The compartment for the battery and memory card is located on the bottom side of the handle, and the thread for mounting the camera on a tripod coincides with the axis of the lens.
Display, viewfinder
The design and size of the display remain unchanged. The three-inch TFT matrix with touch control has a rotating design. Setting the focus point is possible across the entire display, and this function is also available when using the viewfinder.
The built-in electronic viewfinder is based on organic light-emitting diodes (OLED), while its predecessor was equipped with a traditional LCD viewfinder. New option more economical and brighter, which is a definite plus, but the colors in it look slightly unnatural - this is inevitable in all cases of using matrices based on organic LEDs. It is worth noting that the viewfinder is equipped with a proximity sensor and a diopter adjustment wheel.
Functionality
As you already know, the sensor resolution remains the same - 16 megapixels. The available light sensitivity has increased by one step, reaching ISO 25600 (although in ISO Boost extended range mode). The lower limit of the range has not changed, which means you still won't be able to set ISO 100 - only 160 units, no less.
The main changes lie in the processor - Panasonic Lumix G6 received a new generation Venus Engine chip. The manufacturer offers an improved noise reduction system and promises higher picture quality. The second significant update is Low Light AF, which allows you to focus even faster and more accurately in low-light conditions. However, Panasonic mirrorless cameras have never had problems with focusing. She was and remains the best in the class. The frequency of burst shooting has also increased. The new camera is capable of taking bursts of 7 frames per second in full resolution, while the Lumix G5 produced 6 frames per second.
The updated processor also played a role in expanding video capabilities. In this regard, the Lumix G6 is approximately on par with the Lumix GH2, which is advanced even by today's standards. The camera is capable of recording video in Full HD resolution at 60, 30 and 24 full frames per second with stereo sound and output in AVCHD and MPEG-4 formats. In addition, it became possible to connect an external stereo microphone to the corresponding connector. However, there is still no headphone jack, and the built-in speaker does not allow you to fully evaluate the recording quality. By the way, during the official presentation we managed to make a couple of video recording examples - however, we should not draw far-reaching conclusions, the firmware on the G6 was still quite “raw”.
Lumix G6 - latest model mirrorless system camera medium price category from Panasonic, or DSLM, as the company itself likes to call such cameras. Announced in April 2013, it came out less than a year after the Lumix G5, which will likely remain in the lineup at a lower price, and like all Lumix G models, it's a Micro 4/3 format, a system developed by Panasonic in collaboration with Olympus.
Like the G5 before it, the G6 is externally styled like a miniature DSLR camera with an impressively sized grip and viewfinder bump, although Panasonic designed new design body to make this model look different from the previous one. Inside the Lumix G6 is the same 16-megapixel sensor found on the G5 (which, by the way, was in turn developed based on the matrix of the earlier model, the GH2), but here it is complemented by the company's latest achievements in image processing. So now there is a 1080p 24p mode, in addition to 50p or 60p depending on the region.
The main improvement is in the electronic viewfinder with Live View mode: it now has a 1440k dot OLED panel, providing a cleaner and more stable image. This camera is also the second G series model to boast both Wi-Fi and NFC, meaning you have the ability to view, send, post or save photos to certain resources. wirelessly, and also control the camera remotely using free applications for iOS and Android devices. NFC (Near Field Communication - wireless technology high frequency communication short range, making it possible to exchange data between devices located at a distance of about 10 cm) will take care of pairing devices via Wi-Fi. The G6 also has a slightly increased frame rate during continuous shooting: up to 7 frames per second, a built-in microphone port and a focus-peaking assistant - a function that helps with manual focusing when shooting both photos and videos (on the GH3, the flagship model, this function No). And finally, the G6 is launching alongside a new 14-140mm f/3.5-5.6 superzoom lens, which is smaller, lighter and brighter than the current model, and will most likely be offered as a premium whale zoom. This camera promises to be one of the most feature-packed models. But how will all this work in practice? You will get the answer by reading my detailed review camera Lumix G6, in which I will compare with the G5, GH3 and Canon's smallest DSLR camera, the EOS SL1/100D.
Construction, design and workmanship
The Lumix G6, like all G-series cameras with one letter in the model name, is styled like a mini DSLR camera, but this latest one looks quite different from its predecessors; Panasonic, indeed, within three last generations cameras have introduced several style improvements. Three years earlier, with the Lumix G3, they almost succeeded in reproducing the most compact system camera with a viewfinder. I myself was absolutely delighted with the G3's diminutive size, but perhaps next to the traditional DSLR cameras in store windows it looked a little toy-like. Therefore, the model that replaced it, Lumix G5, became more massive with a much more prominent grip. It has, of course, become much more comfortable to hold, but it has lost some of the unique charm of the G3.
The successor to the Lumix G6 continues this trend with a design that looks even more serious and, at first glance, radically different from what we are familiar with from the G5. The moderately sloping flanks at the top and the textured coating that extends to either side of the lens do give the camera a more professional appearance, as well as more than a passing resemblance to Leica S-series cameras.
It's interesting to note how the dimensions of the G6 have changed compared to the G5. I had the opportunity to place both cameras side by side, and I was very surprised that they were almost the same size and almost all the controls were located in the same places. Upon closer inspection, Panasonic has essentially just drawn lines from the top of the viewfinder bump to the top right and left corners, instead of making the corner with lines first down and then horizontally to the right and left. This means that the mode selection wheel is now located on a sloping surface, and the flash activation toggle switch that was previously located here has moved. That's all, actually. However, these small changes to the top of the camera, as well as the textured coating that extends to either side of the mount, have changed the appearance of the camera for the better. The very successful restyling of the lower camera section, which was introduced on the G5, remains almost unchanged.
