panasonic dmc-zs35w digital camera with 3.0-inch tft lcd review free sample

The Lumix DMC-ZS35 (TZ55 outside of North America) is a compact travel zoom camera with a 20X, 24-480mm equiv. lens and 16 megapixel "high sensitivity" MOS sensor. Its 3-inch (460k dot) LCD can flip upward by 180 degrees for self-portraits. The camera can shoot continuously at 10 fps, and can also record Full HD video at 1080/30p. Built-in Wi-Fi allows for remote control of the camera, as well as photo sharing.

Panasonic - the company that is more than any other responsible for the renaissance and continuing success of the "big zoom" bridge camera - launched the original "Travel Zoom" TZ1 back in February 2006. The formula - a big zoom on a small camera - isn"t exactly new, but the combination of Leica"s lens design expertise and Panasonic"s technology (image stabilization, fast performance) made the TZ1 the first serious alternative to bigger "SLR-style" super zooms. And now the TZ1 has been superceded by two models with a new 28-280mm equiv. lens, the TZ2 (6MP, slightly lower spec) and the camera on test here, the TZ3. As well as the new wide lens the TZ3 also ups the sensor resolution to 7 megapixels, increases the screen size and throws in a few new features. The big question is, has Panasonic managed to improve some of the image quality issues that dogged the otherwise superbly capable TZ1? Let"s find out, starting as usual with the headline specification:

As is the case with most of Panasonic"s Lumix models the TZ1 is available in either silver or black (though this may not be the case for every country and / or every retailer).

We tested the camera’s ability to produce accurate colors by using it to photograph an industry standard color chart. The chart, manufactured by color gurus GretagMacbeth, shows 24 colors from around the spectrum. Imatest analyzed the images of the chart and output the following depiction to show the variations in color. The inner vertical rectangle of each tile shows the ideal colors from the original GretagMacbeth chart, the outer frames show what the Panasonic TZ3 produced, and the inner squares show the ideal color corrected for luminance by the software.

Colors are generally close to what they should be, but to get a better idea of how correct or erroneous colors are the following graph is provided. It shows each of the 24 colors around the spectrum. The ideal colors are shown as squares and the TZ3’s colors are shown as circles. The line connecting the shapes shows the degree of error and saturation can be determined by the direction the camera’s color is moving. The outer edges of the frame are oversaturated while the center is undersaturated.

The Panasonic Lumix DMC-TZ3 performed extremely well. Hardly any of its colors are very far from where they should be. Its saturation is nearly perfect too at 101.3 percent. The camera’s 5.17 mean color error score is one of the best we’ve seen from a compact digital camera, and so is the overall 11.61 color score.

The presets didn’t perform as well as they should. Under cloudy outdoor light, the auto setting was more accurate. The same can be said of the other presets. The only preset that performed better than the auto setting was tungsten light, and both tungsten and auto weren’t very accurate anyway. The presets should generally be avoided. Either chance it with the auto setting or be sure with the custom setting.

The Panasonic TZ3’s 7.2-megapixel resolution is an upgrade from previous slim ultra-zoom models. We tested the TZ3’s resolution to see how effective it is at capturing all the details and nuances in our industry standard resolution chart. Using the TZ3, we photographed the chart at various exposure settings and uploaded the pictures to Imatest imaging software.

The software analyzed the images and selected the sharpest one, which was taken using an aperture of f/4.7 and a focal length of 20mm and the lowest ISO setting of 100. More descriptive numerical resolution results are output as units of line widths per picture height (lw/ph), which describes the number of alternating black and white lines of equal thickness that the sensor can detect across the frame without blurring them together.

The 7.2-megapixel TZ3 resolved 1729 lw/ph horizontally with 1.7 percent oversharpening and 1635 lw/ph vertically with 1.65 percent undersharpening. The earlier TZ1 oversharpened images, so this seems to have been addressed and fixed in this model. The TZ3 performs better than average for its pixel count and certainly better than its Lumix sibling, the 7.2-megapixel Panasonic FX50. That camera read 1342 lw/ph horizontally and 1232 lw/ph vertically.

Good news for the Panasonic Lumix DMC-TZ3: its 7.2 megapixels capture a good amount of detail, which puts it above average comparable digital cameras.

In the bright lighting of our studio, most cameras should automatically choose the lowest ISO setting possible. The TZ3’s automatic ISO setting instead chose ISO 200 and produced more noise than it should have in such nicely lit conditions. Think your bright outdoor pictures are perfectly clean? Think again – or use the manual ISO settings.

The noise is generally quite low. Even at the highest ISO 1250 only 1.7 percent of the image is speckled with noise, as opposed to 4 or 5 percent in many other compact digital cameras. There is a reason for this though. The TZ3 applies an in-camera noise reduction system between ISO 200 and 400, which accounts for the slight dip in noise on the chart.

The in-camera noise reduction has its drawbacks. When looking at the solid colors of the image up close, it looks like areas have been smoothed over, sacrificing details. Overall though, the noise reduction has a positive impact on high ISO images. Shots of faces taken with the TZ3 would bode well because of the smoothing and lack of color-noise.

*With the studio lights dimmed to 60, 30, 15, and 5 lux, we set out to determine how functional the camera is in imperfect lighting situations. We photographed the color chart in these low light conditions and ran them through Imatest software, which output the following pictures with the same tiles as in the color section above.

The Panasonic TZ3’s images are well-lit and accurate with the mean color error staying under 7.5. This is fantastic! The mean percentage of noise stayed under 2 percent, which is also pretty incredible for such dim conditions.

Long exposures are possible on this camera, but only at ISO 100 in the Night Scenery and Starry Night shooting modes. We test all of our long exposure tests at ISO 400, and this camera’s longest exposure at this setting is only 1 second. Thus, we’re skipping this portion of the low light review.

Nevertheless, whether you’re at a candlelit restaurant, fireworks show, or evening party, the Panasonic Lumix DMC-TZ3 should provide well-lit, clean, and accurately depicted images.

We test the dynamic range of digital cameras by photographing a backlit Stouffer film step chart at different ISO settings. The Stouffer chart has a row of rectangles ranging from extremely bright to extremely dark. The ISO sensitivity directly correlates to the dynamic range of the image. Generally, the higher the sensitivity is boosted, the less detail and tones captured. Below is a chart showing the manual ISO settings on the horizontal axis and the number of exposure values captured on the vertical axis.

Surprisingly, the dynamic range actually increases from ISO 100 to 200 which is very uncommon. This was tested several times but the results came out the same every time. Both the 100 and 200 settings garnered excellent results at or above 8 exposure values. After 200 though, the dynamic range takes a steep dive and then continues its shallow dip into the lesser end of the range. The lesson to take from this test: if you want interesting photos with lots of dynamic range, limit your ISO selection to 100 or 200.

The Panasonic TZ3 takes its sweet time starting up and extending its lens before snapping its first shot. The official time came to 2.7 seconds, so have your camera on long before the action happens.

