Panasonic Lumix FZ1000 review

Thanks in no small part to their lens zoom range, bridge cameras are still a buoyant section of the fixed lens camera market. In fact, according to Panasonic's research the most important feature for prospective bridge camera buyers is their lens zoom ratio, followed by the lens quality and then image quality.

Consequently, Panasonic has given the FZ1000, its top-end bridge camera, a 16x zoom range with a focal length equivalent to 25-400mm. What's more, this is a Leica DC Vario-Elmarit lens with a maximum aperture of f/2.8 at the widest point and f/4 at the narrowest.

Image blur is also reduced by the Lumix DMC-FZ1000's Hybrid 5-axis Optical Image Stabilisation.

To ensure better image quality than the average bridge camera, the FZ1000 has a 1-inch sensor (significantly larger than the 1/2.3-inch devices in most models), with 20.1 million pixels. The larger size sensor means that the photo receptors (pixels) are larger and this should have a positive impact upon noise control, dynamic range and image quality as a whole.

The FZ1000 is set to compete with the Sony RX10 which also a (20.2Mp) 1-inch sensor, but the lens has a more restricted focal length range equivalent to 24-200mm and a fixed maximum aperture of f/2.8. The FZ1000's f/2.8 maximum is restricted to 25mm, it drops to f/3.1 as soon as you zoom in the slightest amount, and by 200mm the maximum is f/4.0.

Panasonic has coupled the FZ1000's sensor with a new Venus Engine which the manufacturer claims will dramatically improve the resolution, gradation, colour reproduction and noise control compared to Panasonic's existing bridge cameras.

Naturally, being Panasonic's top-end bridge camera, the FZ1000 has exposure modes to suit enthusiasts (program, aperture priority, shutter priority and manual) along with Intelligent Auto and scene modes to help less experienced photographers. There's also the Creative Control option which allows users to select one of 22 filter effects to use. These effects are applied to JPEG files, but they can be used when shooting raw files simultaneously so that there's a clean file available for processing.

In a first for a compact or bridge camera, the FZ1000 is capable of recording 4K (3840 x 2160 pixel) video footage at up to 25fps (PAL) in MP4 format. This comes with the advantage of being able to output 8Mp still images for a better viewing experience on 4K televisions.

Naturally, it's also possible to record video at Full HD and VGA resolution. The FZ1000 can record in MP4 and AVCHD to allow easy transfer, editing and sharing of movies. Those interested in slow motion playback will appreciate the ability to record Full HD footage at 100fps.

We first saw the company's Depth from Defocus technology in the Panasonic GH4 , Panasonic's flagship compact system camera. It has been used again in the FZ1000 to achieve focus speeds that are said to be 275% faster than those achieved by the Panasonic FZ200. Panasonic claims a focus speed of 0.09 second at the widest point of the lens and 0.17 second at the telephoto end when the viewfinder is used to compose images.

There are a total of 49 AF points available for selection either by the photographer or automatically by the camera. In addition to 49-Area and 1-Area AF, there's also the Custom Multi AF mode, first seen in the GH4. This allows the user to select blocks, rows or columns of AF points for use.

Panasonic has also added Pinpoint AF, in which the camera automatically magnifies the focus area to ensure the correct section is in focus, and Focus Peaking to show the areas of highest contrast (focus) around the focus position in manual focus (MF) and AF+MF modes.

In addition to Face Detection AF, Eye Detection AF mode is available to automatically set the focus directly on a human eye, and it can start focusing as soon as the viewfinder is used.

Being a bridge camera, the FZ1000 has an electronic viewfinder. This is a 2,359,000-dot OLED device. There's also a 3-inch 921,000-dot LCD screen mounted on a vari-angle hinge to allow the monitor to be seen from a wide range of angles. One surprise with this screen, however, is that it is not touch-sensitive.

Like Panasonic's recent compact system cameras, the FZ1000 has Wi-Fi connectivity built-in and an NFC chip to allow a connection to be made quickly to an NFC enabled smartphone or tablet. As well as wireless image transfer, this means the camera can be controlled remotely via Panasonic's Image App.

Other features brought with the FZ1000 include zebra displays to indicate the brightest areas of a scene, timelapse shooting and stop-motion recording.

Build and handling

Given that it has a larger sensor than Panasonic's other recent bridge cameras, it's not a surprise that the FZ1000 is also a little larger bodied. In fact it's a little bigger than the Sony RX10, but then it does have a much longer lens (albeit with a smaller maximum aperture at focal lengths above 25mm).

The camera feels well built and solid enough in the hand, without being too heavy, but it's a little more plastic-feeling than the RX10.