The design of the G6 gives the impression of being a lightweight but well-made camera. Like many of the cheapest mid-priced system cameras, the G6's body is made of plastic rather than magnesium alloy, and naturally it doesn't have the solid, solid feel of higher-end models like the GH3. There is also no protection from dust and moisture, which the GH3 has, but this is normal for this price category, and its classmates also cannot boast of dust and moisture resistance. Can someone compare this model by design with Olympus OM-D E-M5, which is dust and moisture resistant, but remember that, like the GH3, it is much more expensive.
One thing is clear though: G-series cameras with one letter in the model name are gradually getting larger, while Canon, on the contrary, is steadily cutting down the size of its entry-level DSLR cameras. Will they meet in the middle of the journey? The Lumix G6 measures 122 x 85 x 71 mm and weighs 390 g with battery, while the Canon EOS SL1/100D, which claims to be the world's smallest DSLR camera, measures 117 x 91 x 69.4 mm. and the weight with battery is 407 g. In general, both cameras have approximately the same thickness and weight, the Panasonic is slightly larger in width, and the Canon is larger in height of the two. However, I should note that the thickness of the G6 is actually due to the protruding part of the viewfinder, the body itself is noticeably thinner than the EOS SL1/100D, and the lack of a mirror inside allows for a rotating display, whereas the Canon model has a fixed one stationary.
Naturally, case dimensions are only half the story. The lens also plays a big role, and this is important to take into account when assessing portability. Canon has introduced a new kit lens for the EOS SL1/100D, the EF-S 18-55 mm IS STM (FF equivalent - 29-88 mm), which has a diameter of 69 mm, a length of 75 mm, and a weight of 205 g. Thus, The thickness of the EOS SL1/100D kit becomes 144.4 mm, and the weight is 612 g. The Lumix G6 kit with a 14-42 mm kit lens (FF equivalent - 28-84 mm) is 120 mm thick and weighs 500 g. That is, while the EOS SL1/100D camera body is undoubtedly very compact for a DSLR camera, almost any mirrorless camera will still be smaller when viewed together with a lens. The difference is obvious in the photo below:
It's funny to see how Canon went out of their way to reduce the size of the EOS SL1/100D, but released a kit lens for it that is even longer than before. It's also extremely important to mention that Panasonic's latest 10x zoom 14-140mm (FF-equivalent 28-280mm), which measures 67mm in diameter, 75mm in length and weighs 265g, is almost the same size as the Canon 'The whale zoom with three times magnification, and in weight - only 60 g heavier than the last one. Thus, if we compare camera kits with whale zooms, then we have: the Lumix G6 with 10x zoom will be somewhere in the same size and in the same weight category as the EOS SL1/100D with 3x zoom. This is the key point on which Panasonic is building a marketing policy for the G6, which is what the attention of potential consumers is focused on. So it makes sense to keep an eye out for promotions and special offers on the G6 bundled with this longer zoom.
As I already noted, most of the camera's controls are identical to those on the earlier G5. Thus, on the right side of the top panel there is a mode dial, a shutter button, buttons for video recording and switching to Intelligent Auto mode. Auto), as well as a spring lever switch. This lever is a rather interesting control tool, first introduced on the G5: it serves to control the motorized zoom on lenses such as the Panasonic 14-42mm Power Zoom and the Olympus 12-50mm kit zoom; however, if a non-motorized zoom or prime lens is attached to the camera, it automatically turns into an aperture setting or exposure compensation tool. Since there's also a traditional thumb wheel on the back of the camera, the G6 has an effective two-part exposure control system, which is typically distinctive feature only the highest quality models.
Unlike most control dials on DSLR cameras, the thumb wheel on the G6 has two functions, selecting between which is done by clicking on the wheel: in A - Aperture Priority and S - Shutter Priority modes, the wheel serves to select the f-number and shutter speed values, respectively, but if you click on it, you can use them to select exposure compensation. When choosing completely manual mode on the PASM rotary dial, this wheel is used to set the required shutter speed or, after clicking, to set the aperture. In P mode - automatic, the wheel is used to set the exposure, and after pressing - to adjust the exposure compensation. This dual-function thumb wheel pairs with a lever switch to quickly and easily set the desired exposure.
On the rear panel, the dominant position among the control tools is occupied by a four-arrow joystick, which provides quick navigation to the main settings: the arrows directly lead to setting ISO sensitivity, White Balance, Drive mode and selecting an autofocus area. In the center of the joystick is the Menu/SET button. Around the joystick there are buttons for playback, calling up the display (display view), as well as at least five Fn buttons, which you can program at your discretion, but by default they work as switching between the display and EVI, displaying the quick menu (Q-menu ), locking exposure or focus (AFL/AEL), deleting pictures in playback and displaying a menu for working with Wi-Fi.
Again, I emphasize that such an abundance of physical control tools is very atypical for a camera of this class, but what is even more impressive is that the camera can be fully controlled without them, using only the ‘touch-screen’ display interface. By pressing the Q-menu button, you can use the display to select a photo style, flash mode, video and photo quality, focus mode, focus area, exposure metering, exposure compensation, sensitivity and white balance; You can even adjust the aperture and shutter speed by tapping your finger on the display. As with all other Panasonic G series cameras, it is possible to set the focus to any point in the frame by touching the screen with your finger, and select the size of the focus area from four possible ones. You can also set the camera to focus and shoot with one touch and use the touch-screen icons on the display to control the motorized zoom when shooting with compatible lenses. There are also two icons on the display, the functions of which can be selected at your discretion. And thus, the total number of programmable buttons on this camera reaches seven.
In general, it is clear that Panasonic really thought out the camera control system well, and offered a whole range of options for how you can set certain settings: from traditional physical buttons, rotary dials and toggle switches, presented in abundance, to a very modern 'touch-screen' interface '. This camera is an absolute pleasure to use.
