Panasonic Lumix G9 Avis – – Commander Hybride Numérique sur Amazon -45% Réduction

En profondeur

Le Lumix G9 de Panasonic est un appareil photo haut de gamme sans miroir destiné aux passionnés. Il offre la meilleure qualité photo et permet une prise de vue rapide à partir d’un boîtier Lumix G à ce jour. Annoncé en novembre 2017, il devient un produit phare conjoint avec le Lumix GH5. Bien qu'ils soient tous deux très compétents en photo et en vidéo, Panasonic décrit le nouveau G9 comme son appareil photo idéal. Comme tous les boîtiers Lumix G à ce jour, le G9 est basé sur la norme Micro Four Thirds développée conjointement par Panasonic et Olympus, ce qui lui permet d’accéder à la plus grande sélection de lentilles natives sans miroir sur le marché.

Le Lumix G9 hérite du capteur Micro Four Thirds de 20 mégapixels du GH5 qui supprime le filtre passe-bas pour des résultats plus nets. Panasonic a réglé la sortie avec un traitement JPEG amélioré pour des tons chair naturels, des détails plus détaillés et une meilleure réduction du bruit, et a également amélioré la stabilisation intégrée à 5 axes de 5,5 à 6,5 paliers. Cela a également permis à Panasonic d'implémenter un mode haute résolution composite basé sur un trépied, qui capture et combine huit images pour renforcer les détails et éliminer les artefacts de fausses couleurs, générant ainsi des fichiers de 40 ou 80 mégapixels.

Le nouveau boîtier résistant aux intempéries (avec un anneau rouge entre le mode et les molettes indiquant l’état du phare) est doté d’un écran tactile entièrement articulé, d’un joystick AF, de deux emplacements pour carte SD (exploitant tous les deux la vitesse UHS-II), d’un port USB-3 exploité par le logiciel de modem fourni (le port peut également être utilisé pour charger et alimenter), un port HDMI de taille normale, ainsi que des ports pour microphone, casque et Sync PC. Une première pour un corps Lumix G comprend un écran d’écran LCD rétroéclairé sur la surface supérieure et un levier de fonction personnalisé monté à l’avant (pour passer d’une banque de paramètres à l’autre). Le G9 est également doté du plus grand viseur à ce jour avec 3680k points et 0,83 grossissement x; La vue est si grande que vous pouvez passer à des grossissements inférieurs de 0,77x ou 0,7x si vous le souhaitez.

Le Lumix G9 est également synonyme de vitesse, offrant 20 images par seconde avec mise au point automatique en continu et un tampon RAW de 50 images avec obturateur électronique ou 60 images par seconde en mode AF unique; passez en obturateur mécanique et vous obtiendrez 9 images par seconde en mode AF continu et un tampon RAW de 60 images ou 12 images par seconde en mode AF simple. Vous pouvez également extraire des images fixes JPEG de 18 ou 8 mégapixels des modes photo 6k ou 4k à 30fps ou 60fps respectivement. Focus reste uniquement basé sur le contraste, mais le système Advanced DFD de Panasonic fonctionne jusqu'à -4EV et calcule maintenant à 480 images par seconde, offre quatre préréglages personnalisés et, avec une réponse de 0,04 seconde, affirme être plus rapide que le GH5, sans oublier plusieurs concurrents avec PDAF. Bien que le G9 soit l’appareil photo fixe par excellence de Panasonic, il n’est pas en reste pour la vidéo, avec une résolution de 4k à 60p, de 1080p à 180 images par seconde, l’enregistrement relais par échange de cartes SD et l’enregistrement interne 4: 2: 0/8 bits.

J'ai passé plusieurs semaines à tourner avec le Lumix G9 sur deux périodes distinctes, ce qui m'a permis d'effectuer et de confirmer une grande variété de tests, ainsi que de filmer plusieurs vidéos décrivant et montrant les fonctionnalités. Je vais commencer cette revue par un aperçu vidéo de la caméra pour vous mettre en appétit, suivie de quatre plongées plus approfondies, toutes sauvegardées par ma critique écrite habituelle, mes tests et mes exemples d’images!

Consultez les prix sur le Panasonic Lumix G9 sur Amazon, B & H, Adorama ou Wex. Sinon, procurez-vous une copie de mon livre In Camera ou offrez-moi un café! Merci!

Examen du podcast Panasonic Lumix G9

Dans le podcast ci-dessous, Doug Kaye et moi discutons de tout ce que vous devez savoir sur le G9! Vous pouvez apprécier de le jouer en arrière-plan pendant que vous lisez les critiques et les résultats!

