When is the panasonic gf2 available

But because the images are stitched from multiple images, it was really obvious where the stitching errors were made, because things like bunches of trees, which are considerably more difficult to stitch, would stand out as not conforming to the 3D world; one tree even popped out from the background to appear to be in front of the trees it was most certainly behind.

While I enjoyed looking at the 3D images for the novelty, I don't think it's something I'd do very often. Those same users might also see it as additional reason to buy into the whole Panasonic Micro Four Thirds camera lineup as a whole. Still, I'm glad I have some photos of the kids playing in 3D, because someday the technology may be as ubiquitous as the once-futuristic flat panels are today. Indeed, some of what we saw at CES , especially glasses-free 3D, made even the most skeptical 3D doubters among us start to wonder.

Perhaps instead of continued confinement to the iconic reels of the year-old Viewmaster stereoscopic viewer, 3D might finally stick around, what with electronic capture and electronic display technology finally becoming the mainstream method of image creation and consumption.

Meanwhile, if you want to start capturing 3D now, the Panasonic 3D lens is available for current or future G2, GF2, or GH2 shooters at a reasonable price.

Recent advances in sensor technology have made ISO 1, look a lot more like ISO , but there are still cameras whose quality starts to fall apart at this setting. I also choose 1, because I like to be able to shoot at least at this level when indoors and at night. Printed Results. Peeping at pixels onscreen is only worth so much. It's when we print the images that we get to the relevant performance of a camera's lens and sensor.

ISO shots are a little soft at 20x30 inches, which is not a surprise for a megapixel camera. Prints look much better at 16x20 inches, with good detail and color. ISO images have about the same level of detail as ISO , but colors and shadows are a little darker. ISO images are softer at 16x20, thanks to a noticeable jump in noise and noise suppression efforts. Reducing image size to 13x19 brings quality back up sufficiently for a good print.

ISO 1, files are where quality drops off more dramatically, with lower saturation, darker shadows, and considerably softer detail, especially in reds. ISO 3, shots are a bit rough at 11x14 inches, with mottled shadows, and darker reds. Printing at 8x10 brings back detail, but those reds are still troublesome and darker than we're used to seeing blur is not uncommon, but a darkening of the red is unusual.

ISO 6, images are usable at 5x7, but really look better at 4x6. Reds are still darker, but we think that prints from low-light photos at these sizes will look just fine. Overall, the Panasonic GF2 performs admirably in terms of printed results. Overall, I had a great time with the little Panasonic GF2. It's extremely nimble and compact -- still a little too large to slip into a pair of slacks without looking like you have a camera in your pocket I did get looks , but the design has never been more sportcoat or jacket-friendly.

With the mm lens, all that changes, but it's still amazing what a few millimeters can do to make a camera more portable. Key to achieving the trimmer body was the GF's new touchscreen user interface, something that we've found to prove rather divisive among photographers.

In some respects, the GF2's touch panel is great, making for a really smooth experience. In particular, the ability to simply tap on a subject to focus and set exposure is extremely intuitive. Unfortunately there are definite drawbacks to the touch interface as well, most notably the fact that you can't completely remove overlays during capture or playback -- there's always at least one soft button obscuring your view.

There are also respects where the GF2's interface seems to lack cohesion, most notably in that the menu system isn't touch-capable, requiring you to switch mindset between using the touch screen and physical controls. Performance is also somewhat of a mixed bag.

Panasonic promises improved noise reduction across the board, and the GF2 does indeed improve chroma noise in shadows, but this comes at the expense of subtle image detail. The effects of noise reduction can be seen as smudging in images shot at all ISO sensitivities, although you're not likely to notice this at the base sensitivity without pixel peeping.

We also noted some fairly pronounced hue shifts, and a greater degree of oversaturation than in the GF1. For the best results, you'll really want to shoot raw and -- since the bundled Silkypix software didn't seem to do much better than the camera's own JPEG engine in terms of detail -- process with third party software.

Unfortunately despite the relatively sedate burst shooting speed of the GF2, raw burst depth feels pretty limited. JPEG shooters can breathe much easier, with a pretty generous burst depth available, but when shooting above ISO you'll find that the GF2's burst rate falls still further. There's still plenty to recommend the GF2, however. Put Panasonic's 14mm prime -- a great walk-around lens -- on the mount, and the package is arguably still smaller than competing fixed-lens cameras.