There are three burst modes on this digital camera. The high burst mode snaps 5 pictures in 1.5 seconds with each shot coming 0.4 seconds after the previous one. The low burst mode took the same 5-shot burst but at a more leisurely pace with each shot coming a half-second after the other. The infinite burst mode snapped pictures at the same half-second pace but recorded until the memory card was full. It’s unclear why Panasonic even includes the low burst when the infinite moves at the same pace and records for much longer.

This camera’s metering and auto focus system are slow. It took them 0.6 seconds to get their acts together and snap a picture. When the exposure is locked, though, things are snappy and the shutter lag is hardly measurable.

Under the same lighting we performed the color test, we shot footage of a video test chart. The colors weren’t as accurate as they were in still images; the mean color error shot to 13 and saturation to 116.4 percent. The average amount of noise remained fairly low at 0.385 percent of the image. This is actually quite good when compared to other compact digital cameras; most movie modes perform far worse than the still recording modes.

The image became much softer when the lights were dimmed to 30 lux. Colors suffered with a mean color error of 15.4. The inaccuracy of the color is one thing, the awful saturation is even worse. It dropped to only 63.2 percent, making the colors look extremely dull and lifeless. The average amount of noise jumped considerably to 1.26 percent of the image, more than in any of the still images even at the highest 1250 ISO setting.

Footage of the video test chart was loaded into Imatest software and analyzed much the same way still images are analyzed. The results are output in the same line widths per picture height (lw/ph) measurement too. The Panasonic TZ3 resolved 267 lw/ph horizontally with 17.3 percent undersharpening and 545 lw/ph vertically with 5.6 percent undersharpening. These numbers aren’t great and should still keep the camcorder market healthy.

Like most modern point-and-shoots, the Panasonic Lumix TZ3 lacks an optical viewfinder. Instead, the camera is equipped with a well-endowed 3-inch LCD screen. The LCD has a 100 percent field of view that enables users to accurately compose a frame when using the monitor; images shouldn’t cut off at the top or bottom the way other LCD viewfinders often do. The downside to a camera without a viewfinder is that users are forced to frame their photos using the LCD, which is a drain on battery power. To compensate, Panasonic includes Power Save and Auto Review modes that allows users to change the increments for how long the LCD or camera stays on.

Thanks to the large screen size and sufficient resolution, TZ3 will instantly get a nice view of their images following the shot. The images can be magnified by 16x, allowing users to check focus on-the-spot. A group of people huddled around the camera should be pleased with the large screen, though it does solarize slightly when viewed off-axis. The monitor showed significant solarization, however, when viewed at extreme vertical angles. Overall, the LCD is a nice feature with its large size, ample pixel resolution, and 100 percent field of view.

Equipped with flash functions for Auto, Auto and Red-eye Reduction, Slow Sync and Red-eye Reduction, Forced On and Forced Off, the Panasonic TZ3 covers basic flash functions. Unfortunately, the camera does not have a soft flash mode that many point-and-shoots offer, which would have greatly benefited the TZ3’s overpowering flash.

Panasonic also adjusted the focal range on this camera. While the TZ3 and the older TZ1 both carry 10x zooms, the TZ3’s lens extends from f/4.6-46mm (equivalent to 28-280mm in traditional 35mm film format), while the TZ1’s optics provide a more-magnified 35-350mm equivalent focal range.

To assist the TZ3’s far-reaching zoom lens, Panasonic included optical image stabilization to reduce blur. Panasonic’s Intelligent Image Stabilization system - tagged MEGA O.I.S. - is an optical stabilization system designed to reduce handshake. The camera also offers Intelligent ISO Control, which boosts sensitivity to freeze moving subjects.

The zoom lens focuses at a range of 1.64 feet in normal mode and 6.56 feet – infinity in telephoto mode. With an aperture range from f/3.3 – 11, the lens provides ample depth of field for portraits or landscapes. The lens is constructed of 11 elements in 9 groups with 3 aspherical lenses, 4 aspherical surfaces, and 1 ED lens.

The Panasonic TZ3 isn’t the thinnest camera around, but then again, who said you have to be thin to be beautiful? The TZ3 has some curves to it and still retains an attractive look. The stainless steel body maintains a clean design that should make any owner of this compact camera proud. All the buttons, despite placement, are engrained well into the body with tight seals, supplying a reassuring click upon depression. The camera has an overall luxurious appeal, more in the vein of a four-door sedan, than a sporty two-seater.

Measuring 4.20 x 1.47 x 2.37 inches, the Panasonic TZ3 isn’t the smallest or largest compact camera around. The camera bridges the gap between a pocket-friendly point-and-shoot and a higher zoom compact camera. The TZ3 isn’t made to go clubbing with and won’t fit comfortably in a pants pocket. It is, however, portable enough to fit comfortably into a jacket pocket. The camera’s tight seals and covered port system will allow it to be securely transported.

At 8.16 ounces (about half a pound), the TZ3 is heavier than many point-and-shoots because of its metal exterior, but it is still light enough for any traveling backpacker. Its size and weight lends itself to active vacationers rather than socialites who like their cameras as tiny as their cell phones.

The Panasonic Lumix TZ3 handles well, especially compared to other point-and-shoots. The slopping right hand grip on the front of the camera and a small bump on the back provide sufficient support, especially for one-handed shooting and self-portraits. Handling would have received higher marks if Panasonic had included extra rubber gripping, but hey, we can’t always have it all. As usual with point-and-shoots, left-handed photographers will be out of luck. The lens is flush to the edge of the camera, making it difficult for users to place their left fingers there without obstructing the field of view.

The Panasonic TZ3’s menu system is easy on the eyes. With an effective color scheme (red for record, green for play) and easy-to-read font, the menu interface makes navigating the camera’s functions simple.

When the mode dial is set to the record mode, the camera displays two tabbed menus: (1) Rec (for Record for exposure and focus controls), and (2) Setup (for camera settings). The menu uses a combination of text and icons. There are one-too-many text abbreviations that might have users scratching their heads. For instance, a user might have to stop for a second to realize that "Col. Mode" really means "Color." The menus also display icons that require the user to flip through the manual to decipher. For example, users are supposed to know that an icon of six squares with an arrow on top represents the Fine Quality setting.

The Panasonic TZ3 is a fairly easy to use camera right out of the box. With a target audience of advanced point-and-shooters, the camera fairs well for its handling and easy-to-read menu system. Improvements to the button placement and menu abbreviations would make a future edition of the camera a superior compact ultra-zoom.

Panasonic’s auto mode is called Simple mode, represented by a heart shape on the mode dial. As the name implies, the basic auto mode limits manual control so that users can shoot spontaneously without having to consider exposure details or the like. Simple mode uses fixed settings: auto white balance, Intelligent ISO , multi-pattern metering, and one-area AF.

The Panasonic Lumix TZ3 offers a good amount of control for recording videos. The camera captures QuickTime Motion movie files with sound in standard 4:3 aspect ratio or at wide 16:9. Users have the option to change file size and record at a standard 640x480, email resolution of 320x240, or a wide 848x480 resolution at either 10fps or 30fps, up to 2GB.

