Panasonic DMC-L1: Personal Look

by Patrick Young

Created: 11 May, 2007
Last Updated 11 May, 2007

Introduction

About a year and a half ago (February 2006) while web surfing on my computer at work, I stumbled upon an announcement on Digital Photography Review (dpreview.com) of the introduction of the DMC-L1, Panasonic's first foray into the digital SLR market. My first reaction was "wow, I want that camera". The first thing that caught my eye, even before even reading the announcement itself was a photo of the camera of the old-school but still legendary Leica rangefinders. Even more eye catching was what was attracted to the camera--a Leica lens. That in itself warranted further inspection.

Fast forward to April 2007. The DMC-L1 had pretty much backseat for me, with a lot of other of life's costs and responsibilities ahead taking priority. I pretty much had most of the camera equipment I really wanted or needed already. But with money I had saved over a year for a new laptop, instead I wound up with a new Panasonic DMC-L1 instead.

Disclaimer: This article is not a review, simply my opinion of a product I purchased and my own personal experiences with it. I try to stay object but I do not claim to be without bias. If you find this useful, that's great but if not there's plenty of other resources and reviews that might suit you.

What's in the Box

The Panasonic DMC-L1, as of May 2007 can only be purchased as a kit unlike many other DSLRs on the market. That may or may not be a bad thing depending on your point of view. Unlike most DSLR kits which usually come packaged with really cheap low-grade lenses, the "kit" lens that accompanies the DMC-L1 is exceptional--and in my opinion the best kit lens that comes with any DSLR. It wouldn't surprise me if lens itself was the main reason many people bought the DMC-L1, and based on its current retail value (US$950) the lens compromises nearly half or even more of the cost of the kit. Compare this with most other camera kits, often the cost of the kit lens is US$100 and often less, a fraction of the total cost of the kit.

Besides the lens (and lens hood and nice storage pouch), the kit comes with a battery and battery charger, AC adapter and DC coupler (which basically allows you to power the camera externally), caps for the lens and camera, strangely translated instruction books, some software I never used and a cheap, flimsy camera strap.

The Camera

I don't really care scrutinize technical matters as there are plenty of other reviews of the camera that specialize in this and would do a much better job than I would. Here are some reviews I found online (which I used myself to help me evaluate whether or not to purchase):

• ProductCritic.com (agglomeration of different reviews)

  The Panasonic DMC-L1 body sans lens. Notice the side-flipping mirror.

• Review from DPReview.com
• Review from DCResource.com
• Review from Cameralabs.com
• Review from Megapixel.net
• Review from PhotographyBlog.com
• Review from TrustedReviews.com
• Review from Popular Photography (online)

The general features of the camera that are of interest to myself:

• Four-Thirds Mount camera - compatible with all lenses and accessories for the Four-Thirds System
• 4:3 ratio (duh) 7.5 megapixel CCD sensor
• 1:2 crop factor (2x)
• RAW output support
• supports SDHC and SD memory cards
• ISO 100-1600 (although really only acceptable up to ISO800)
• 3 frames-per-second (FPS) continuous shooting maximum
• Image Stabilization (in the accompanying lens)
• "Live View" - that is the ability to see compose using the LCD rather than the viewfinder
• Supersonic dust filter
• Interesting dual mode built-in flash, both direct and bounce modes
• Evaluative (smart), Center-weighted and Spot (2%) metering modes
• Mirror lock (although like Canon cameras, rather obscure to enable)

Impressions

The top of the DMC-L1. The built-in flash is in the bounce-mode position.

The very first thing you notice immediately is the shape, atypical for an SLR body. Clearly it takes a lot of design cues from classic Leica rangefinders, not surprising considering Panasonic's cooperative partnership with Leica. In fact the Leica Digilux 3 is a clone of the DMC-L1 but with the classic silver trim and the Leica logo, making it resemble the classic rangefinders even more. The body is rectangular for the most part, except for the "ergonomic" handgrip and the viewfinder window that sticks out from the back. Noticeably missing is the hump where most SLRs place their viewfinders. Like the Olympus EVOLT 330 (and what I've read the DMC-L1 chassis and many other components are shared thanks to their partnership with Olympus) the viewfinder instead is on the upper-left corner of the body. From the front it looks very much like a rangefinder--the auto focus assist window not coincidentally placed where the rangefinder viewfinder window would normally be.