On the right side of the camera, under a small cover, you will find a combined USB/AV connector, a mini-HDMI port and a 2.5 mm jack for connecting an optional wired remote control system. I note that with the G6 camera you have the ability to control it remotely and wirelessly via Wi-Fi using iOS applications or Android. I will write about this in more detail below.
A nice improvement over its predecessor: the G6 now has a 3.5mm port for an external microphone, which is a rarity in a world without SLR cameras, But important step moving towards a wider audience, as both Canon and Nikon equip even entry-level DSLR cameras with such ports. The microphone port is located in the upper right corner (when looking at the camera from the front) of the G6's front panel, behind a small flap. As you might expect with a camera in this class, there is no headphone jack; if you need it, you should turn to the flagship model, GH3.
At the top of the camera there is a small flip-up flash with a guide number of 10.5 at base ISO 160. This is roughly equivalent to the flash on the Canon EOS SL1/100D, which has a guide number of 9.4 at ISO 100. Additionally, the camera has a hot shoe that supports external flashes FL220, FL360, FL500 with TTL auto-metering; however, there is no built-in wireless flash control. The maximum possible flash sync speed is 1/160.
The battery compartment under the camera houses the same lithium ion battery DMW-BLC12E, which was on the G5, provides the ability to approximately 340 shots according to the CIPA standard (Camera & Imaging Products Association - a standard adopted in 2003, which describes a method for measuring the operating time of a camera from a single power supply). The G5 provided up to 320 shots. This value is comparable to what Canon claims for its EOS SL 1/100D (380 shots), and is a very good result considering that the G6 is a system that works in Live View 100% of the time. The G6 camera's battery is recharged the traditional way from an external power source, so there is no USB charger for this camera yet. There is also no option to add a battery grip (this is an accessory for higher-end cameras).
As with other G-series cameras, the memory card slot is located next to the battery compartment, which means that if the camera is mounted on a tripod, access to the card may be blocked, but do not forget that you can copy photos from the G6 via Wi-Fi, so this problem is less serious here than on cameras without Wi-Fi.
Lenses
The Lumix G6, like the rest of Panasonic's G-series cameras, is Micro 4/3 standard, which means you can use any lens designed for the system. The sensor in Micro 4/3 cameras reduces the field of view of the lens by half, so the 14-42mm and 14-140mm kit lenses provide the same field of view on the G6 as the 28-82mm and 28-280 lenses provide on full-frame cameras mm, respectively. Below you can see the frame overlap capabilities of a 14-42mm lens.
Frame overlap at wide end |
Overlapping the frame at the long end |
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| 14-42mm at 14mm (28mm equivalent) | 14-42mm at 42mm (84mm equivalent) | |
To test the image stabilization of the 14-42mm kit lens, I zoomed it to 42mm, providing a field of view equivalent to an 84mm FF, and took several shots with the image stabilization system on and off, gradually increasing the shutter speed. There is an opinion among experienced photographers that it is not recommended to set shutter speeds higher than 1/x, where x is the effective field of view, in order to avoid movement when shooting without image stabilization. Thus, the maximum shutter speed for shooting with a given focal length should be considered a shutter speed of approximately 1/80 sec. In this test, with image stabilization turned on, I easily got sharp shots handheld at shutter speeds of 1/10 sec and sometimes 1/5 sec, which means three to four stops more stabilization than recommended. traditional wisdom. Under the same shooting conditions without image stabilization, I was able to get sharp shots when shooting without a tripod up to a maximum of 1/40th of a second, which means that the image stabilization system actually provides two to three stops of compensation.
Panasonic Lumix G6 with 14-42 mm zoom with stabilization system off/on |
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100% crop, 14-42mm at 42mm, 1/5, 160 ISO, IS off |
100% crop, 14-42mm at 42mm, 1/5, 160 ISO, IS on |
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Before we continue further, one more note regarding lenses for the Lumix G6. Micro 4/3, developed jointly by Panasonic and Olympus, is the most mature of all mirrorless system camera formats; they began producing cameras and native lenses for them at least a year before their first competitor appeared. The facts that they were the first in this market and that they are backed by not one, but two large photographic equipment manufacturers give the Micro 4/3 format an advantage in the competition, and this is fully manifested when you start to compare the range of native lenses for systems At the beginning of 2013, there were over 40 lenses for the Micro 4/3 format from Panasonic and Olympus, as well as from third-party manufacturers such as Sigma, Tamron, Samyang, Voigtlander, etc. Thus, while most mirrorless formats are struggling In order to offer at least one lens of each type, Micro 4/3 usually offers two or more options. Whether it's a Fisheye, ultra-wide, super-fast prime, macro, super-zoom or good old-fashioned all-rounder, the Micro 4/3 system has it all and more. Read more about this in the article.
Viewfinder and display
Like its predecessors, the Lumix G6 features both an electronic viewfinder and a fully articulated 3-inch display for composition purposes, but the new model takes advantage of both in an improved form.
The biggest change concerns the electronic viewfinder, or as Panasonic prefers to call it, the Live View Finder (LVF). According to the specifications, the G6 camera's LVF has the same 1.44 million dot resolution (800 x 6000 pixels) as the G5's viewfinder, the same 1.4 x magnification and 100% field of view. What has changed is the technology behind the display: the G5 used 'Field Sequential' technology, while the G6 used OLED, and when comparing the two pictures directly, the difference is quite significant.
Displays built on 'Field Sequential' technology often suffer from the appearance of specific artifacts: some photographers see rainbow-colored image breaks when glancing over the image (translation may not be accurate enough - translator's note) or move the camera relative to objects with an abundance of smallest details. As far as I know, some people see more of these artifacts, some less, but for me personally this was a serious problem with both the G5 and other cameras that use this technology: I saw the gaps quite clearly. With the new LVF viewfinder OLED panel, the image is more stable, not to mention brighter, more vibrant and more complete. Before the G6, I shot on the G5 and G3, and the difference between the two is quite obvious.