Conception et commandes de Panasonic Lumix G9

Dans la vidéo ci-dessous, Doug Kaye et moi discutons de la conception et des commandes du Lumix G9. Si vous préférez écouter tout en parcourant mes résultats et mes échantillons, vous trouverez une version audio plus longue en dessous. Notez dans la vidéo que le chargeur utilise un câble Micro USB différent du port USB 3 de la caméra; Depuis, je confirme depuis que la moitié d’un port USB 3 peut être utilisée avec un câble micro USB normal. Il est donc possible d’utiliser le câble fourni avec le chargeur pour se connecter au G9 et le charger ou le mettre sous tension. J'ai également confirmé qu'il était possible d'alimenter le G9 via USB (et que vous pouviez utiliser l'adaptateur secteur et le câble fournis pour le faire), mais une batterie doit être installée, elle doit déjà être chargée, et vous devez activer l'option "Alimentation USB" dans les menus.

Consultez les prix sur le Panasonic Lumix G9 sur Amazon, B & H, Adorama ou Wex. Sinon, procurez-vous une copie de mon livre In Camera ou offrez-moi un café! Merci!

Le Lumix G9 est un appareil photo volumineux et sérieux qui peut partager beaucoup d’ADN de conception et de contrôle avec le Lumix GH5, mais qui finit par avoir son propre style. La tête du viseur comporte une arête définie qui la divise en deux surfaces distinctes, ce qui lui confère un aspect plus anguleux que le sommet lisse du GH5. Le sélecteur de mode principal se trouve maintenant au sommet du collier de commande sur le côté gauche (lorsque vous tenez l’appareil photo) et affiche un anneau rouge pour indiquer la position de l’appareil photo phare de la gamme Panasonic. La surface supérieure droite nouvellement libérée abrite désormais un panneau d’affichage à cristaux liquides, une offre standard sur les reflex numériques de sa catégorie, mais une rareté sur les modèles sans miroir et une première sur un boîtier Lumix G. La molette a été redessinée et positionnée sur la surface supérieure du panneau LCD, tandis que la poignée s’élève elle-même légèrement au-dessus de la surface supérieure et utilise un déclencheur à effleurement avec collet de puissance. Ces différences donnent toutes une caméra qui ressemble et se sent assez différente de la GH5, bien que les deux partagent une configuration de contrôle presque identique.

panasonic-lumix-gh5-g9-top1 "width =" 945 "height =" 462 "tailles =" (max-width: 945px) 100vw, 945px "data-srcset =" https://www.cameralabs.com/wp -content / uploads / 2017/11 / panasonic-lumix-gh5-g9-top1-945x462.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/11/panasonic-lumix-gh5- g9-top1-400x195.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/11/panasonic-lumix-gh5-g9-top1-945x462@2x.jpg 1890w, https: // www.cameralabs.com/wp-content/uploads/2017/11/panasonic-lumix-gh5-g9-top1-400x195@2x.jpg 800w "/>

<p class=Ci-dessus: Lumix GH5 (à gauche) et Lumix G9 (à droite)

La conception et la position des commandes sont toujours très personnelles: j’ai trouvé la roue arrière nouvellement positionnée tombant plus confortablement sous mon pouce, mais j’ai senti que le joystick AF – comme le GH5 – impliquait un peu d’étirement. On peut soutenir que le déclencheur tactile est inspiré des reflex numériques haut de gamme, tout comme l’inclusion d’un écran d’affichage à cristaux liquides rétro-éclairé par une rotation du collier de l’obturateur. Au début, j’ai trouvé que le déclencheur était beaucoup trop sensible, prenant accidentellement des photos alors que j’essayais de trouver la position intermédiaire, mais après quelques jours, je m’y suis habitué et je l’ai trouvé comme une seconde nature – bien que le confiant à un autre photographe et ils ' ll est presque certain que vous enlevez un tas d’images sans le vouloir.

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</p>
<p>Le corps lui-même est très solide et confiant entre vos mains. J'ai particulièrement apprécié la prise en main avec son arête interne accrochée qui vous permet de vous procurer du bout des doigts, ce qui rappelle l'ergonomie de Nikon. Pendant ce temps, le repose-pouce arrière est plus prononcé que le GH5, ce qui vous permet de tenir l'appareil photo en toute sécurité. La qualité générale de la construction est de très grande qualité et je n’ai aucun doute sur les affirmations de Panasonic en matière de scellement contre les intempéries, ayant tiré à plusieurs reprises avec le G9.</p>
</p>
<p> <img class=Ci-dessus: couverture Leica 12-60mm

Le rapport de focale f2.8-4 est plus lumineux qu'un zoom de kit standard et si vous effectuez un zoom avant de 60 mm, vous pourrez obtenir un flou en arrière-plan. Mais si vous voulez une très faible profondeur de champ, je vous conseillerais d’opter pour une prime à f1.8 ou plus rapide encore. Voici un exemple de flou maximal que vous pouvez attendre à 60 mm f4.

