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Head to head: Panasonic Lumix GH2 vs Olympus E-P3. Little Th Panasonic gh2 lenses

17.02.2011 19522 Tests and reviews 0

In September, traditionally, once every two years, Photokina 2010 was held in North Rhine-Westphalia, in the city of Cologne in Germany. One of the most interesting events was the presentation of the expected update to the line of compact mirrorless cameras from Panasonic. She is the leader and in charge driving force similar solutions on the market, which she herself created together with Olympus Corporation. It was Panasonic that back in September 2008 opened a new class in modern photographic equipment to the world with the announcement of the G1 camera. Its appearance aroused great interest because it managed to combine the incompatible - compactness and interchangeable lenses. Subsequently, this class, quite obviously, was dubbed mirrorless cameras with interchangeable lenses. Two years of hard work by Panasonic's engineering team brings us today the Panasonic Lumix DMC-GH2. Let's take a closer look at the long-awaited new product and see how good GH2 really is.

History of creation: from GH1 to GH2

After the legendary G1, Panasonic decided to continue its development, which culminated in the second product, which was called GH1. Both cameras were created using the Micro Four Thirds standard. And both of these events did not go unnoticed by the public. The GH1 mirrorless camera now has video capabilities, and the included 14-140mm f/4.0-5.8 lens has become more expensive, but also much better. Together, these advantages made the new product the most anticipated update to Panasonic's line of mirrorless cameras for amateur photographers. However, the anticipation for this camera was not based solely on the fact that the new mirrorless model acquired the ability to shoot video, but on the appearance of a camera with the most balanced and high-quality video available at the time, and the included 14-140mm f/4.0-5.8 optics - perhaps it and was not cheap, but it was specifically designed for video recording. Thanks to the quiet autofocus and stepwise hardware image stabilization, it made it possible to record a video stream without extraneous noise, and most importantly, without a sudden change in brightness.

Up to this point, we have been talking to you all the time and focusing on video recording, do not be surprised by this, because this is precisely the focus of the camera and its predecessors, and the AVCHD (Advanced Video Codec High Definition) codec, based on MPEG-compression technology 4 AVC/H264, recognized as the best in the world today. It is Panasonic, which developed the codec together with Sony in 2008, that is the main driver introducing it into its photo/video products. Today, when you will no longer surprise anyone with the ability of modern digital cameras to record video in HD quality, and when, along with top models from different manufacturers, for example the same G2 from Panasonic, they can produce an excellent picture, we are not talking only about the recording ability video in good resolution, with a large number of frames per second and small amounts of captured information. We are talking about the process of managing this ability. Traditional stills photographers may get some benefit from the new higher-resolution sensor, but the GH2's main advantage over the G2 is its ability to control the video recording process in terms of both frame rate and focus when recording video.

Over the past twenty-five months, Olympus and Panasonic, which jointly developed and implemented the Micro Four Thirds standard, have released eight camera models with a matrix of this format (matrix size: 17.3x13mm). Seven of them received the same sensors with a 12-megapixel matrix. The only exception became the GH1 - they decided to install a 14-megapixel sensor in it, as in the flagship device of the line. But in practice, the GH1 images turned out to be the same frames, with 12 million effective points. The sensor was slightly larger than the actual image processing area, and for this reason the camera could store images with the "traditional" shot diagonal for Micro Four Thirds cameras. Panasonic engineers apparently decided to launch the updated flagship of the line of mirrorless cameras with interchangeable lenses in the same way. Panasonic Lumix DMC-GH2 boasts an 18-megapixel sensor installed in it, but its standard frame resolution is, alas, 16 megapixels (up to 4608x3456 pixels). But even a 16MP sensor today is not small, by the way, the Nikon D7000 also has a 16MP matrix, its physical size is of course larger, but purely effective points, like the Lumix DMC-GH2.

The most important difference between the 18-megapixel sensor found in the Panasonic GH2 compared to its predecessor or other models in the series is the data transfer speed. This is a qualitative improvement in the matrix and brings the main advantage for the new product. Let us remind you that the GH2 allows you to shoot high-definition Full HD video. Because this is the marketing basis of the camera, let's talk about it in more detail. The video file format is saved as QuickTime Motion JPEG and AVCHD, but you can choose the quality yourself: In AVCHD - FullHD 1920x1080p/24fps; FullHD 1920x1080i/60fps; HD 1280x720p/60fps and in Motion JPEG - HD 1280x720/30fps; 848x480/30fps; 640x480/30fps; 320x240/30fps. Based on the results of video recording, we can say that, for example, if you set the shooting in 24fps cinema format with a bitrate of 24 Mbit/s, then the quality of the stream is not inferior to movies. And it is at this level of video recording that fast reading of the image from the matrix plays a role. This alone is not the only indicator of improvement through the qualitative progress of the sensor. Fast readout can also allow the camera's autofocus to make better adjustments to the focus of the image. The autofocus performance in the Panasonic GH2, thanks in no small part to the sensor, is reduced to a record 0.1 seconds and is comparable to modern DSLR performance, and the refresh rate of 60 times per second of the streaming image makes it smoother and with less tearing.

The large, wide-viewing, high-resolution screen swivels 180˚ sideways and tilts 270˚ up and down for a 100% field of view. The rotatable LCD touch screen makes it easy to control the camera from any position. The LCD matrix and LED backlight have been redesigned to reproduce colors more accurately, and the quality is 25% better than the previous model. The primary colors: red, blue and green - in terms of color rendition, they became much closer to the originals.

The large, bright Live View Finder of previous models in the LUMIX G Micro System family has a resolution equivalent to a 1,440,000-dot screen and is as good as an optical viewfinder, while also displaying information about camera settings so the photographer doesn't have to worry about distractions. the shooting process. The DMC-GH2's LVF has been redesigned to support multi-sensor compatibility. The viewfinder resolution has become even larger - 1,530,000 dots, and the new multi-format viewfinder with Live View provides 0.71× magnification and a 100% field of view. High quality of sighting was achieved by neutralizing the effect of color breakdown. Thanks to the high speed of the Live MOS sensor, the camera continuously receives data from the image sensor and displays it in real time in the viewfinder. So the shooting accuracy is greatly improved. When your eye approaches the viewfinder, the sensor automatically switches the image output from the LCD screen to LVF, it is possible to configure the sensitivity of automatic switching: high, low, off - this helps reduce the number of false positives.

In pursuit of ease of control, the number of function buttons on the DMC-GH2 camera was increased; this solution allowed for quick access to frequently used settings. Since users don't have to go into menus to change the most important settings, they can focus on framing the shot using the LVF.

In addition, the ergonomics of the camera have been significantly improved, with an updated handle guaranteeing a more confident grip.