If we compare the technical data of the G6 with other similar cameras, we see that both Sony and Fujifilm have electronic viewfinders with a resolution of 2.4 million dots (1024 x 768 pixels). This is slightly higher resolution than the G6 offers, but in my opinion the G6's viewfinder is slightly brighter. However, when comparing these cameras, the key difference will certainly not be the viewfinder. With all this, it is clear that the viewfinder of the G6 has undergone major changes for the better compared to the viewfinders of the G5 and G3.
Compared to the optical viewfinders of DSLR cameras in the same price range, we find the usual PROS and CONS for this comparison. Purely optical viewfinders provide a cleaner, more reliable picture of the scene, which becomes especially valuable in conditions of insufficient or, conversely, very strong lighting, as well as when the camera moves in a horizontal or vertical plane. However, with them there is no way to display overlay information about the shooting, there is no way to enlarge the image, there is no way to see what you are shooting when recording a video or during playback. But for me, the main difference between electronic and optical viewfinders, at least on inexpensive DSLR cameras, is the apparent image size. On an entry-level DSLR, such as the Canin EOS SL1/100D, the image in the optical viewfinder is noticeably smaller than the EVF of the Lumix G6, and this difference is very critical when composing images. (for all DSLRs, the viewfinder overlap is less than the frame area, especially for cheap ones - translator's note).
As on the G5 before, there is a special eye sensor next to the viewfinder that automatically switches the image from the viewfinder to the screen when composing the frame, and on the G6 this process is quite fast, unlike some other cameras. Switching is so fast that you never have to wait. Definitely, this mechanism is much faster shifting, which activates and deactivates Live View mode on DSLR cameras. But if you want, you can turn off this sensor and switch between the EVI and the display manually using special button. I've done this a couple of times when atypical palm positioning on the camera for certain camera angles could cause the sensor to react to my fingers and turn off the display.
Now let's move on to the display. It is still a tilt-to-the-side, fully rotatable monitor with a three-inch (3:2 aspect ratio) touch panel. Like the G5, you can shoot with this display from any angle, including facing the display forward towards your subject, or inside the camera for protection. What's new is a slight increase in resolution from 920 thousand dots to 1030 thousand dots, which, as I was told, is a consequence of the increase in resolution, and not the number of color dots per pixel. It's quite interesting to compare the G6's display to that of the previous model: it looks much richer and sharper than such a small increase in resolution would provide. I asked Panasonic representatives about this, to which I received the answer that the G6 camera eliminated the gap between the touch part of the display and the panel itself. This, indeed, has a noticeable effect on picture quality, and coupled with the new viewfinder makes the process of composing shots on the G6 much more enjoyable than on the G5 previously.
The 'touch-screen' interface remains comfortable and pleasant to use, and, as I wrote earlier, it allows you to set all settings by touch, without the use of physical buttons, rotary dials and switches; You can, on the contrary, forget about it and use physical tools - at your discretion. As for me personally, now I can hardly imagine shooting without a touch-screen, I always select the desired focus area by touching the corresponding point on the display, and, as on the G5 earlier, the Touch Pad function allows you to do this, even if you are composing the frame using the viewfinder. And if you tilt the display to the side in advance, your nose won't become an accidental nuisance.
Also, on this camera, as on the previous one, I really like the option to change the focus area by touching the screen with your finger when shooting video. In addition, I find it very useful to be able to display on the display, in addition to the image itself, also auxiliary tools that contribute to a more correct composition of the frame, not to mention the function of viewing captured frames in playback and zooming by pinching your fingers on the display.
Panasonic also allows you to navigate through a fairly extensive menu with touches on the screen and enter text using an on-screen keyboard interface similar to that used in mobile phones, which the super zoom of the ZS30/TZ40 does not allow. Suffice it to say that you can scroll through pictures in the playback, zoom with the appropriate movement on the screen, or tap an icon to get a thumbnail-sized thumbnail-sized image. In short, virtually all functions of the G6 can be controlled from the display, although, again, if it’s more convenient for you, you don’t have to use it, but work with physical buttons, rotary dials and switches, presented in abundance.
And finally, I’ll quickly tell you about new feature Clear Retouch: This is a tool that allows you to remove unwanted objects from your photos during playback. In theory, you only need to draw a zone around the unwanted object and the G6 will remove it, but in practice this function did not work entirely satisfactorily for me: the screen was too small and the finger was too large to accurately select the zone. In general, the idea is good, but in reality it didn’t work for me in the best possible way. Perhaps someone will be able to use this tool to greater advantage, but for now I prefer to do such things in Photoshop in post-processing.
Unfortunately, LiveJournal does not allow you to publish texts that are too long, so you have to break them into several parts, so...
to be continued...
With five lenses, we will analyze the test results below, and now let's talk about the class of photographic equipment to which our subject belongs. We cannot do without an excursion into history.
Back in 2001, Olympus realized that it was losing the digital race and all its achievements in the film era did not allow it to be at the level of market leaders. A conceptual breakthrough was needed, and it was stated in a joint statement with Kodak that there was a need to standardize the lens mounting mechanism and the type of light-sensitive matrices used with them in single-lens reflex cameras (SLR). The Four Thirds System standard and the corresponding three-blade lens mount were proposed. Sensor size: 18×13.5 mm (22.5 mm diagonal), aspect ratio: 4:3, crop factor equal to two. The main idea was that most photographs do not require very high resolution; for newspaper and medium-sized magazine illustrations, the quality of such a sensor is quite enough. After ten years, the debatability of such a statement becomes obvious, because there is no such thing as too much quality. Olympus released several amateur DSLRs with this matrix format and even a very good professional camera E-1, but they were unable to change the situation on the market. In Tokyo on August 5, 2008, a continuation of the format was announced, called Micro Four Thirds System, and Matsushita (Panasonic) also joined in the creation. This standard eliminates the mirror lifting mechanism and the associated mirror viewfinder from the camera design. For this reason, the working distance is halved compared to the 4:3 standard (from 40 mm to 20 mm), and the thickness of the camera body decreases accordingly. Instead of a mirror viewfinder, an electronic or on-screen viewfinder is used.
