Panasonic LUMIX (Black (LX10K) Bundle)
|EforTek DMW-BLH7 Replacement Battery (2-Pack) and Charger Kit for Panasonic DMW-BLH7, DMW-BLH7E, DMW-BLH7PP and Panasonic Lumix DMC-GM1,DMC-GM1K,DMC-GM1KS,DMC-GM5
|Panasonic DMW-BLH7 Lithium-Ion Battery Pack (Black)
|Lexar Professional 1000x 128GB SDXC UHS-II/U3 Card (Up to 150MB/s read) w/Image Rescue 5 Software LSD128CRBNA1000
Inside the super compact Panasonic Lumix LX10 4K digital camera beats the heart of a photographic enthusiast. The Lumix LX10 is powered by Panasonic's leading 1-inch 4K sensor, pumping out 20 megapixels of detail backed up by a super bright 3x Leica DC Vario-Summilux F/1.4-2.8 (24-72mm) lens. Panasonic leads in 4K and the Lumix LX10 offers a mix of 4K Ultra HD video recording, lighting fast 4K photo, Post Focus, and now internal Focus Stacking modes. A lens mounted control ring provides the feel of a DSLR without the bulk. And with Wi-Fi and the ability to recharge by USB, on the go photography has never been easier.
The Heart of 4K
Inside the Lumix LX10 beats the heart of a photographic enthusiast. And with a 1-in, 20 MP 4K sensor, Leica lens and more, you'll feel it in every image. 4K delivers a far more intense viewing experience. Its native resolution of 3,840 x 2,160 pixels is four times larger than Full HD for a much higher level of detail.
•Panasonic Lumix LX10 4K Digital Camera
•Swiss Gear Jasper Series Medium Camera Case (Black)
•Sony 32GB UHS-1 SDHC Memory Card
•Rechargeable Li-ion Battery Pack (7.2V, 680mAh, 4.9Wh)
Most helpful customer reviews
687 of 719 people found the following review helpful.
PANA keeps improving on the LX3, but still not "perfect..."
By Nathaniel Allen
Wow, this was a tough upgrade decision. Sony's RX100 is superb competition, and I was certain *IT* would be the camera that pulled me out of the Panasonic camp (I also own an old Panasonic DMC-FX50 "bridge camera" in addition to an LX5, which replaced my LX3 -- plus my wife kept a Pana FX35 in her purse before she switched to Sony's slim TX9.
Despite keeping these few cameras around (really just the 3: the FX50, the TX9 and now the LX7), I'm just your Joe Average photographer, shooting mainly the kids, family/friend gatherings, special events, and some home construction-type projects, and other hobby interests.
And what I've ever really wanted out of the LX series is a compact, low light-capable camera with a respectable set of manual controls. Exactly what the SONY RX100 is with its huge sensor, and of the two, it is unquestionably the better performer for indoor shooting situations of fast moving kids, compared to the LX3 and LX5.
If that were my only criteria, I'd have never ordered the LX7, and might be typing up my thoughts on the RX100 instead. But maybe my four years of familiarity with the LX3/5 got the better of me. Maybe I'm just a sheep with a Panasonic logo branded on my flank. But there were a couple of sore points with the Sony that just plain made me unsatisfied. Rather than trash the RX100 (not my intention), here's my list:
- There's no escaping the benefit of the wide 24mm lens on the LX series. Not to mention the handy aspect ratio mode switching right on the bezel. And I use the 1:1 aspect ratio more than I care to admit.
- The Panasonic's hot shoe is a hot commodity when I need it. I have a Metz 36-AF4O (since replaced by the Metz 36 AF-5, I believe) which is about as big as the camera itself, but provides more than adequate light with bounce capabilities.
- Two of my gripes with the LX3 and LX5 were the difficulty of adjusting manual settings via push-button & thumb dial inputs. The LX7's aperture ring and dedicated manual focus lever have addressed this, with varying degrees of satisfaction.
- I get to keep my LX5 spare battery, which isn't such a huge deal, but just know that its shelf life is spectacular. Although my predicted number of shots between charges has decreased, per the manual. Nothing drastic; still great battery life.