Viewfinder Lumix DMC-GH2

One of the most controversial elements of mirrorless cameras, of course, is the viewfinder, because it is on it, and a couple of related elements, that the main differences between mirrorless (hybrid) cameras are tied. The absence of a pentaprism optical viewfinder, a system of mirrors and an autofocus sensor (the latter, as a rule) allows us to make this type of camera much smaller than our traditional “mirror” and open up new, just developing technologies, the polishing of which, as can be seen in the example of the GH2, is taking place with the advent of each new camera in this class. The Lumix GH2 has a slightly wider electronic viewfinder than its predecessor. Its faces are 852 x 600 pixels, that is, 1,530,000 pixels (comparatively in GH1 it looked like this: 800 x 600 pixels). This change was made to allow the viewfinder to show 16:9 and 3:2 aspect ratios. The predecessor had to crop the frame in order to display it in the viewfinder, which took up, albeit insignificant, camera resources, which is now no longer necessary.

Comparative review of Panasonic Lumix DMC-GH2 with Canon EOS 60D

In this image you can see the GH2 next to one of its most “dangerous” and serious competitors - the Canon EOS 60D (conditionally, of course, because these cameras are from different “weight categories”). The significantly smaller size and volume of the GH2 may make this camera more interesting for people who don't have endless luggage space. One of the faces the most important advantages Micro Four Thirds standard (Mikoro 4/3), developed jointly by Panasonic and Olympus.

Panasonic Lumix DMC-GH2 compared to Panasonic Lumix DMC-GH1

At first glance, the GH2 is completely identical to the GH1, their external shapes only slightly distinguish one from the other. But if you look “under the hood”, you will notice significant differences, so let’s take a closer look at them:
* New sensor - Live MOS with 16.1 million effective pixels

*ISO range 160 to 12800 (up from 100-3200)

* Sensor capable of recording Full HD video 1920x1080 (60i or 24p) with stereo sound and using autofocus correction when shooting

* Faster sensor readout promises faster autofocus and smoother viewfinder image

* Full frame viewfinder (100% coverage), 852 x 600 vs. 800 x 600 pixels

* LCD touch screen (same as G2)

* New development of the camera hardware menu

* Camera style, like the G2, which combines shooting mode controls on one top panel

* New battery (DMW-BLC12E) with slightly lower capacity (1200mAh compared to GH1's 1250mAh)

* GH2 is heavier (394g compared to GH1's 385g body)

Panasonic Lumix DMC-GH2 compared to G2 and GH1

Like the GH1 once upon a time, the GH2 now differs from its contemporaries, including those from the “G” series, in its ability to record video. If we compare it with the G2, we can say that the GH2 is a more serious tool, directly created for video shooting. We're talking about video again, but now we want to touch on another aspect of this camera's ability, namely what leaves most solutions from the Micro Four Thirds range and even many DSLRs (DSLRs) behind the competition. The Panasonic Lumix DMC-GH2 offers almost the same AVCHD shooting capabilities as the GH1, but with one important difference. The sensor sensor doubles the data rate to the DMP, this allows for the highest frequency video stream possible (the GH1 sensor could receive 24 or 25 fps, which was then produced as 60i or 50i, instead the latter sensor can receive a progressive number of updates of 60 or 50 fps). The interesting improvements don't end there, and we discovered that the GH2 has a cinematic shooting mode (Cinema), in which the footage is stylized to resemble a film stream of footage. It is also possible to change the shooting speed (80%, 160%, 200% and 300%), which allows you to either slow down or speed up the movement in the frame. It is possible to select the focus point using the touch screen.

The photographic capabilities of the GH2, unlike video shooting, have not undergone such fundamental changes in the camera, although it is the flagship of the “G” line from Panasonic. The designers thought that the camera was already doing a good job of its main tasks and they were right. The main and most important thing is that the Lumix GH2 now has a 16.1MP matrix instead of 12.1MP compared to all its “younger brothers” and becomes the most advanced in the Micro Four Thirds series (Mikoro 4/3). And, perhaps, there is only one nuance - the maximum ISO in the camera is “overclocked” to 12,800 units. But in a coupe, even these two indicators make the camera, at least on paper, the most versatile in its class. Like the G2, they decided to make the GH2's LCD screen touch-sensitive, but just like the first one, this does not affect photography in any way, which cannot be said about focusing when shooting video, and is more of a “decorative” change for this camera.

The DMC-GH2 is equipped with many features that allow the user to create expressive photos and videos. My Color mode has 7 effects: Expressive, Retro, Clean, Elegant, Monochrome, Dynamic and Silhouette - and Custom mode allows the user to manually change the color, brightness level, and saturation. With Live View, users can see how settings changes affect the photos they take, allowing them to more accurately capture the atmosphere and mood of a scene. To create more complex effects, users have access to 10 Film option modes, including a new Cinema mode that allows you to manually set contrast, sharpness and saturation levels. The selected values ​​can be saved in the camera's memory. The DMC-GH2 offers a total of 22 different effects, and with all of them available during shooting, you can create dramatic videos that don't have to be edited after shooting.

In addition, in P/A/S/M modes you can turn on the display of the exposure meter. It recommends shutter speed and aperture values, and also displays a warning when settings go beyond the recommended values. For beginners picking up a system camera for the first time, this will help them understand the logic behind choosing the right settings, which will improve their photography skills.

Now let's admire and compare the appearance of both cameras. Looking at them from the front, the main difference between the G2 and GH2 is that the GH2 is slightly taller than its neighbor and slightly reminiscent of a classic DSLR in silhouette. The G2, by contrast, looks stocky, but the family resemblance between both is unmistakable.

But if you look from above, you can make a mistake about which is which, they are identical as twins. The most striking feature is the stereo microphone, which sits above the hot shoe for interchangeable external accessories. G2 can record sound during video using a small microphone on the front panel of the camera. Both cameras have a dedicated button on the top for video recording, but while the G2 has a dedicated button for Intelligent Auto Mode, the GH2 has a customizable Fn key in the same place.

The DMC-GH2 camera has advanced functionality that will not only satisfy experienced photographers, but even beginners will easily master all the functions. Ideal for compact camera owners who want higher-quality images but don't want to worry about technical details. Panasonic has achieved this ease of use through continuous improvement of iA mode, which has earned the respect of LUMIX compact camera users with features that simplify the shooting process. iA mode is available during photo and video shooting.

Updated Intelligent Resolution technology produces much more natural and balanced images that are perfect for large-size printing.

With AF tracking, the DMC-GH2 can zero in on any subject and follow its every movement, ensuring every shot is sharp. The Face Detection function remembers the faces stored in the camera's memory, automatically focusing on the right person. In playback mode, you can choose to display only those pictures that contain people stored in the camera's memory.