At this point, we can complete the historical excursion, not forgetting to analyze what pros and cons this format brought to the photographer. Micro Four Thirds System cameras are commonly called mirrorless system cameras. Systematicity implies the use of removable optics, attachments, converters, external flashes, and battery grips. The first serious advantage of the system under consideration is the absence of a mirror and pentaprism, as a result of which the weight, dimensions and cost of the camera are reduced. The absence of vibration from the cotton of the mirror allows you to shoot without a tripod at longer shutter speeds without fear of blurring the image from vibration. The second significant advantage is the short working distance, i.e. distance from the rear end of the lens to the plane of the matrix. A small flange makes it possible to simplify the optical design of lenses, this is especially true for wide-angle and ultra-wide-angle optics. This simplification makes it possible to reduce the size, weight and cost of optics without sacrificing quality. Well, now about the sad thing, the main disadvantage of mirrorless systems is the focusing system. In a classic DSLR, the light passing the lens through the translucent areas of the main mirror hits an additional mirror, and from it to the focusing sensors, of which there can be several dozen in a modern camera. Due to their design, mirrorless cameras cannot implement this principle, and the focusing process uses matrix pixels that analyze focusing by contrast. Phase detection autofocus of DSLR cameras is faster and more accurate than contrast focusing of mirrorless cameras.
Now, armed with knowledge of the theory, let's begin to analyze the Panasonic Lumix DMC-G6 camera. The first surprise was that in reality the camera turned out to be smaller in size than one would expect from looking at advertising pictures in magazines. The body is almost completely covered with a rubber-like material with a leather-like finish; the camera fits confidently in your hands and does not slip at all. The battery grip is comfortable and ergonomic, the release button is exactly where it should be. Separately, I would like to note the tilt-and-turn display (capacitive type), TFT, 1,036,000 dots (3:2), 3 inches. This is exactly the type of display mount for my own camera, and during its operation I was able to verify its practicality and convenience this decision. First of all, when transporting the camera, the display can be turned with the screen facing inward, thereby protecting it from damage. Metal buttons on clothes and zippers tend to leave scratches and abrasions on the screen, it is strongly recommended to stick protective film to the screen. The rotation and tilt angles in the working position allow you to feel comfortable in most shooting situations; if desired, the screen can be rotated 180 degrees and capture yourself. In addition, the screen is touch-sensitive and this greatly simplifies navigating the menu and changing shooting parameters.
The brightness is quite sufficient for working outdoors; of course, direct sunlight will blind any screen. Let's look at the controls. On the rear panel, in addition to the functional wheel and standard buttons, there are five programmable Fn keys to which the photographer can assign the functions he needs. On the top panel there is a shooting mode selection wheel and a separate video recording button. I'm very used to the LCD screen on the top of the DSLR, which constantly displays data about the main parameters of the camera, and I really missed it in the Lumix. This is the cost of miniaturization, but it seems to me that such a screen will definitely appear in mirrorless cameras in the near future. Another advantage of optics for the Micro Four Thirds System is that, with the same aperture, the diameter of the front lens is significantly smaller than optics for the APS-C format, and especially full-frame optics. The four lenses I received for testing had a filter diameter of 46 mm, which provides significant savings when purchasing filters.
Panasonic Lumix DMC-G6 is equipped with a 16.05 megapixel Live MOS sensor and a high-speed Venus Engine processor, with a sensitivity range reaching ISO 25,600. Considering that Panasonic has long been successfully producing video cameras, including professional ones, video capabilities our apparatus turned out to be up to par. The model is capable of making videos with a resolution of up to 1920 x 1080 50 frames per second in the AVCHD Progressive format (MPEG-4 / H.264), with a stream level of 28 Mbit/s. The sound is recorded in stereo format, there is support for noise reduction, and if necessary, an external microphone can be connected using a standard 3.5 mm jack. Recently, Wi-Fi modules have confidently asserted themselves in photographic equipment, in wireless mode, it is possible to control the shooting process, copy images, send them to a smartphone and tablet for long-distance and quick sending to the network. The Lumix G6 fully realizes these features. The viewfinder in the camera is electronic, OLED, 1,440,000 dots, and in low light conditions it begins to slow down noticeably.
Let's move on to practical tests of the device, having previously configured some parameters. Set the AdobeRGB color space and RAW recording format to maximum resolution. I described in detail why you need to choose this particular color space, anyone can refer to it. Ideological supporters of filming in JPG format can find everything they need in the camera - automatic white balance, presets color temperature in the form of pictograms of the sun, clouds, light bulbs.
In all cases where the shooting situation allowed, I set the sensitivity to 200 ISO, increasing it as needed. At a sensitivity of 200, the device takes excellent pictures, the color is correct, the texture of homogeneous areas is uniform, and the dynamic range is quite wide. In the RAW converter, you can pull out a couple of steps in the highlights and shadows. Here are some examples of full frame and 100% close-up frames.