The top of the camera is fairly simple. There is the flash hot shoe (generic shoe that work best with specific flashes designed for it), the built-in flash and on the right, one big control dial and two knobs, the shutter release in center of the control dial, and two function buttons. On the right of the camera is a slide-door to insert your memory card, on the left side a small door to connect the camera to a computer via a USB cable, as well as a combined video out/remote control attachment port. The bottom of the camera has a door to insert your battery as well as the tripod attach point, which thankfully is aligned along the lens axis. The back is where you find the LCD of course, along with a myriad of buttons, switches and knobs that we'll look at more closely soon. The camera chassis is metal, the majority of which is lined by a hard rubber grip surface. It feels light yet quite solid. The grip is designed to (mostly) contour with your hand, but it doesn't feel that comfortable to me. Still it is feels better than other cameras I tried in its class.

It looks smaller in pictures than it does in real life, it's probably comparable in size to the Canon Rebel.

Handling and Controls

This a is big deal for me, I don't like cameras with bad user interfaces. This camera was obviously designed for advanced novice or higher level camera users; none of the generic novice modes like "portrait", "night", "landscape", etc are present.

In fact for a lot of photographers it might take getting used to--there is no single mode selection button or knob! Taking cues from classic cameras, shutter speed is controlled by the single large dial on the top of the camera, and aperture is controlled by turning the aperture ring on the lens. To make the camera aperture priority, simply turn the shutter dial to "A" (make the camera pick the shutter speed for you). To make the camera do shutter priority, turn the aperture ring to "A" (make the camera pick the aperture for you). To make the camera do everything for you, turn both to "A". Simple, elegant, and logical--the way most classic cameras were designed. But of course, this is a digital camera and there are a few caveats. First, the shutter dial is divided by 1/3 stops; since the dial isn't large enough to handle the entire range of available shutter speeds (60s - 1/4000s not including "B" mode), anything outside of 2s to 1/1000s requires the use of the up-down arrows or the command dial on the back. Since I usually use Aperture Priority mode or total automatic, this isn't a big hassle for me. Strangely, the shutter dial doesn't go all the way around. So if you are at 1/500s and want to go to "A" mode, you have to turn the dial counterclockwise instead of clockwise (which would be more intuitive because "A" is closer spinning in that direction".

Two other knobs lie together with the shutter knob, one for metering mode and the other for drive mode. I like the knobs in that they are again what you often see in classic cameras. But what I didn't like was that they felt loose and this was confirmed on several occasions where just slight nudges would change modes. These should have been made tighter, or perhaps a safety button added so the knob cannot be moved unless the safety button is pressed.

The shutter button is really weird and I didn't really like that it was placed in the center of the shutter dial. It is a strange reach for my index finger and often troublesome because I often have to rest my finger on or behind the strap or the strap eyelets with the strap going between my fingers. This is not the best design.

Most of the controls for secondary camera operation/management are of course on the back. The 2.5" LCD is quite large, bright and very nice. Like the majority of SLRs, the LCD does not articulate. For most SLR's this is not a big deal, since articulation isn't really necessary since you must use the viewfinder to compose; but with the LiveView feature, not being able to articulate in any way really limits the usefulness of that feature. Configuration and management of the camera is good, I didn't have any problems with it. I do like the use of arrow keys (on my Canon 1D-Mark II and before with my D60 everything was done with knobs which I didn't particularly like).

There is only one LCD on this camera, like many cameras at this level there seems to be a consolidation of displays. All the information is displayed on the main LCD. This seems good until you realize that the LCD is the primary consumer of power in your camera. I usually leave it off except when reviewing photos. Second, there is no way to quickly peruse useful information like number of shots remaining or battery life remaining other than the LCD or the viewfinder. Perhaps a small LCD on the top could have sufficed.

There is also a depth-of-field preview button, but it doesn't do that unless you use Liveview mode. This doesn't make sense. My guess is that it just would be too dark in the viewfinder to be useful. Still I would rather have it than not.

The Lens

Since the DMC-L1 comes only in a kit, it makes sense to take a look at its partner, the Leica D 14-50mm f/2.8-3.5 Vario-Elmarit. As mentioned before, this alone could be the reason for some to buy the DMC-L1.