panasonic-lumix-g9-12-60-dof1 "width =" 2000 "height =" 1500 "tailles =" (max-width: 2000px) 100vw, 2000px "data-srcset =" https://www.cameralabs.com /wp-content/uploads/2017/12/panasonic-lumix-g9-12-60-dof1.jpg 2000w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix- g9-12-60-dof1-400x300.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-12-60-dof1-945x709.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-12-60-dof1-400x300@2x.jpg 800w, https://www.cameralabs.com/wp -content/uploads/2017/12/panasonic-lumix-g9-12-60-dof1-945x709@2x.jpg 1890w "/>

<p class=Ci-dessus: Leica 12-60mm à 60mm f4

Le Lumix G9 est doté d'une stabilisation intégrée à cinq axes qui déplace le capteur afin de réduire les tremblements de l'appareil photo avec tous les objectifs, qu'ils soient neufs ou anciens, natifs ou adaptés. Si vous utilisez l’un des objectifs Lumix G de Panasonic prenant en charge la technologie Dual IS 2, la stabilisation optique de l’objectif peut fonctionner de pair avec le système de capteur à décalage situé dans le boîtier, pour offrir une compensation encore plus efficace. La stabilisation de chaque génération a été améliorée par Panasonic et elle affirme que le G9 est le meilleur, avec 6,5 arrêts, couplé à un objectif Dual IS 2. Les objectifs Dual IS 2 comprennent les versions Leica (et Lumix G) du zoom 12-60 mm, le téléobjectif Leica 200 mm f2.8 et des versions récemment améliorées de modèles comme le 100-300 mm. Pendant ce temps, d'autres objectifs, y compris le zoom super téléobjectif Leica 100-400 mm, ont reçu des mises à jour du micrologiciel pour la prise en charge de Dual IS 2 – consultez les pages de support de Panasonic pour savoir s'il existe une mise à jour du micrologiciel de vos objectifs Lumix, bien que, de toute évidence, ils aient besoin la stabilisation optique de l'OIS en premier lieu.

Pour tester Dual IS 2, j'ai monté le zoom Leica 12-60mm sur le G9, je l'ai zoomé à 60mm pour un champ de vision équivalent de 120mm, puis j'ai pris des photos à partir d'une vitesse d'obturation de 1/125, en les réduisant d'un arrêt à un temps jusqu'à ce que j'atteigne une seconde. J'ai effectué le test deux fois, d'abord sans stabilisation activée et ensuite avec activation; notez que si l'objectif prend en charge le mode Dual IS, une icône "Dual" apparaît dans le coin de l'écran ou du viseur, bien qu'il n'y ait pas d'identification visuelle entre Dual IS et Dual IS 2. Comme avec tous les systèmes stabilisés, vous devez appuyer à demi l'obturateur et attendez environ une seconde que la compensation atteigne son efficacité maximale. Vous entendez la stabilisation légèrement à l’arrière-plan.

Dans les conditions du jour, il me fallait une vitesse d'obturation de 1/125 pour tenir l'objectif sans stabilisation et obtenir un résultat net. Avec la stabilisation activée, j’ai obtenu le même résultat à 1/15 et j’ai trouvé que mon résultat sur 1/8 était presque parfait. J'ai présenté 100% des récoltes des deux versions prises à 1/8 ci-dessous à titre de comparaison. Un obturateur de 1/15 représente trois arrêts et un 1/8, quatre arrêts. Un résultat respectable pour le G9 lorsque vous travaillez avec un objectif compatible avec Dual IS, bien que, de manière intéressante, pas aussi bon que lorsque j'ai testé le GH5.

panasonic-lumix-g9-dual-is-2-12-60mm "width =" 945 "height =" 300 "tailles =" (max-width: 945px) 100vw, 945px "data-srcset =" https: // www .cameralabs.com / wp-content / uploads / 2017/12 / panasonic-lumix-g9-dual-is-2-12-60mm.jpg 945w, https://www.cameralabs.com/wp-content/uploads/ 2017/12 / panasonic-lumix-g9-dual-is-2-12-60mm-400x127.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9 -dual-is-2-12-60mm-400x127@2x.jpg 800w "/>

<p class=Ci-dessus: Leica 12-60mm à 60mm (équivalent 120mm) et 1/8. 100% cultures sans et avec stabilisation Dual IS 2.

À l’autre extrémité du spectre, j’ai testé le nouvel objectif Leica 200 mm f2.8 équipé de son convertisseur télé 1.4x fourni pour un champ de vision équivalent de 560 mm; Ceci est un objectif compatible Dual IS 2. La stabilisation étant désactivée, il fallait une vitesse d'obturation de 1/500 pour obtenir un résultat net. Avec Dual IS 2 activé, je pouvais obtenir le même résultat à 1/125 et presque parfait à 1/60, représentant deux à trois arrêts de compensation. Je devrais cependant ajouter que les résultats au 1/30, au 1/15 et même au 1/8 étaient plutôt bons, mais pas tout à fait nets. Encore un résultat plus bas que prévu, mais toujours très utile.

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<p class=Ci-dessus: téléconvertisseur Leica 200 mm plus 1,4x, équivalent à 560 mm et 1/60. 100% cultures sans et avec stabilisation Dual IS 2.