The TZ3’s movie mode provides smooth video recording with the option to change white balance setting and metering modes. Unfortunately, users cannot change the zoom or the focus once recording has started. Users can, however, set zoom and focus before video capture begins. There are no built-in editing movie functions like splicing, but users can record videos in black-and-white or sepia.

For those times when you spontaneously spot Bon Jovi at the library, a fast drive mode is necessary to catch as many pictures as possible. The Panasonic TZ3 offers three types of drive modes to take photos in succession. Users can access High speed, Low speed, and Free shooting (as Panasonic calls it), through the Record menu, Intelligent ISO, Macro, or Scene 1 and 2 menus.

With the exception of zoom, users can change most of the control options (such as image quality, white balance, and metering) in the drive modes. Burst speed is reliant on image size/quality and ISO sensitivity settings. ISO 400 or higher slows down the consecutive shooting - most likely due to the application of additional high ISO noise reduction. The camera’s High and Low speed shooting allows for full resolution shooting at 3fps or 2fps, respectively, at Fine or Standard quality. The Free mode allows for unlimited consecutive shooting at 2fps until the memory is full. A counter is displayed on the monitor, indicating the remaining storage space.

The benefit of the Panasonic TZ3’s updated 3-inch screen is that users can check out their photos on the spot. The playback mode can be accessed in two ways. First, users can view photos using the "Rev" (Review) button on the four-way controller, which accesses a limited playback mode, but offers quick access to view a photo while still in Record mode. Second, when the mode dial is set to Play, a full range of editing tools is available.

Users can view their images as 9 thumbnails, 25-thumbnail, calendar view, or as singles. As single photos, users can magnify images up to 16x, so they can check for focus and blinking eyes. Playback mode also includes built-in editing functions such as trim, rotate, and dual display, which gives a preview of two photos side-by-side.

With a healthy dose of 21 scene modes, the Panasonic TZ3 covers the basics with presets like Portrait and Landscape and then adds some interesting modes, including Aerial Photo and Underwater modes (to be used with an optional underwater housing case).

Panasonic also updated the scene modes with the addition of Sunset and Pet modes. The Pet mode is an interesting feature. Like the Baby1 and Baby2 scene presets, the camera documents the age of the child or animal after setting the subject’s birthday to the camera’s built-in clock/calendar. While EXIF data with time stamp information is already attached to every image, the pictures in Pet and Baby modes spell out the exact month and day of the subject’s age, such as "2 month, 19 days."

Users can access scene modes through Scn1 and Scn2 positions on the mode dial. Each preset mode is represented with an icon. Additional text descriptions of the modes - and even reminders - appear when necessary. The camera defaults to the last selected shooting mode before the user turned off the camera. The extensive list of presets is dispersed between two scene modes (Scn1 and Scn2). It’s not really necessary to have two scene modes, but the duo of settings reduces the number of buttons users need to push before getting the easy preset button mode that has their preferred combination of camera settings.

As with most point-and-shoots, the Panasonic Lumix TZ3 offers manual control of white balance, ISO sensitivity, metering, and AF settings. However, the camera does not offer control over shutter speed or aperture like higher-end compacts or SLRs.

Users have a fair amount of control over the auto focus system. With both single and continuous focus, users can switch between five settings: spot focusing, 1-area focus, 1-area high speed, 3-area, and 9-area. The camera is capable of focusing normally at 1.64 feet and beyond. Zoomed in, the camera can accurately focus at 6.56 feet to infinity or 1.96 feet to infinity when zoomed out.

The camera also offers a Macro focus mode, located on the top mode dial, for close up photos. With a focal range of 3.28 inches to infinity in telephoto macro mode, the camera effectively captures details at close range.

In practice, the TZ3"s auto focus system worked well in wide, normal, and macro shooting. The camera handled low light and low contrast scenes effectively, and was able to track moving subjects well in ample lighting.

Like the majority of point-and-shoots, this 10x optical zoom camera does not provide a manual focus setting. This is unfortunate since the TZ3"s large screen would offer an ideal focusing window.

The Panasonic TZ3 offers basic exposure control. It has a standard exposure compensation range of +/- 2 in 1/3 steps. With live preview, even beginners will be able to identify the exposure modes. As a safety net, there is also a bracketing option that takes 3 frames in succession at +/- 1 in 1/3 steps.

The Panasonic Lumix TZ3 offers a well-rounded metering system. The metering options are multi-pattern, center-weighted, and spot at 1, 3, or 9 points.

The Lumix camera offers a strange mix of white balance options. It has the basics - Auto, Daylight, Cloudy, and Shade - but leaves out a fluorescent setting, a key setting that most point-and-shoots offer. Despite its lack of a fluorescent mode, the auto white balance still produced decent results under fluorescent lights.

The camera does offer a few advanced features. Uses can view white balance functions with the live preview without having to set it. The TZ3 also allows users to set white balance manually.

One of the TZ3’s biggest upgrades is its new Intelligent ISO system. Marked by the "I" icon on the mode dial, the Intelligent ISO system detects motion and sets the ISO and shutter speed accordingly, making the function ideal in fast-paced situations such as shooting sports or trying to capture running kids. With Intelligent ISO, the camera can focus at 0.16 feet from the subject in Macro or at 6.56 feet in Telephoto mode. There is a limit of ISO 400, 800, or 1250 when using the Intelligent ISO system.

Other ISO options are Auto (at 200 ISO), 100, 200, 400, 800, and 1250 at full resolution, a higher sensitivity setting that comes with the updated Venus Engine III processor. The TZ1’s ISO topped out at 800 (in auto mode), making the TZ3 more flexible in low-light.

The Panasonic TZ3 has automatic and manual shutter speed controls. Users can manually select from the following preset slow shutter options in the main menu: 1/8, 1/4, 1/2, and 1 second. For automatic settings, the camera has a range of 8 to 1/2000 of a second or longer exposure settings of 15, 30, or 60 seconds in Starry Sky Mode. Like most self timer settings, the shutter speed is set for either 2 or 10 seconds, enough time for the photographer to jump into a group photo.

The Lumix TZ3 selects the aperture automatically. In wide shooting, the camera captures at f/3.3 – 8.0 (in 2 steps), allowing enough light to pass for accurate exposures at ISO 400 or more. In telephoto, however, the camera captures a limited f/4.9 – 11.0 (in 2 steps) that might have users boosting ISO sensitivity to compensate.

The Panasonic TZ3 has plenty of picture options, which are accessed through the main menu. Picture size depends on one of the three selected aspect ratio options:

Panasonic TZ3 users who want to experiment with shooting will be able to do so with the camera’s picture effects modes, available for still and video recordings. Color modes include Standard, Natural, Vivid, Cool, Warm, Black and White, and Sepia. This allows a user to shoot in black-and-white without having to convert color after capture through a computer editing program. There isn’t a dedicated contrast or hue mode, but the camera does offer the Vivid option to intensify color.