In low light conditions and the resulting increase in sensitivity, I believe the maximum value is 800 ISO, values higher have a high level of noise that ruins the image. The value 12000 and higher can only be set if on a dark, dark night you witnessed the landing of a flying saucer and you need confirmation of your words that those little green men you talked about really communicated with you. Another application for this sensitivity would be an art project at the Museum of Modern Art, in which case photographs would need to be printed at least 3 x 3 meters in size. In a city at night, using high-aperture optics with a fully open aperture, I limited the sensitivity to 800, while shutter speeds were 1/50, 1/20 seconds, which made it possible to do without a tripod.
The built-in flash correctly illuminated the foreground without disturbing the overall light atmosphere, which indicates the correct exposure automation implemented in the camera. Dynamic range is also quite good, allowing you to see details in highlights and shadows. In night scenes, autofocus worked less confidently, and in this frame, every half-press on the shutter button led to focusing in a completely arbitrary place. A scene with an abundance of glass surfaces, glare and reflections can confuse a much more advanced DSLR. Switching the camera to manual focus mode solved this problem.
The camera can take panoramas; after setting the appropriate mode, a strip of the already stitched image appears in the viewfinder, and the camera switches to burst mode. The photographer can only smoothly turn the camera from left to right, guided by the readings of the electronic horizon. It should be noted that the electron horizon is extremely useful feature and during normal shooting, allowing you to avoid blockages and distortions of the camera, which is especially important when using wide-angle optics. If necessary, the electronic horizon can be turned on and off at the touch of a button. Let's return to our panoramas, when working outdoors and indoors, day and evening, the Lumix coped with the task perfectly.
If you try to pan the camera too quickly, distortions occur and the panorama is stitched incorrectly.
Currently, all manufacturers of amateur photographic equipment equip their devices with filters and effects, and the Lumix DMC-G6 we are considering is not left out. Monochrome image, vignetting, monocle and high dynamic range imitation, forced saturation and local color, more than ten effects are present in our camera. How appropriate they are in each specific case is up to the photographer to decide, but the manufacturer provided us with this opportunity.
In conclusion, it should be noted who the camera in question is actually aimed at. The Lumix DMC-G6 will be of interest primarily to enthusiastic amateurs who have already outgrown the capabilities of compact cameras with fixed optics, but do not agree with the weight and price of digital SLRs. Nothing prevents you from making money with our camera; the image quality, reliability of production and ease of operation will allow you to carry out wedding photography, photography in kindergartens and schools, as well as portraits of industry leaders. MTBF will be much higher than when using digital SLRs, since the Lumix DMC-G6 has virtually no mechanical moving parts, which are the weakest link in modern photographic equipment.
Of course, the full benefits of the Micro Four Thirds system and the Lumix DMC-G6 camera can only be realized using interchangeable lenses. What lenses manufacturers pleased us with, and the features of their use, we will consider in the following articles.
Happy shooting!
Examples of videos shot with this camera:
The compartment for the battery and memory card is located on the bottom side of the handle, and the thread for mounting the camera on a tripod coincides with the axis of the lens.
Display, viewfinder
The design and size of the display remain unchanged. The three-inch TFT matrix with touch control has a rotating design. Setting the focus point is possible across the entire display, and this function is also available when using the viewfinder.
The built-in electronic viewfinder is based on organic light-emitting diodes (OLED), while its predecessor was equipped with a traditional LCD viewfinder. The new version is more economical and brighter, which is a definite plus, but the colors in it look slightly unnatural - this is inevitable in all cases of using matrices based on organic LEDs. It is worth noting that the viewfinder is equipped with a proximity sensor and a diopter adjustment wheel.
Functionality
As you already know, the sensor resolution remains the same - 16 megapixels. The available light sensitivity has increased by one step, reaching ISO 25600 (although in ISO Boost extended range mode). The lower limit of the range has not changed, which means you still won't be able to set ISO 100 - only 160 units, no less.
The main changes lie in the processor - Panasonic Lumix G6 received a new generation Venus Engine chip. The manufacturer offers an improved noise reduction system and promises higher picture quality. The second significant update is Low Light AF, which allows you to focus even faster and more accurately in low-light conditions. However, Panasonic mirrorless cameras have never had problems with focusing. She was and remains the best in the class. The frequency of burst shooting has also increased. The new camera is capable of taking bursts of 7 frames per second in full resolution, while the Lumix G5 produced 6 frames per second.
The updated processor also played a role in expanding video capabilities. In this regard, the Lumix G6 is approximately on par with the Lumix GH2, which is advanced even by today's standards. The camera is capable of recording video in Full HD resolution at 60, 30 and 24 full frames per second with stereo sound and output in AVCHD and MPEG-4 formats. In addition, it became possible to connect an external stereo microphone to the corresponding connector. However, there is still no headphone jack, and the built-in speaker does not allow you to fully evaluate the recording quality. By the way, during the official presentation we managed to make a couple of video recording examples - however, we should not draw far-reaching conclusions, the firmware on the G6 was still quite “raw”.
Updating the top-of-the-line Lumix GH series of cameras with excellent flagship model GH3, Panasonic was not slow to improve the next oldest G line. The new G6 at first glance is not so different from the previous G5, but upon closer acquaintance you realize that this is a completely different camera.
