Panasonic DMC-GH1

	Introduction
The basic concept of the Micro Four Thirds format, jointly developed by Olympus and Panasonic, is to create interchangable-lens cameras without an SLR mirror mechanism, relying exclusively on Live View for both lining up shots and autofocusing the camera. Without the mirror, Micro Four Thirds cameras can be smaller, particularly in depth. The Panasonic Lumix G1 was relatively slim when it was introduced last year, though not a radical departure from existing small SLRs. The breakthough achievement for the G1, though, was fast Live View autofocus. For the first time we could shoot subjects in motion in Live View mode and not worry about the focus keeping up, and we applauded, even with some hesitation over image quality. What was missing from the G1, though, was the ability to shoot video, a void that has since been filled by several video-equipped SLRs. Now, with the Lumix GH1, Panasonic responds to the SLR video world with a bang, delivering a camera with the manual control and autofocus ability you'd expect from a high-def camcorder, sadly lacking in video-equipped SLRs to date. The 12.1-megapixel GH1 is priced at $1499.99, a hefty chunk of change in this economy, but that hasn't stopped fans from enthusiastically buying snapping up the first few production models too quickly for Panasonic to keep up with demand. In the following review, we'll explore the pros and cons of this groundbreaking camera, with the experts from our sister site CamcorderInfo.com providing an authoritative comparison not only between the GH1 and two SLRs, but also weighing it against a first-rate high-def camcorder.
Exclusive - Video testing on the Panasonic GH1 is provided by CamcorderInfo.com, the world leader in camcorder and video reviewing.
		Page 1 of 21	Product Tour

 

Section		The Good	The Bad
	Product Tour	Handsome articulated screen; sensor for viewfinder-to-LCD switch; metal tripod socket,	Plastic body feel; lacks texture for gripping
	Color	Useful variety of customizable color modes	Poor scores for color accuracy and long exposure
	Noise	Lower than some Four Thirds cameras we've tested at key ISO settings	Higher than most SLRs
	Resolution	Good sharpness; minimal chromatic aberration	Mid-range score overall compared to SLRs
	White Balance	Better than others under incandescent light	Trouble under fluorescent bulbs
	Playback	Good assortment of playback views; attractive slide show capability	Minimal in-camera editing, no Mac software
	Hardware	Good-looking hinged LCD; HDMI out; external mic jack	Limited lens selection, uncomfortable electronic viewfinder
	Controls	Fast Live View autofocus; depth of field and shutter speed previews; lots of scene modes	Mediocre burst mode speed
	Design & Handling	Small and lightweight; well designed quick menu system	Poorly placed movie button
Video Section		The Good	The Bad
	Video: Color & Noise	Low noise levels, numerous color modes	Color accuracy was average for a DSLR
	Video: Motion & Sharpness	Numerous frame rate options, good sharpness	Full HD video is choppy and produces blur
	Video: Low Light Performance	Very low noise levels, good color accuracy	Low light sensitivity wasn't very good
	Video Features	Lots of manual controls, rotatable LCD, live autofocus during video recording	Record button is easy to bump, some confusing layout

[page title="Product Tour"]

	Product Tour Summary
• Handsome articulated LCD screen • Small but substantial camera body • Grip could be larger • Metal tripod socket • Slick plastic surfaces • Not big fans of the gold color
	Introduction	Page 2 of 21	Color

The Panasonic Lumix GH1 looks identical to the G1 introduced last year, with only a few millimeters here and there separating the two. The color scheme has changed a bit, though, with black and red carried over from the previous model and a flashy gold number instead of the more timid G1 blue.

Front

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						Autofocus assist lamp/ self-timer indicator
		Control dial
							Lens release button
				Micro Four Thirds lens mount

Back

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Sensor turns viewfinder on/LCD off when camera's held to your eye

Electronic viewfinder

Playback mode

Autofocus/ autoexposure lock

Diopter adjustment

“Motion picture” button (Panasonic doesn’t say "movie")

Viewfinder/ LCD switch

Display mode button

Preview while shooting Delete during playback

Four-way controller includes ISO, white balance, focus mode access, plus programmable FN button. Center button launches menu system.

460,000-dot, 3-inch, articulated LCD screen

Sides

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	Plug for optional external mic or remote control
				Memory compartment cover
							Access for DC power cable
		Connections for HDMI, USB and AV out

Bottom

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			Metal tripod socket centered under lens
	Latched battery compartment

Top

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Shutter

Stereo microphone

Mode dial

Quick menu

Film mode

Power switch

Focus mode dial

Hot shoe

Size Comparisons

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Front
Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Price: $1499.95 (w/14-140mm OIS lens)	Price: $899.99 (w/18-55mm IS lens)	Price: $849.95 (w/18-55mm VR lens)	Price: $999 (body only)	Price: $1299 (body only)
Back
Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Width: 4.88 in/124mm	Width:    5.1 in/129.1mm	Width:    5.0 in/127mm	Width:  5.8 in/147mm	Width: 5.6 in/141.5mm
Top
Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Depth: 1.78 in/45mm	Depth:    3.1 in/77.9mm	Depth:    3.1 in/80mm	Depth:    3 in/77mm	Depth:  2.95 in/75 mm
Left
Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Height: 3.29in/90mm	Height:   3.9 in/98.9mm	Height:   4.1 in/104mm	Height:  4.1 in/103mm	Height: 4.23 in/107.5mm :
Right
Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Weight: 13.6 oz/385g	Weight:   16.9 oz/480g	Weight:   19.8 oz/560g	Weight:   22 oz./620g	Weight: 23.1 oz/655g
Bottom
Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30