Like other bridge cameras, the new camera has SLR-like styling with a chunky finger-grip and a liberal helping of dials and buttons giving a direct route to key features.

On the top of the camera there's a mode dial to set the camera to shoot in aperture priority, shutter priority or manual exposure mode, or one of the automatic modes, such as Panasonic's Intelligent Auto (iA) mode, designed to help novice photographers.

Panasonic's Creative Control options are also accessed via the mode dial, and comprise 22 digital filter effects including Sepia, High Dynamic, Toy Pop, Rough Monochrome, Soft Focus and Miniature Effect.

Although there is a deep zoom ring around the lens barrel, using it to zoom from 25 to 400mm feels quite laborious, so I prefer to use the switch around the shutter release to make major adjustments and the ring for minor tweaks to the framing.

A switch on the side of the lens allows the ring to be changed to control manual focusing. The reliability of the FZ1000's autofocus system is such that this isn't required very often, but it can come in handy with some close subjects and the Focus Peaking display helps to make it clear when the subject is sharp.

With 2,359,000 dots at its disposal, the OLED electronic viewfinder (EVF) gives a good, clear view and changes made to the exposure or colour settings are quickly reflected in the image it displays. The 921,000-dot LCD also gives a clear, detailed view and its articulating joint means it is useful for composing images at above or below head-height.

It's disappointing that the screen is not touch-sensitive though as this would allow speedier selection of AF point and more convenient shutter tripping in some instances.

The EVF and rear screen are both capable of showing an electronic level so you can be sure that the horizon is at the correct angle. This is easy to see in the viewfinder, but it can be tricky to see the thin yellow line (which turns green when the camera is level) on the screen in very bright conditions or when the viewing it from an angle.

A switch around the AF/AE Lock button to the left of the thumb-rest on the back of the camera allows the focusing to be changed quickly between single AF, continuous AF and manual. The left button on the navigation control is also a shortcut to the AF mode options. In 1-Area AF mode the AF point is selected by hitting the left navigation button and then hitting the down key, before using the navigation controls to activate the desired point. It's not terribly slick and takes longer than tapping a screen or having a dedicated control.

There's a 'Direct Focus Area' option in the custom menu which turns the navigation pad into a dedicated AF point control, but it has the downside of deactivating the shortcuts (ISO, white balance and macro mode). Thankfully, these options can be assigned to the Quick Menu.

The drive mode dial on the left of the top-plate allows the camera to be switched to continuous shooting, auto exposure bracketing, self-timer or timelapse mode. I found it especially useful when I chance upon a moving subject as I quickly set the camera to continuous drive and continuous AF mode (the latter by the rear switch mentioned earlier).

The FZ1000's menu is logically arranged and will be familiar to users of other Panasonic cameras. Those who are new to Panasonic cameras may like to activate the Menu Guide, although the level of assistance that this offers is variable. When Metering Mode is selected, for instance, it explains that this is to 'select the brightness measurement mode' and each of the options (Multi, Centreweighted and Spot) have similarly helpful explanations when highlighted. When attempting to choose between using the electronic or mechanical shutter it doesn't explain why you might opt for one or another (maximum shutter speed rises to 1/16000sec with the electronic shutter) it merely tells you which option will be selected by each setting.

Another issue is that the HDR (high dynamic range) option is JPEG only, as it is with many cameras. Canon seems to be the only manufacturer that allows raw files to be recorded at the same time as JPEG images when shooting an HDR sequence, and even then it is only made possible on the Canon 5D Mark III. However, there's additional frustration with the FZ1000 as the camera won't automatically turn off raw recording (with a warning) when HDR mode is selected, instead the photographer has to turn it off before HDR mode can be activated.

Although I've raised a few negative points about the FZ1000, it handles well, is responsive and has generally sensibly arranged controls.

Sony RX10 III review

The Sony RX10 III was announced in March this year, less than a year after the RX10 II which, according to Sony, the new camera doesn't replace. The most noticeable difference is the inclusion of a variable aperture (f/2.4-4) mega zoom lens, with a reach of 600mm (25x optical and 100x digital zoom), and with this comes a substantial increase in size and weight.

Like the Mk II, the RX10 III is aimed at the serious enthusiast end of the market – photographers looking for ultimate image quality and telephoto reach in a bridge-style package.

The RX10 III has the same 20.1 million pixel 1-inch stacked Exmor CMOS sensor, and offers the same excellent 4K video functionality, as the Mk II. In fact most features and functions are identical, and the main talking point is the large and impressive Zeiss 24-600mm lens. Only the Canon G3 X has the same reach, if we compare other bridge cameras with 1-inch sensors, with the much older Panasonic FZ1000 only going to 400mm.