Specifications
| Panasonic Lumix DMC-G6 | |
|---|---|
| Bayonet | Micro Four Thirds |
| Matrix | Live MOS 16.05 MP (17.3 x 13.0 mm) |
| Matrix light sensitivity | ISO160-3200, ISO6400, ISO12800, ISO25600 |
| Excerpt | photo: manual up to 120 s, 1/4000 - 60; video: 1/16000 - 1/30 (NTSC), 1/16000 - 1/25 (PAL) |
| Exposure metering | multizone, center-weighted, spot |
| Exposure compensation | ±5 EV in 1/3 EV increments |
| Exposure bracketing | 3, 5 or 7 frames in increments of 1/3, 1/2 or 1 EV (±3 EV) |
| Continuous shooting | 2/4/5/7 fps at full size with Live View; 20 fps without LV at 4 MP resolution |
| Burst buffer | 9 frames (RAW) |
| Setting the Color Temperature | 2500K-10000K in 100K increments |
| Recording media | SD/SDHC/SDXC memory card (UHS-i compatible) |
| Recording format | JPEG (DCF, Exif 2.3), RAW, MPO (when using 3D lens) |
| Maximum photo resolution | 4608x3456 (4:3), 4608x3072 (3:2), 4608x2592 (16:9), 3456x3456 (1:1) |
| Viewfinder | electronic, OLED, 1,440,000 dots |
| LCD screen | rotary, touch (capacitive), TFT, 1,036,000 dots (3:2), 3 inches |
| Flash | built-in, TTL, guide number 8.3 (IS0 100); support external (shoe) |
| Wired communications | AV, USB 2.0, HDMI, remote control |
| WiFi | IEEE 802.11b/g/n, 2.4 GHz, WPA/WPA2 |
| NFC | ISO／IEC 18092（NFCIP-1） NFC-F |
| Direct printing | PictBridge compatible |
| Nutrition | Li-ion battery (7.2 V, 1200 mAh) |
| Dimensions | 122.45 x 84.6 x 71.4 mm (excluding protrusions) |
| Weight | 340 g without battery and memory card |
Appearance, ergonomics, controls
The first thing you notice when you pick up the G6 after the G5 is that the front of the new product is almost completely covered with a rubber-like material with a leather-like finish. It's cute and damn comfortable, and the camera feels even better in your hand. But, remembering the age-old problem with rubber bands coming off on cameras and lenses, you begin to doubt - is this really a good thing? In the test chamber, the coating has already fallen off slightly in two places, but what will happen in a year?
The shape of the case has changed slightly - the right “shoulder” of the case has become inclined, however, apart from the appearance, this did not affect anything. The controls on the right all remained in their places, but the recess in which the shutter button was located disappeared. It is now flush with the convex part of the body and is often accidentally pressed when viewing photos, returning the camera to shooting mode. The only exposure pair control wheel, which switches between parameters by pressing, remains in its place - on the corner of the case. It’s a bit stiff to both scroll and press, and the protrusion under it makes it difficult to apply proper force, and at first, out of habit, my finger often slipped along the wheel. In general, it remained as inconvenient as it was, but you can get used to it in a couple of weeks. The role of the second wheel, as in the G5, is played by a 3-position lever, unless it is used to control the motorized zoom, which is found in Panasonic lenses marked PZ - Power Zoom. The shooting mode dial is also a bit stiff, but you definitely won’t be able to switch it accidentally. The video recording button is flat and built flush, finding it blindly when looking through the viewfinder is a real problem. You can get used to this, or you can use the “video” mode that appeared in the G6 on the selector disk - in this case, the main shutter button is responsible for starting/stopping recording, which is much more convenient. However, you cannot take pictures during video recording. Even in the G6, panoramic shooting is a separate item on the selector; it’s much easier than looking for it in the menu.
The rear panel buttons have changed little - they, including the five-way navigation key, still have the same soft, indistinct action without a clear click, but now they are all plastic in the color of the body, unlike the silver ones in the G5. But there are more programmable buttons - one new one has appeared, which is responsible for Wi-Fi by default, and another old one (Q.MENU) can now also be redefined. It turned out to be five hardware and two screen Fn, for a total of seven, just like the GH3. Any of them can be assigned any function from a large list, even two - separately for shooting mode and playback mode.
The rotating display is the same design as the G5 - there's no need to improve what's already good. But the 3-inch TFT matrix itself has been updated, it has a slightly higher resolution and boasts excellent color rendering and brightness sufficient for sunny weather.
The electronic viewfinder (LVF) has an updated OLED matrix with the same 1.4 megapixel resolution, which is quite enough for comfortable viewing, and good color rendition. Since LVF completely duplicates the image from the display, if desired, the latter can be turned off altogether or switched to a view with shooting parameters - an analogue of the “info” screen in SLR cameras. G5 did not have this type; this feature was also taken from GH3.
In fact, this is another version of the “quick menu”, in which you can configure the main parameters in two touches. In general, the G6 is like a GH3 in a G5 body, with the exception of some particularly advanced settings and equipment. For example, videographers will be disappointed by the lack of audio output to headphones, but will be pleased by the appearance of a connector for an external microphone and 19-step adjustment of the audio recording level. By the way, the microphone jack is located better here than on the GH3, since the plug plugged into it does not block the rotation of the screen.
The functionality of the camera is rich, there are a great many settings, all the proprietary features are present - AFF autofocus, smart Intellectual ISO sensitivity control, face recognition with priority focusing on faces saved in the camera's memory, precise focusing "+" with image magnification. The G6 introduced focus peaking, which really helps to focus more accurately, but it is not omnipotent - if the picture is not very contrasty, then when you zoom in, the blue “backlight” breaks up into single flickering dots, making it impossible to understand what exactly is in focus. Turning peaking on and off can be assigned to any of the Fn buttons.
Placing the memory card in the same slot as the battery will not create problems when shooting from a tripod, except with a very large tripod platform. In addition, built-in Wi-Fi module eliminates the need to remove the card for viewing on a computer.
As in the G5, a separate button on the top edge turns on the fully automatic iA mode without custom settings or the advanced iA+, in which you can change the depth of field and color scheme, and also adjust the exposure. The selector contains creative control modes (a set of 19 filters and effects) and scene selection from 23 standard presets; there are no innovations here.