The Panasonic TZ3 comes with a motley crew of programs. The Lumix Simple Viewer 1.2E is an extremely basic organizer with a split-screen design. The left side of the screen displays thumbnail views of the photo collection, and the right side shows an enlarged view of the selected photo and extensive EXIF data. Photos can be divided by Latest Pictures, My Favorites (that can be selected in the camera) or by Date Folder. There is a Rotate function and Enlarge options for full-screen slideshows, but the program lacks other editing functions such as crop or red-eye fix, typically found in other basic software. While the program’s design is nice, it isn’t worth installing because of its limited capabilities.

The Panasonic TZ3 has a plastic hinged door on its right side to keeps its ports safe. Below the door is an AV Out port for television connection and DC In port for USB computer connection. We prefer to see rubber port covers on compact point-and-shoot models, since they"re generally more effective in keeping out dirt and moisture.

For users who want to bypass the computer altogether, the PictBridge-compatible Panasonic TZ3 comes with a convenient Print Mode feature, a dedicated print button on mode dial. Users can easily connect the camera to a PictBridge-compatible printer via a USB connection. The camera gives options for the number of prints, sizes, and layout. *

*The Lumix TZ3 is compatible with SD, SDHC, and MMC media. The camera also carries 12.7 MB of internal memory, which is enough to store 2 still 4:3 images at full resolution. The memory media shares a slot with the batteries.

Clipboard – Because this camera if marketed to the world traveler, the Panasonic TZ3 comes with a new Clipboard feature that captures text and graphics with image stabilization and high zoom, ideal for keeping timetables and maps stored on the camera. The Clipboard shoots at a fixed 4:3 aspect ratio and can record 5 seconds of audio, enough time to record "¿Donde está la cerveza?" attached to a map of the city. The Clipboard feature stores the images on the 12 MB of internal memory so that users can easily access the important information through the mode dial.

*World Clock / Travel Date *– This feature helps the globe trotter remember what day it is. With the world clock and travel date information, users can keep their photos accurately documented with correct time zones. The camera returns to a default Hometown clock once the travel date has expired.

Optional Underwater Housing – The Panasonic Marine Case (DMW-MCTZ3) can be purchased for an additional $259.95 to protect the camera during underwater shooting. The optional marine case weighs more than 7 pounds and allows for 120 feet of submergence.

With a price tag of $349, the Panasonic TZ3 is a good value for a select niche market of consumers looking for a small point-and-shoot with a longer, stabilized zoom lens. There are plenty of image-stabilized, 10x optical zoom cameras out there, but none retain the point-and-shoot simplicity and basic design of the TZ3.  It competes with tiny, itsy-bitsy point-and-shoots that don’t offer the high zoom, and heavier, SLR-styled compacts; however, no other camera currently offers its feature set in a point-and-shoot design.

Panasonic Lumix TZ1 – Bargain shoppers may also be interested in the Panasonic Lumix TZ1, which has similar features but not the high price tag. As the predecessor to the TZ3, the TZ1 carries a 5-megapixel count, less than the TZ3’s 7.2 megapixels. The TZ1, last year’s version of the TZ3, is fitted with the same 10x Leica lens with optical image stabilization. Although the TZ1 was introduced at the same initial price, it can now be found online for less. Users will have to forfeit the TZ3’s higher ISO settings of up to 3200 (at lower resolution) from the TZ1 maximum of 1600 ISO (at lower resolution) and a smaller 2.5-inch LCD screen versus the TZ3’s 3-inch display. The TZ1 is a viable option for consumers who want to 10x optically stabilized zoom lens, but don’t care about the newer Intelligent ISO Control or Clipboard feature.

Nikon Coolpix S10 – The 6-megapixel Nikon S10 had an introductory price of nearly $400, but Nikon has marked it down to the same price of the Panasonic TZ3 at $349. With the Nikon S10, users will gainWi-Fi capabilities, face priority, and a swiveling, but smaller 2.5-inch LCD screen. Both have 10x optical zoom with optical image stabilization, or as Nikon calls it, sensor-shifting "Vibration Reduction." The Nikon S10 also records video but lacks the wide 16:9 shooting of the Panasonic TZ3.

Point and Shooters – The Panasonic TZ3 is made for advanced point-and-shooters who may be looking for a longer zoom upgrade from their first digital camera. Basic users will also enjoy its automatic features, while mature point-and-shooters will also benefit from more control options.

*Budget Consumers *– The Lumix TZ3 falls in the mid-range, $300 category. It definitely isn’t the cheapest camera around since there are basic automatics that sell for about $100, but the TZ3 is a well-priced camera for a 10x optical zoom.

Gadget Freaks – Gadget lovers won’t be too impressed with the Panasonic TZ3, since other cameras offer similar features. The one thing that might grab their attention is the fact that the long lens camera can go underwater with the help of an optional marine housing.

*Manual Control Freaks *– Not so much. While the Lumix TZ3 has some controls for shooting aspect ratio, white balance, shutter speed, and ISO sensitivity, the camera lacks Shutter Priority or Aperture Priority or full manual modes. Those who lust for full control should consider other compacts that offer more manual options.

Pros / Serious Amateurs – Serious hobbyists or professionals would have better luck with higher zoom compacts or SLRs, but they might consider the Panasonic TZ3 as a back up camera for vacationing.

As the follow-up camera to the TZ1, the Panasonic Lumix DMC-TZ3 offers many improvements. Panasonic added an Intelligent ISO Control system, Clipboard function, wider focal length and higher ISO sensitivity. The Panasonic TZ3 fills a niche market of travelers who long for a high zoom that is still compact. This 10x zoom camera with optical image stabilization meets the need of advanced point-and-shooters who are looking for an upgrade to their first digital camera. With the option to purchase an underwater casing, the travel-friendly TZ3 is ideal for capturing photos in a variety of conditions. In terms of image quality, the TZ3 is far superior to its predecessor, displaying impressive color reproduction, wide dynamic range, and solid video performance. For consumers looking for a portable, automatic camera with a long, optically-stabilized lens, the TZ3 is one of the best values on the market.

The Panasonic Lumix DMC-G7 is a new Micro Four Thirds compact system camera that integrates 4K video recording capability with a variety of 4K Photo functions. The G7 can record 4K UHD (3840 x 2160) video with either 30p or 24p frames rates at 100Mbps in the MP4 format. The Panasonic G7 features a 16 megapixel Digital Live MOS image sensor, high-speed dual OLED Live View Finder, 3-inch 1040K-dot Free-Angle touch screen display, 8fps continuous shooting, ISO 100-25,600, ultra-high speed AF of just 0.07 sec, mechanical and silent electronic shutters, and Wi-Fi connectivity. The Panasonic Lumix DMC-G7 is available in black or silver in three kit options: body-only (£599), in a kit with the 14-42mm II lens (£679 / $799), or with the 14-150mm super-zoom lens (£849 / $1099).