In the Box

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• Lumix GH1 camera body
• Lumix G Vario HD 14-140mm lens
• DMW-BLB13PP battery
• DE-A49B battery charter
• K1HA14CD0001 AV cable
• K1HA14AD0001USB cable
• Shoulder strap
• Body cap
• Lens hood
• Lens cap
• VEK0N98 AC adapter
 

[page title="Color"]

	Color Summary
• Poor color accuracy test results • Standard mode oversaturated • Blues, greens and orange hues off even in most accurate mode, though flesh tones look OK • Good selection of film modes in both color and black and white • Long exposure test produces high color error • Long exposure noise reduction surprisingly effective
	Product Tour	Page 3 of 21	Noise

Color Accuracy (10.78)

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The GH1 fared poorly in our color accuracy tests, trailing the other tested cameras by a substantial margin. Of course, what we're testing here is color accuracy, not how pretty the colors look, but somewhere in the variety of color modes provided, we expect at least one to produce colors that match what we're seeing. The best result we found with the GH1 was the Smooth film mode, which was nearly identical to the Standard mode but with much more accurate saturation (the Standard mode was nearly 10% oversaturated).

We test color accuracy by shooting a standard X-Rite ColorChecker chart under controlled studio illumination, testing each available color mode to find the most accurate one and basing our scoring on that result. Images are analyzed using Imatest software. Click here for more on how we test color.

Even in Smooth mode, the blue, green and orange hues were off substantially, though the flesh tones looked about right. Standard mode was about as inaccurate overall, but the color shifts were more prominent in the reds and oranges. The more specialized film modes performed as expected, with Vibrant pumping up the blues and reds in particular, with a whopping 124% saturation. Dynamic was strategically similar but a bit more restrained, with 110% saturation and shifts in the red and blue hues. The Nature mode boosted reds and oranges (though surprisingly did little to the greens), with nearly 110% saturation. As for the Nostalgic mode, it achieves an old-time faded photo feel by undersaturating to 90%.

The following table shows same-size crops from the ColorChecker chart from the Panasonic GH1 and four recently reviewed SLRs we've chosen for comparison purposes, each in the camera's most accurate color mode. The patches in the Ideal column reflect the actual values from the original chart.

	Camera Color Comparisons
	Ideal	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Dark Skin
Light Skin
Blue Sky
	Ideal	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Foliage
Blue Flower
Bluish Green
	Ideal	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Orange
Purplish Blue
Moderate Red
	Ideal	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Purple
Yellow Green
Orange Yellow
	Ideal	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Blue
Green
Red
	Ideal	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
Yellow
Magenta
Cyan

NOTE: Because of the way computer monitors reproduce colors, the images above do not exactly match the originals found on the chart or in the captured images. The chart should be used to judge the relative color shift, not the absolute captured colors.

Color Score Comparison

As shown in the chart above, the GH1 trails our group of comparison cameras in color accuracy.

NOTE: We updated our testing and scoring procedures in January 2009. For comparison purposes, we re-tested several cameras we'd reviewed in 2008, producing the score shown in the chart above for the Nikon D90. However, the scores in the original reviews for these re-tested cameras remain unchanged, for consistency's sake.

Color Modes (5.00)

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The GH1 supports a variety of "film modes," each of which includes adjustments for color, saturation and contrast. These include six settings in color (Standard, Dynamic, Nature, Smooth, Nostalgic and Vibrant) plus three in black and white (Standard, Dynamic and Smooth), plus the option to create and store two of your own settings combinations. There's even a bracketing option called Multifilm that will take a shot in three different modes sequentially with three separate shutter presses (it would be more useful if the camera simply adjusted the settings for a single shot, the way it does with white balance bracketing).

Example still life shots of each of these modes are included in the Picture Effects section. Here we have taken same-size crops from our shots of the X-Rite ColorChecker chart, shot in five of the available color mode (excluding black and white and custom settings). The names along the left side are the official color patch titles X-Rite uses.

	Color Mode Comparisons
	Ideal	Standard	Dynamic	Nature	Smooth	Vibrant
Dark Skin
Light Skin
Blue Sky
	Ideal	Standard	Dynamic	Nature	Smooth	Vibrant
Foliage
Blue Flower
Bluish Green
	Ideal	Standard	Dynamic	Nature	Smooth	Vibrant
Orange
Purplish Blue
Moderate Red
	Ideal	Standard	Dynamic	Nature	Smooth	Vibrant
Purple
Yellow Green
Orange Yellow
	Ideal	Standard	Dynamic	Nature	Smooth	Vibrant
Blue
Green
Red
	Ideal	Standard	Dynamic	Nature	Smooth	Vibrant
Yellow
Magenta
Cyan

NOTE: Because of the way computer monitors reproduce colors, the images above do not exactly match the originals found on the chart or in the captured images. The chart should be used to judge the relative color shift, not the absolute captured colors.

Long Exposure (5.31)

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Our long exposure test combines color accuracy and image noise, neither of which is a strength of this camera even under normal shooting conditions, producing a result here that trails the competition by a substantial margin. We shoot the ColorChecker chart under low lighting (20 lux and below) with exposure times of 1, 5, 10, 15 and 30 seconds, with long exposure noise reduction turned off and turned on. The good news here is that, unlike most cameras we test, the long exposure noise reduction system did prove highly effective. However, since it takes a toll on timing (doubling the time it takes to shoot a photo) and image quality, our testing combines the scores under both shooting conditions. Click here for more on how we test long exposure.