- Most importantly, the Panasonic LX7 has a certain ease and quickness about it -- probably due in part to my use of its predecessors -- and combined with the newly added manual controls, it feels to me the design is finally at a point where I can set up various shooting solutions with a minimum of fuss and button pressing, nearly (but not quite) like my SLR days many years ago. The "user experience" of the Sony, by comparison, felt a little too menu driven and sticky.
Where did Panasonic fall short with this new model?
- For one, the image quality really hasn't changed. My thoughts are that the LX3 was excellent, but the LX5 tended to focus a little soft -- although nothing that stood out horribly amiss; maybe within the normal manufacturing variations? I don't want to speculate on sensor sizes or type playing a role, but I can attest Sony's RX100 shoots a "cleaner" or "crisper" portrait-style photo -- although that difference disappears once the image is downsized for printing/sharing.
- There's still no remote. Or cable release. Or Bulb mode. Can't tell you how much I enjoy those features on other cameras. For the LX5, I have a cable release adapter that slides into the hot shoe and extends an arm over the shutter release for a cable release to activate, but the hot shoe has been realigned on the LX7 so it no longer works.
- I continue to have trouble reading the silver-on-silver symbols etched onto the 4-way keys.
- If you're one to complain about the lens cap (I'm not, but I know a lot of LX users HATE the thing)... well, it's still here, and it's smaller than before, making it a little more difficult to clip on/clip off.
- I once committed to never buying a camera without a tiltable display, but that's just not an option. All things considered, the LX7 display is not as bright at the RX100, but is very visible in all but direct daylight, and viewable from off angles without the colors inverting.
What did Panasonic get right with the LX7 update?
- The redesigned lens is noteworthy. It's a definite improvement over the LX5 for indoor shooting, and that extends through the entire zoom range (still only 90mm, which was an improvement over the LX3). I find that I take the vast majority of my photos on the wide end of this lens, but in low light settings, I've been forced to if I'm trying to avoid using the flash. With the lens redesign, I've got a little more flexibility in my zoom before resorting to higher ISOs.
- IC? Firmware? Who knows! The camera is snappier than its predecessor, in all aspects: start up, menu navigation, auto focus delay, and shot to shot. It gets shots off near instantaneously. And the kicker is a burst mode!
- I can't say I was disappointed by the 720p video of the LX5, but full HD video is a treat -- especially with memory prices as cheap as they are compared to two years ago.
- Finally, a dedicated white balance button on the 4-way controller! (Panasonic eliminated the "Focus" key featured on the LX5, and also added burst mode selection to the shutter self timer key.)
- I'm very excited about the inclusion of a time lapse feature. This was overdue.
- The clickable, dedicated aperture ring, especially, and the manual focus lever, sort of (light applause -- needs something more "ring like")
- The mode wheel is substantially firmer, preventing inadvertent turns while in the pocket.
Some random thoughts on the Sony RX100: It feels a little "rough" at startup (i.e. not-so-smooth lens extension, kind of rough feel & sound), and starts up about a second slower than the Panasonic, but not having to remove a lens cap negates that. Zoom time from full wide to full tele is about one second snappier on the Sony. I felt that the Sony's auto white balance "got it right" more often than the LX, but the custom white balance is at minimum one level deep into the menu (if set to the Fn key). Shutdown immediately after snapping a pic is an agonizingly slow 5-6 seconds for full lens retraction; 3-4 seconds if the camera is already at idle. And not so much a dig at Sony as a kudos to Panasonic, but with the 28mm constraint on the wide end, switching from 4:3 to 16:9 simply crops the top and bottom of the frame, whereas on all the LX cameras with their unique sensor usage, I actually gain extra pixels on the sensor to help compose the shot I want.
Panasonic's history of product support HAS to be a consideration. They released mid-cycle firmware updates for both the LX3 and the LX5, and with the unexpected LX3 update in particular, added new features -- not just bug fixes. (Wish I could say the same about the FX50, but that's a story for another day...)
I wouldn't be so bold as to recommend the LX7 over the RX100, but only want to give a little insight via some of the features I hold in high regard. They both definitely have their strong suits. If you're at all familiar with the previous LX cameras, you have a solid basis for understanding the LX7 improvements, as well as its shortcomings. That certainly didn't stop me from happily purchasing the RX100 before giving the LX7 a chance to hit the streets, but by doing so I immediately proved to myself that there is still no "perfect camera," and with the compromises that I had to accept, my preferences fell mainly back to the LX line.
