Panasonic Lumix DMC-FZ40 Assess
The Lumix DMC-FZ40 is the lower-priced linemate to Panasonic’s other full-size megazoom, the FZ100. The two are separated by about $100 and a whole lot of facial appearance. Many of those facial appearance doubtless aren’t deal-waves for a lot of public, but one of them might be: the FZ100 has a MOS sensor and the FZ40 has a CCD sensor. The sensor change primarily means you lose all of the FZ100′s high-speed shooting capabilities.
Other key differences contain a lower pledge, fixed LCD; 720p AVCHD Lite movie capture instead of full HD AVCHD movies; and there’s no belt shoe for adding an open-air mic or flash. If you’re not shooting a lot of movies, even if, these are for the most part square losses for the price difference.
The main problem is that buyers tend to see the body style and reckon they’re getting dSLR-feature photos and performance, just without the interchangeable lens part. The FZ40 uses the image sensor of a point-and-shoot, even if, so the photos are still those of high-feature sack camera. Photos are very excellent up to ISO 200 with nice color and moderately low noise. But as soon as you jump up toISO 400, noise and Panasonic’s JPEG dispensation consequence in soft smeary fine points and golden-haired blotching. ISO 800 is usable at small sizes, but with more of what happens at ISO 400noticeable. Photos taken at ISO 1,600 are just plain terrible with noise and color issues. This is awkward since you need those higher ISOs if you’re doing a lot of shooting indoors or in low light without a flash or you’re using the zoom in less than full sun.
Even if, if you don’t mind shooting in raw or raw plus JPEG, you can administer the descriptions yourself and get much better consequences than the JPEGs straight from the camera. This is the case with the FZ100, too, but its shooting speeds are closer than the FZ40′s. Raw capture drives the shot-to-shot time from the FZ40 up to 4.1 seconds.
Color is very excellent from the FZ40 up to ISO 400. Subjects grow natural, sharp, and practically right. Plus, there are a digit of ways to tweak your color consequences. Exposure is very excellent, too. White-weigh presets are OK for the most part; even if, the auto white weigh is not excellent indoors. Unfortunately, you’re stuck with that setting if you’re using Intelligent Auto or most of the other involuntary shooting modes. When doable, use the presets or take a blue-collar conception, which is really simple to do and you can store two presets.
Panasonic reins the barrel distortion honestly well from the 25mm-corresponding wide-angle lens. There’s also modest sign of pincushion distortion when the lens is total. The lens is practically consistent edge to edge, even if there is a affront bit of softness at the far right side and corners. Fringing is somewhat under control, but not completely. It’s plainly noticeable in very high-draw a distinction areas of photos when they’re viewed at full pledge, but not really at smaller sizes.
As for movie feature, its AVCHD Lite clips are sharp with excellent exposure and color. Low-light tape suffers from the same noise harms as in photos. The zoom does run while tape, but its movement is elected up by the stereo mic. If you are tape in a very silent background, you will hear it in your movies, but otherwise it’s trying to hear.
Other than the loss of burst modes and full HD movies, there are no significant shooting mode differences. For involuntary shooting there is the company’s Intelligent Auto that combines an ever-growing digit of technologies to get the best consequences. Overall, it works very well, but photos can end up appearing overprocessed. On a side note, Panasonic brushwood “Intelligent” in front of no fewer than eight facial appearance in this camera. Recall what each of them does, where they are in the menus, and when you should and shouldn’t use them can cause a bit of a headache. They are helpful technologies, but the marketing is really early to get in the way of using them fruitfully.
There are 21 scene modes for those times when you want to get point with your auto shooting. Many of them are available for photos and movies. Five of the scene modes have spots on the Mode dial, and each of them has its own sets of scene modes. Likeness mode, for model, has Habitual, Soft Skin, Open-air, Inside, and Creative settings. Creative is basically the Habitual choice with a slider for adjusting gap, giving users a middle point between an involuntary scene mode and gap-priority mode.
Similarly, Panasonic includes numerous options for experimenting with color and style. On the Mode dial is a My Color mode with a bunch of filters brought over from the Lumix G series cameras. With names like Expressive, Retro, Pure, High Dynamic, Pin Hole, and Film Grain, they’re a lot like what you’d find in a smartphone app. There are color equipment you can play with, too, that are for use when you’re in other shooting modes.
For those who like to take more control, the FZ40 does offer gap-priority, close-priority, and blue-collar shooting modes. Apertures are f2.8-8 wide and 5.2-8 telephoto. Close speeds go from 60 seconds to 1/2,000 following. There is also a blue-collar mode for shooting movies. There’s a Curriculum mode, too, should you want to change equipment like ISO, white weigh, and exposure compensation, but not worry about close speed and gap settings.
If you like to shoot close-ups, the FZ40′s macro gathering can focus as close as 0.4 inch to a theme. The consequences are honestly sharp below ISO 200 with plenty of fine detail, even if a modest sharpening with software improves equipment. A button to the right of the LCD lets you quickly thrash to macro autofocus or blue-collar focus. It will also enter macro in Intelligent Auto mode when you get quicker to a theme.
Again, without the high-speed benefits of the FZ100′s MOS sensor, the FZ40′s shooting performance is nothing special. Close lag is moderately low at 0.5 following and 0.9 following in sharp and dim lighting, correspondingly. From shot-to-shot without the flash, you’re waiting 1.6 seconds; adding the flash drags that time to 4 seconds. Its time from off to first shot is 1.5 seconds, which is above mean for its class. Finally, it’s competent of shooting endlessly for up to five photos at 1.6 frames per following at its full 14-megapixel pledge. A 3-megapixel high-speed burst is available as well that shoots at up to 10fps.
The camera is well designed and commonly nice to use. There’s an ample hand grip so you can comfortably handle its 1.1-pound consequence. The grip houses a memory card and a large rechargeable array CIPA rated for up to 580 shots. On top along with the close relief/zoom lever, power thrash, and Mode dial is a one-touch confirmation button for movies and one for setting the variable autofocus area.
On back below the small, but pragmatic electronic viewfinder is a decent 3-inch LCD. To its left are the main reins for menu steering and shooting. They’re all well-spaced and simple to press, and there’s a jog dial for quickly changing equipment like gap, close speed, and exposure compensation. Even if, since of the plentiful figure set it’s all too simple to get lost trying to find a setting in Panasonic’s menu systems. It’s not insurmountable, but if you often make changes it can quickly become frustrating.
Without the belt shoe on top and no mic input, you can’t add on a flash or a mic. But there are conversion lenses and filters available for it, and Panasonic includes a lens hood.
Having experienced person the FZ100 previous to the FZ40, it’s beyond doubt a case of “you don’t know what you’ve got till it’s gone” for me. I really missed the quick shooting of the FZ100, primarily since it meant I could capture in raw plus JPEG without slowing down. On the other hand, it is $100 more, so if you don’t need the quick shooting for sports, kids, or flora and fauna, or the movie capture facial appearance, the FZ40 is worth the investment.
The Panasonic Lumix DMC-FZ40 excellent:
Exceptional figure set and shooting options for the money; nice point; fantastic array life.
The Panasonic Lumix DMC-FZ40 terrible:
JPEG photo feature tanks at ISO 400; menu logic can get hard.
The Panasonic Lumix DMC-FZ40 underside line:
The Panasonic Lumix DMC-FZ40 is a solid megazoom, but its low-light photos need extra attention.