Panasonic GH1 Long Exposure Color Error

As shown above, the color error was at least consistent across shutter speeds, but it was very high throughout -- roughly double what we found with the Nikon D5000, for example. 

Panasonic GH1 Long Exposure Noise

Even at one second the noise level is above 1% and, without long exposure noise reduction, reaches nearly 10% at 30 seconds. The moral of the story is simple: by all means make sure you have NR set to On when taking night shots.

Long Exposure Score Comparison

NOTE: We updated our testing and scoring procedures in January 2009. For comparison purposes, we re-tested several cameras we'd reviewed in 2008, producing the score shown in the chart above for the Nikon D90. However, the scores in the original reviews for these re-tested cameras remain unchanged, for consistency's sake.
[page title="Noise"]

	Noise Summary
• Noise levels are high, though not a bad as some Four Thirds cameras we've tested • Noise reduction can't be turned off entirely, but didn't impair image detail badly • Maximum noise reduction setting keeps noise well contained until ISO 800
	Color	Page 4 of 21	Resolution

Noise (5.60)

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We expect image noise to be higher on a Micro Four Thirds or Four Thirds format camera, since they share a smaller sensor size than the typical digital SLR, and this held true for the GH1, though we found noise much better controlled than in the two Olympus Four Thirds-format SLRS we tested recently (the E-30 and E-620). We test noise by shooting a brightly illuminated X-Rite ColorChecker chart at all ISO settings and each level of noise reduction provided. Ordinarily we turn noise reduction off entirely for one set of photos, since this is the mode that has the least impact on fine detail, but the GH1 has no Off setting. Instead we shot in Standard film mode and set the noise reduction to each available option, which range from -2 (the lowest level of noise reduction permitted) through +2, the highest. The default setting is 0. Click here for more on how we test noise.

It's worth noting that while higher levels of noise reduction did cut down on the details in photos we shot at ISO 1600 (see the Sample Photos section), the effect was not dramatic, and the trade-off between boosting noise reduction and losing a bit of fine line is worth making in most cases.

Noise Reduction Level Comparison

As shown above, image noise starts out fairly high, even at ISO 100 There's no major jump through ISO 400,though, which means the most frequently used ISO settings don't suffer from major noise problems. Trying to eke out a shot at ISO 3200 is not recommended, though we did pull off a nice handheld shot at ISO 1600 in a dark train station (see the Sample Photos section).

Color & Luma Noise

The chart above breaks out image noise into its five component parts, red, green, blue, yellow and luma (gray). We prefer seeing a tighter pattern here, since an oddly high result in a single color will be more visible.

Noise Reduction Off Comparison

Here again, we have the caveat that the Panasonic did not allow us to turn noise reduction off entirely, as we did with the other cameras in our comparison group. Still, it's clear from the chart above that the two smaller-sensor cameras were consistently noisier than the more traditional Canon and Nikon designs.

Noise Reduction Maximum Comparison

With noise reduction cranked uip to the maximum, the GH1 stays roughly even with the pack until ISO 800. Beyond that point, the image noise speckles start winning the battle, though again we see usable images at ISO 1600. The graph below shows the comparative scores for this section, with the Panasonic and Olympus cameras at a decided disadvantage.

Noise Score Comparison

NOTE: We updated our testing and scoring procedures in January 2009. For comparison purposes, we re-tested several cameras we'd reviewed in 2008, producing the score shown in the chart above for the Nikon D90. However, the scores in the original reviews for these re-tested cameras remain unchanged, for consistency's sake.

ISO (5.50)

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The Lumix GH1 offers an ISO range from 100-3200, along with two different auto ISO systems. Standard Auto ISO adjusts based strictly on brightness, while Intelligent ISO takes the movement of the subject into account as well (since higher ISOs enable higher shutter speeds). There is an option to limit the maximum ISO available to the auto systems.

The following chart shows same-size crops taken from photos of our still life, taken at each available ISO setting for the cameras in our comparison group.

	ISO Examples
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 100
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 200
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 400
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 800
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 1600
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 3200
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 6400
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 12800

NOTE: The images above are not used in our testing or scoring, but are included here to show real-world examples of the differences between cameras at the various ISO settings.

[page title="Resolution"]

	Resolution Summary
• Kit lens has low distortion at most settings, some barrelling at widest angle • Very low chromatic aberration • Image sharpness good at all focal lengths • Overall resolution results better than sub-$1000 video-enabled SLRs, but not exceptional • Dynamic range adequate at most ISOs • Image stabilization effective at key shutter speeds with low horizontal shake • Image stabilization offers little help with vertical camera shake
	Noise	Page 5 of 21	White Balance

Resolution (9.02)

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We evaluate resolution based on three criteria, sharpness, distortion and chromatic aberration, and the GH1 tested well in all three. This is especially noteworthy since the last two video-enabled SLRs we tested, the Nikon D5000 and Canon T1i, displayed significant problems with sharpness.

Our resolution testing was conducted using the kit 14-140mm lens, shooting a test chart with multiple angled rectangular targets under bright 3000 lux studio illumination at three focal lengths. We analyze the resulting photos using Imatest software, taking into account results at 18 points across the chart to get a cumulative score. While we test three performance areas, we don't include the distortion results in our scoring for this section, since this is so reliant on the interchangeable lens used. Click here for more on how we test resolution.