In addition to the advanced features mentioned above, iA mode inherits the fundamental features that every digital camera owner needs. For example, optical stabilization MEGA O.I.S. prevents blur caused by hand shake, and Intelligent ISO Control, which prevents blur caused by fast moving objects in the frame, this is achieved by choosing the optimal ISO value. The Intelligent Scene Selector automatically detects the most common shooting conditions - Portrait, Night Portrait, Landscape, Night Landscape, Macro and Sunset - and selects the appropriate scene mode.

You can activate all these useful assistant functions simply by turning on iA mode.

Conclusions and summary of Panasonic Lumix DMC-GH2

It is quite obvious that Panasonic is “flexing its muscles”, however, like any other company, exactly where it knows how to do it. The focus of the new version of cameras from the “G” line demonstrates a completely understandable focus on video shooting. The company has found in these products a platform for promoting its AVCHD video codec, and is not going to retreat, introducing more and more devices to the market that support this technology. Unfortunately, the GH2's body is all plastic, which isn't a plus when comparing the model to most mid-range and above DSLRs. But, thanks to the included lens, it does not lose its charm compared to its famous competitors. The touchscreen LCD display is interesting, and not at all useless, although it comes with a clunky stylus and obviously no one will carry it around with them, but the touchscreen display is very helpful when shooting video.

Advantages of GH2:
- high video quality with continuous and quiet autofocus
- good photo quality (possibly the best from MFT on this moment)
- very fast autofocus in both photo and video modes
- high resolution rotating screen
- the camera is small and light, with good ergonomics

Disadvantages of GH2:
- slow continuous shooting with full-time autofocus enabled
- Live View does not work when shooting continuously above 3 fps
- noise is higher than that of competitors with APS-C matrix
- still, traditional DSLRs are better for shooting in low light and high-speed shooting

General characteristics of Panasonic LUMIX DMC-GH2:

  • Year of manufacture: 2010
  • Camera type: SLR
  • Panasonic LUMIX DMC-GH2 housing
  • Width, mm: 124, Height, mm: 89, Thickness, mm: 76
  • Weight, g: 392
  • Case material: plastic
  • Colors: black
  • Tripod mount

Image sensor

  • Number of effective pixels, MPix: 16.05
  • Matrix type: CMOS (CMOS)
  • Matrix size: 17.3*13
  • Color filter
  • Filter Features: Primary Color Filter

Lens

  • Possibility of changing lenses
  • Four Thirds (4/3) lenses
  • Image stabilization
  • Panasonic LUMIX DMC-GH2 focusing system
  • Autofocus
  • Manual focus

Exposure options

  • Exposure metering - matrix, spot, center-weighted
  • Exposure compensation: 1/3EV steps ±5EV
  • Aperture priority
  • Shutter priority
  • Manual shutter/aperture
  • Light Sensitivity: Auto/Intelligent ISO ISO 160 to 12800

Gate

  • Shutter Type: Curtain Shutter
  • Minimum shutter speed, s: 1/4000-60
  • Viewfinder - optical

Display

  • Display type: TFT
  • Size, length: 3
  • Resolution, Pix: 460000

Flash

  • Built-in flash
  • Operating modes: Automatic, Automatic/Red-eye reduction, Always on, Always on/Red-eye reduction

Photography

  • Maximum image resolution, Pixel: 4608*3456
  • Image recording format: JPEG (DCF, Exif 2.3)
  • Shooting speed, fps: 5

Continuous shooting

  • Burst shooting features: 5.5 fps

White balance

  • White balance metering
  • Shooting modes - auto, video, preset programs, manual mode, program mode, shutter priority
  • Image color effects

Self-timer, sec: 10 sec, 3 images / 2 sec / 10 sec

Subject photography programs

  • Portrait (Normal, Soft Skin, Street, Indoor, Artistic), Landscape (Normal, Nature, Architecture, Artistic), Macro (Flower, Food, Objects, Artistic) Scenic (Peripheral Defocus, Night Portrait, Night Scenery, Sunset, Party, Sports, Baby 1,2, Pet)

Panasonic Video

  • Maximum resolution, Pix: 1920*1080
  • Video recording format: AVCHD / QuickTime Motion JPEG
  • Possibility of sound recording
  • Video speed, fps: 24

Panasonic memory

  • Memory card type: SD

Panasonic Interfaces

  • Audio output
  • Video output
  • USB Version: 2.0

Power supply

  • Battery
  • Battery type: Li-ion
  • Battery capacity, mA: 1200

Equipment

  • camera Panasonic Lumix DMC-GH2
  • battery
  • bayonet cap
  • AV cable
  • power cord
  • stylus
  • belt

Lumix DMC-GH2 Lenses

When rumors about the release of the GH2 emerged from Panasonic's forge, it was well aware of its responsibility to support the new camera in the "G" line, which is also a top-end one. Next to the Lumix DMC-GH2, the company officially presented two long-awaited optics for Micro Four Thirds cameras (Mikoro 4/3) for the LUMIX G Micro System mount - the first: 100-300mm f/4-5.6 super-zoom (telephoto lens) and the second: The 14mm f/2.5 is wide-angle, compact and moderately fast. Additionally, Panasonic showed off the commercial implementation of a 3D stereoscopic lens that is primarily designed to create an image for viewing on Viera panels.

The 100-300mm f/4-5.6 and 14mm f/2.5 lenses are almost diametrically opposed to each other in the line of lenses for Micro Four Thirds cameras. The first of these is a telephoto lens, the largest, heaviest and longest optic Panasonic has introduced so far. The second, on the contrary, is the smallest, and therefore the lightest lens in the Panasonic line. Let's take a closer look at each of them, perhaps starting with the tiny “pancake” 14mm f/2.5.

Review of Panasonic Lumix G 14mm F2.5 ASPH

The Panasonic Lumix G 14mm F2.5 ASPH, also known as the H-H014, is Panasonic's second compact pancake lens. It is designed for Micro Four Thirds cameras and has a focal length of 14mm (28mm in 35mm equivalent). The most striking feature of the 14mm f/2.5 lens is its physical size. In a word, it is tiny. We have to admit that we were a little skeptical about this lens in the line of models from Panasonic. But it turned out that it has the most balanced characteristics compared to the competitive models, which we will consider below. Although similar to the 20mm f/1.7 lens, the new product still wins in terms of focal length, but loses to the first in aperture ratio and at the same time is significantly smaller. Even the “damn” Olympus Zuiko 17mm F2.8 turned out to be larger than Panasonic, and the company itself positions its product as the lightest interchangeable lens with constant focal length in the world. The Panasonic 14mm F2.5 weighs only 55 grams.

Achieving such results was not so easy for Panasonic. The company had to compress six lens elements into an ultra-thin pancake, at least half of which have an aspherical surface. The internal operation of the unit uses a mechanism that is capable of promising high-speed focusing and minimal noise without interfering with video recording. Owners of the 20mm F1.7 pancake will be happy to know that the new pancake is compatible with the filters they use with a thread diameter of 46mm.