Voici quelques exemples concrets de la façon dont une stabilisation décente peut vous aider à prendre des photos à main levée, soit par très faible luminosité, soit pour flouter délibérément des parties du cadre.

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<p class=Ci-dessus: voici une photo que j’ai prise avec le Leica 12-60mm à 12mm en utilisant une vitesse d’obturation délibérément lente pour estomper la cascade. Grâce à Dual IS, j'ai réussi à me débrouiller sans avoir à me soucier de l'utilisation d'un trépied.

panasonic-lumix-g9-leica-200mm-safari-lion-night "width =" 945 "height" "709" tailles = "(max-width: 945px) 100vw, 945px" data-srcset = "https: // www .cameralabs.com / wp-content / uploads / 2017/12 / panasonic-lumix-g9-leica-200mm-safari-lion-night-945x709.jpg 945w, https://www.cameralabs.com/wp-content/ uploads / 2017/12 / panasonic-lumix-g9-leica-200mm-safari-lion-night-400x300.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix -g9-leica-2004mmmm-safari-lion-night-945x709@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-leica-200mm- safari-lion-night-400x300@2x.jpg 800w "/>

<p class=Ci-dessus: voici un exemple où j’ai réussi à saisir des images nettes avec le Leica 200 mm sur le G9 pendant une partie de nuit avec des vitesses d’obturateur aussi faibles que 1/15. Considérant que j’aurais normalement besoin de plus de 1/400 pour tenir l’équivalent de 400 mm sans trembler, pouvoir le faire à 1/15 représente environ cinq arrêts de compensation.

Stabilisation is also invaluable for video, so here’s two handheld clips I filmed with the Leica 12-60mm at 12mm, and the Leica 200mm, both on the G9.

Above: Download the original file (Registered members of Vimeo only).

Above: Download the original file (Registered members of Vimeo only).

But for me where it really starts to get interesting is when fitting a lens without any optical stabilisation at all, such as one of the many fabulous prime lenses available in the Micro Four Thirds system. Mount one of these and the stabilisation will be body-based alone, allowing us to see exactly how well the G9 is compensating for wobbles by itself, especially compared to Olympus models.

To put this to the test I fitted the Olympus 75mm f1.8 prime lens which has an equivalent field of view of 150mm. With stabilisation disabled, I needed a shutter speed of 1/160 to successfully handhold it without camera shake, but with the body-based stabilisation enabled, I achieved a similar result at 1/5. This represents around five stops of compensation which is an excellent result that essentially matches what I achieved with the Olympus OMD EM1 Mark II. Below are 100% crops taken from the 1/5 second images without and with stabilisation.

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<p class=Above: Lumix G9 with Olympus 75mm at 1/5. Left without body IS, right with body IS. Both 100% crops

It’s important to note most stabilisation tests, including my own, are subject to a degree of experimental error and inconsistency, so I can’t say Dual IS isn’t as good as the body-based system working alone. But what I can say without a doubt is the G9’s built-in sensor shift stabilisation works a treat with unstabilised lenses during composition and recording, and in my tests matched what I measured on the flagship Olympus body. This is a great result for Panasonic which has finally caught up with its big rival in this regard.

Panasonic Lumix G9 shooting experience

The Lumix G9 is a fast and confident camera that’s designed to shoot action, so in this section I’ll discuss the autofocus and continuous shooting performance, along with overall handling and shooting options. I’ll start with a video report that covers the essentials, after which I’ll provide more detail in some specific areas.

Check prices on the Panasonic Lumix G9 at Amazon, B&H, Adorama, or Wex. Alternatively get yourself a copy of my In Camera book or treat me to a coffee! Thanks!

The Lumix G9’s lockable exposure dial offers the usual PASM modes, along with Creative Movie mode (unlocking all the video options), three Custom banks, Creative (with the choice of 22 effects) and the foolproof Intelligent Auto. Eagle-eyed Lumix spotters will note there’s no Scene presets on the G9’s mode dial, which means it also lacks the in-camera panoramas of lower models in the range. That said, scene detection is deployed behind the scenes by Intelligent Auto to recognise and adapt for different conditions and subjects.

The Lumix G9 offers four shutter options: Mechanical (MSHTR), Electronic Front Curtain (EFC), Electronic (ESHTR), and Auto which chooses between them based on the desired shutter speed. The mechanical shutter employs a traditional physical shutter at the start and end of exposures with a range of 1/8000 to 60 seconds plus Bulb up to 30 minutes. Switch to EFC and the G9 employs an electronic first curtain to start the exposure and a mechanical shutter to end it; it’s a tad quieter and avoids the risk of shutter shock at certain speeds, but limits the fastest shutter speed to 1/2000.