Distortion
We found negligible distortion at the midpoint and maximum telephoto settings, and even at the widest-angle barrel distortion was under 2%, an acceptable result from a 10x zoom lens.

Chromatic Aberration
While our lab tests turned up minor horizontal chromatic aberration midway between the center and edges, it wouldn't be noticeable in an actual photograph.

Sharpness
The highest sharpness results were found when shooting at the widest angle with the aperture wide open, producing a LWPH measurement of 1912 horizontally and 2007 vertically.While the typical variation of falling sharpness midway out from the center and rising again near the edges holds true, overall sharpness remains fairly consistent across the lens, without the severe trouble spots we sometimes see in our analysis.

	Image Sharpness and Chromatic Aberration
	f/4			f/9			f/22
14mm

At the widest zoom setting, the center remains tack sharp until we stop the lens down to f/22, and chromatic aberration is well controlled.

	Image Sharpness and Chromatic Aberration
	f/5.8			f/11			f/22
78mm

Shooting at the midpoint of the zoom range, we can see the sharpness consistency mentioned above, with only slight softening at the f/22 setting.

	Image Sharpness and Chromatic Aberration
	f/5.8			f/11			f/22
140mm

At maximum zoom we start to see softness in the corners of the lens, though the results are still very good.

As shown in the chart below, the GH1 could not match the resolution performance of the Olympus E-30 or the video-enabled Nikon D90. However, the Panasonic dramatically outperformed the Canon Rebel T1i and Nikon D5000 here.

Resolution Score Comparison

NOTE: We updated our testing and scoring procedures in January 2009. For comparison purposes, we re-tested several cameras we'd reviewed in 2008, producing the score shown in the chart above for the Nikon D90. However, the scores in the original reviews for these re-tested cameras remain unchanged, for consistency's sake.

Picture Quality & Size Options (10.50)

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The GH1 can shoot in four different aspect ratios, with three sizes for each.

Image Size Options
Aspect Ratio	Large	Medium	Small
4:3	4000 x 3000 (12M)	2816 x 2112 (5.9M)	2048 x 1536 (3.9M)
3:2	4128 x 2752 (1.4M)	2928 x 2952 (5.7M)	2064 x 1376 (2.8M)
16:9	4352 x 2448 (10.7M)	23072 x 1728 (5.3M)	1920 x 1080 (2.1M)
1:1	2992 x 2992 (9.0M)	2112 x 2112 (4.5M)	1504 x 1504 (2.3M)

There are two JPEG compression levels, Fine and Standard. You can also shoot RAW files, either alone or combined with a Fine or Standard JPEG.

Dynamic Range (7.76)

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The GH1 scored well in our dynamic range testing, though we did find one oddball result that recurred even after running the test again, adding a grain of salt to the results. As shown in the chart below, the dynamic range starts at a modest but acceptable 6.35 stops at ISO 100, lowers slightly through ISO 200 and 400, then somehow expands again dramatically at ISO 800 before resuming its predicted downward path. We believe this is a result of significant noise reduction image processing that kicks in at the ISO 800 level. Ordinarily, we test dynamic range with the camera's noise reduction system turned off, but that was not possible with the GH1. Click here for more on how we test dynamic range.

Dynamic Range

The following chart shows the dynamic range results at ISO 200 for each of the comparison cameras. Again, the cameras with larger sensors posted superior results, though the GH1 dynamic range is still respectable at this level, especially compared to the dismal showing for the Olympus E-30.

Dynamic Range Comparison

Taken as a whole, the GH1 scores well here, meaning it should successfully hold onto details in high-contrast scenes. 

Dynamic Range Score Comparison

NOTE: We updated our testing and scoring procedures in January 2009. For comparison purposes, we re-tested several cameras we'd reviewed in 2008, producing the score shown in the chart above for the Nikon D90. However, the scores in the original reviews for these re-tested cameras remain unchanged, for consistency's sake.

Image Stabilization (4.60)

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Our tests of the GH1 image stabilization system  revealed some benefits, though not a radical improvement. On the plus side, having image stabilization on never had a negative impact on resolution (which frequently occurs), and when the camera is shaking a lot and the shutter speeds are relatively fast (above 1/60 second), the system is quite effective. At slower shutter speeds and high camera shake, though, there was essentially no effect. And shooting with lower shake levels (about what you'd find when holding the camera with both hands), there was a slight benefit gained at slower shutter speeds.

We test a camera's image stabilization by mounting it in a custom-designed motion-control rig that produces predictable, computer-controlled movements. A slanted-edge test chart is shot multiple times at a range of shutter speeds, both with the rig set to high shake and low shake, and with image stabilization turned on and off. The resulting images are analyzed using Imatest software to determine how effectively the image stabilization system improves actual resolution results. Click here for more on how we test image stabilization.

The GH1 uses optical image stabilization, offering three image stabilization modes. Mode 1 employs image stabilization at all times when the camera is in Record mode, and Mode 2 only uses the system when the shutter button is pressed. Mode 3 compensates only for up and down movements, to allow smooth horizontal panning. Of course, stabilization can also be turned off altogether, using a switch on the lens barrel. 

 

Panasonic GH1 Image Stabilization: Low Shake
Horizontal: Sharpness Vs Shutter Speed	Vertical: Sharpness Vs Shutter Speed

The low shake setting reflects typical shooting situations, when you're holding the camera with two hands. As shown in the graphs above, the system proved effective at limitng horizontal shake at the two shutter speeds that generally mark the lower limits you'd expect to shoot handheld without flash, though at other speeds and for vertical shake the system didn't offer much improvement.

