Panasonic Lumix DMC-LC50

 Color (8.40)
We test each camera's color reproduction capabilities using a GretagMacbeth color chart and Imatest Imaging Software. The charts are exposed at the camera's optimal settings and then imported into the software to determine the degree of variance in each color tone from its ideal. The chart below portrays these results; within each color tile, the outer square is the actual tone produced by the camera, while the smaller, interior square is the camera's produced tone corrected by the software. The small vertical rectangle in the center is the ideal tone.

 The chart below contains 24 tones produced by the Panasonic Lumix DMC-LC50 and the degree of color error from the ideal tone. The circles are used to represent the actual hues produced by the camera, while the corresponding square is the ideal. The distance between them is the margin of error.

The Panasonic Lumix DMC-LC50's color reproduction as a whole is quite good. Colors are relatively naturalistic and there is definite consistency among the various tones. The biggest flaw is that the camera embellishes slightly on the hues, over-saturating most of the colors. However, the saturation doesn't favor particular colors, which works to blend the accentuation into the composition and so does not appear overtly pronounced to the human eye. This has a dramatic effect on the overall image. Overall, color rendition on the Lumix DMC-LC50 is quite sharp, as long as the user prefers vivid color over precise representation.

Still Life Scene
Below is a shot of our totally sweet still life scene taken with the Panasonic Lumix DMC-LC50.

Click on the image above to view a full resolution version (CAUTION: The linked file is VERY large!)

Resolution / Sharpness (2.71)
Testing a camera's resolution is not as easy as it might sound. While the maximum resolution described by the manufacturer and stated on the box simplifies the measurement to a description of the total image size, the actual resolution and sharpness of an image may vary greatly from that number. To determine a camera's actual resolution, we take a series of exposures of an ISO resolution chart at the camera's optimal settings. Many exposures are recorded and run through Imatest to properly assess the camera's maximum imaging potential. Since most manufacturers and consumers do not recognize this discrepancy, it is important to try to understand these numbers in a slightly different light. When cameras are tested for 'actual resolution,' it is highly improbable that they will match their projected megapixel count (as described on the camera box); therefore, a camera that produces images that exceed 70% of its advertised megapixel count is considered to have 'good' performance, while a camera that records above 80-89% of its marketed resolution is considered 'very good.' Anything that exceeds 90% is considered 'excellent.'

 It is important to keep in mind that resolution and image sharpness are a result of both the sensor's capability and the quality of optics and lens being used. A larger or higher performing sensor will not guarantee any results without a strong lens in front of it. Having said this, the Panasonic Lumix DMC-LC50 stocks a Leica DC VARIO-ELMARIT all-glass aspheric lens, providing strong potential for crisp definition and image clarity. Our tests reaffirmed this supposition as the Panasonic Lumix DMC-LC50 received a real resolution score of 2.71 recorded megapixels present in the image. This is 86% of the intended resolution and is a very good score, regardless of the camera. Part of the advantage to this aspect of our testing is that the results are given as a percentage of the camera's performance, contrasted with its expectation. Therefore, scores can be compared across the board, regardless of the caliber of camera or suggested number of megapixels. For instance, ordinarily a general comparison of the 3.16 megapixel Lumix DMC-LC50 would be difficult to pit against the 4.0 megapixel Canon PowerShot S410; however, comparing their percentage scores (actual resolution contrasted with expectation) creates an even plane for comparison regardless of the total projected megapixel count of each model. With this in mind, the Lumix DMC-LC50 received an extremely high resolution score for its styling and should be viewed as an excellent imager within the point-and-shoot bracket.

Noise Auto ISO (5.07)
Although the Panasonic Lumix DMC-LC50 is designed as a point-and-shoot camera, it did not seem to handle noise well in automatic mode. While the camera does contain manual ISO settings for the user who makes the added effort to manually manipulate controls to gain maximum image quality, most of the Lumix DMC-LC50 users are drawn to the camera for its automatic (hands-off) control. This is a substantial flaw in the Lumix DMC-LC50's performance and it should be noted that, unless ideal lighting is available, substantial noise and distortion will occur.

Noise Manual ISO (7.17)
Any point-and-shoot camera that provides the user with variable ISO settings is doing the user and camera justice. Variable ISO settings allow the user to control the illumination and noise levels in their images by altering the ISO rating. Noise in the digital realm is analogous to monochromatic grain in the film medium; the more noise there is in the image, the more distorted the overall image will appear. As a rule, lower ISO ratings are 'less sensitive' to light which means they are generally used in brightly lit scenes. In situations where available light is not in question, a lower ISO rating typically will provide a cleaner image with less noise. When the light available is diminished, higher ISO ratings are required to attain the same exposure. On cameras that provide variable ISO settings, a higher rating can be used and will provide a brighter image; however, noise levels will become more pronounced and apparent.

 We expose the GretagMacbeth color chart at each ISO setting available and import the images into Imatest Software to get a measure of the noise levels present in each image. We take a regression analysis of the noise levels and plot our results in the graph below. The X-axis represents the ISO rating, while the Y-axis corresponds to the noise produced.

As is apparent from the graph above, the Lumix DMC-LC50 handles noise levels moderately well in manual ISO mode. The levels of noise rise evenly when the ISO rating is boosted, without any significant jump from one setting to the next. This is a strong characteristic in any camera; however, this seems to almost defy the nature of the camera itself. The Lumix DMC-LC50 appears to have been created with the automatic snapshot user in mind. Therefore, it is impractical to bury the camera's most effective noise controls in a manual setting. It would have been far more practical for Panasonic to create a stronger automatic ISO control and leave the manual settings for a higher-end model more appropriate for manual users.

Speed Timing
Startup/First shot (6.19)
While the Panasonic Lumix DMC-LC50 does provide excellent image quality, you will have to wait to try it out, as the camera takes over 3.81 seconds to start up and record an image.

Shot to shot (6.72)
Shot to shot time on the Lumix DMC-LC50 is almost as slow as boot up time. This seems improbable, but unfortunately it is true. Get a drink, take a nap, feed your pet, then you can snap off another shot in the 3.28 seconds the camera needs to reload.

Shutter to shot (5.16)
Shutter to shot time is just under two seconds, taking 1.92 seconds in total from the time the shutter is depressed until the shot is recorded. Be careful not to blink, breathe or move; the shot's on its way.