There is no comparison between Vario-Elmarit and kit lenses for other cameras. Kit lenses are often the lowest grade lenses a manufacturer offers, with poor-to-average optics, usually slow and cheaply-made. I usually avoid buying a camera as a kit and most high-end DSLRs are sold body only. The Vario-Elmarit is anything but cheap; the going price right now is US$950, which makes it more than 60% the cost of the kit. I wondered to myself if I was really buying a lens that came with a digital camera body rather than the other way around.

The Vario-Elmarit has a range of 14-50mm, which because of the 2x crop factor of the Four-Thirds standard is equivalent to 28-100mm on a standard 35mm camera (note that while the zoom range may be 35mm equivalent, the depth of field rules are not effected, so DOF of this lens is much deeper than the 35mm equivalent). At 50mm, the lens only grows about 3/4" in length. The Vario-Elmarit is a pretty fast lens, with a maximum aperture of f/2.8 at 14mm and f/3.5 at 50mm. Such speed usually means greater size, so it should come as no surprise that the Vario-Elmarit accepts 72mm filters. Even more intriguing is the addition of optical image stabilization, which effectively buys you up to two stops before camera shake becomes a problem.

The Vario-Elmarit is a fairly large lens, although compared to the Canon EF 24-70 f/2.8 L it looks small. It has a metal chassis and while it does have some heft, it is still fairly lightweight considering. Workmanship is superior.

The lens has three rings, the outmost (and largest) controls zoom factor. It's very smooth and the dampening feels very good. If you point the lens down, the zoom is not loose enough that the end droops and zooms out by itself (it happens on my Canon EF 24-70 f/2.8 L a lot, which is annoying). Unlike most SLR lenses, manual focus is electronic rather than mechanical. I never liked electronic focus (focus-by-wire) because I liked the tactile feeling of mechanical focusing, its precision and responsiveness. But the Vario-Elmarit electronic focus is actually very good and it felt very, very close to manual focus. The innermost ring, which you will only find more classical cameras, is the aperture ring. The ring spans the entire aperture range of the lens in 1/3 stop increments, with marks at the milestone f-stops. At the very end is the "A" or automatic aperture selection position, which cannot be engaged or disengaged from without holding down a small button on the opposite side of the ring. This makes it impossible to accidentally move to or away from automatic mode. Excellent design. If you've never experienced using a lens with an aperture ring, you should.

There is only one switch on the Vario-Elmarit, the OIS (Optical Image Stabilization) switch. Interestingly it only toggles image stabilization on and off; to change between various modes requires the use of menu controls on the camera body.

I do have a few qualms with the lens. Despite the fact that focusing is completely electronic, the Vario-Elmarit does not support full-time manual focus. This is the ability to engage manual focus at any time, even when your lens is set to automatic. And if you try to auto focus, the lens will re-engage auto focus mode automatically. This is a feature of Canon's Ultrasonic lenses that I really like. Manual focus switch is not on the lens but on the camera body, literally right next to your nose when composing. So if you are composing a picture and find that the AF isn't doing a good job so you want to manual focus, you have to take your eye off the viewfinder and flip to MF mode to recompose.

Test Drive

With camera in hand it was time to take it out for a test drive. For a few weekends the past month I took the camera out for some real world testing. It doesn't hurt to live in arguably the most scenic city on the West Coast!

Camera Feel

The first thing I noticed was that the DMC-L1 even with the large Vario-Elmarit attached was relatively light. I mean relative compared to what I'm normally used to carrying, which is a Canon 1D-Mark II with an EF 24-70mm f/2.8 L. I don't have a DSLR smaller than that to compare it to. However it's only slightly heavier and larger than my old Konica Minolta A2 digicam. I was surprised that it was this small, I thought it would be larger. It's size and weight make it ideal for travel and informal photography, but at the same time with potential to do real serious photography work.

Holding it, the DMC-L1 feels solid in my hand. But being designed like a brick means it feels as ergonomic as a brick. The rubber grip molding helps a little, but not all that much. Still it felt more comfortable to me than holding the Canon Digital Rebel, which was just unconfortable and the grip too small. Holding it in the shooting position as mentioned earlier is awkward. Because the shutter button is in the middle of the shutter speed dial, which is parallel to the right camera strap, there's no way to easily grip the camera and have your finger rest on the shutter button without the strap getting in the way. The only way I was able to get around this was to put my index finger underneath the strap; basically have the strap sit between my index and middle finger. It's unconfortable and poorly designed. Eventually you get used to it, but you really should have to if designed correctly in the first place.