58 of 60 people found the following review helpful.
Leica and Panasonic finally got it right, but buy the EVF too!
The LX7 was an upgrade from my Leica D-Lux 4 (Lumix LX3). The LX7 is identical in function to the Leica D-Lux 6 in glass, sensor and overall function, has a nice built-in grip - the Leica does not, and there are only slight differences in menu user interface. The Leica will appeal to those who want to pay double or more for the name and little red dot, but there is no technical justification. Same camera. So the rest of this review is about the Lumix LX-7.
Lumix got this so exactly right, on a camera that has seen gentle evolutionary changes previously.
First of all, don't be bamboozled by pixel count. Although it is billed as 10MP, those are fat sensitive pixels on a large sensor area (1:1.7). They also evolved from a CCD to a richer, more sensitive CMOS sensor, as many manufacturers have done over the years. The picture quality is superb, even in very low light, and up to about ISO 1600. Shot at ISO 80-200, the resulting JPEGs are grainless up to 8x10 magnification, and will make a fine 16x20 uncropped. It seems folks are selling cameras with huge MP specs and teeny sensors these days; just so much marketing vaporware. This one makes no such nonsensical lie.
I can this a Leica-Sonic, because, make no mistake, Leica did profoundly influence the lens design. It's not that disingenuous to call it a Vario-Summilux; Summilux is Leica branding for their f1.4 lenses costing many thousands of dollars when made in Germany for the M-Series cameras, and this is a true f1.4 lens at 24mm equivalent. At the 90mm equivalent end of the range, it's still f2.3. Couple that with excellent anti-shake, and you have a discrete digicam for wideangle, normal and macro use which can shoot hand-held in near zero light at a half-second. It is not for telephoto-lovers, the 20x zoom cameras have more reach but nowhere near this image quality. But at the 24mm end, very little barrel distortion, sharp out to the corners, and you can focus in macro mode objects which nearly touch the lens!
Some unique features which no one else offers:
(1) The f1.4 lens. Are you kidding me? They are not. Go find it anywhere else, except on your fixed focal length prime lens for the DSLR. It not only allows extreme low light shooting, but even lets you create shallow depth-of field for close portraits, which no other digicams can. And if you want to do this in bright light, where the 1/4000 sec fastest shutter and ISO 80 would otherwise not allow you to use the f1.4 max aperture, it even has a built-in neutral density filter with a dedicated button, so you can still shoot wide open. Extraordinary lens. Okay, so maybe Ernst Leitz would turn over in the casket if he ever saw the Summilux name applied to a Japanese-manufactured lens on a pocket camera, but it's a fantastic lens.
(2) The variable aspect ratio switch - you can shoot 3:2 like traditional 35mm, 4:3 like an iPad, 16:9 if you know you are going to view on a widescreen monitor or TV, and - new for this version - even 1:1. All those crops come out of an oversized 12MP circular image sensor, so you can crop before you shoot, not after, and maintain far more image detail. At the flip of a switch just above the lens.
(3) The manual controls are extensive and well placed. You can certainly shoot in iA (intelligent auto) and be hard-pressed to screw up anything, or control everything. But for manual shooters, at least use P, so that you can override white balance, focus or aperture when needed. And the manual focus mode and metering mode controls are excellent. Any time you use A or M, or override the P setting with a well-placed multi-control dial, you see the resulting aperture/shutter speed pairings instantly.
(4) It has an aperture ring!! - While most digicams have only an f4-f8 aperture range, making manual control of aperture and shutter almost useless, this f1.4 lens has a manual aperture ring from f1.4 to f8 right on the lens barrel, so you can shoot in A mode like it was a traditional SLR. Even most modern DSLR lenses don't have one anymore. That is a priceless feature for aperture priority shooters.
(5) Exposure compensation. Any serious pro camera has a bias dial, the +/- exposure control that lets you bias the auto exposure up or down in 1-stop or partial stop increments. Go find it on an iPhone, nope. Go find it on most prosumer digicams; it is often buried in menus. But on the Lumix LX7, the multi-control ring lets you change it instantly, while the display shows you the plus/minus bias and and resulting aperture/shutter speed pairings, either on screen or in the viewfinder.