Panasonic GH1 Image Stabilization: High Shake
Horizontal: Sharpness Vs Shutter Speed	Vertical: Sharpness Vs Shutter Speed

When we cranked up to shake to high (as if you were trying to shoot one-handed, or while moving), there are significant effects on horizontal shake at 1/250 and 1/125 second shutter speeds, but not much else to brag about.

Image Stabilization Score Comparison

The areas where the system proved effective, and the fact that it didn't cause problems elsewhere, earned the GH1 a respectable if unexciting score for image stabilization. (We don't have image stabilization scores for the Nikon D90, hence the missing column in the chart above.)

In the chart below, we've chosen representative same-size crops from our test shooting, to help visualize the effect of image stabilization at the different shutter speeds. These are all taken from the horizontal shake testing.

	Image Stabilization Comparison Table
	Low Shake IS Off	Low Shake IS On	High Shake IS Off	High Shake IS On
1/500
1/250
1/125
1/60
1/30
1/15
1/8

[page title="White Balance"]

	White Balance Summary
• Automatic white balance system receives low score • Fluorescent and daylight illumination produce more color error than competitive cameras • Incandescent results for auto WB not as bad as other cameras • Custom white balance produces acceptable results • Limited WB preset selection doesn't include fluorescent setting • WB can be fine-tuned with interactive on-screen feedback
	Resolution	Page 6 of 21	Sample Photos

White Balance (8.11)

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The camera's poor color accuracy performance naturally spills over into disappointing results for our white balance testing, where we compare images shot under different lighting conditions against the actual color values of the X-Rite ColorChecker chart. We use a Macbeth Judge II lighting box to maintain precise color temperature control, shooting under daylight, tungsten and compact fluorescent illumination. We test both the performance of the automatic white balance and custom white balance systems. Click here for more on how we test white balance.

Automatic White Balance (8.39)
The automatic system consistently had difficulty producing accurately colored images. In each type of illumination we tested, the GH1 photos displayed significant color shift..

Auto White Balance

The color error when shooting under daylight was modest compared to the problems we found under incandescent and fluorescent lights, but the other cameras in our test group were more successful under the same conditions, with the exception of the Canon T1i.

Auto Daylight White Balance Performance Comparison

The toughest test in our lineup is consistently incandescent lighting, which produces problems for virtually every camera. Here, while the Panasonic still can't claim a good result, it was distinctly less bad than the competition (note that the scale of the chart below is different from the daylight chart, since the color errors produced are so much greater).

Auto Incandescent White Balance Performance Comparison

Fluorescent lighting proved another significant obstacle for the GH1, producing overly warm results and a higher color error than the other cameras tested.

Auto Fluorescent White Balance Performance Comparison

 

Custom White Balance (7.83)
Taking a custom white balance reading effectively eliminated the orange-red cast of photos shot under tungsten lighting, but the improvement under compact white fluorescents was minimal, and the automatic white balance system did about as well as the custom reading in daylight shots. The custom results aren't bad, but we expect very high accuracy in this test, so the GH1 score is a bit low.

Panasonic GH1 Custom White Balance

As shown below, the GH1 lags the field when it comes to white balance overall, though the difference isn't extreme.

White Balance Score Comparison

NOTE: We updated our testing and scoring procedures in January 2009. For comparison purposes, we re-tested several cameras we'd reviewed in 2008, producing the score shown in the chart above for the Nikon D90. However, the scores in the original reviews for these re-tested cameras remain unchanged, for consistency's sake.

White Balance Settings (9.25)

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In addition to automatic white balance, the GH1 offers five white balance presets:

White Balance Types
Display	Mode
	Daylight
	Cloudy
	Shade
	Incandescent
	Flash

On many cameras today we find a variety of fluorescent white balance presets, since fluorescent lighting can be hard to compensate for automatically and there are several different fluorescent bulb colors available. Strangely, there is no fluorescent preset at all on the GH1.

Taking a manual white balance reading is simple enough. You select one of the two custom white balance slots using the Quick Menu or the rightmost four-way controller button, then press up on the four-way controller to enter setting mode. Point the camera at a white or grey surface and press Menu/Set to take a reading. With two slots, you can save settings and return to them later if you like.

It's also possible to directly enter a white balance setting in degrees Kelvin. This is a more valuable option here than with most cameras, since the Live View screen reflects changes to the setting as you make them, allowing you to eyeball the reading you're after.

Custom and preset white balance settings can be finely adjusted along the amber-blue and green-magenta axes, with 18 increments for each.

White balance bracketing is also supported, recording three versions of a single shot, with the increment based on the fine white balance adjustment setting. This capability isn't available when shooting RAW.

[page title="Sample Photos"]

	Sample Photos Summary
• While lab results are disappointing in several areas, actual photos look pleasing • Good image sharpness under a variety of conditions • Surprising success shooting handheld in low light • Film mode choices have considerable effect • Ramping up noise reduction doesn't clobber fine detail badly
	White Balance	Page 7 of 21	Playback

Sample Photos

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Landscape Sample
				Focal length: 22mm Aperture: f/10 Shutter: 1/640 ISO: 200 This was shot in program mode on a bright afternoon, using 23-point metering. We boosted the brightness of the Live View screen two notches and had no problem working in the sunshine. Click the photo at left to download a full-resolution version.
				The GH1 did a nice job capturing detail, including the fine lines of the boat rigging. And there are no signs of color fringing even in the corners.

