the GF1, jutting out toward the leading.
Panasonic also stuck with the wide-loop metal strap lugs, thankfully, instead of D-rings, a quieter cloth-to-metal solution that I favor, especially for video. These lugs are not as nice since the GF1′s, which are rounded chrome that is a little softer on the hands, however the thinner stainless on the GX1 appears like it may be stronger.
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