Panasonic 14mm f/2.5 design

The design of the Panasonic Lumix G 14mm F2.5 ASPH lens immediately reminds us of its older brother - the Panasonic Lumix G 20mm F1.7 ASPH. Despite its light weight, the 14mm f/2.5 almost completely follows the contours of the older one, with a slightly contoured manual focusing ring and the same well-built, sturdy body, but slightly smaller. To secure the lens mount with the camera, there are 11 contacts on its back side, and the front glass, unlike most “pancakes,” is not convex, but smooth. When used with the Panasonic Lumix DMC-GH2 camera, the 14mm f/2.5 lens even looks a little comical, it is so tiny. But the new compact mirrorless camera with interchangeable lenses Panasonic Lumix DMC-GF2 should look quite compact and convenient at 14 mm.

The dimensional minimalism of Panasonic's lenses really starts to make sense when you're looking at compact prime lenses. The variations of your choice consist of two optics: the smallest lens in the world - 14mm F2.5 and the wonderful, fast 20mm F1.7. They are so light and versatile that you can easily wear them all day without noticing it. We hope Panasonic doesn't stop at this point in its developments, and the creation of two "pancakes" will only be the beginning around, for example, the 12mm mark, plus, finally, a large aperture lens for "portraits", such as 50mm F1.4.

H-H014 compared to other pancake lenses

Here it is, the little 14mm F2.5, which has found a cozy place among many other rivals in this currently fashionable segment. None of them can compare in size with Panasonic's masterpiece, and this despite the fact that the little one is the second wide-angle lens, and we hope that the fastest of the options we presented.

Five varieties of “pancakes” from different manufacturers. From left to right: Samsung 20mm (30mm in 35mm equivalent) F2.8, Sony 16mm F2.8 (24mm), Panasonic 14mm F2.5 (28mm), Olympus 17mm F2.8 (35mm), Panasonic 20mm F1.7 (40mm) .

Review of Panasonic Lumix G Vario 100-300mm F4.0-5.6 Mega O.I.S

This is the second new lens, which has become the longest, largest and heaviest in the line from Panasonic for cameras of the Micro Four Thirds standard (Micro 4/3) for the LUMIX G Micro Syste mount and is also referred to by the manufacturer as the H-FS100300. The telephoto lens with image stabilization seems designed specifically to entice owners of the world's popular FZ range of cameras to upgrade their cameras to the G range. A powerful zoom that covers a focal length range of 200-600mm (35mm equivalent) could become an essential lens for sports photographers or amateurs wildlife. However, focal lengths of 100mm make it a relatively impractical addition to 14-42mm or 14-45mm zoom lenses, unlike the smaller and cheaper 45-200mm F4-5.6.

The optics have a standard set of functions for Panasonic and are therefore designed for both photography and optimally efficient video shooting. It combines internal autofocus and a step motor system for fast and quiet focusing and of course the important and the desired function, which offers the ability to automatically keep a subject in focus when zooming while recording video. The lens design consists of 17 elements in 12 groups and contains one reduced dispersion lens in the front group. Optical stabilization in the lens is based on a mechanism developed under the MEGA O.I.S. brand, and makes it possible to take pictures at the maximum focal length without using a tripod. And the final characteristic of the lens is the 7-blade aperture.

Design Panasonic 100-300mm f/4.0-5.6

The Panasonic Lumix G 100-300mm F4-5.6 OIS is a large (162mm folded, 182mm extended) and heavy lens (520g) with the excellent build quality we've come to expect from Panasonic. The body cylinder is made entirely of high-quality plastics, and both zoom and focus rings are knurled and easy to feel, with a pleasant soft action. A switch on the side for the optical stabilization module (OI) completes the lens control options. Of course, the 100-300mm f/4.0-5.6 turned out to be larger than the existing Panasonic Lumix G Vario 45-200mm f/4.0-5.6 Mega O.I.S. model, but together with the Panasonic Lumix DMC-GH2 the 100-300mm lens looks amazing, reminding us of regular “DSLRs” from Canon or Nikon with telephoto lenses. But if you attach 100-300mm to the compact body of the Panasonic Lumix DMC-GF2, all this will not look very impressive, rather even awkward.

H-FS100300 compared to Lumix G Vario 45-200mm f/4.0-5.6

In this image we see the 100-300mm sitting next to its little brother, the 45-200mm. Our current lens is approximately 25% longer and a full 40% heavier than the previous model. He also uses different filters - 67 mm, unlike his “younger brother”, which is suitable for 52 mm. Naturally, their difference in size becomes more obvious when both are scaled to their maximum.

Brief summary

Panasonic continues to increase the variety of its lenses, which clearly indicates only one thing - the company is not going to leave this large market; on the contrary, it is in every possible way protecting the Micro Four Thirds (Micro 4/3) standard and developing in it a strong competitor to modern SLR cameras.

In September, Panasonic presented two polar (classic) lens developments - Panasonic Lumix G 14mm F2.5 ASPH and Panasonic Lumix G Vario 100-300mm F4-5.6 Mega OIS, each of them is already remembered for its size and capabilities for video shooting, but there's more to come " “smells” of new, more interesting solutions, one of which was also successfully presented back in the fall - Panasonic Lumix G 12.5mm 3D.


With this material we are opening a new weekly column called “Face to Face”, in which we will pit the most interesting gadgets of various categories against each other and try to understand who emerged victorious from the battle. In 2008, Micro 4/3 became the world's first compact camera system with interchangeable lenses, ushering in the "mirrorless revolution." Since then, Samsung, Sony and even Nikon have entered this market, but Micro 4/3 still firmly holds the lead in the number of lenses and cameras available. This is not surprising, because the Micro 4/3 standard is being developed by not one company, but two - Olympus and Panasonic. Today we will compare two top cameras in the system - Panasonic Lumix GH2 and Olympus PEN E-P3.

With this material we are opening a new section called “Face to Face”, in which we will pit the most interesting gadgets of various categories against each other and try to understand who emerged victorious from the battle.

In 2008, Micro 4/3 became the world's first compact camera system with interchangeable lenses, ushering in the "mirrorless revolution." Since then, Samsung, Sony and even Nikon have entered this market, but Micro 4/3 still firmly holds the lead in the number of lenses and cameras available. This is not surprising, because the Micro 4/3 standard is being developed by not one company, but two - Olympus and Panasonic. Today we will compare two top cameras in the system - Panasonic Lumix GH2 and Olympus PEN E-P3.