 

Close-Up Sample
				Focal length: 48mm Aperture: f/11 Shutter: 1/640 ISO: 200 Shot as part of the same sequence as the landscape above. The lens doesn't allow focusing at close distances, but zooming in while standing above this slip number produced a nice sharp image with good reproduction of detail and texture. Click the photo at left to download a full-resolution version.
				The lens is a big factor in the high GH1 kit price, but at least you're getting quality for your money, as shown in the fine details and hard edges in these crops.

 

Low Light Sample
				Focal length: 25mm Aperture: f/4.7 Shutter: 1/10 second ISO: 1600 We found these artistic tiles at a dimly lit subway stop (about 40 lux) and planned to grab a tripod, but decided to try shooting handheld first. To our surprise, these very nice results emerged. Holding the camera at a low angle with arms straight and the screen tilted upward helped keep the camera steady. Noise reduction is at the default middle setting. Click the photo at left to download a full-resolution version.
				Yes, there's a bit of noise (noticeable in the purple house close-up), but we're impressed with this available light result.

 

Film Mode Samples
	Focal length: 28mm Aperture: f/125 Shutter: 1/125 ISO: 100 We experimented with the nine available film modes by shooting this Brightwaters, Long Island sign and floral arrangement using each option. While the intensity of the reds and yellows changes dramatically, we're also struck by the way the green hues shift, from a lifelike appearance in Standard and Smooth modes to a plastic Christmas tree effect in vibrant and dynamic.
	Dynamic
	Vibrant
	Nature
	Smooth
	Nostalgic
	Black and White Standard
	Black and White Dynamic
	Black and White Smooth

 

Noise Reduction Detail Sample
	Focal length: 54mm Aperture: f/5.6 Shutter: 1/2 second ISO: 1600 To explore the relationship between noise reduction setting and image detail, we shot these shelves with the camera on a tripod, with dim daylight filtered through window shades, at a consistent ISO 1600. The image at left was shot with the default middle noise reduction setting, and can be clicked to load a full-sized version. As shown in the close-ups below, raising the noise reduction setting helps significantly, and not much fine line detail is lost in the process.
	Noise reduction at its lowest setting (NR-2)
	NR-1
	NR 0 (the default)
	NR+1
	NR+2

 

Familiar  Colors Sample
				Focal length: 54mm Aperture: f/5.3 Shutter: 1/25 second ISO: 200 We test colors using an industry-standard chart, but we experience them in the familiar products we see every day. That's why we shot this tableau in smooth film mode (the most accurate in our testing), under a combination of incandescent and fluorescent lights, using program mode and a manual white balance reading.
				The colors here are all a bit off,  The final two crops were taken in Smooth (left) and Standard mode, which boosts the red in the KitKat wrapper noticeably.

Still Life Examples

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The following images were shot at all available ISO settings for each of our comparison cameras. Clicking on a thumbnail will download the full-size image in a separate window.

	Still Life Comparisons
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 100
ISO 200
ISO 400
ISO 800
ISO 1600
ISO 3200
ISO 6400
ISO 12800

NOTE: The images above are not used in our testing or scoring, but are included here to show real-world examples of the differences between cameras at the various ISO settings.

Noise Examples

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In the table below are same-size crops taken from our still life shots for each comparison camera, at all available ISO settings.

	Noise Comparison Table
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 100
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 200
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 400
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 800
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 1600
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 3200
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 6400
	Panasonic GH1	Canon Rebel T1i	Nikon D5000	Nikon D90	Olympus E-30
ISO 12800

NOTE: The images above are not used in our testing or scoring, but are included here to show real-world examples of the differences between cameras at the various ISO settings.

[page title="Playback"]

	Playback Summary
• Good variety of on-screen displays in playback mode • Large 16x magnification available • On-screen calendar mode to aid with browsing • Images can be sorted by type or Favorite status • Comprehensive slide show utility • Minimal in-camera editing • No Mac software provided
	Sample Photos	Page 8 of 21	Hardware

Playback Mode (10.75)

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The GH1 provides a reasonable assortment of image playback views, including a nice 16x magnification for checking focus. The only significant information that's absent here is the focal length used for the shot.

Playback Displays
Normal Lists film mode, image size and quality, LCD mode, battery status and image number across the top, flash setting, shooting mode, aperture and shutter speed, exposure compensation, ISO and white balance settings across the bottom.	Detailed Information Reorganizes the information from the normal display and adds metering mode, focus setting, image stabilization and Intelligent Exposure status, shooting date and time and file name.	Histogram Provides basic shooting information plus RGB and luminance histograms.
Highlight Overexposed areas blink. This view can be turned on or off in the custom menu.	No Display The photo is shown with no information overlay.	Zoom Turning the control dial right during playback zooms in by 2x, 4x, 8x and 16x.
Multi Turning the control dial left from full-screen playback brings up a 12-thumbnail, then 30-thumbnail display.	Calendar One more control dial click left produces a calendar view with images arranged by shooting date.

In addition to simply browsing through a sequence of all the stills and movies you've shot, you can filter the file listing to include only stills, only AVCHD files, only Motion JPEG files, or only images shot with face recogntion. You can also tag individual files as Favorites and use this designation for selective image playback or image deletion.