Thanks to the updated processor of the Venus Engine series, the camera works quickly, without slowing down either in the menu or when switching operating modes. After turning on, the device is ready to shoot in less than a second, and the first shot can be taken in no more than one and a half (if the scene does not contain any elements that are difficult for autofocus). Maximum speed continuous shooting has increased from 6 to 7 frames per second with the focus fixed on the first frame; at 5 fps, focusing is already working for each frame, and at 4 and 2 frames per second, the movement of the object can be tracked in Live View mode. The burst buffer holds up to 8 photos in the heaviest version - RAW + JPG with maximum size and quality (or 9 frames without JPG), followed by a pause of about 8 seconds, and then every 2.8 seconds space is freed up for one photo. On complete cleaning The buffer time is about 18 seconds (using a standard Class 10 SDHC card). The series in JPG can be endless. The 4MP ultra-high-speed burst mode has been accelerated from 20 to 40 fps. Autofocus speed has also subjectively increased (unfortunately, such measurements were not taken when testing the G5), and the shutter lag is clearly less - in favorable conditions, about 0.6 seconds pass from half-pressing the shutter to releasing the shutter (see screenshot).
It’s a sin to complain about focusing accuracy; even in low light, autofocus works perfectly, failing only on homogeneous and monochromatic objects without contrasting details. The focusing area of Panasonic cameras is adjustable to a very small area, which virtually eliminates misses, and DMF with zoom and peaking helps control the operation of the automation. As a result, among almost a thousand test photos we have only a few defects in focus. There's still no way to manually set the maximum shutter speed when shooting with Aperture Priority and AutoISO, so it's best to turn on the Intelligent ISO feature, which automatically increases sensitivity to cut the shutter speed in half.
There are different opinions on the Internet about what kind of matrix is installed in the G6 - either from the GH3, or the same as in the G5 (that is, “improved from the GH2 with multi-format disabled”). Judging by the pictures, the last option is most similar to the truth. Another ISO step on top, added by a more powerful processor, is a dubious advantage. At ISO 25600 the picture turns into a mess of grain and colored spots. Increasing sensitivity to 6400 units and higher is worth it only when the subject is more important than quality, but up to 3200 inclusive it is quite possible to shoot if you do not plan to print pictures in large sizes. But still, in low light, even at ISO 400, the RAW picture is already noticeably noisy.
Examples of camera behavior on different meanings ISO (gallery):
Examples of images with sensitivity of 3200 and 6400 ISO (gallery):
Scenes with high contrast and generally low lighting levels are difficult for the camera, but RAW files allow you to pull out both details and colors from deep, completely black shadows. Small overexposures can also be corrected, but it is better to slightly underexpose the picture, focusing on the light areas. Or use the HDR function, for which it is convenient to program one of the Fn buttons.
The G6's in-camera JPG is noticeably better than the G5's, and the Photo Style settings are more flexible (±5 steps versus ±2) for adjusting contrast, sharpness, saturation, and noise reduction. In general, even in rather difficult conditions it is quite possible to get a high-quality picture without converters and editors.
The camera was provided for review with two lenses - the 25/1.4 “panel lens” already familiar from the G5 review, and with new version staff 14-42/3.5-5.6. The upgraded whale zoom is much better than the old one that came with the G5 - it is quite sharp wide open and very sharp at f/5.6-f/8, in test shots with this aperture the detail is no worse than that of a watering can. The autofocus of this compact and lightweight piece of glass is very quiet and almost silent.
This is how the Lumix G6 takes photos with these lenses (gallery):
When it comes to video, the Lumix G6 is noticeably superior to the G5. The camera writes in both AVCHD/50p and MP4/24p great video with vibrant colors and smooth video, and the number of settings in this regard is almost the same as in the GH3. So video shooters with a small budget will definitely be interested in the G6.
Example video:
Well, don't talk about Wi-Fi capabilities in this cell it would be unfair. There is an almost complete set of functions using wireless communication:
- sending photos/videos to a smartphone/tablet/computer or cloud storage from the camera menu;
- sending images to web services (registration with Lumix Club is required);
- viewing, selecting and downloading pictures using the application on your smartphone/tablet;
- automatic transfer of captured frames to a connected device immediately after shooting;
- playback photos/videos on TV via DLNA;
- seal;
- transferring location data to the camera and adding it to pictures;
- remote shooting control.
The Panasonic Image App for Android still looks a little scary, especially in terms of settings, but it is much more functional than its analogues for Samsung cameras and Fujifilm - almost everything is available here important settings filming, including touch control focus from the gadget screen. Moreover, you can connect to the camera either through local network(using DLNA) and directly ( Wi-Fi Direct) using different authentication methods.
For a quick connection without entering passwords, the G6 has NFC module, the location of which on the side edge free from connectors is indicated by a pictogram.
The battery life of the camera is similar to the G5 - the same 350-450 shots on one battery charge, if you don’t get carried away automatic modes and thoughtful consideration of the footage.
Bottom line
The Lumix G6 cannot boast of a metal body and a premium design, polished to the last detail, but at the same time it is quite convenient, relatively compact and well-equipped camera that takes both photos and videos well. Perhaps, for its price (about 6,000 UAH in Ukrainian retail) it’s at the moment unique offer. Among mirrorless cameras in this price category, only the Sony NEX-6 and Samsung NX20 have a viewfinder, but the first has very controversial ergonomics, and the second loses in color rendition and autonomy. Of the DSLRs, the G6 can only be compared with the Canon 100D - an entry-level camera with similar dimensions, but much inferior in functionality. In general, the Lumix DMC-G6 is an excellent option for a keen photo and video enthusiast, convenient and powerful tool to get high-quality photos and videos.
7 reasons to buy Lumix DMC-G6:
- convenient form factor;
- high-quality viewfinder and rotating display;
- high performance;
- accurate and fast autofocus;
- wide customization possibilities;
- high-quality video recording with many settings;
- modern wireless communications (WI-Fi, NFC);
There are no serious reasons not to buy the Lumix DMC-G6.