Appearance and design

Despite belonging to the same family, the cameras look as different as possible. The Panasonic GH2 is designed in the form of a “small DSLR,” while the Olympus E-P3 flaunts retro styling and similarity to classic rangefinder devices. The case materials also differ: Panasonic is made of high-quality plastic, which hides a steel chassis, while the Olympus camera body is made entirely of metal.

When viewed from the front, the Panasonic GH2 seems significantly more massive than the Olympus E-P3, but this impression is deceptive: in terms of overall dimensions, the cameras are close to each other. In other words, if the Panasonic GH2 doesn’t fit somewhere, then the Olympus E-P3 most likely won’t fit there either. The difference in weight is also small: GH2 weighs 394 grams, and E-P3 - 369 grams.

Despite its more boring appearance, in terms of thoughtfulness, the Panasonic GH2 looks advantageous compared to the Olympus E-P3. Its tripod socket is located on the optical axis of the lens (and not shifted to the side, like the E-P3), and the memory card is inserted into a separate compartment, which is accessible even when the camera is mounted on a tripod. In the case of the Olympus E-P3, when mounted on a tripod, access to the memory card becomes impossible.

Screen and viewfinder

Both cameras are equipped with 3-inch screens. In the case of the GH2, this is a TFT matrix with a resolution of 460 thousand subpixels and a resistive touch surface. The E-P3 is equipped with a much more modern AMOLED screen with a resolution of 614 thousand subpixels and a capacitive touch surface. Due to this, viewing the E-P3’s screen is much more pleasant, and choosing a focus point by touch is also much more pleasant. On the other hand, the Panasonic GH2's screen has one gigantic advantage: it's rotatable, allowing you to use it for framing from the most unusual angles.

Also note that the Panasonic GH2, unlike the Olympus E-P3, is equipped with an excellent built-in electronic viewfinder with a resolution of 1.44 million subpixels. For Olympus cameras An external viewfinder is available, sold separately and costs about $200.

Control

In terms of ease of use, both cameras have their advantages and disadvantages. The Panasonic GH2 is equipped with a large number of switches for quickly changing key parameters (in particular, autofocus settings and drive mode). But the Olympus E-P3 has two control wheels.

Both cameras allow you to customize the controls to a certain extent. To do this, they have reprogrammable buttons: the E-P3 has two, and the GH2 has three. One of the advantages of the Olympus E-P3 is its unique on-screen menu called Super Control Panel, which allows you to very quickly change the main shooting parameters. On the other hand, the Panasonic GH2 has most of these parameters allocated to separate controls, so there is simply no need for such a menu.

Equipment

Both the Panasonic GH2 and Olympus E-P3 are equipped with a built-in flash, which has a guide number of 10 on the Olympus camera and 15 on the Panasonic camera. Unlike the GH2, the Olympus E-P3 supports wireless control of system flashes (Olympus FL-36R/FL-50R/FL-300R).

The Olympus E-P3 is also equipped with a built-in image stabilizer that works by shifting the matrix. It is good because it works with any optics, including old lenses installed on the camera via an adapter (to do this, you need to specify the focal length of the lens in the camera menu).

Finally, we can’t help but mention the so-called “art filters,” which allow you to apply one of several to a photo right in the camera. special effects to choose from. The Olympus E-P3 has these effects, but the Panasonic GH2 does not.

Video mode

Unfortunately, video mode is weak side Olympus E-P3. The camera supports recording in AVCHD or Motion JPEG formats with a maximum bitrate of 17 Mbps, the maximum video resolution is 1920x1080 at 30 fps for AVCHD and 1280x720 at 30 fps for MJPEG. It's worth noting that the Olympus E-P3 does not support the PAL standard. This leads to the fact that in countries with a frequency alternating current 50 Hz (including in Ukraine) all artificial lighting sources in videos will blink. The Olympus E-P3 supports video shooting in various exposure modes (program, shutter priority, aperture priority, manual) and allows you to manually set sensitivity. Sound is recorded using two built-in stereo microphones; connecting external microphones is only possible using the SEMA-1 adapter, which costs about $60.

The Panasonic GH2 can also record video in AVCHD and MJPEG formats. For AVCHD, FullHD resolution is available with progressive scan and a “cinematic” refresh rate of 24 fps (bitrate 24 Mbps) or with interlaced scanning and a refresh rate of 50 fields per second (bitrate 17 Mbps). The camera can record video in a resolution of 1280x720 with progressive scan and a frame rate of 50 fps, while the bitrate is also 17 Mbit/s. Unlike the E-P3, the GH2 is equipped with a jack for connecting an external microphone. To compare video quality with maximum settings (1920x1080/24p for GH2 and 1920x1080/30p for E-P3), I prepared the following video (I highly recommend watching it in 1080p resolution and full screen mode):

Photo quality

The Olympus E-P3 uses a 12-megapixel 4/3 standard matrix (17.3x13 mm). The Panasonic GH2 uses a multi-format 18-megapixel sensor measuring 20x13 mm, which allows you to get the same diagonal viewing angle when shooting with different aspect ratios (4:3, 3:2 or 16:9). The effective resolution of this matrix when shooting with an aspect ratio of 4:3 is 16 megapixels.

It is worth noting that at base ISO the 12-megapixel sensor in the Olympus E-P3 shows more low level noise than the 16-megapixel sensor in the Panasonic GH2. But at high ISOs, Panasonic's newer camera sensor has a significant advantage over the E-P3 in terms of noise levels.

However, the Olympus E-P3 has the advantage of higher quality shooting in JPEG format and more pleasant color reproduction, especially when using the proprietary Olympus Viewer 2 RAW converter.

Bottom line

Both cameras performed well. The Panasonic GH2 has a significant advantage in the form of a newer high-resolution multi-format matrix and a best-in-class video mode, but the Olympus E-P3 also has its positive aspects - image stabilization due to matrix shift, a better screen with a capacitive touch panel, a cool retro design and metal body. So in the end, in my opinion, “friendship won.”

7 reasons to choose Panasonic Lumix GH2:

  • high-resolution multi-format matrix;
  • low noise level at high ISO;
  • excellent video quality;
  • built-in viewfinder of excellent quality;
  • rotating screen;
  • a large number of external organs management;
  • built-in microphone jack.

7 reasons to choose Olympus E-P3:

  • cool retro design;
  • metal case;
  • two steering wheels;
  • convenient Super Control Panel interface;
  • AMOLED screen with capacitive touchscreen;
  • built-in image stabilizer due to matrix shift;
  • beautiful color rendition, especially of human skin tones.

The world premiere of the Panasonic Lumix DMC-GH2 camera took place on September 21 at the Photokina 2010 exhibition. I managed to work with a pre-sale copy of the camera for almost 10 days.

Since most people read this article on a regular monitor, to demonstrate stereo images we will use not so rich in capabilities, but also very universal methods. The first, written in Java, supports more viewing methods and the ability to examine a fragment in detail down to the size of the original image, while the second, as the name suggests, uses Flash technology, and the image size can be smaller than or equal to the open window.

