|West End, Brisbane, Queensland|
My first Panasonic was a quite capable superzoom, the 5mp, FZ5. That was almost a decade ago, and I remember how files really fell apart when pushed to ISO 400. (We've come a long way.)
But my real involvement with Panasonic began with the LX3. What a charmer. It was my first camera with RAW.
(There's some speculation at the moment about Sony's newly introduced in-body stabilisation, and whether it will perform as well as the Olympus version. I think this will be another example of the Micro 4/3 sensor size really shining. The M4/3 sensor is less than a third the size of the Sony full frame — much easier to move around quickly with a stabilisation system.)
As you can probably tell, I'm a pushover for the rangefinder style, so when the GF1 was introduced, I was ripe for the picking. But after that, things seemed to stall for Panasonic. Their Micro 4/3 partner, Olympus, pulled ahead. And then, Sony trumped that market with the NEX-7.
Despite that, Panasonic still came through with quite a few winning lenses: The 20mm pancake on the GF1 and, later, the 25mm f/1.4 were standouts for me.
If Panasonic had provided cameras like the LX100 and GX7 earlier, I might still be a Panasonic shooter.
There is no question that the 4/3 sensor sits in a "sweet spot," where resolution is great and low light capability is good, but lens sizes are reasonable. But if I was going back to Micro 4/3, it would probably be to an Olympus body. Who could resist that 5-Axis stabilisation?
If I was a videographer, however, then the Panasonic GH4 is probably where I would be.
party (pär’tē) n. Social occasion where a husband
pretends to be the man his wife wants to be seen with.