Both the mechanical and EFC shutters are fairly quiet, but if you prefer – or need – complete silence, the electronic shutter operates silently and with the option of faster shutter speeds up to 1/32000, albeit with a shorter minimum speed of one second. Like most electronic shutters to date, the G9’s can suffer from some skewing or rolling artefacts so it’s best used when not panning or capturing subjects moving quickly across the frame. The electronic shutter does however unlock the G9’s fastest burst speeds that I’ll discuss later in this section. It’s also used in the high res composite mode, meaning it too inherits a one second longest exposure.

Long exposure enthusiasts will appreciate the 60 second option in the standard mechanical and EFC range, although I wish it either kept going further like recent Fujifilm bodies or offered preset Bulb timers. On the upside you can start and stop a Bulb exposure remotely using the smartphone app. This works from both the full remote control option over Wifi, or the simpler Bluetooth remote option which may not show a live image nor provide control over exposure, but consumes much less power. The Wifi remote starts and stops a Bulb exposure with a tap, while Bluetooth version has a simple large shutter button with a sliding lock. Both work well, although in a missed opportunity the actual exposure time so far isn’t shown on either the camera or phone’s screen, so you’ll need a separate clock or timer for precise measurements.

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<p class=Above: A four minute exposure with the Lumix G9 and Leica DG 8-18mm fitted with Lee 10-stop and hard graduated filters. Long exposure noise reduction was disabled. I used the Bluetooth Remote Control on my phone to start and stop the exposure, but as noted above, there’s no indication of the actual exposure time either on the camera or the phone screen. Instead I needed to use my phone’s clock to time the exposure which is not as convenient, especially if you don’t have seconds displayed.

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<p class=Above: 100% crops from long exposures of (from left to right) 50, 122 and 241 seconds. All were taken at 200 ISO with the same ND filters and with long exposure noise reduction disabled. I was able to balance the exposure by adjusting the aperture and simply exploiting the fact it was getting progressively darker as the evening progressed. Even without noise reduction, the Lumix G9 is delivering very clean images virtually bereft of artefacts, at least at 200 ISO. I found just one mildly ‘hot’ pixel on the 241 second shot, but it was quite discreet and easily retouched. A good result for the relatively small sensor, although again the experience for LE enthusiasts could be greatly enhanced with an on-screen timer.

Bracketing is available for exposure, aperture, focus and white balance. Exposure bracketing is offered in three, five or seven frames up to 1 EV apart, and you can change the sequence as well as triggering them in a burst or one at a time; the latter allows you to trigger the entire burst hands-free with the self-timer. If you’re recording in JPEG only, the G9 unlocks its in-camera HDR option which captures three frames at 1, 2 or 3EV intervals before compositing them into a single file.

Focus bracketing captures up to 999 frames at steps of one to ten, although unlike Olympus there’s no in-camera focus-stacking with the full res images. You’ll either need to employ separate software, like Helicon focus, or deploy the 4k / 6k Post Focus stacking option I demonstrated in the video and will describe later.

The sensitivity runs between 200 and 25600 ISO in single or one third EV increments, with an extended option allowing a lower 100 ISO option. Auto ISO is available with the option to set an upper and lower limit, along with a minimum shutter speed down to one second.

With the mode dial set to Creative you can choose from 22 effects on-screen with a preview of how they’ll look applied to the live image. Here’s a selection. Note it’s also possible to apply some of the effects to movies which are then encoded at the selected video size up to 1080 / 50p / 60p. I have an example of the miniature effect in my movie section later.

panasonic-lumix-g9-effects-impressive-sunshine" width="945" height="345" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-impressive-sunshine-945x345.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-impressive-sunshine-400x146.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-impressive-sunshine-945x345@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-impressive-sunshine-400x146@2x.jpg 800w"/>

<p class=Above left: Impressive Art effect. Above right: Sunshine effect

panasonic-lumix-g9-effects-retro-toy" width="2000" height="730" sizes="(max-width: 2000px) 100vw, 2000px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-retro-toy.jpg 2000w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-retro-toy-400x146.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-retro-toy-945x345.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-retro-toy-400x146@2x.jpg 800w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-retro-toy-945x345@2x.jpg 1890w"/>

<p class=Above left: Retro effect. Above right: Toy effect

panasonic-lumix-g9-effects-rough-silky-mono" width="2000" height="730" sizes="(max-width: 2000px) 100vw, 2000px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-rough-silky-mono.jpg 2000w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-rough-silky-mono-400x146.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-rough-silky-mono-945x345.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-rough-silky-mono-400x146@2x.jpg 800w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-effects-rough-silky-mono-945x345@2x.jpg 1890w"/>

<p class=Above left: Rough Monochrome effect. Above right: Silky Monochrome effect

panasonic-lumix-g9-impart-1" width="945" height="709" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-impart-1-945x709.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-impart-1-400x300.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-impart-1-945x709@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-impart-1-400x300@2x.jpg 800w"/>

<p class=Above: Lumix G9 using Impressive Art effect

panasonic-lumix-g9-lmono-1" width="945" height="709" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-lmono-1-1-945x709.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-lmono-1-1-400x300.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-lmono-1-1-945x709@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-lmono-1-1-400x300@2x.jpg 800w"/>

<p class=Above: Lumix G9 using L Mono effect

Panasonic Lumix G9 drive modes

Under the exposure mode dial is a dedicated collar to switch between the various drive modes: single, burst shot 1 and burst shot 2 (both configurable in the menus), 6K Photo, Post Focus, Self Timer and Interval Timer.

