The image at right and the
one below are an exercise we often do when reviewing a long
zoom camera such as the Panasonic DMC-FZ7. The photos of the
same scene, one captured using the wide angle and the other
at the maximum telephoto setting of the zoom, serve to illustrate
the power of the optics. And, with a camera such as this one,
which has a focal length range that starts at the equivalent
of 36 mm and which extends to a whooping 432 mm, the photos
never fail to be impressive.
While nowadays long telephoto
lenses on digital cameras are not uncommon, with the exception
of Panasonic digital cameras, optical stabilizers are still
not routinely offered. Yet, the longer the zoom the more difficult
it is to use.
Telephoto lenses amplify
all minute camera movements. Therefore, to avoid camera-shake
ruining the image, long zooms require very bright apertures
to obtain a high shutter speed, or a tripod to stabilize the
camera.
This is where an optically stabilized lens offers a real
advantage, and often allows the user to exploit the full potential
of the lens. Optical stabilizers counteract inadvertent camera
movements by continuously moving a lens in the opposite direction
within the zoom lens itself, cancelling movement.
Naturally, long zoom lenses tend
to encourage the user to capture subjects they might not otherwise
attempt to photograph. The bear shown below, busy snacking
on the grasses growing in a pond, is a typical example. But
while the FZ7 is very capable of capturing this type of subject,
its ability is somewhat diminished by the way the camera operates.
For one, following a moving
subject to photograph it is impeded by the relatively slow refresh
rate of both the EVF and the monitor, which causes their image
to be slightly jerky, and occasionally blurred. For another,
once focus is locked and the shutter release is pressed, the
image — again either with the EVF or the monitor —
vanishes for a second or so and then reappears as the camera
records it. This disconcerting effect is even more noticeable
with a moving subject, as by then it is often no longer in frame.
Aperture f5.6, shutter speed 1/200 sec., 80
ISO.
Yet the FZ7 is fast in just about
every other aspect of its operation. Its controls are responsive;
the zoom transits from the wide end to the telephoto end in
a little more than 2 seconds; there is little shutter lag; and
with decent lighting, the auto focus is quick. Moreover, thanks
to good metering and good optics, the quality of the exposures
the camera yields is usually excellent.
Aperture: f5.6, shutter speed 1/400 sec., 80 ISO.
The FZ7 provides 2 compression levels,
Fine and Standard, and one uncompressed TIFF format. Logically,
the TIFF format should offer the highest image quality. Yet,
we were unable to find even the smallest difference between
the 17.4 MB TIFF image and the 800 KB Standard quality JPEG
version of the same image that the camera automatically saves
along with it, making us wonder about the value of the TIFF
format on this camera.
Set to the Fine JPEG format, the FZ7 yields an image that
is generally compressed at ratios that range from 6:1 to 8:1.
With most subjects, the compression
at the Fine level produces good results, even when the image
is seen at 100 % on a monitor. But on occasion, some loss
of detail can be seen with textures or with complex patterns.
The FZ7 offers an excellent level of control over the way
the image is processed in-camera. Adjustments are provided
for contrast, sharpness, saturation, and even noise reduction.
In addition, it provides controls over the image tone, either
by tweaking the white balance when it is set to something
other than Auto, or by selecting cool or warm
in the Colour Effect menu option.
Colour Effect set to Normal
Colour Effect set to Warm
And, with some experimentation,
the Colour Effect option can be used to produce some interesting
images, especially when the subject lends itself to it, such
as with snow scenes or sunsets.
When set to its base sensitivity of 80 ISO, the FZ7's images
show little if any noise, with the possible exception of shadow
areas, which can sometimes appear a touch grainy when seen
at full scale.
At higher sensitivities, noise remains minimal
until the 200 ISO level is reached. At the 400 ISO level,
a bit more noise can be detected, but overall, the noise content
of 400 ISO images from the FZ7 are quite comparable to the
200 ISO images of most other cameras. Interestingly, the Auto
ISO setting used by the Simple Mode and by the Scene modes,
ranges from 80 to 200 ISO without the flash, minimizing noise
very effectively, and only increases up to 400 ISO when the
flash is used.
Aperture: f4, shutter speed 1/100 sec., 80 ISO.
The FZ7 offers even higher sensitivities,
800 and 1600 ISO, when it is set to the High Sens. Scene
mode. At these levels, however, noise processing tends to obscure
details, resulting in an image that can take on an appearance
similar to that of a watercolour. Still, these high sensitivities
can come in useful once in a while, especially if the flash
cannot be used, or when there is a need to ensure as high a
shutter speed as possible.
Clearly, the DMC-FZ7's primary
appeal comes from its powerful, 12X, stabilized Leica lens.
This is a lens that has little distortion at the wide end and
none at the telephoto end. Similarly, there seems to be no serious
chromatic aberration throughout its focal length range, and
images are crisp from corner to corner. This, plus the fact
that the FZ7 is equipped with a full range of shooting modes,
makes it suitable for anyone and should ensure its success.
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