These programs do not understand the MPO format, however, you can convert images and generate a page in html using any of the above technologies in the StereoPhoto Maker program.

The column width in this article is too narrow to comfortably view the photos, so click on the thumbnail to view the gallery using the StereoPhotoViewer Applet in a separate zoomable window. You can then press the “H” key to see help on using the program. Different pictures can be selected from the first drop-down menu. To view via Flash based Stereo Viewer on a separate page, click on the link at the end of the gallery. If you do not have Java installed and the thumbnails will not be visible, in this case, click on the Flash link, the window that opens will contain the current image and thumbnails of the remaining photos in the current gallery.

The stereo image of this lens is dictated by the size of the matrix and is much less than the distance between the eyes. This leads to the fact that we can only obtain a noticeable stereo effect for fairly close objects. For example, such as flowers in a flowerbed or grass in the foreground. Generally speaking, the prototype of this lens, Stereo Elmar, was equipped with a mirror attachment, which allowed us to significantly increase the stereo base. The design of this nozzle is very close to the one below.

In this case, it is not possible to use such an attachment, since this is hampered by the protective glass located quite far from the lenses and the viewing angle for which the attachment is designed is too small. However, if the pictures are still processed by the camera, then you could try to make a system with curved mirrors. In this case, we could match the angles, and the resulting anamorphic image at the same aspect ratio in the MPO file would make better use of the sensor area. The stereo mirror attachment can also be used with a standard camera lens.

In this case, its right and left halves work as separate lenses. The attachment is designed for a horizontal viewing angle for a full frame of 40 degrees. This angle is achieved with a standard lens focal length of 25 mm. Considering that two images are formed on the matrix, the viewing angle for each will be only 20 degrees, which is about half as much as when we use a stereo lens.

This is what the original image looks like, taken with a stereo attachment.

The gallery shows images taken from one point with a 3D lens and a standard lens with a SKF-1 stereo mirror attachment.

SKF-1 nozzle

3D lens

Let's look at the pros and cons of both solutions. For a stereo attachment - a large stereo base, cheap. The only problem is that the viewing angle will be very small. The main achievement of this lens is that its angle of view is approximately equal to the angle of view of the eye, and this is greater than all systems known to me that use one matrix or one frame for stereo photography.

Sometimes, however, you want to have an even greater angle. To do this, we can stitch a stereo panorama. We take the right and left images, extract them using the StereoPhoto Maker program or using a binary editor into two separate files, then stitch each pair separately in the panorama stitching program and load the resulting result into the StereoPhoto Maker program, combine them and create a new MPO file or JPEG Stereo (JPS) - whichever we prefer.

View of the former Central State Archive of Film, Photo and Sound Documents of the RSFSR

The second interesting technique is moving the focus point when shooting with a fast lens with a shallow depth of field. There are currently few such lenses in the camera line, so I used the Jupiter-3 lens.

I cut the resulting video from the edges and reduced it in half.

P.S.

The camera is pleasant in all respects, capable of efficiently solving almost all photography tasks, including professional ones. As for applications in the form of stereo shooting and video shooting, I expect from Panasonic further development. For now, this is more of a statement of intent and an opportunity to try oneself in related genres, rather than a tool that can compete with specialized devices.

In terms of its capabilities, the Panasonic Lumix DMC-GH2 is a leader in the class of compact cameras with interchangeable lenses and competes with mid-range DSLRs, and in some ways even surpasses them. The new camera was announced in September 2010.

Text and photo: Sergey STEBLYUK.

Specifications

Matrix: 4/3” Live MOS (with dust cleaning function)

Size: Micro Four Thirds (17.3x13 mm)

Permission: 16.1 MP (4608×3456), 4:3

Frame formats: 4:3, 3:2, 16:9, 1:1

Crop factor: 2

Recording format: RAW, JPEG

Photosensitivity: ISO 160-12800

Video shooting: AVCHD/QuickTime Motion JPEG, up to 1920x1080, approximately 120 min. (video shooting in all formats, except 1:1)

Viewfinder: Electro-optical Live View Finder (1,533,600 dots equivalent)

Frame coverage area: 100%

Display: color rotating touchscreen LCD (TFT), 3", approximately 460,000 dots

Shooting speed: SH: 40 fps (4 M), H: 5 fps, M: 3 fps (with Live View), L: 2 fps (with Live View), JPEG until memory card is full, RAW up to 7 frames in a series

Memory cards: SD, SDHC, SDXC

Weight: 392 g (body)

Price:$1700

Camera design, controls and capabilities

In terms of the number of models released in the class of compact cameras with interchangeable lenses, Panasonic is still the leader; the successes of other companies in this field are noticeably more modest. The new version of the well-proven camera continues the distinctive design of the G series cameras with a built-in electro-optical viewfinder and largely maintains the continuity of operation. Nevertheless, the changes are significant.

The camera has become a little more grippy due to the changed shape of the tide under right hand and a little heavier. The number of external controls has increased, a new electro-optical viewfinder with a resolution of 1,533,600 dots, an exceptionally fast autofocus system, a rotating touchscreen display, a new multi-format matrix and a new processor to control all this equipment have been installed.

Nowadays, it is difficult to surprise a sophisticated user with technical innovations, and the appearance of new models is often due only to a new product design. The GH2 camera stands out in this regard in that all significant technical components have been updated and, in addition to new functions, already familiar ones have been significantly upgraded.

A fast multi-format 16-megapixel sensor with reduced-size sensitive elements has significantly reduced noise and increased operating sensitivity to 12,800 ISO. The Venus Engine FHD processor accelerated data processing, which ensured the efficient operation of the device's new software and increased real speed shooting.

The focusing speed reaches 0.1 s, the continuous shooting speed in full format is 5 fps, and the ultra-high-speed electronic mode reaches 40 fps. Camera control has been supplemented with capabilities provided by the new touch display. Focus point control and shutter release with a touch of the screen, as well as scene selection in iA Smart Mode, are especially useful when shooting from awkward positions.

A new multi-format modification of the LVF viewfinder, which automatically turns on when you bring the camera to your eye, in addition to increased resolution, has acquired more accurate gradation of objects and more natural color reproduction. The viewfinder magnification of 0.71x optically expanded the image field and made viewing much more comfortable.

Focusing is especially convenient in manual mode: Rotating the focusing ring automatically enlarges the image to the size of the focusing area for exceptionally accurate focusing. When sighting, the focusing zone can be moved to any object in the viewfinder field of view.

The number of preset image settings in the camera has increased; manually entered values ​​can be saved in the camera memory. The iA Intelligent Mode, a favorite among fans of automatic shooting, has also been upgraded. The camera now compensates for differences in brightness as much as possible by controlling the dynamic range.