Each of the burst shooting positions can be configured between Low, Medium and High speed, and if you’re using the electronic shutter, additional super-high options of SH1, SH2, SH1 PRE or SH2 PRE. The actual speed and function of each varies on whether you’re using the mechanical or electronic shutter, and whether the focus is set to single or continuous. This results in a bewildering array of speeds and numbers, but I’d encourage you to spend some time trying them all out as if you’re like me, you’ll end up finding two favourites and simply assign them to the two burst positions on the drive dial.

To make things easier here, I’ll just discuss the High speed and faster. If you’re using the mechanical shutter, the G9 actually shares the same top speeds as the GH5: 12fps with single autofocus and slightly delayed feedback, or 9fps with continuous autofocus and live view. The buffer’s huge too: when set to Single AF / High speed burst, I fired-off 514 JPEGs in in 49.43 seconds for a rate of 10.4fps and the camera seemed happy to continue. Set to RAW, I captured 82 frames in 7.93 seconds for a speed of 10.3fps before it slowed down. When fitted with a fast UHS-II card, the G9 took around 18 seconds to complete writing the burst of 82 RAW frames (although some were written during the capture process too).

The G9 is equipped with dual SD slots, which both claim to support the full speed of UHS-II cards, but I never take anything for granted so repeated my tests with the card in Slot-2. I’m pleased to report the effective buffer size, frame rate and final write times remained essentially the same as using Slot-1. I then tried configuring both slots for Backup, where the same data would be written to both cards. With two identical UHS-II cards fitted in the G9, I managed to capture 76 RAW frames in 7.26 seconds for a speed of 10.4fps. I repeated the tests with single and dual cards and while the total number of RAW frames varied by a couple, the total with one card was consistently a tad higher. I’m only talking an average of 84 frames versus 77 frames, but it did appear a consistent difference. Note the speed however remained exactly the same.

Interestingly in my Single AF tests, the G9 consistently delivered 10.4fps using the mechanical shutter, falling a little shy of the quoted 12fps in the specs. Switching to continuous AF with the mechanical shutter though delivered the quoted 9fps in practice. When I switched to the electronic shutter with continuous AF, I generally managed between 16 and 20fps in practice.

So how does it add up in real-life? I took to the streets of Brighton and photographed my friend Ben cycling towards me using the G9 fitted with the Leica 200mm f2.8 – opened wide to f2.8 of course. In terms of autofocus, the G9 still employs a 100% contrast-based system, albeit powered by Panasonic’s latest Depth by Defocus (DFD) technology. This profiles the blurred characteristics of Panasonic’s Lumix and Leica lenses to better predict what direction they need to focus in and by how much. This is coupled with an AF drive that, with the latest lenses, can operate at 480fps. In short, the G9 still needs to overshoot and pull-back in order to find the actual point of focus, but can do it faster and more predictably than ever.

In practice this rapid focus hunting makes for a slightly odd view with a mild wobbling or fluttering appearance that’s unlike rival phase-detect AF systems in operation; the G9 is literally checking the focus for every shot. The first few times you experience it in action, you can’t help but think the camera’s struggling, but once you check your images afterwards, you’ll find a very high hit-rate. Take this first sequence of Ben, captured with the mechanical shutter at 9fps where of the 16 consecutive frames, all of them are sharp. A couple may not quite be as good as the rest, but I’d still class them as being more than satisfactory.

Lumix G9 burst sequence: H speed, mechanical shutter, 9fps, Leica 200mm at f2.8

panasonic-lumix-g9-burst1-row1" width="945" height="300" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst1-row1-945x300.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst1-row1-400x127.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst1-row1-945x300@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst1-row1-400x127@2x.jpg 800w"/>

</p>
<p> <img class=Lumix G9 burst sequence: SH speed, electronic shutter, 20fps, Leica 200mm at f2.8

panasonic-lumix-g9-burst2-row1" width="945" height="300" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst2-row1-945x300.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst2-row1-400x127.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst2-row1-945x300@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-burst2-row1-400x127@2x.jpg 800w"/>

</p>
<p> <img class=Lumix G9 SH1 PRE drive mode. Nine consecutive frames from longer sequence

panasonic-lumix-g9-shpre1-row1" width="945" height="400" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-shpre1-row1-945x400.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-shpre1-row1-400x169.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-shpre1-row1-945x400@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-shpre1-row1-400x169@2x.jpg 800w"/>