The new Panasonic Lumix DMC-G7 is just a little larger than the DMC-G6 model that it succeeds, measuring 124.9 x 86.2 x 77.4mm, but weighs slightly more at 30g for the body only. Still styled very much in the DSLR mould, the Panasonic Lumix DMC-G7 has a more angular design than the rounded G6. It manages to fit a 3-inch fully rotating, free-angle LCD screen and an electronic viewfinder into its diminutive dimensions, yet is still comfortable enough for users with average-sized hands to operate. Apart from the handgrip, rear thumbgrip and the right-hand side of the camera, which are all rubberised, the DMC-G7 has slightly textured plastic finish. It"s still very well-built with a high-quality aluminium chassis, metal lens mount and metal tripod socket that belies its relatively affordable price point.

On the front of the Panasonic Lumix DMC-G7 is a tiny focus-assist and self-timer indicator lamp, black lens release button, metal lens mount and a generously-sized rubberised hand-grip with a sculpted indent for your forefinger, which is large enough to effectively aid your hold on the camera. Optical image stabilisation is built into the camera body, with the 14-42mm II kit lens lens that we tested the DMC-G7 with lacking a physical OIS switch. Instead it can be turned on and off through the DMC-G7"s menu system. When enabled, the Panasonic Lumix DMC-G7 automatically compensates for camera shake, which is a slight blurring of the image that typically occurs at slow shutter speeds when the camera is hand held.

On the left flank of the DMC-G7 (when viewed from behind) is the MIC socket for use with an external microphone, hidden under a rubber flap. On the right of the body are are three connection ports, including the AV Out/Digital port, a port for the optional remote shutter release, and an HDMI port for connecting the DMC-G7 to a HD television or monitor. Panasonic don"t include a HDMI cable as standard in the box, which means that you"ll have to purchase one separately to take advantage of this camera"s HD connectivity. On the bottom is a metal tripod socket, importantly in-line with the middle of the lens barrel, and the shared battery compartment and SD/SDHC/SDXC memory card slot. The DMC-G7 manages around 350 shots using the supplied 7.2V 1200mAh rechargeable Li-ion battery before needing to be recharged, about the same as the previous DMC-G6.

Found on top of the Panasonic Lumix DMC-G7 are a new drive mode dial on the left which includes the burst mode/4K/bracketing/continuous shooting/timer options, the external flash hotshoe and built-in pop-up flash, complete with a manual switch to open it on the rear, twin stereo microphones, on/off switch, a handy one-touch movie record button, new Fn1/Exposure Compensation button, and a reasonably sized, tactile shutter button that"s encircled by the first of two control dials. The second thumb operated control dial changes the aperture by default, but cleverly has a button at its centre that allows you toggle to the white balance and ISO speed - very handy.

Completing the Panasonic Lumix DMC-G7"s top panel is a traditional shooting mode dial that lets you choose the different exposure modes. This dial is a typical feature of SLR cameras and enables you to quickly change between the various modes. The usual selection of Program, Aperture Priority, Shutter Priority, and Manual are available for more experienced photographers, while beginner-friendly Scene modes are accessed via the SCN setting. Additionally there is a custom mode, marked C, which allows you to configure three of your favourite settings and quickly access them.

The DMC-G7"s range of Creative Controls, denoted by an artist"s palette, now offers a whopping 22 options. Some are more useful than others, and you do lose control of the exposure and other key settings when using the Creative Controls, whereas the 6 available Photo Styles still allow full control of the camera"s settings. The Creative Panorama mode allows you to apply any of the different effects to a vertical or horizontal panoramic image, which is easily taken by "sweeping" with the camera while keeping the shutter release depressed.

The clever Intelligent Auto mode, now selected via the shooting mode dial, tries to make things as easy as possible for the complete beginner, allowing them to point and shoot the camera without having to worry about choosing the right scene mode or settings. Intelligent Auto Mode automatically determines a number of key criteria when taking a picture, including selecting the most appropriate scene mode (from 5 commonly used presets) and ISO speed, and turning face detection (up to 15 faces), image stabilization and quick auto-focus on.

The Intelligent Auto Plus Mode also includes Intelligent Exposure, which increases exposure only in the under-exposed areas of the image, Digital Red-eye, which automatically detects and removes red-eye, and AF Tracking, which continually tracks a moving subject and keeps it in focus, without you having to hold the shutter button halfway down as on most other cameras. Intelligent D-range continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows, while Intelligent Resolution mode makes a standard image look like a higher resolution one.

In practice the Intelligent Auto Mode system works very well, with the DMC-G7 seamlessly choosing the most appropriate combination of settings for the current situation. The 5 available scene modes are Portrait, Landscape, Macro, Night Portrait and Night Scenery, so obviously not all situations are covered by Intelligent Auto Mode, but it does work for the majority of the time. It makes it possible for the less experienced photographer to easily take well-exposed, sharp pictures of people, scenery and close-ups by simply pointing and shooting the camera.

The DMC-G7 offers both AVCHD video capture and MP4, with the latter offering 4K recording at in 3840x2160 at 25p (50Hz) or 24p in MP4 with full-time auto-focusing. Interestingly, if you want to shoot the maximum 4K video – i.e twice as high quality as Full HD – then a switch to MP4 mode is required before you can implement that setting on the Panasonic, with the choice 25 or 24 frames per second capture speed. In other words 4K shooting is not available with AVCHD compression. You can also extract a still image from a 4K sequence, ending up with the equivalent of an 8 megapixel photo at 30fps.

The Panasonic Lumix DMC-G7 is an intriguing prospect for would-be videographers, providing access as it does to the same creative exposure P,A,S,M modes selectable when shooting stills. You also get access to all the Photo Style and Creative Control modes when shooting video. ISO settings, white balance and AF tracking are also all accessible when shooting movies. The normal bugbear of exterior location shoots is also dealt with thanks to a wind cut option among the four screen"s worth of menu settings in motion picture mode.

The DMC-G7"s Intelligent Auto mode works for movies as well as for still photos. Simply select the iA shooting mode on top of the camera, then the Movie Record button. The Intelligent Scene Selector automatically determines the most suitable Scene mode from five options - Portrait, Scenery, Low Light and Close-up or Normal modes. Face Detection automatically detects a face in the frame and adjusts the focus, exposure, contrast, and skin complexion. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. The Image Stabilizer helps prevent blurring from hand-shake when using a compatible lens or via the camera body. One great benefit of the touch-screen control system is that Touch Auto Focusing is available in movie recording, enabling pro-level rack-like focusing simply by pointing at the subject on the LCD screen.

The Wi-Fi function (IEEE 802.11 b/g/n) lets you use your smartphone to change the DMC-G7"s settings (focus setting, exposure compensation, ISO, WB and Photo Styles) and even fire the shutter button remotely (including interval video recordings), while the auto transfer function automatically backs up your photos onto a tablet. You can also use GPS data from your smartphone to record the shooting location onto your images. The Panasonic Lumix DMC-G7 offers a time lapse function in which you can set the time interval and the number of images to take, plus a multi-exposure option that lets you combine up to four exposures in a single frame.