A noticeable update has also been made to the main camera specialization - video shooting. Panasonic's traditional AVCHD format, which allows you to shoot high-definition 1920x1080 videos with twice the duration, has acquired new capabilities in the GH2 camera. The new Cinema mode significantly expands the dynamic range and allows you to change the frame rate while shooting.

On-the-fly control of focus areas on the touch screen while shooting allows you to introduce professional techniques into your shooting scenario. Smooth images are achieved thanks to high frame rates. The camera's rich capabilities are best realized with the Lumix G VARIO HD 1:4.0-5.8 14-140 ASPH lens. MEGA O.I.S., specially designed for video shooting.

There is a completely professional opportunity to output images to an external monitor via an HDMI-mini cable while shooting. If we add that it is possible to record sound from an external stereo microphone with high quality, then creating videos professional quality no longer seems like an impossible task.

An important highlight of the new camera is the ability to shoot 3D photos using the unique Lumix G 1:12/12.5 mm 3D lens. It is a design of two optical units, precisely synchronized to match the optical axes.

The short focal length and small aperture provide a depth of field from 0.6 m to infinity, so focusing is not necessary. It is recommended to view images on Panasonic Viera 3D TVs.

Recently, a new firmware version was released for the Lumix DMC-G2 camera, announced at the beginning of 2010, which provides the ability to install an interchangeable 3D lens; an update has also become available for the PHOTOfunSTUDIO 5.0 HD Edition software, which allows you to download and process 3D images, convert them into 2D and download back to SD card.

Test photography

The Panasonic representative office provided a Lumix DMC-GH2 camera for the test, complete with a Lumix G VARIO HD 1:3.5-5.6 14-42 ASPH lens. and the new 3D lens Lumix G 1:12/12.5 mm, which aroused the greatest interest. However, test shooting did not begin with it, since at first I wanted to understand what the new camera was like. Since it is focused on high-quality video shooting, the test began by checking this function.

There were no surprises. The picture quality is excellent not only in Full HD, but also at lower resolutions. I was pleased with the quality of the white balance, especially under artificial lighting. During video shooting, you can take photos by simply pressing the shutter button (it’s a pity that only in the resolution of the video mode in which you are shooting). However, the photos look good and you can print them without any hassle.

Unfortunately, the weather was not kind, the days were gray and rainy like autumn, but one dry day still turned out - and was dedicated to test shooting. As usual, checking the operation of exposure programs began with general scenes; after all, the subsequent perception of the finished photograph most depends on the correct exposure. The program modes worked as expected, the tonality and contrast of the image corresponded to reality.

Multi-format is very convenient in Panasonic cameras. Choosing the aspect ratio of the frame according to the scene helps a lot when shooting to immediately and accurately adjust the composition. The 4:3 and 3:2 formats differ little in frame construction and in most scenes look very similar, but the 16:9 panoramic format and the especially rare 1:1 square are in some cases simply irreplaceable. Considering that during subsequent viewing and processing of photographs, attention usually becomes dull, you cannot count on thoughtful composition formation.

A walk along the old Arbat provided a lot of opportunities for hidden genre photography. Most of these scenes were filmed using a rotating monitor. Even though the characters present are mostly accustomed to being filmed, the overt attention tends to ruin the plot.

Since I had to shoot in a variety of directions and pay more attention to what was happening in the frame than to the nature of the lighting, the iA intelligent mode was immediately installed. The focus point was quickly controlled using the touch screen, and this made it possible to instantly build the composition of the frame and select the close-up. Considering the dimensions of the camera, it can be easily covered almost completely when shooting with your palms.

The performance exceeded all expectations. Having extensive experience shooting with a wide variety of cameras, I can say that I have never seen anything more convenient for genre shooting than the virtually silent G2 and GH2, equipped with a high-quality touch monitor. Of course, there are DSLRs with a rotating monitor, but focusing in Live View mode is usually quite primitive, and very compact cameras rarely have a fast enough response.

A series of scenes taken in the evening on the embankments of Moscow were filmed in different formats, but the main task was to test the camera’s ability to smooth out a high difference in brightness. In the new camera, the iA mode has been modernized just to expand the dynamic range.

Under normal conditions, shooting against the sky showed a very decent result, but I wanted to see what would happen in very harsh conditions. Let me make a reservation right away: I did not expect to get any acceptable result under such conditions. The sun had already dropped low and was shining directly into the lens (the light haze could not soften harsh light). This made it difficult to consider any details.

Contrary to expectations, many interesting photographs were taken in backlight, which was helped a lot by switching the format. Moreover, upon viewing, quite a lot of details were revealed in unlit areas. Scenes filmed in the absence of oncoming light were harmoniously worked out in both highlights and shadows. I liked the complete absence of noise in the photographs, even in the shadows. Of course, at extreme sensitivity values ​​the change in image structure is noticeable, but in the range of 160-1600 ISO it can simply be ignored.

3D

In the new camera, the transition to 3D is done in the simplest way - just install the appropriate lens, and the camera immediately reports this. Pictures are recorded in MPO format, but JPEG is also recorded at the same time with the same quality. Naturally, you won’t be able to see 3D pictures on a regular monitor, but Panasonic produces Viera 3D TVs that are suitable for comfortable viewing.

There are other solutions, even 3D laptops have appeared for quite reasonable money. It must be said that stereo images have been created for quite a long time: cinema, photography and even drawings did not particularly surprise anyone. The low distribution of this kind of visual production was due to a rather inconvenient viewing method.

Only technology last decade made it possible to create high-quality playback devices available to the mass consumer. In particular, in October 2010, Russia's first 3D television channel, a joint project of Panasonic and NTV Plus, was launched on air.

Quite a lot of footage was shot with the new 3D lens. different conditions. Unfortunately, it will not be possible to reproduce these photographs in a magazine with the desired effect. Nevertheless, based on the survey results, certain conclusions can be drawn.

Shooting with a 3D lens is noticeably easier in many ways than with other optics. With a constant aperture of f/12 and a focal length of 12.5 mm, you don’t have to worry about image sharpness; from 0.6 m to infinity everything will be sharp, but the low aperture requires control of the shutter speed in low light conditions. A blurred image is contraindicated for such photographs.

The 1920x1280 resolution should not be considered cut-down; it is just more than enough for playback on 3D monitors or TVs. However, remember: 3D does not improve dull photos! Moreover, pictures that are chaotic in content sometimes make an extremely difficult impression. For a good 3D effect you need to follow fairly simple rules.

