Panasonic Lumix DMC-GF2 Assess
There’s so much to like about the Panasonic Lumix DMC-GF2that the few, unfortunately serious, flaws with the camera seem to loom as even better detractions. On the upside, it preserves much of the really nice point characteristics of the GF1, incorporating a very well designed touch-cover interface, and improves on that camera’s by now zippy performance. And if you shoot raw, the camera can produce some very nice descriptions. But it also suffers from two serious flaws: the same poor JPEG dispensation engine that plagues the LX5 and the same paroxysm-inducing incapability to lock the focus area on the touch cover as on the G2 and GH2.
If you shoot raw, you can get extremely excellent descriptions as high as ISO 800 and usable ones at ISO 1,600–the dynamic range is such that you end up with some clipping in the darkness, but nothing improper in a camera in this price range. Even if, I wouldn’t urge shooting JPEGs higher than ISO 100 unless in sharp sunlight, and even then get ready for artifacts. The GF2 uses the same Venus FHD dispensation engine as the LX5, and even if the descriptions look better (liable since of the better sensor), the JPEGs endure from akin golden-haired splotches and oversharpening crunchiness. Fascinatingly, the GF1 posts better noise consequences than the GF2 up to ISO 800. You beyond doubt get better JPEG consequences on macro shots and zoomed-in closeups than you do in broad wide-angle or landscape shots.
Aside from that, it does well on all the other measures of feature, such as color, exposure, all-function homogeny, and sharpness crosswise lenses. But that’s a pretty huge aside.
It also delivers solid video feature: moderately sharp with some typical edge aliasing, surprisingly excellent exposures even when backlit, and very modest moiré or rolling-close wobble. The better issue with video is the famine of adjustment reins. With the exception of Defocus, it’s all involuntary.
The GF2 performs unequally the same as the GF1, and beats the rest of its class in many excellent wishes. It takes about 0.9 following to power on, focus, and shoot. Focusing and shooting in excellent light runs an exceptional 0.4 following, while in dim light it’s a not-too-shabby 0.7 following. You typically can shoot two sequential JPEG shots in only 0.7 following, even if that increases to 0.9 following for raw, andadding flash recycling time into the JPEG mix bumps it to 1.6 seconds. The burst rate of 2.8fps is just OK, but you really don’t want to use any of these cameras for continuous shooting. This isn’t dSLR-like speed, but the focus is quick enough to shoot inevitable tender subjects; shooting quick or unpredictably tender ones still requires a dSLR with an optical viewfinder. And the dynamic tracking autofocus logic is pretty excellent–better at locking and holding focus than Olympus’ for shooting video.
Even if not as small as Sony’s NEX-5, the GF2 is a comfortable “compact” size for those of us who like a modest more heft to our cameras. It also feels a modest more balanced when equipped with a longer lens.
Among the sparse facial appearance atop the camera are a decent stereo microphone, albeit one that lacks separation, a dedicated videoconfirmation button, and quick-access button for intelligent auto mode. Even if I’m a huge fan of the dedicated video confirmation buttons, I don’t like the feel of this one; it’s flush with the top surface and a bit hard to find just by feel.
As with the GH2, I really like the way Panasonic has integrated a set of supervise over-access reins with the touch cover. Most of the most-vital settings can be accessed frankly via buttons: ISO sensitivity, focus area mode, white weigh, and drive mode. Panasonic doesn’t make you scroll through the menus via the touch cover, a smart go, since that ordinarily requires a level of precision for which these small displays are inappropriate. It helps that the LCD feels quite open, sharp, and moderately simple to view in supervise over sunlight.
The amalgamation of supervise over-access buttons and huge virtual buttons, so that you can use each where appropriate, makes Panasonic’s touch-cover interface one of my favorites. It works most seamlessly if you use two hands, even if–in commission the buttons with your right thumb and navigating the screens with your left thumb, very near as if you’re texting. You can also curriculum the Q.Menu/Fn button to go frankly to any other point setting that’s in the Q.Menu–and the Q.Menu is fully customizable.
That said, my main frustration with the interface remains: you can’t lock the AF area to preclude it from tender when you accidentally touch the focal point of the cover. I had to readjust it back to focal point between very near every shot since of this, an immensely frustrating exercise. At least with the G2 and GH2 you can flip the sight nearly and use the EVF. The EVF is an extra-cost choice for the GF2, so you’re stuck. I didn’t ding the Point rating for this drawback since it might be less exasperating for others than it is for me–I primarily shoot in focal point-area AF mode–but I might if I see it again in the next rev of the camera.
As for facial appearance, the GF2 offers a solid set of blue-collar, semimanual, and involuntary shooting options, but nothing really exceptional. Since of the touch cover, it chains touch focus and touch close, which is matter-of-fact, and there are three custom settings slots; they’re simpler to access than on the E-PL2 but not as simple to define. Even if it’s kind of nice to have, Panasonic’s My Color mode isn’t near as fun or bendable as Olympus’ Art Filters. It does work with video capture, even if. There’s five-shot bracketing, but it can’t do full stops. It provides the same six-face recognition logic as other Panasonic cameras, and the useful Journey Date range as the GH2. (For a full account of the GF2′s facial appearance and surgical course of action, you can download the PDF blue-collar.)
Its predecessor earned an Editors’ Scale, and much of what I liked about the GF1 remains in the GF2. But I can’t help but feel the Panasonic Lumix DMC-GF2 has taken a step backward in photo feature in some ways, primarily in light of the impressive feature of competitors like the E-PL2 and NEX-5. For folks who shoot raw and don’t mind the aforementioned issues with the touch interface, then the GF2 will liable grant a fantastic shooting encounter. For others, not so much.
The Panasonic Lumix DMC-GF2 excellent:
The Panasonic Lumix DMC-GF2 delivers exceptional performance for its class, in a moderately compact, comfortable point with a rationalized, usable touch-cover interface implementation.
The Panasonic Lumix DMC-GF2 terrible:
Panasonic’s JPEG dispensation remains subpar for this class of camera, and the GF2′s incapability to lock the focus area from accidental cover presses–a flaw of all the company’s touch-cover ILCs–remains a huge point of frustration. It also has a poorly banal figure set, counting a lack of blue-collar reins all through video capture. Also, an EVF costs extra, and the array doesn’t last very long.
The Panasonic Lumix DMC-GF2 underside line:
Even if we still really like Panasonic’s GF series, there are numerous trade-offs to take into account previous to you buy the Panasonic Lumix DMC-GF2. Its raw-format descriptions look extremely excellent, but JPEG shooters looking for best-doable photo feature may get frustrated by image artifacts. And while lots of photographers will be thankful for its moderately compact but functional point and zippy performance–even if still not for proceedings shooting–there’s nothing special about its figure set, counting underpowered video capture.