In addition to setting the length of time a photo is displayed for instant review after it's taken (off, 1, 3 or 5 seconds), you can also set it to remain visible until you press the shutter halfway, which can be handy if you like to linger over your handiwork. A more unusual option is automatically zooming in on the center of the review image for 1, 3, or 5 seconds, an interesting way to check the focus. You can also choose to have blown-out areas blink during review.

The slide show utility is far more comprehensive than most, a nice touch when you consider that the camera has an HDMI output for connection to an HD TV. You can choose whether to include both stills and movies or only one or the other format. If you have tagged photos as favorites, you can limit the slide show to those images, or you can go with only shots taken with face recognition. There are three different slide show styles available, complete with music (only one song, though, which thankfully can be muted), and instead of simple transition effects you get jazzy jumps and close-ups. All in all, a little extra effort that was worth undertaking on Panasonic's part.

For movie playback, the four-way controller is used to play, pause or stop the action, fast forward or reverse, and move forward or back frame by frame (when the video has been paused). The control dial is used to raise or lower volume. What's missing is a control to instantly jump to the beginning or end of a video.

In-Camera Editing (3.00)

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Pictures can be resized in the camera, a useful tool if you're planning to email an image. Trimming is also available, but it's pretty rudimentary: you can enlarge the image on screen, reposition it and crop to match what you see, but you can't take a vertical crop from a horizontal photo, for example, or change the aspect ratio while cropping. There is an aspect conversion option, but only from 16:9-format shots.

Title Edit lets you add a written label to a photo, or a group of photos at once, that will be displayed as you browse your pictures and imprinted on images. Entering the text is a clumsy project, though, and the results are plain and unattractive. If you could search by the text you entered, that would have been interesting. As it stands, we'll pass.

Images can also be rotated, and a brief audio notation can be added to a still (you can also record one while shooting). That's basically all she wrote, a fairly uninspired array of capabilities when compared to the multitude of color, sharpness, contrast, dynamic range and virtual filters available in other cameras (particularly Nikon and Olympus consumer SLRs).

Software (3.50)

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The GH1 ships with two Windows programs and no Mac software, which isn't much of an issue when it comes to viewing or editing JPEG or movie files, but leaves RAW shooters in the lurch.

Software
	Silkypix Developer Studio 3.0 SE This software is at once extremely powerful and mind-numbingly difficult to fully understand, in part because the "user manual" is a poorly written web site, in part because the organization and presentation is dense and difficult. That said, you do get fine control over RAW file processing, and if you load a JPEG the program creates a virtual RAW file so you can tweak usually unavailable parameters such as white balance and lens distortion (though Photoshop-style corrections to specific areas are unavailable).
	Photofun Studio HD This is a decent image browsing application that automatically categorizes your files by recording date, scene mode, number of people (using face detection), camera model, picture storage folder or keywords you enter. You can also grab still frames from movie files (only for motion JPEGs) and trim AVCHD video files (but not motion JPEGs). Very basic whole-photo image editing is provided, along with the ability to create a DPOF file for service bureau output.

Direct Print Options (3.75)

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You get a decent PictBridge implementation for direct output to a USB-connected printer and a pretty barebones DPOF utility for creating a digital order form for service bureau printing.

Direct Printing

PictBridge The PictBridge printing capability is fairly robust, with options to set paper size and combine several photos on one page, though we miss the not uncommon option to create index prints with thumbnails of many images.

DPOF The DPOF utility is very basic. You can choose a single image or several, decide how many copies of each to print and whether you want the shooting date imprinted. That's it, and it's not much.

[page title="Hardware"]

	Hardware Summary
• Micro Four Thirds format sensor means 2x magnification to 35mm equivalent lens spec • Electronic viewfinder better than most but still not great • Sensor switches automatically between EVF and LCD • Nice articulated screen, bright and crisp • Limited selection of Micro Four Thirds lenses • HDMI out • Microphone input jack provided
	Playback	Page 9 of 21	Controls

Sensor (2.00)

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Micro Four Thirds cameras use the same size sensor as Four Thirds cameras, measuring 18 x 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)

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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 positoned using using the four-way controller to the least obtrusive spot.

 

LCD (6.30)

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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.

 

 

 

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

Flash (7.50)

 

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The pop-up flash is well positioned high above the lens when extended, minimizing red-eye and shadows from the lens (particularly important given the lengthy kit lens). It will leap to attention when you slide the lever beside the focus mode dial on top of the camera. The autoexposure system can't make the flash pop up automatically, a system we prefer to avoid unexpected antisocial behavior in flash-free environments.

Panasonic gives the flash range with the 14-140mm kit lens as 3.28-7.87 feet (1.0-2.4m) when shooting at the widest angle and 1.64-5.91 feet (50cm-1.8m) when shooting at maximum telephoto, both at ISO 100 with 4:3 aspect ratio. The maximum flash sync speed is an impressive 1/4000th second, useful when shooting with fill flash on a bright day. Flash exposure compensation can be adjusted via the Record menu, in a ±2 EV range, in 1/3 EV increments.

The flash can be set to fire automatically when needed, forced on (useful for fill flash in generally well lit conditions) or turned off.  Slow sync, which combines flash with a slower shutter speed to expose both a foreground subject and a dark background, is also available. There's also a second curtain sync option, which activates the flash just before the shutter closes rather than as soon as its pressed. This creates a streaking light effect behind a fast-moving subject, but it's rarely used, and Panasonic buried it appropriately in the menu system rather than adding another confusing option to the standard flash mode selection screen.