Keep a zoom in your camera bag for when you need a little telephoto reach, and you get the benefit of a much larger image sensor. Autofocus speeds are very good for a compact system camera, and since autofocus is possible during Full HD video capture, you can safely leave your camcorder at home.

Throw in the novelty value of the available 3D lens -- albeit with its limited resolution and 3D "depth" -- and Panasonic has put forth a pretty unique package for potential buyers to consider. For many, the purchase decision will likely hinge on the touch screen interface, and whether body size or the quantity of external controls are of greater importance.

Although I'm a traditionalist at heart, the advantages of Panasonic's touch screen implementation were such that I mostly didn't find myself missing the extra controls. Factoring in the more compact body and swift autofocus, I found the Panasonic GF2 a very enjoyable camera to shoot with, and one to which we're happy to award a Dave's Pick.

GF2 vs GX GF2 vs E-PL8. GF2 vs A GF2 vs E-PL9. GF2 vs M1. GF2 vs GX8. GF2 vs E-PL GF2 vs X-A3. GF2 vs X-E3. GF2 vs X-A5. Imaging Resource rating 4. Compared to the Sony NEX-5, the Panasonic GF2 is almost exactly the same width, but it's around a third of an inch taller than Sony's aggressively-styled competitor.

Neither the GF2's internal strobe or the NEX-5's proprietary external strobe are very powerful, but Panasonic's camera can also accept more powerful external strobes courtesy of an intelligent hot shoe. The GF2 can also accept both optical and electronic viewfinder accessories in the shoe, where Sony offers only an optical finder. Both cameras offer 3. The NEX-5's LCD has significantly higher resolution, and is also articulated, able to tilt 80 degrees upwards, or 45 degrees downwards.

The Panasonic GF2 is a third of an inch less wide than the Olympus E-P2, and also just slightly less tall, especially at the hot shoe. Seen from above, the size advantage of the Panasonic GF2 is clearer, although it's hardly a night and day difference.

As well as the previously mentioned reduction in width and height, the Panasonic GF2 is almost a tenth of an inch slimmer. As seen from above, there's little to choose between the GF2 and NX in terms of body thickness, but the Samsung lacks an internal flash strobe.

The Nikon P doesn't accept interchangeable lenses, but we've included it in this comparison as being representative of an enthusiast-friendly, fixed-lens model. As you can see, there's little to choose in terms of body width, but the GF2 is nearly half an inch shorter -- largely thanks to the fact it lacks an optical viewfinder directly above the lens, as in the P Both cameras have 3.

It also provides much higher resolution, at around k dots. Catering to enthusiasts, the P is rich in external controls, making for quick settings adjustments, but a steeper learning curve. Weight and overall depth are similar with the Panasonic's 14mm lens mounted, or at least, would be if the P's lens was retracted in this image.

Of course, that's with a fixed focal length lens on the GF2. There isn't a direct equivalent to the P's 7x zoom lens in the Micro Four Thirds lineup, but it falls roughly between Panasonic's mm and mm lenses in terms of 35mm-equivalent focal length range. Both of those lenses are in the region of 3.

Hence, with an equivalent lens to that of the P, the size and weight advantage would fall very clearly in favor of the fixed-lens camera. Of course, that would be thanks to its relatively speaking tiny image sensor, which also brings increased noise compared to a large-sensor camera, limits the wide-angle possibilities, and makes it harder to blur backgrounds. I prefer the smoother noise pattern of the GF2, but detail appears sharper in the GF1, and color more vibrant.

Both are somewhat muted when compared to others, shown below. But in terms of detail, the GF1 seems to leave more intact. The GF2 remains shackled with Panasonic's tendency to turn yellows more than a little green, hence the darker reds, the almost gray mosaic pattern, and the greenish olive oil bottle. The Samsung NX leaves quite a bit more noise in the file, but also retains more detail and color in most cases than the Panasonic GF2 manages.