The rear of the Lumix DMC-G7 is dominated by the large 3 inch LCD screen. The rotating, free-angle LCD monitor, which is hinged on the left side of the camera (looking from the rear), can be rotated 180 degrees for side to side and flipped out and twisted through 270 degrees. You can use the screen as a waist-level viewfinder, holding the camera overhead, and even for turning the DMC-G7 on yourself for arm-length self-portraits. There"s also the added benefit of folding the screen away against the camera body to protect it when stored in a camera bag, preventing it from becoming marked or scratched.

The 1036K pixel high-resolution screen coped admirably with the majority of lighting conditions. The Auto Power LCD function automatically detects the current lighting conditions and boosts the LCD backlighting by up to 40% when shooting outdoors in bright sunshine, helping to keep the screen visible. The high-res, free-angle LCD screen is much more than just a novelty - it"s a lot more versatile than the usual combination of optical viewfinder and fixed LCD, providing new angles of view and enhancing your overall creativity. Above all, it"s a fun way of composing your images.

The DMC-G7 inherits the DMC-G6"s clever touchscreen interface. Panasonic have wisely restricted the amount of things that you can do by interacting with the screen, and indeed you can still operate everything on the camera without having to push and prod the LCD at all. You would be missing out on a lot of genuinely useful functionality, though, which really improves the overall shooting experience. The DMC-G7 has a feature called Touchpad AF which allows you to move the focus point area with your finger on the LCD while you"re looking through the EVF.

The most immediately noticeable function is the ability to use the 1-area AF mode to focus on your main subject simply by touching it on the LCD. If the subject then moves, the DMC-G7 cleverly follows it around the screen using the the AF tracking function. If the subject exits the frame entirely, simply recompose and tap it again to start focusing. Impressive stuff that makes focusing on off-center subjects fast and intuitive. It is a little too easy to accidentally press the screen and set the focus point to the wrong area for the current subject, but a simple tap in the middle of the LCD will center the AF point (or you can turn this feature off altogether).

When Intelligent Auto is switched on, the DMC-G7 changes the scene mode used when you touch the subject, for example selecting portrait mode if you touch a face and macro mode if you touch a close-up flower. If you prefer to manually focus rather than use the snappy AF, you can magnify any part of the subject by 1x, 5x or 10x by simply dragging the image around the screen. The final touchscreen ability from an image composition point of view is the ability to release the shutter, with a small icon on the right hand screen enabling this functionality, and then a single on-screen tap all that"s required to take the picture.

All of the menu options can now be changed via the touchscreen interface. You can also control image playback by touching the screen, with the ability to tap a thumbnail to see the full-size version, scroll through your images by dragging them from side to side, and magnifying them up to 16x.

Instead of the optical viewfinder of a conventional DSLR, the Panasonic Lumix DMC-G7 has an electronic viewfinder. The viewfinder on the DMC-G7 is an OLED Live View Finder with 2,360k dots, a big improvement on the DMC-G6"s already very good EVF. It has a large 1.4x (0.7x on 35mm equiv.) magnification, very high contrast at 10,000:1, and offers 100% field of view, resulting in a very usable display that won"t leave you cursing. The EVF (and also the main LCD screen) operates at 60fps, twice the usual speed, which helps make it relatively flicker-free (although it is still slightly noticeable).

The DMC-G7 has a handy eye proximity sensor which detects when the camera is held up to your eye and automatically switches from the rear LCD screen to the EVF. You can also manually switch between the two via the LVF button (this button can also be usefully reconfigured to the Function5 button). As the EVF is reading the same signal from the image sensor as the rear LCD screen, it can also display similar information - for example, you can view and operate the DMC-G7"s Quick Menu, giving quick access to all the key camera settings while it"s held up to your eye.

Below this are the Playback and the Display buttons, the latter cycling through the various LCD views, including the useful level gauge for making your horizons straight. Underneath again is a traditional 4-way navigation pad system with a Menu/Set button in the centre. Pressing left, up, right and down on the D-Pad buttons selects AF Mode, ISO, White Balance and Fn3 options respectively.

The main menu system on the DMC-G7 is straight-forward to use and is accessed by pressing the Menu/Set button in the middle of the navigation D-Pad. There are five main menus represented by large icons, Record, Motion Picture, Custom, Setup and Playback. If you have never used a digital camera before, or you"re upgrading from a more basic model, reading the easy-to-follow manual before you start is a good idea. Unfortunately Panasonic have only chosen to supply a basic guide in printed format, with the full manual only available as a PDF on the product CD.

The DMC-G7 employs the same Contrast Auto Focus system that is commonly used by compact cameras. Despite this, the DMC-G7"s auto-focus system is as fast, if not faster, than a typical DSLR camera"s, with a claimed speed of just 0.07 second when used with certain lenses, and a still impressive 0.18 second with the 14-42mm kit lens. In practice we noticed very little difference in speed between the DMC-G7 and a DSLR, and there were also very few occasions when the DMC-G7 failed to lock onto the subject, especially when using the centre AF point.

The DMC-G7 additionally boasts a mode called Low Light AF which allows the camera to focus even in moonlight without needing to use the AF assist lamp, while the new Starlight AF mode allows you to capture individual stars and constellations in the night sky. There are a wide range of AF modes on offer, including multiple-area AF with up to 23 focus areas, 1-area AF with a selectable focus area, Face Detection, and AF Tracking. The DMC-G7 also has a useful Quick AF function that begins focusing as soon as you point the camera, and it also now offers the popular Focus Peaking function that outlines the in-focus subject in the MF and AF+MF modes.

The start-up time from turning the Lumix DMC-G7 on to being ready to take a photo is very impressive at less than 0.5 seconds. It takes about 1 second to store a JPEG image, allowing you to keep shooting as they are being recorded onto the memory card. Storing a single RAW image only takes around 1 second. The Panasonic Lumix DMC-G7 has a very good Burst mode which enables you to take 8 frames per second when using the mechanical shutter for an unlimited number of JPEG images at the highest image quality, or 13 RAW images. There"s also a faster 40fps mode when using the electronic shutter, and a 6fps mode at full 16 megapixel resolution with AF Tracking turned on to capture moving subjects. The electronic shutter function also raises the shutter speed to 1/16,000 sec. as well as allowing silent operation for quick, inconspicuous shooting.

The Panasonic Lumix DMC-G7 produced images of excellent quality during the review period. It produces noise-free images at ISO 100 to 1600, with limited noise starting to appear at ISO 3200. ISO 6400 exhibits quite visible noise and loss of fine detail, and the faster setting of ISO 12,800 is even noisier but still usable for small prints and web use. We"d avoid using the headline-grabbing ISO 25,600 setting though.