The next thing I noticed was the viewfinder. It's pretty small and dark. Outdoors on a bright day it's not a big deal but in dim or dark locations it can be a problem. Also if you wear glasses like I do, it's very hard to see the shooting information LED on the inside right panel of the viewfinder. Also the LCD being directly beneath the viewfinder and being quite large, it's very easy to smudge it or fog it up with your breath.

Digital Controls

The LCD is very bright and quite nice. Even on bright sunny days, it still is bright enough for use. However since all since all information is displayed there, it's almost always on. It does turn off when you're composing a shot and holding the shutter button halfway down. Still I don't like that it's always on so I have it turned of most of the time to extend battery life. The negative thing about doing that is that the image isn't displayed right after I shoot, I have to go to playback mode to view it. Just can win them all I suppose.

The basic photography controls (ISO, flash control, playback) are all within easy reach. The menu system is pretty simple although the instruction manual isn't the best at explaining things. Image review and management are pretty good. There's a choice of a number of modes, including single picture, multiple pictures, and a nice calendar mode which basically shows a navigatable monthly calendars with your pictures organized by day. Its seems a bit gimmicky at first but actually it can be rather useful for travel photography.

Feature Set

The DMC-L1 is a strange case; it is primarily targeted towards advanced novices, intermediate level photographers and above with a little money to spend--in which case its feature set is probably average. Introduced at US$1999, it was in the same class (actually more expensive) as perhaps a Canon 30D or a Nikon D80 (remember this is a kit so the camera would therefore be around US$1000 if the lens value were removed). Both those cameras however I think are superior to the DMC-L1 in terms of feature set, build quality and many other aspects. At same time, compared to the Canon Rebel 400D and Nikon D40 the DMC-L1 is clearly superior. So I guess the DMC-L1 would be a "tweener"--something that is clearly better than the leading basic consumer level DSLRs but not as good as the intermediate level ones.

The DMC-L1 has all the basic features one would expect of an intermediate level camera. Things I took note of:

• There are seperate dials for shutter and aperture control, controls familiar to people who have used more classical film cameras.
• At 7.9 megapixels, the camera produces photographs that are adquate for nearly every application except exceptionally large prints.
• The Depth-Of-Field (DOF) preview button strangely is placed on the back and not in the traditional place just underneath the lens within easy reach of ones fingers. It's that way on just about all cameras for a reason. Bad design. Worse yet it doesn't work except in LiveView mode. Considering all the other intermediate level cameras (and even lower-level ones too it seems) this is baffling design. At the same time however considering how dark the viewfinder already is, it might not be all that useful anyhow (with LiveView mode at least the light is amplified so you can see)
• The built-in flash is much better than those of other DSLR's. The ability to use bounce is really nice. Like all built-in flashes, its underpowered and proned to red-eye (red-eye reduction notwithstanding) but having one is better than none at all. Bounce flashes usually result in much more pleasant, natural, softer images.
• Lack of Full-Time Manual focus. As mentioned earlier, its a bit odd that a fully electronic focusing mechanism requires flipping a switch on the body to enable manual focusing. Canon lenses have been doing this for nearly two decades with their EOS cameras, and it doesn't seem unreasonable to expect something like this on the DMC-L1.
• The DMC-L1 supports RAW output which is expected. A nice added feature however is the ability to generate both a RAW and a JPEG version simultaneously. I typically will use the JPEGs for immediate use like sending to friends or posting online. For more exacting work involving preprocessing, I will use the RAW files. On the flip side there is no RAW-only output mode, a JPEG is always generated whether you like it or not. This has the disadvantage of using up space on your memory card, using up more processing power and buffer space on you camera, which essentially slows it down
• The camera has an ISO range from 100-1600 which is reasonable; however at ISO 1600 images are quite noisy.
• Mirror lock-out is supported, but requires stepping through a few menus to enable. Awkward. Canon cameras however are also guilty of this.

