Panasonic Lumix DMC-GH1

Lens & Sensor

As shown below, the 10x zoom kit lens offers a wide range of composition choices without moving an inch.

The GH1 also supports two types of digital zoom. The extended optical zoom increased magnification when shooting at small and medium image sizes by using only the center portion of the sensor. This doesn’t affect picture quality, assuming you’re happy shooting at lower resolution. There are also 2x and 4x digital zoom, which will mess with your image quality no matter what your resolution setting.

Zoom Ratio Examples
14.0 mm	78.0 mm	140.0 mm

Micro Four Thirds cameras use the same size sensor as Four Thirds cameras, measuring 18 × 13.5mm. This is significantly smaller than the APS-C format sensors found in most digital SLRs, which poses engineering chalenges when you’re trying to cram the same number of megapixels into a smaller space. It also changes the math involved in figuring out the 35mm equivalent focal range of a lens mounted on a Micro Four Thirds camera. With most digital SLRs the magnification factor is 1.5x or 1.6x — a 14-140mm lens like the one shipped with the GH1 would shoot like a 21-210mm. On the GH1, though, you get the equivalent of a 28-280mm, providing a reasonable wide-angle and a powerful telephoto.

The GH1 sensor has a gross resolution of 14.0 megapixels and an effective resolution of 12.1 megapixels. There’s a supersonic wave filter in front of the sensor that vibrates every time the camera is turned on, and can also be triggered via the custom menu if you see a problem.

Viewfinder (7.00)

The GH1 offers an electronic viewfinder which draws on technology from Panasonic’s professional video camera division, with 1.44 million dot equivalent resolution and approximately 100% field of view. It’s a good-looking display, with razor-sharp text superimposed. Unfortunately, it stutters in low-light situations, particularly (though not exclusively) when those lights are fluorescent. The brightness, contrast, saturation and color of the viewfinder can all be tweaked to your liking, and there’s a diopter adjustment with a ±4.0 (m-1) range.

There’s a sensor on the side of the viewfinder to automatically turn it on and turn off the LCD when you hold the camera up to your eye. If you prefer, you can turn that sensor off and use the LVF/LCD switch on top of the camera.

Unlike the standard SLR approach, the electronic viewfinder and the LCD displays are arranged identically, with the same information display and quick menu options. This helps cut down on the learning curve and makes jumping back and forth between viewfinder and Live View shooting seamless. You can choose from two styles for the viewfinder display. One (called LCD monitor style) is a full-screen approach with information overlaid on the image, the other (Vewfinder style) shows a smaller image and a black strip at the bottom so the information displayed there is more legible. Pressing the Display button toggles between two levels of information detail if you’re using the Viewfinder style. With the LCD monitor style, you toggle between an information display and a clean screen.

Three different styles of grid lines can be overlaid on the viewfinder display, one a nine-box pattern, a second more complex design that includes diagonal lines as well, and a third consisting of two crossed lines whose positions can be adjusted using the four-way controller.

Another option we’re very glad to see included is having a live luminance histogram displayed while shooting. This can be positioned using using the four-way controller to the least obtrusive spot.

The sensor at the right turns the LCD off and the EVF on when the camera is held to your eye.	A live histogram can be superimposed on the viewfinder or LCD while shooting.

Display(s) (6.30)

The LCD is a 3-inch widescreen display with 460,000-dot resolution. Like the viewfinder, it can be adjusted for brightness, color, contrast and saturation. It can also be set to adjust brightness automatically based on light levels where you’re shooting, or set to Power LCD for maximum brightness (also handy as a substitute flashlight in case of a blackout).

The screen is articulated, with a hinge that swings out up to 180 degrees to the side and then pivots up to 270 degrees. This arrangement has several advantages, including the option to hold the camera over your head, down low or off to the side to grab shots at unusual angles. With the camera mounted on a tripod or sitting on a table, you can also see how you’ll look when taking a self-timer self-portrait. Turning the screen so the back faces outward effectively protects the LCD from the elements when you’re not shooting. We also found the option to fold out the screen very helpful for holding the camera steady when shooting video — with the screen clicked into position straight out from the left, the wider width made for easier handling.

The hinged LCD makes shooting at unusual angles practical and provides protection for the screen when not in use.

Secondary Display

Unlike a traditional high-end SLR, there’s no monochrome LCD screen to display settings on top of the camera.

Connectivity (2.00)

A single proprietary port is used for both USB and standard-def AV output. The video out aspect ratio when using the AV cable can be set to 16:9 widescreen or the standard 4:3 screen size. HDMI connections will ordinarily be set automatically, but it is possible to specify 1080i, 720p or 480p output if necessary. The camera is also outfitted with VIERA link, which allows remote control operation when using compatible Panasonic equipment (a nice capability for running slide shows from the sofa).

In addition to the AV and USB connections, there’s a jack for connecting a cabled remote control or an external microphone.

The HDMI and proprietary USB/AV cable are in one compartment...	...and the external mic / remote control jack is in another.