The images were a little soft straight out of the camera at the default sharpening level and ideally require further sharpening in an application like Adobe Photoshop, or you can change the in-camera setting if you don"t like the default results. The various Creative Controls and Photo Styles allow you to quickly and easily customise the look of the camera"s JPEG images. The pop-up flash worked well indoors, with no red-eye and good overall exposure.

The night photograph was excellent, with the maximum shutter speed of 60 seconds allowing you to capture plenty of light. We struggled to see any differences between the Intelligent Resolution settings, but Intelligent D-range and the HDR mode are effective features for capturing more detail in the shadows and highlights.

The Panasonic Lumix DMC-G7 has 2 different JPEG image quality settings available, with Fine being the highest quality option. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.

Here are two 100% crops which have been Saved as Web - Quality 50 in Photoshop. The right-hand image has had some sharpening applied in Photoshop. The out-of-the camera images are a little soft at the default sharpening setting, and benefit from further sharpening in a program like Adobe Photoshop. You can also change the in-camera sharpening level by tweaking the Film Mode, with five different settings available.

The flash settings on the Panasonic Lumix DMC-G7 are Auto, Auto/Red-eye Reduction, Forced Flash On, Slow Sync./Red-eye Reduction and Forced Flash Off. These shots of a white coloured wall were taken at a distance of 1.5m.

The Panasonic Lumix DMC-G7 maximum shutter speed is 60 seconds and there"s also a Bulb option for exposures up to 4 minutes long, which is excellent news if you"re seriously interested in night photography. The shot below was taken using a shutter speed of 15 seconds at ISO 160. The camera takes the same amount of time again to apply noise reduction, so for example at the 15 second setting the actual exposure takes 30 seconds.

The Panasonic Lumix DMC-G7 has an antishake mechanism which allows you to take sharp photos at slower shutter speeds than other digital cameras. To test this, we took 2 handheld shots of the same subject with the same settings. The first shot was taken with the stabilizer turned off, the second with it turned on. Here is a 100% crop of the image to show the results. As you can see, with image stabilisation turned on, the images are sharper than when it"s turned off.

The Panasonic Lumix DMC-G7"s Intelligent Resolution feature identifies outlines, texture areas and soft gradation areas of the image and then automatically optimizes the edges and detailed texture areas while using noise reduction to make the soft gradation areas smoother. There are four available strengths - low, standard, high and extended.

The Panasonic Lumix DMC-G7"s HDR mode combines three pictures taken at different exposures to create one image with greater dynamic range than a single shot.

The Panasonic Lumix DMC-G7"s Intelligent D-range setting adjusts the exposure setting to record more detail in the highlights and shadows, with three strengths available - low, standard and high.

The Panasonic Lumix DMC-G7 has 6 preset Photo Styles, with Standard as the default setting. The contrast, sharpness, saturation and noise reduction can be individually set for each picture style, and there is also a Custom style so that you can create your own look.

The Panasonic Lumix DMC-G7 allows you to take panoramic images very easily, by "sweeping" with the camera while keeping the shutter release depressed. The camera does all the processing and stitching and even successfully compensates for moving subjects.

This is a selection of sample images from the Panasonic Lumix DMC-G7 camera, which were all taken using the 16 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

The Panasonic Lumix DMC-G7 enables users to capture RAW and JPEG format files. We"ve provided some Panasonic RAW (RW2) samples for you to download (thumbnail images shown below are not 100% representative).

The Panasonic Lumix DMC-G7 is the fifth Panasonic stills camera to offer 4K video and photo shooting, following in the footsteps of the GH4, LX100, FZ1000 and CM1 models. "Introducing 4k to everyone" is the marketing angle that Panasonic are taking with the G7, and we"d agree that this DSLR-like, mid-range compact system camera is the best suited of all those products to expand the appeal of 4K to a wider audience, especially as it now offers additional 4K photo modes.

Even if you"re not onboard the 4K train, the DMC-G7 is still a very appealing mirrorless camera, once again offering a lot of features and performance at an attractive price, although it lacks the more characteristic retro styling of the Olympus PEN range or the Fujifilm X-series.

With a more angular design than its predecessor, the DMC-G7 again falls into the mini-DSLR category of compact system cameras, complete with an excellent electronic viewfinder, LCD screen, and both a pop-up flash and a hotshoe. The addition of the drive mode dial and not one, but two control dials all help to improve the DMC-G7"s credentials as an affordable camera for enthusiasts that delivers a lot of bang for your buck.

Image quality has also been improved since from the previous DMC-G6 (as this new model uses the same sensor as the excellent DMC-GX7), in particular moving things on in the ISO stakes. Images shot at ISO 100-1600 are clean, with a little noise appearing at 3200 and more at the still very usable setting of 6400. ISO 12,800 is best reserved for resizing and smaller prints, while the top speed of 25,600 is really only for emergency use, but overall the G7 offers outstanding still image quality for a Micro Four Thirds camera.

Coming across like a mini-GH4, the Panasonic Lumix DMC-G7 is a great addition to the Lumix CSC range, offering 4K video recording and useful 4K/8 megapixel still modes at a price-point that only the similar Samsung NX500 can match.

The Canon EOS M3 is a new compact system camera that offers 24 megapixel resolution, full 1080p high-definition videos, a faster auto-focusing system, and a touch-screen interface. Other key features of the EOS M3 include a tilting 3-inch LCD screen, ISO range of 100-12,800, wi-fi and NFC connectivity, and a built-in flash. Is Canon"s new mirrorless model finally a real contender? Read our Canon EOS M3 review to find out...

The Fujifilm X-T1 is a brand new compact system camera that looks, feels and performs very much like a classic DSLR that""s been shrunk in the wash. Is this the best X-series camera that Fujifilm have released, and can it compete with the likes of the Sony A7/A7R and Olympus OM-D E-M1, not to mention DSLRs from Canon and Nikon? Read our in-depth Fujifilm X-T1 review to find out...

The Fujifilm X-T10 is a new mid-range compact system camera that inherits most of the key features of the flagship X-T1 model. Does the X-T10 cut too many corners to hit its aggressive £499 / $799 price-tag, or does it offer a compelling blend of features, performance and price? Read our in-depth Fujifilm X-T10 review to find out...

The Nikon 1 J5 is the latest mid-range model in Nikon"s compact system camera line-up. The Nikon J5 offers 20 megapixels, 20fps burst shooting with continuous autofocusing, 4K and Full HD 60p video capture, a tilting LCD touchscreen, and built-in Wi-Fi and NFC connectivity. Read our in-depth Nikon 1 J5 review now...

The Nikon 1 V3 is the latest flagship compact system camera from Nikon, boasting an amazingly fast 20fps burst shooting rate with continuous focusing (60fps without), a new tilting touchscreen LCD, built-in wi-fi, new 18.4-megapixel "CX" format sensor and a more compact design . Read our in-depth Nikon 1 V3 review to find out if this is the best Nikon compact system camera yet...

The Olympus E-PL7 is a new compact system camera aimed at the discerning fashionista. Also known as the PEN Lite, the EPL7 boasts a 3 inch 180-degree tilting LCD display, full 1080p HD movies, and an extensive range of creative filters. Read our in-depth Olympus E-PL7 review to find out if it offers both substance and style...