</p>
<p> <img class=panasonic-lumix-g9-6x-preburst-75mm" width="945" height="225" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2018/02/panasonic-lumix-g9-6x-preburst-75mm-945x225.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2018/02/panasonic-lumix-g9-6x-preburst-75mm-400x95.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2018/02/panasonic-lumix-g9-6x-preburst-75mm-945x225@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2018/02/panasonic-lumix-g9-6x-preburst-75mm-400x95@2x.jpg 800w"/>Above: Panasonic Lumix G9 with Olympus 75mm f1.8. 6K Photo Pre-Burst</p>
</p>
<p>Next there’s Post Focus, selected using a separate mode on the drive dial, which again exploits the ability of 6K video to record 30 relatively high resolution images every second. What makes it different from the 6K Photo modes though is during a short video clip the camera attempts to shift the focus between all the subjects in the frame, near and far. If successful, this short video clip essentially contains frames where any part of the composition is in focus, and it only took a few seconds to capture. The clever part is in playback where the camera lets you tap anywhere on the screen and the camera automatically selects the frame from the video where it’s in focus, offering focus-peaking to further help you make the choice. Like the 6K Photo modes, it then lets you export it as an 18 Megapixel JPEG.</p>
<p>In practice it works so transparently it almost feels like you’re working with a Light Field image. The initial process captures about two seconds of video while refocusing the lens, then takes a further three or four seconds to process it into an image you can navigate by touch. Once complete you simply tap the part of the image you’d like in-focus and it ‘magically’ becomes sharp – it’s a great party trick to impress your friends, although of course all you’re doing is using a clever media player to navigate a short video where the focus racked over the subjects from near to far.</p>
<p>Here’s two examples where I tapped to choose to focus on two different areas after the event. In this case I’ve illustrated the extremes, changing the focus from near to far, but you can alternatively choose anywhere in-between, so long as it fell within an AF area.</p>
</p>
<p> <img class=Above: Lumix G9 6K Post Focus: tapped on right side of frame

panasonic-lumix-g9-post-focus-far" width="945" height="709" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-far-945x709.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-far-400x300.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-far-945x709@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-far-400x300@2x.jpg 800w"/>

<p class=Above: Lumix G9 6K Post Focus: tapped on left side of frame

In a feature which made its debut on the LX10 / LX15, the G9 inherits the Focus Stacking option. Focus Stacking is a technique that increases the depth-of-field by compositing multiple images where the focus has been adjusted a little between each. Of course the 6K Post Focus mode already has a video file that contains multiple images where the focus has been adjusted slightly, so the data required for stacking is ready to be redeployed.

During Post Focus playback, the Lumix G9 lets you enter the Focus Stacking mode which then offers Range or Auto Merging options. Auto Merging maximises the depth-of-field by compositing the full range captured in the image, while Range Merging lets you define the closest and furthest points of sharp focus using the touch-screen. Once selected, the camera generates an 18 Megapixel JPEG with the desired depth-of-field. To illustrate it in practice I attempted to generate a version of the composition above with the maximum depth of field from near to far. Look closely and you may notice some compositing artefacts, but on the whole the end result is quite convincing. It also makes up for the fact the focus bracketing mode in the camera doesn’t yet offer a focus-stacking option.

panasonic-lumix-g9-post-focus-merged" width="945" height="709" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-merged-945x709.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-merged-400x300.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-merged-945x709@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-post-focus-merged-400x300@2x.jpg 800w"/>

<p class=Above: Lumix G9 6K Post Focus: Range Merged from near to far

I’ve grown fond of Panasonic’s various 4K Photo modes and now the G9’s ability to extract higher resolution 18 Megapixel stills from 6K footage – not to mention capturing 4K / 8 Megapxiels at a faster rate of 60fps – greatly improves their flexibility and usefulness. Capturing 6K footage for the purpose of higher resolution photos also gives the G9 a unique edge over rivals which have gradually begun to add basic image capture from 4K footage – although so far none have offered pre-burst or post-focus options on high resolution video footage. So Panasonic is ahead on frame rate, resolution and capture options.

There are of course still some limitations: you can’t extract RAW files, focusing was slow in my tests (particularly with Pre Burst), and there’s the risk of rolling shutter artefacts because you’re using an electronic shutter. But in the right situations it can provide invaluable and remains a very useful tool to have at your disposal. I should also add Panasonic can also cleverly exploit 3D Noise Reduction when extracting individual stills from footage, taking multiple frames on either side into account.

Finally for this section, the G9 is equipped with in-camera RAW Processing in playback. This lets you adjust the white balance, brightness correction, Photo Style, i-Dynamic, contrast, highlight, shadow, saturation, noise reduction, i-Resolution and sharpness, along with the colour space and image resolution. Sadly you can’t apply any of the Creative Filter effects after the event, but you can still have fun with the Photo Styles and it’s a useful capability.