Any of the flash modes can be combined with red-eye reduction, which uses a quick pre-flash to close the subject's iris before shooting. There's also a digital red-eye correction option which will attempt to remove any red-eye automatically after a shot is taken.

Panasonic offers a compatible compact external flash, the DMW-FL220, which sells for about $160, with a guide number of 22 but no bounce capability. It can be set to fill flash and slow sync modes directly from the camera.

Lens Mount (8.00)

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The Micro Four Thirds mount standard is approximately 6mm narrower than Four Thirds lenses. Some Four Thirds lenses (along with Leica lenses and others) can be attached to Micro Four Thirds bodies, but only lenses that work with contrast detect autofocus are fully compatible. For an up-to-date guide to lens compatibility, see the Panasonic site here.

As for Micro Four Thirds lens availability, it's still fairly limited. The GH1 comes with the first lens designated "HD," meaning it can autofocus silently while shooting video. Beyond this one, Panasonic offers the 14-45mm and 45-200mm that shipped when the G1 last year, and is just starting to ship an impressive 7-14mm f/4 ultra-wide angle lens (equivalent to a 14-28mm in 35mm photography). They've also promised a 20mm f/1.4 pancake lens, which is intriguing as a compact alternative for a reasonably compact camera.

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

Zoom Ratio Examples
140mm	77mm	14mm

The GH1 also supports two types of digital zoom. The extended optical zoom increased magification 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.

Battery (7.00)

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The GH1 uses a DMW-BLB13PP battery. Panasonic testing following CIPA standards estimates battery life at approximately 300 pictures or 120 minutes of recording time when shooting with the main LCD screen. Charging time for the battery is approximately 155 minutes.

Unlike most cameras, the GH1 comes with a DC cable that can be connected to the battery charger to power the camera directly.

Memory (3.00)

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The GH1 is comptible with SD and SDHC memory cards. When shooting video, a Class 6 or higher card is recommended. 

Jacks, Ports & Plugs (2.00)

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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.

Other Features (1.00)

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External Mic Availability
You won't find it in the box, but we're still pleased to see that an external boom mic that mounts to the hot shoe is available. The DMW-MS1 is not cheap (we found it selling for $180), but for those who take their video seriously (i.e., they're willing to fork over nearly $1500 fo a video-enabled camera), it's going to be appealing.

[page title="Controls"]

	Controls Summary
• Intelligent Auto uses scene recognition to adjust camera settings • Manual, shutter-priority and aperture-priority exposure controls provided • Creative Motion Picture mode offers high degree of control • Same display in electronic viewfinder and LCD screen • Unique shutter speed preview mode • Wide variety of scene modes • Film modes diverse and customizable, in black and white and color • Autofocus strikingly fast and effective • Burst mode not as fast as others, but acceptable at just over 3 shots per second • Three-shot self-timer option
	Hardware	Page 10 of 21	Design & Handling

Shooting Modes (13.00)

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The GH1 offers both manual control options for picky shooters and an advanced auto mode that relies on scene recognition. And unlike the video-equipped SLRs we've tested, the GH1 allows you to maintain settings control while shooting movies, a major step in fulfilling the promise of the product category.

Shooting Modes
	Intelligent Auto The camera attempts to recognize the scene and set itself to portrait, scenery, closeup, night portrait, night scenery or baby mode. Red-eye reduction, face detection, Intelligent ISO, i.Exposure, long shutter noise reduction, quick autofocus, focus priorty and backlight compensation are all turned on. Only aspect ratio, picture size and quality, face recognition and image stabilization settings are available in the record menu,
	Program AE The camera sets both aperture and shutter speed, with user control available over all shooting parameters. After pressing the shutter button halfway, turning the control dial shifts the aperture and shutter speed combination in parallel, maintaining the same overall exposure.
	Aperture-Priority You set the aperture with the control dial, the camera sets the shutter speed.
	Shutter-Priority You set the shutter speed with the control dial, the camera sets the aperture.
	Manual You control both shutter speed and aperture. Each time you press the control dial, it switches the setting it's controlling. The exposure compensation display serves as an on-screen exposure meter. Turning on shutter speed preview shows the effects of your exposure settings in Live VIew and the electronic viewfinder.
	Creative Motion Picture Aperture and shutter speed can be set manually when shooting video in this mode, allowing precise depth of field control
	Custom Accesses one of three user-created camera settings combinations. The mode dial has only one custom settings position, so choosing which one applies when in this mode requires a trip to the menu system.
	My Color Color, brightness and saturation can be adjusted using on-screen sliders, with the effects of settings changes previewed on screen.

Panasonic offers an oddball twist on face recognition, allowing you to register a particular face (up to six of  them, complete with the person's name and birthday). Afterward, when shooting with face recognition turned on, the camera will prioritize focus and exposure for people it has memorized. It will even display the name on-screen if you like, offering a distinctive Terminator-like experience.

 

Live View (4.25)

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There are two choices for the LCD display format in Live View mode, one called LCD monitor style, the other Viewfinder style. As shown below, there's not a huge difference between them. The Viewfinder version shrinks the playback image slightly so there's a black strip at the bottom for a clearer display of the information displayed there (versus overlaying it on the image).

The Viewfinder (left) and LCD monitor styles look very similar.

Each of these views does have slightly different display options while shooting. In the LCD monitor style, you can have a normal shooting information displayed or an entirely clean screen. With the Viewfinder style, there are two levels of detail but you can't turn off the information display completely. The following diagram shows the information arrangement when shooting with the LCD style display.