In Use

Ultimately what's most important about a camera is how comfortable is to use and its compentence in making good photographs. The DMC-L1 is very capable of taking exceptional images. Panasonic is a major developer and manufacturer of CCD technology, and their imaging chips can be found in many cameras (for example, the original Canon 1D contained a Panasonic manufactured CCD chip). Samples below attest to DMC-L1's ability to produce excellent images. Images at ISO 100 have near imperceptible noise, and remains acceptable up to ISO 400. Even at ISO 800 noise is acceptable although use of a noise reduction filter is a good idea. Metering is generally accurate and so far I haven't experienced any problems.

I found the camera to be quick and responsive. Autofocus is not as fast as I would like, I felt my Canon cameras were able to focus much faster. Continous mode shooting exceeded my expectations.

I don't like the ergonomics of the DMC-L1. Though I realize that there had to be a tradeoff to get the retro-classic design, I think it could still have been designed better. The camera feels solid, but the rubber grip could have been better. I very much like standard controls of the camera. But many times I accidentally would shift the metering mode or shoot mode levers, which would cause problems or bad shots--these levers need to be more stiff or have some sort of locking mechanism to keep them in place since changing these modes isn't a very frequent event. My biggest complaint remains the placement of the shutter button within the shutter speed dial. It feels awkward and unnatural and I was constantly trying to reposition my fingers because the strap problem. I never got used to it and I don't know if I ever will.

And about the camera strap, it's pretty flimsy and cheap. While walking around with the camera around my neck, the strap actually unbuckled and my camera fell and hit hard concrete. The camera still worked, but suffered some abrasions and dents. After that incident I immediately switched the strap with one from an older camera not in use. In all my years of photography, I've never had this happen.

The viewfinder of the DMC-L1 is quite small, probably too small and is somewhat dark. This isn't a problem outside on a sunny day or in a bright place, but indoors or in low lighting it's hard to use. LiveView, which is the ability to use the main LCD to compose images is somewhat useful, but is hard to use, feels weird and awkward and is very slow. LiveView is also limited by the fact the main LCD is fixed in place and can't be tilted in any way. A firmware fix allows you to change the mode of the main LCD to "above" and "below" eye-level settings, but it feels unnatural. It's not useful for much other than stationery subjects and then mostly at eye-level. I don't use it hardly at all because of these limitations. The Depth-of-Field preview is only availlable in LiveView mode, which baffles me.

The main LCD in the back is big, bright and very good. Because of the position of the viewfinder however, it gets smudged or fogged up frequently. I found configuring the camera satisfactory. I don't like the fact that you can't set mirror lock without diving through several menus--it should be just a button (if that's not possble, allow one of the customizable buttons to be used to set mirror lock). As a landscape photographer, mirror lock is a big deal to me (to be fair, as mentioned earlier Canon also has this annoying problem). I like the fact you can take both RAW and JPEG images simultaneously, but I don't know why you can't set the camera to take RAW images exclusively.

The Vario-Elmarit lens is a top-notch lens. It's 28-100mm effective range is very versatile and handles nearly all my needs. The lens is fast with exceptional quality throughout the entire zoom range. Image stablization is really handy. Quality like this usually means big glass which means added weight, yet the Vario-Elamarit is much lighter and smaller than expected which is very welcome.

Samples

Click on the images below to see a full-size image. Note these images are very very large, take a long time to download and strain website bandwidth. View with discretion.

1/80s at f/16 (ISO 100) 14mm (equiv. 28mm in 135) RAW	1/320s at f/8 (ISO 100) 14mm (equiv. 28mm in 135) RAW	1/320s at f/8 (ISO 100) 14mm (equiv. 28mm in 135) RAW	1/100s at f/11 (ISO 100) 17mm (equiv. 34mm in 135) RAW
1/400 at f/7.1 (ISO 100) 22mm (equiv. 44mm in 135) RAW	1/50s at f/8 (ISO 100) 50mm (equiv. 100mm in 135) RAW	1/320s at f/11 (ISO 100) 20mm (equiv. 40mm in 135) RAW	1/200s at f/5.6 (ISO 100) 27mm (equiv. 54mm in 135) RAW
1/25s at f/3.5 (ISO 800) 50mm (equiv. 100mm at 135) RAW	1/80s at f/8 (ISO 800) 50mm (equiv. 100mm at 135) JPEG (Low Quality)	1/250s at f/5.6 (ISO 800) 50mm (equiv. 100mm at 135) JPEG (Low Quality)	1/100s at f/8 (ISO 800) 50mm (equiv. 100mm at 135) JPEG (Low Quality)
1/160s at f/5.6 (ISO 800) 50mm (equiv. 100mm at 135) JPEG (Low Quality)	1/200 at f/8 (ISO 100) * 7mm (equiv. 14mm at 135) RAW	1/160s at f/8 (ISO 100) * 8mm (equiv. 16mm at 135) RAW	1/500s at f/8 (ISO 100) * 7mm (equiv. 14mm at 135) RAW
1/200s at f/8 (ISO 100) 50mm (equiv. 100mm at 135) JPEG (max quality)	1/600s at f/3.5 (ISO 100) 50mm (equiv. 100mm at 135) JPEG (max quality)	1/2000s at f/3.1 (ISO 100) 20mm (equiv. 40mm at 135) JPEG (max quality)	1/40s at f/16 (ISO 100) 14mm (28mm in 135) JPEG (max quality)

