PANASONIC LUMIX S1 REVIEW
PANASONIC LUMIX S1 REVIEW

PANASONIC LUMIX S1-After unveiling the new Panasonic Lumix S1 and Lumix S1R cameras, the first Panasonic camera belonging to the Mirrorless category with a full-frame sensor,

the company announced the first lenses dedicated to these new cameras to launch with the Panasonic Lumix S Lens category dedicated to the L-Mount port of its new cameras.

Panasonic has announced the development of a new lens port named L-Mount through a collaborative partnership that combines them with Sigma and Leica,

the port that has recently appeared officially with the new Lumix S1 and Lumix S1R cameras and the step to accelerate the announcement of these new lenses come

because of The availability of any lenses compatible with the new port and new cameras, which would have put Panasonic in a late position in competition with other companies such as Canon,

Nikon, and Sony.

The new Panasonic lenses for the L-Mount port and the Lumix S1 and Lumix S1 R cameras consist of three lenses,

the first 70-200mm f / 4 and 50mm f / 1.4, both of which belong to the professional class that Leica has worked on developing in cooperation with Panasonic,

and the third lens is a 24 lens -105mm f / 4.

lenses for the Lumix S1

The three new lenses for the Lumix S1 and Lumix S1R cameras agree in a number of characteristics and specifications,

the most prominent of which is that they were designed to resist various weather conditions such as their ability to work at a low temperature up to -10 ° C,

and all include a front filter installation port measuring 77 mm, and the lenses are adopted All three have an autofocus system compatible with the camera’s transfer rate of 480 frames per second.

The Panasonic Lumix DC-S1 is the company’s mid-level full-frame mirrorless camera, built around the L-mount developed by Leica and now supported by Sigma

and Panasonic. It features an image-stabilized 24MP sensor and is capable of shooting at up to 9 frames per second.

The S1 can also shoot 4K/60p video from an APS-C region of its sensor or oversampled 4K/30p from its full sensor width. A multi-shot high-res mode lets it create 96MP Raw files and a paid upgrade enables 10-bit V-Log shooting.

The S1, along with its sibling the S1R, also features one of the highest-resolution electronic viewfinders on the market:

a 5.7M-dot OLED panel that runs at 120Hz and promises very little lag.

Panasonic Lumix S1 Key Specifications

  • 24MP full-frame CMOS sensor
  • Depth from Defocus contrast-detect AF system
  • 5-axis in-body ‘Dual IS’ system
  • Fully weather-sealed
  • Multi-shot 96MP ‘High Res’ mode
  • 6 fps bursts with continuous AF
  • 5.76M-dot electronic viewfinder
  • Dual-hinged 2.1M-dot touchscreen LCD
  • UHD 4K/60p video capture (1.5x crop); Oversampled 4K/30p with no crop
  • 10-bit HLG built-in, optional 4:2:2 V-Log
  • One XQD and one SD card slot
  • 380 shots/charge using LCD
  • USB charging, including from laptop/tablet chargers and portable power banks

The S1, with its large, magnesium alloy body, is being pitched at a higher price than the 24MP models from Nikon and Sony,

with a list price of $2499.

Alongside the S1 and its higher-resolution sibling, the S1R, Panasonic also announced 50mm F1.4, 24-105mm F4,

and 70-200mm F4 lenses for the L system. They’re priced at $2299, $1299 and $1699, respectively.

Both cameras are also compatible with existing Leica SL lenses as well as APS-C ‘TL’ glass.

A battery grip (DMW-BGS1) is available for around $350.

Two big things justify the Lumix S1’s size for me.

First is the in-body image stabilization (IBIS) that Panasonic provides. This physically shifts the sensor inside the camera in order to counteract unsteadiness from the photographer’s hands. The larger the sensor,

the more powerful the motors required to move it, and at this full-frame size, IBIS is a non-trivial matter. Nikon’s Z6 and Z7 and Sony’s A7 III have it,

for instance, while Canon’s EOS R does not.

Panasonic is well known for having excellent IBIS in its Micro Four Thirds cameras,

which are hugely popular for high-quality video,

and that remains true in the Lumix S1. The 24-105mm lens also has optical image stabilization (OIS),

which works in sync with the in-body sensor shifting to give me two different safety valves when shooting in suboptimal conditions.

The sensor works with a new Venus Engine,

and for the times where 24.2MP just doesn’t cut it you can call upon a new High Resolution mode. This troubles the sensor-based image stabilization system – more on that in a second – to capture eight images at once,

OLYMPUS DIGITAL CAMERA

with minute adjustments in the sensor’s position between each one, before blending them into a 96MP (12,000 x 8,000-pixel) composite.

What’s particularly good to discover is that these are output as raw files rather than  JPEGs, so you can still process them as you would do any other raw file.

Panasonic

Panasonic currently has three L-mount lenses available for the S1, namely the Lumix S Pro 50mm f/1.4, Lumix S Pro 70-200mm f/4 O.I.S.

and the Lumix S Pro 24-105mm f/4 Macro O.I.S., and it’s the latter that currently serves as the default kit lens.

Panasonic has also pledged to make 24-70mm f/2.8, 70-200mm f/2.8 and 16-35mm f/4 lenses available throughout 2019, along with two teleconverters,

and four further optics in 2020. This will result in 10 lenses in total by the end of 2020, a range that will be bulked up by 18 from Leica

(including existing options) and 14 that will shortly arrive from Sigma.

Panasonic’s sensor-based image stabilization system has been a feature on its G-series cameras for some time,

so it’s no surprise to see that it makes the cut here. On its own this provides five-axis stabilization for non-stabilized lenses,

although it also works in concert with O.I.S. lenses that have their own two-axis stabilization systems,

Right now, this only applies to the aforementioned Lumix S Pro 70-200mm f/4 O.I.S

and Lumix S Pro 24-105mm f/4 Macro O.I.S optics, but the benefit here is up to six stops of correction, which is very respectable. 

Using a lens without image stabilization? You can enjoy 5.5 stops instead,

which is still competitive. On top of this,

a slightly hidden but very neat I.S. Status Scope feature can also be brought up, its purpose is to give you a graphical representation of vibration in real-time.

This S1’s stabilization system works for both stills and video shooting, and Panasonic has form for kitting out its models with a strong suite of video recording tools. Indeed,

4K UHD quality

the S1 is arguably a stronger camera for video than the more senior S1R,

thanks to its ability to shoot 4K UHD video using the whole width of the sensor

so no crop factor to worry about – and full pixel readout at up to 30p. You can also record at this setting without any time limit (unlike at 4K60p,

where there’s a 29 min, 59-sec cap), although the footage is split into individual files.

Video can be recorded in 4K UHD quality at up to 60/50p

(though without full pixel readout), with 25p and 24p frame rates also on hand,

and 10-bit 4:2:0 footage can be captured internally when using the HEVC/H.265 codec – otherwise,

you can capture 8-bit 4:2:0 footage using MPEG-4/H.264.

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