The Olympus OM-D E-M5 Mark II is a new high-end compact system camera with a number of innovative features that make it stand out from the crowd, including the world"s most effective image stabilisation system. Read our expert Olympus E-M5 II review to find out if it"s also the best compact system camera...

The Samsung NX500 is the World"s most affordable compact system camera to feature 4K video recording. The Samsung NX500 also features a compact rangefinder-like design, 3-inch tilting AMOLED screen, built-in wi-fi, bluetooth and NFC connectivity, 9fps burst shooting, and an APS-C CMOS sensor with 28.2 megapixels. Read our in-depth Samsung NX500 review, complete with sample images and videos, to find out if it"s a game-changer...

The Sony A6000 is a new compact system camera that features the fastest auto-focusing system in the world. With a 24.3 megapixel APS HD CMOS sensor, 1080p HD movies, high-res 3 inch OLED screen, electronic viewfinder and built-in flash, the Sony NEX-6 also offers 11fps burst shooting, wi-fi and NFC connectivity, and downloadable PlayMemories Camera Apps. Read our full Sony A6000 review to find out if it"s the best Sony NEX camera yet...

The new Panasonic Lumix G7 is the latest DSLR styled mirrorless camera, from Panasonic, and features a high-resolution electronic viewfinder (EVF), along with a vari-angle touchscreen, 16 megapixel Micro Four Thirds sensor, and 4K video recording, with advanced 4K / 8 megapixel photo shooting. Priced at £599 body only, £679 with 14-42mm kit lens, £849 with 14-140mm kit lens, the camera will also be available in silver and black from selected retailers.

AVCHD [FHD/60i, FHD/50i]: Approx. 130 min (rear monitor), 140 min (LVF) with H-FS1442A/AVCHD [FHD/60i, FHD/50i]: Approx. 130 min (rear monitor), 130 min (LVF) with H-FS14140/AVCHD [FHD/60i, FHD/50i]: Approx. 130 min (rear monitor), 140 min (LVF) with H-FS45150/MP4 [4K/30p, 4K/25p]: Approx. 100 min (rear monitor), 100 min (LVF) with H-FS1442A/MP4 [4K/30p, 4K/25p]: Approx. 100 min (rear monitor), 100 min (LVF) with H-FS14140/MP4 [4K/30p, 4K/25p]: Approx. 100 min (rear monitor), 110 min (LVF) with H-FS45150

AVCHD [FHD/60i, FHD/50i]: Approx. 65 min (rear monitor), 70 min (LVF) with H-FS1442A/AVCHD [FHD/60i, FHD/50i]: Approx. 65 min (rear monitor), 65 min (LVF) with H-FS14140/AVCHD [FHD/60i, FHD/50i]: Approx. 65 min (rear monitor), 70 min (LVF) with H-FS45150/MP4 [4K/30p, 4K/25p]: Approx. 50 min (rear monitor), 50 min (LVF) with H-FS1442A/MP4 [4K/30p, 4K/25p]: Approx. 50 min (rear monitor), 50 min (LVF) with H-FS14140/MP4 [4K/30p, 4K/25p]: Approx. 50 min (rear monitor), 55 min (LVF) with H-FS45150

Mechanical shutter: H: 8 frames/sec (with AFS), 6 frames/sec (with AFC), M: 6 frames/sec (with Live View), L: 2 frames/sec (with Live View)/Electronic shutter: SH: 40 frames/sec, H: 10 frames/sec, M: 6 frames/sec (with Live View), L: 2 frames/sec (with Live View)

More than 13 images (when there are RAW files with the particular speed)/More than 100 images (when there are no RAW files)/(depending on memory card type, aspect, picture size and compression)

Exposure Comp. / Wi-Fi / Q.MENU / LVF/Monitor Switch / AF/AE LOCK / AF-ON / Preview / One Push AE / Touch AE / Level Gauge / Focus Area Set / Zoom Control / Cursor Button Lock / Dial Operation Switch / Photo Style / Filter Select / Aspect Ratio / Picture Size / Quality / AFS/AFF / Metering Mode / Burst Rate / 4K PHOTO / Auto Bracket / Self Timer / Highlight Shadow / i. Dynamic / i. Resolution / HDR / Electronic Shutter / Flash Mode / Flash Adjust. / Ex. Tele Conv. / Digital Zoom / Stabilizer / Snap Movie / Motion Pic. Set / Picture Mode / Mic. Directivity Adjust / Silent Mode / Peaking / Histogram / Guide Line / Zebra Pattern / Monochrome Live View / Rec Area / Step Zoom / Zoom Speed / Touch Screen / Sensitivity / White Balance / AF Mode/MF / Restore to Default

Monaural Type, NTSC/PAL, NTSC only for NTSC area/*Check the website of the Panasonic sales company in your country or region for details on the products that are available in your market.

- You can continuously record a motion picture with its size set to [4K] in [MP4] or [4K PHOTO] without a pause even if the motion picture exceeds 4GB. However, the recorded content has to be played back as multiple files.

Free image/jpeg, Resolution: 1500x1125, File size: 56Kb, Panasonic DMC-ZS35W Digital Camera with 3.0-Inch TFT LCD (White) N4 picture with tags: panasonic, electronics, camera and photo, digital cameras, point and shoot digital cameras

Digital SLRs deliver high-quality photos and HD video and fast performance, but a dSLR might be too much camera for you in price, size and weight -- and that"s without adding a long zoom lens to the equation. You can get smaller, lighter, long-zoom compact cameras at lower prices, but they come with a loss in image quality, features and control, and in most cases, aren"t nearly as quick to focus and shoot.

The benefit to a larger image sensor is better image quality, but they also require larger lenses. While its zoom range might not seem impressive compared with the expansive 50x or longer zooms on other bridge cameras, the FZ1000 delivers superior image quality to those small-sensor compacts.

A dSLR or mirrorless interchangeable lens camera would get you better image quality still, but a zoom lens with similar specs for one of those would be large and heavy. It would also be more expensive than this camera alone, which is currently around $800 or £650 in the UK and AU$1,200 in Australia.

The RX10 features a 1-inch sensor as well, but its telephoto end stops at 200mm. The two cameras are roughly the same size and weight, too, so really it comes down to what you value more, the Sony"s constant f2.8 aperture or more zoom range.Panasonic Lumix DMC-FZ200Panasonic Lumix DMC-FZ1000Sony Cyber-shot DSC-RX10 Sensor (effective resolution) 12.1MP MOS 1/2.3-inch20.9MP MOS CMOS 1-inch20.2MP Exmor R CMOS 1-inch

The 4K video looks noticeably sharper and more detailed on a 4K-resolution TV and even if you don"t have one now, you might eventually. The extra resolution also allows you to crop in and still have a full HD video. Basically you"re getting a powerful video camera with some future-proofing.

Another reason not to