Notes:

• Photos denoted with asterisk indicate the use of the Olympus ED 7-14 f/2.8 Zuiko lens
• "equiv. xyz to 135" means equivalence to 35mm format film
• RAW indicates that the RAW file was used and converted using Photoshop Camera RAW to generate the JPEG
• JPEG indicates the file was generated directly from the DMC-L1
  
• All images are 3136 x 2352, maximum resolution of camera
• No filters, sharpening or any other manipulation/corrections applied to images. Color balance entirely decided by the camera.

In Conclusion

This was after all Panasonic's first foray into the DSLR market. And though they partnered with Olympus and Leica, this is clearly a first generation product, or what we software developers call sarcastically a "version one product"--many tantalizing features and interesting possibilities and potential, but at the same time a number of flaws, oversights and missed opportunities. It's not necessarily the sign of a bad product. Indeed there are many very good and interesting things about the DMC-L1--what one would generally expect from a first generation camera from a new entrant into the DSLR market.

Despite the deficiencies, I decided to go ahead and purchase the DMC-L1 for a number of reasons. My regular camera system is Canon, of which the Canon 1D Mark II serves as my primary body. It makes a great too for serious photography. But I don't do serious photography all the time, such as vacation/travel and personal photography. You don't need a Canon 1D Mark II and L-series lenses to take family travel photos, it's just overkill. Other times you need a lightweight travel camera simply because of contraints--on one occasion I hiked to the top of Nevada Falls in Yosemite, carrying my Canon D60 and a number of lenses--but I wound up using my Contax G2 rangefinder the whole time because it was small, compact and easily to manage during the hike. Hanging the Canon around my neck was just a a pain and it wound up in my backpack.

Another factor that influenced me was that the DMC-L1 mount allowed me to access high quality wide and super-wide angle lenses that I could not with my Canon system because of cost. Wide angle (less that 35mm in 135 format) is very important for landscape photography. Back in the days I used film, wide angle photography was no problem. But when I switched to digital first with the Canon D60 (1.6x crop factor), a focal length of 35mm effectively became 56mm and my widest lens of 20mm became 32mm. Wide-angle, but unremarkable. When I got a 1D Mark II, things got better because of the reduced crop factor (1.3x) which made 20mm about 26mm--about the same as the wide end of a standard zoom. But if I wanted to get super-wide angle, I would either have to buy an extreme wide-angle lens (14mm) which is ridiculously expensive or a Canon 5D full frame which is also too expensive for me currently. The Panasonic DMC-L1 met that need. The "kit" lens Vario-Elmarit at its widest--effectively 28mm in 135 format, was already equally as wide as what I was already using. A few months later I purchased the Olympus 7-14mm lens, which effectively gave me an ultra-wide range from 14-28mm. I wouldn't be able to achieve the same with my Canon system at anywhere close to the cost of this setup. The Panasonic DMC-L1 also met my need for a travel camera. It's much more powerful than a digicam, has a great deal of versatility, is fairly lightweight, has image stabilization and the kit lens has excellent optics. And of course there is the Leica Vario-Elmarit "kit" lens that comes as part of the package. The lens alone was reason enough to want the DMC-L1. It's versatile, fast, high-quality, image-stabilized, and it's a Leica.

So it worth a look? Maybe--there's lots to like but at the same time there are some clear deficiencies.

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