Panasonic Lumix G9 movie mode

Panasonic’s Lumix G9 is billed as the company’s ultimate stills camera, leaving the GH5 and GH5S to enjoy the title of best hybrid and movie bodies in the range respectively. But while the GH5 and GH5S indeed boast superior movie capabilities, the G9 remains a very powerful and capable camera for filming video, sharing a great deal with its GH counterparts.

The G9 will film 4k UHD up to 60p in 8-bit, with a maximum clip length of 30 minutes up to 30p and ten minutes at 50 or 60p. If you’re filming 4k at 24, 25 or 30p, audio is encoded with AAC and the total bit rate is 100Mbit/s; if you’re filming 4k at 50 or 60p, audio is encoded with LPCM and the total bit rate is 150Mbit/s.

1080p video is available at 25 to 60p, with 25 and 30p at 20Mbit/s, and 50 and 60p at 28Mbit/s. Note 1080 at 24p is not available on the G9, although you could of course record 4k 24p and down-convert it. The highest selectable frame rate for 1080 video with audio recorded is 60p, but if you enable High Speed Video, you can record silently at 150 or 180p, which the camera interprets to 30p for playback five or six times slower. High Speed Video is also available in 4k at 48, 50 or 60p, again interpreted to 30p for up to two-times slow-down. Again there’s no audio captured in the High Speed Video modes, and focusing becomes manual only too.

There’s no horizontal crop in any mode, whether shooting 4k, 1080p or High Speed Video (even up to 180p). In each, the G9 takes the full width of the sensor and scales it down to the desired resolution without any cropping to the horizontal field-of-view.

The Creative Movie mode gives you full control over the exposure, including manual adjustment of the aperture and shutter while you film with silent touch-screen controls, as well as Auto ISO in Manual too. The Cinelike D profile offers fairly flat footage for grading later, and zebra patterns can be displayed (before or during filming) with two presets configurable between 55 and 105%. You can autofocus while filming, using the touchscreen to pull-focus if desired, or switch to manual focus with peaking assistance (before or during filming) with High or Low settings and the choice of five colours. There’s also 3.5mm jacks for an external microphone and headphones.

So why go for the GH5 instead? The GH5 gives you unlimited recording times in any mode rather than being limited to 30 or 10 minute clips. It can record internally in 10 bit rather than 8 bit, supports the wider Cinema 4k format and anamorphic options, higher bit rates for 4k and 1080p, and supports the optional V-Log profile for even flatter footage, plus more besides. The GH5S adds to this with a sensor optimized for lower light, Cinema 4k up to 60p, 1080 up to 240p, more anamorphic options, timecode in and out, and V-Log as standard.

But for most of us, the G9 remains a very respectable choice for movie recording with enough features and quality to keep all but the most demanding videographers satisfied. I’ve made a compilation of video footage to demonstrate what it’s capable of below.

Panasonic Lumix G9 wireless features

The Lumix G9 is equipped with Wifi for wireless image transfer and remote control with smartphones, along with Bluetooth for seamless location tagging, a more responsive remote shutter, and easy Wifi negotiation.

The first step is to pair the camera with your phone over Bluetooth using the free Lumix Image App for iOS or Android handsets; I used my Samsung Galaxy S7. Once paired over Bluetooth, the app remains in low-power contact with the camera, allowing it to pass location details and embed them on images with no effort or interaction; this can be enabled or disabled in the camera’s Bluetooth menus where you can also instruct the camera to take the time and date from the phone too which can be handy when travelling between different time zones. Note the Image App needs to be left running if you’d like location tagging to work.

If the camera’s powering-up up from cold it takes roughly ten seconds for the Bluetooth to re-establish itself with your phone (after which a blue light illuminates on the top right surface), then another 15 seconds or so for the positional information to come through, indicated by a solid GPS icon on the screen and in the viewfinder. Here’s an image I took with the G9 with location details embedded and entered into Google Maps.

panasonic-lumix-g9-gps-photo" width="945" height="709" sizes="(max-width: 945px) 100vw, 945px" data-srcset="https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-gps-photo-945x709.jpg 945w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-gps-photo-400x300.jpg 400w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-gps-photo-945x709@2x.jpg 1890w, https://www.cameralabs.com/wp-content/uploads/2017/12/panasonic-lumix-g9-gps-photo-400x300@2x.jpg 800w"/>

</p>
<p> <img class=

I’ve dedicated the next page of the review to my quality results with the Lumix G9, starting with a sweep of the ISO range in JPEG and RAW, followed by lots of examples of the new high resolution mode that captures and composites eight frames to generate 40 or 80 Megapixel images! Simply click the Quality tab at the top or the link below, or check out my sample images page for a selection of photos taken with the G9 and a variety of lenses. Or if you’ve seen enough, skip straight to my verdict!

Check prices on the Panasonic Lumix G9 at Amazon, B&H, Adorama, or Wex. Alternatively get yourself a copy of my In Camera book or treat me to a coffee! Thanks!

Panasonic Lumix G9 Avis – – Commander Hybride Numérique sur Amazon -45% Réduction
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