The variable aperture of f/2.4-4 still makes this a pretty fast lens, certainly compared to the competition, and it boasts hugely impressive minimum focusing distances of 3cm at the wide end and 72cm at the long end.

As with other Sony compact and bridge cameras, a large range of shooting options and photo modes are included, with 3:2, 4:3, 16:9 and 1:1 formats for both raw and JPEG images. Maximum resolution is 5472 x 3648 pixels in its native 3:2 format. Sensitivity ranges from ISO100-12,800, expandable to ISO64-25,600.

Single shot autofocus (AFS), continuous (AFC), direct manual focus (DMF) and full manual focus (MF) are available, with Sony's very effective focus magnification and focus peaking options making the latter easy to use.

The EVF and tilting rear LCD are both high quality; the latter isn't a touchscreen, but unless you're using the camera on a tripod a touchscreen wouldn't be particularly practical given the size and weight of the camera.

There's no getting around the bulk of the Sony RX10 III. It's very well made and comfortable in the hand, but I suspect many more casual users will be deterred by its size (and price) and, if they want such long telephoto reach, may opt instead for the Canon G3 X or possibly the Panasonic FZ330/300, which has a smaller sensor but also offers 4K shooting, and impressed us last year. The Canon suffers from a slower lens and no included EVF by comparison, but the FZ330/300 does benefit from a constant f/2.8 aperture, albeit with a much smaller sensor.

However, if you want the ultimate image quality in a bridge camera, it's hard to look beyond the class-leading performance of the RX10 III's Zeiss Vario-Sonnar T* lens, and I'm sure enthusiasts looking for more reach and a highly specified camera will be attracted to this. Whether they'll be prepared to pay the £1,250 ($1,500, AU£2,150) price tag is another matter. That price is likely to fall post-launch, but at the moment it's around double the cost of both the G3 X and the FZ1000 (the FZ330/300 is cheaper again). That said the RX10 III is in a league of its own in some respects, so it's likely to find a market, albeit a niche one.

Build quality and handling

The first thing I noticed when I took the Sony RX10 III out of its box was just how large and weighty it is compared to other bridge cameras I've used. At a little over a kilo in weight (1050g or 2.3lbs with battery and SD card) it feels more DSLR like in-hand. It measures 132.5 x 94.0 x 127.4mm (5.25 x 3.75 x 5.12 inches), and feels substantially larger and heavier than the likes of the Canon G3X. Much of this is down to the sizeable glass of the 24-600mm equivalent, 72mm diameter lens.

Although plastic-feeling, the build is reassuringly solid and its generous, protruding-front grip and rounded body style means you're able to grip the camera securely and comfortably. Those with small hands may find the grip a little too large, but it feels in proportion to the size of the camera. I found the ergonomics very good, with buttons and dials falling in the right place for my hands.

The on/off switch is toggle-style, and is incorporated into the shutter button on top of the front grip; it's easy to access and clicks reassuringly. A lever to the front of this allows you to zoom the lens. The shutter button is also threaded, meaning you can use an old-style cable release. The RX10 III powers up pretty quickly, although there's inevitably a short delay while the lens extends to its start-up position of 24mm.

The mode dial (left) and exposure compensation dial (right) both have a textured side and just the right amount of resistance, making them easy to adjust precisely. Two customizable function buttons, an LCD light and the pop-up flash button are also included on the right, and behind these is a small LCD panel that displays key settings. The small but solidly built pop-up flash and hotshoe complete the top plate layout.

An aperture ring is included to the rear of the lens, and can be de-clicked for video use. There are also two textured rings for zoom and focusing. I found it easier to zoom in small increments using the lens ring rather than the lever on the front grip. I found the focusing ring responsive and easy to use, with a conveniently located focus hold button to the left of the lens. A focus mode switch is included on the bottom left of the camera body; I found it slightly fiddly, but quick access to this feature is welcome.

Much of the rear of the RX10 III is taken up by the impressive 1,228,800 dot, tilting 3-inch LCD screen. The XGA OLED electronic viewfinder is excellent and boasts a 2,359,296 dot resolution. It's responsive, clear and bright, and works well with glasses. It has 0.7x magnification, an eye sensor to allow automatic switching between EVF and LCD, and a generous diopter adjustment. A lens hood is included, as well as a pinch-style lens cap.

Menu and movie buttons sit either side of the EVF. The rear control dial and control wheel operate smoothly and are easily accessed, enabling you to select and adjust various menu items and settings. The control wheel and center button also enable you to change the placement and size of the focus area when using flexible spot AF. AE lock, quick function, playback and delete buttons complete the line-up; the latter can also be used as a third custom function button.