The space in photography should be divided into plans that are clearly perceived in depth - foreground, middle and distant, acting as the background. Scenes in which there is only a long shot do not have a pronounced effect. Pictures in which close objects do not have clear outlines do not look any better. But interesting, bright pictures in volumetric reproduction really benefit.

conclusions

Despite the fact that the previous model has still not lost its relevance, Panasonic decided to release a new camera. The result is a very convenient, functionally rich and easily controlled camera, with excellent image quality, high speed focusing and good overall performance.

Very accurate and fast autofocus combined with vibration reduction system provide maximum amount sharp shots. The Panasonic Lumix DMC-GH2 camera deserves the highest praise and is the undisputed leader in its class.

The editors thank the Moscow representative office of Panasonic for providing the camera for testing.

Tests in pictures


Cloudy weather is disastrous for most subjects, especially if they have a desaturated color scheme. In this case, the natural difference in brightness provided a fairly juicy shot (f/6.3, 1/320 s, ISO 400, 14-42 mm lens, 14 mm focal length).


The same story in two formats - 16:9 and 4:3. The vertical panoramic format allowed for precise composition (f/5.6, 1/160 sec, ISO 400, 14-42 mm lens, 19/24 mm focal length).


Arbat, street graffiti wall. In fact, there were quite a lot of people on the street, but we had to wait quite a long time for a passerby with a matching silhouette. Also panoramic format, monochrome mode. In processing, the contrast is slightly increased to make it more graphic (f/5.6, 1/200 s, ISO 400, 14-42 mm lens, 14 mm focal length).


For this story, 8 frames were shot. The shooting was carried out in hidden mode using a rotary monitor. Eventually the character noticed the camera and covered himself with a magazine. The penultimate shot turned out to be the most successful (f/5.6, 1/100 s, ISO 400, 14-42 mm lens, 42 mm focal length).


Quite an ordinary scene. Intelligent iA mode, shooting against the light from a low point, selecting the focus point by touching the desired part of the image on the touch screen (f/5.6, 1/125 s, ISO 400, 14-42 mm lens, 42 mm focal length).


“What a meeting!” Continuous shooting, the characters moved quickly, and passers-by got into the shooting field, but the quick reaction of the camera helped to take this photo (f / 5.6, 1/125 s, ISO 400, 14-42 mm lens, 33 mm focal length).


"Arbat gait" The scene was seen out of the corner of my eye. I turned the camera, took two pictures, and the first one turned out great. After pressing the shutter there is no delay, autofocus is instant! (f/5.6, 1/100 sec, ISO 400, 14-42mm lens, 34mm focal length).


This is not backlight. The backdrop is still at an angle, without a light source in the frame. This is a real oncoming light, in which the details should disappear. The knocked-out area where the sun was is quite natural, but the photo turned out to be interesting (f/18, 1/1250 s, ISO 400, 14-42 mm lens, 33 mm focal length).


The composition fits perfectly into the 1:1 square format. iA mode, extended dynamic range, provided tonal transitions even with such a complex light pattern (f/11, 1/500 s, ISO 400, 14-42 mm lens, 33 mm focal length).


The picture was taken in the same place as the previous ones, only with a different direction of light. Very fine reproduction of colors, especially light areas of the sky (f/8, 1/250 s, ISO 400, 14-42 mm lens, 23 mm focal length).


Shooting with a 3D lens. Long shot without any objects at close range. The volume in the photo is almost not felt; only the tonality emphasizes the depth. Even the characteristic ghosting caused by superimposed left and right images is virtually absent (f/12, 1/60 sec, ISO 200, 12.5mm 3D lens).


Another shot with a 3D lens. Clearly marked front and medium plans. The doubling of contours is especially noticeable in the foreground - this indirectly indicates that the three-dimensionality of the photo is as impressive as possible. In addition, the volume is emphasized by a brightly lit working area in the scene (f/12, 1/30 sec, ISO 800, 12.5 mm 3D lens).

Tests of cameras from other manufacturers:

Panasonic DMC-GH2
This camera replaced the outdated GH1. Hybrid Panasonic camera The DMC-GH2 has a wide range of functionality, which allows it to take high-quality images that are not inferior to DSLR models.

Matrix:
The camera has a specially designed 18 megapixel LiveMOS matrix (16 million effective pixels), which allows you to take pictures with a maximum resolution of 4608x3456 pixels and various aspect ratios (4:3, 3:2, 16:9 and 1:1). Sensor sensitivity ranges from 160 to 12800 IS0.

For confident handheld shooting, the camera is equipped electronic system Image stabilization that minimizes camera shake for clear photos.

Like its predecessor, the Panasonic DMC-GH2 allows you to take pictures in RAW and JPEG formats with support for EXIF ​​information (ver. V2.3), also supports DPOF for fast printing on printers.

Automatic shutter release occurs with a delay of 2 or 10 seconds. The camera supports the auto-bracketing function - count. frames 3,5,7 and in steps of 1/3, 2/3 or 1 EV step ±3 EV.
The camera is equipped with an electronic viewfinder displaying 1.56 million subpixels.

CPU:
The GH2 is equipped with the new Venus Engine FHD processor, which doubles the AF performance of previous Micro 4/3 cameras. The processor power made it possible to increase the rate of fire during continuous shooting to 5 fps. (at maximum resolution), and up to 40 fps. - 4 MP resolution (using electronic shutter).

Video:
The new powerful Venus Engine FHD processor allows not only high-quality and fast image processing, but also supports the ability to shoot video in Full HD 1080p format (1920x1080 pixels) in “live movie” mode (60 frames/sec.), which is supported by the AVCHD format with bitrate 24 Mbps using auto and manual (AF-F) focusing modes. The processor also increased the rate of fire of the device to 7 continuous frames in RAW format (into the buffer for processing) and JPEG - up to an unlimited number when using a high-speed memory card.

Panasonic designers equipped the device with a mini-HDMI port to synchronize it with external display sources. Also available is a high-speed USB 2.0 port, (NTSC / PAL) video output and for accompanying a stereo track - 2.5 mm. mini audio output (through which you can connect a remote control).

Display:
A significant advantage of the camera is the new rotating touchscreen 3-inch LCD display, displaying up to 460,000 pixels, which can recline up to 180 degrees with the ability to rotate around the horizontal axis by the same multiple. This feature will allow the photographer to shoot from non-standard angles.

G series devices can now be completed new lenses:

  • Telephoto lens with optical stabilization system Mega O.I.S. - Lumix G Vario 100-300mm/F4.0-5.6 (H-FS100300).
  • And the world's lightest interchangeable prime lens is the Lumix G 14mm/F2.5 (H-H014).
Memory:
The GH2 uses SD (HC/XC) memory cards to store footage.

Worker temperature regime chamber is between 0°C and 40°C.

Model modifications:

  • vendor code DMC-GH2HEE-K- lens kit 14-140mm, ASPH Mega OIS, color: black
  • vendor code DMC-GH2KEE-K- kit G Vario lens 14-42mm, color: black