The megapixel Nikon D has better color and detail, especially noticeable in the red leaf swatch. There's a little more chrominance noise in the shadows from the Nikon D, however. Detail comparison.

High-contrast detail is often another story, and the Panasonic GF2 does manage to best the Nikon D at rendering the lines between the letters of the Pure Brewed logo, at least at ISO The Panasonic GF2 and Samsung NX both seem to have the lowest contrast overall, with one a little too bright and the other a little too dark.

Buy the Panasonic GF2. Similar to the GF2 but smaller lighter larger sensor cheaper But Panasonic GX Simply select iA on the mode dial and press the Motion Picture button. Face Detection automatically detects a face in the frame and adjusts the focus, exposure, contrast, and skin complexion.

Intelligent D-range continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. The Optical Image Stabilizer helps prevent blurring from hand-shake when using a compatible lens. One cool 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.

You can obviously use any zoom lens during recording with focusing set as for still images. On the negative side, you'll find that if you choose continuous auto-focus, areas of the video will be blurred before becoming sharp again as the camera tries to refocus. On a more positive note, the the GF2 is quite fast at re-focusing, and having this system is much better than not being able to auto-focus at all, as with most current DSLR cameras that offer video recording. Hand-holding the GF2 during movie recording inevitably leads to obvious shake, despite the optical image stabilizer on compatible lenses, so for best results you'll need a dedicated video tripod.

As with the Live View Finder, experienced photographers will now be tutting loudly at the thought of having to use a traditionally slower system.

I'm happy to be able to report that this decision hasn't resulted in a slow and unpredictable AF - quite the contrary in fact. There were very few occasions when the GF2 failed to lock onto the subject, especially when using the centre AF point. On the front of the Panasonic Lumix DMC-GF2 is a small focus-assist and self-timer indicator lamp, lens release button, lens mount, and the hand-grip. Unfortunately, Panasonic have decided to cut costs and not 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.

Also the remote control socket from the GF1 has been removed on the GF2, which means that yoiu'll need to use the self-timer for long exposures, a much less convenient solution. As mentioned previously, the addition of the Q. Menu button on the rear of the camera or via the touch-screen speeds up access to some of the more commonly used options.

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. Thankfully Panasonic have chosen to supply it in printed format, rather than as a PDF on a CD, so you can also carry it with you for easy reference. The supersonic wave filter in front of the Live MOS sensor vibrates 50, times per second to remove the dust from the sensor. The Contrast Auto-Focusing system is quick in good light and the camera achieves focus most of the time indoors or in low-light situations, helped by the AF assist lamp - the GF2 doesn't have any notable problems locking onto the subject in low-light situations.

The visibility and refresh rate of the 3 inch LCD screen are very good, and the pixel count of , is excellent, with virtually no visible grain.

It takes about 1 second to store a JPEG image, allowing you to keep shooting as they are being recorded onto the memory card - there is a barely perceptible LCD blackout between each image.

Storing a single RAW image takes around 3 seconds, but thankfully it doesn't lock up the camera in any way - you can use the menu system or shoot another image while the first file is being written to memory. Once you have captured a photo, the Panasonic Lumix DMC-GF2 has an average range of options when it comes to playing, reviewing and managing your images.

You can instantly scroll through the images that you have taken, view thumbnails up to 30 onscreen at the same time and in a Calendar view , zoom in and out up to 16x magnification, view slideshows, delete, protect, trim, resize, copy and rotate an image. You can also select favourite images, change an image's aspect ratio, add a sound clip to an image, delete Face Recognition data, and set the print order.

ISO exhibits quite visible noise and loss of fine detail, and ISO is even noisier but still usable. The new fastest setting of ISO is just too noisyfor anything but as a last resort. 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 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. 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. These shots of a white coloured wall were taken at a distance of 1.

And here are some portrait shots. As you can see, neither the Flash On setting or the Red-Eye Reduction option caused any amount of red-eye. The Panasonic Lumix DMC-GF2 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 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. Panasonic's My Colors provide preset combinations of different sharpness, contrast, saturation and noise reduction settings.

The eight available My Color options are shown below in the following series, which demonstrates the differences. All products recommended by Engadget are selected by our editorial team, independent of our parent company. Some of our stories include affiliate links.

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