No camera's meter is smart enough to correctly expose every shot without exposure bias. I use this feature with nearly every picture I take, on every camera I use. I even use it on my Pantech Discover cell phone (sorry, Apple). But on the Lumix, it is utterly convenient and professional, an indispensable tool.
(6) The mode dial was stiffened up over earlier versions; it will no longer move by itself in the pocket or case. And when you change it, a spinning dial on the display easily shows you the set mode (iA, A, P, M, etc) in BIG letters, so you know the mode set without removing eyes from the screen or finder.
(7) Did I say "finder"? I am a 56-year old eyeglass wearer who grew up on pro Nikons with great optical viewfinders. While I loved my previous Leica-Sonic (the f2 lensed LX3 / D-Lux 4) for image quality and portability, I could not use it at arms length without the eyeglasses on and off like a yo-yo. So candid and action shots were nearly impossible, just like most arm's length digicams. So I never replaced my Nikon's normal lens or considered the Leica D-Lux 4 a true alternative. And after shooting, in bright light you couldn't see or edit what you shot, unless you hid inside someplace dark (same problem with DSLRs).
Enter the new Leica-Sonic (Lumix LX7) with the LVF2 viewfinder. The finder, made by Olympus but marketed for Leica (EVF) and Lumix (LVF), slides into the shoe, and transforms this little digicam into a near DSLR, in some ways better. It's bright, contrasty, shows you the accurate framing, focus and exposure and all settings - everything you can see on the 3" rear LCD. Or not. Flip back and forth between finder and screen with a button. Switch on and off the extra finder info with a button. Then review your just-shot picture in the finder as well. Not even my Nikons let me do this, so when you simply must verify exposure, focus or anything else outdoors, the EVF is transformative for photography. Yes, it does create some bulk, but as a tool, it is the single biggest advance in small cameras since we did away with film. Buying this accessory is essential, even if you have to carry it in a separate pocket.
(8) Framing. My Nikons and previous Leica-Sonic had an electronic grid you could overlay on the screen when you needed to line up composition, like the lines on a large-format camera's ground glass. It was too busy and distracting on a small screen. So this time around, Lumix replaced it with a live 'gyro', a horizon line and vertical line which move to help you keep the camera level while shooting, without getting in the way. As with all the other display features, it is easily turned off and on with a button.
(9) Frame Rate. I thought I had died and gone upstairs when I learned how to trick my Nikon D300 into shooting nine frames per second (fps) instead of the advertised six. It has allowed me to capture instants in time otherwise impossible. Anyone not trying out this feature is missing out on capturing something really spectacular; I've taught several students to capture sports action like pros by using high frame rate. Well, this Lumix LX7 shoots ELEVEN fps. Sorry Nikon, but the little mirror-less camera has you beat here. And with a class 10 SD card installed, it will keep up, even at full resolution. Wow.
Nitpick 1: I've read many reviews panning this camera because it does not have a retractable lens cover. Rather, it has a traditional cap which you manually remove and replace, just like on a real camera, and it attaches with a small string tether to the strap lug so you don't lose it while shooting. My response is "Bee-Eff-Dee". I have to uncap my Nikons to shoot them, and since their lenses interchange, the cap goes in my case or pocket while shooting. With the Lumix, at least you always know where the cap is. Let's face it; this is not a toy, it is a serious photographer's small camera (I will not call it a point-and-shoot, out of respect). So if you want a retractable lens cover, go get a toy camera. Else, deal with it.
Nitpick2: Panasonic markets this as having a 7.5x Intelligent Zoom. Please do not insult MY intelligence. This is a 3.8x OPTICAL zoom lens, a 24-90mm equivalent in 35mm film parlance. The fact that you can crop in from that by 'zooming' past the optical limits has little practical value. By now, most digicam buyers get that, so Panasonic is attempting to rebrand digital zoom as something more than digital in-camera crop. But it is not a 7.5x lens, and the product title should not feature than number. It cheapens an otherwise excellent product aimed at the prosumer market, not the K-Market.
Nitpick3: Ken Rockwell, who has authored many fine camera reviews, has routinely panned this Leica / Lumix camera series. In his words, "it's not a real Leica". Well, no kidding, Ken. It also does not cost ten thousands bucks, body alone, plus lenses at several thousand per. But for most ordinary humans wanting professional image quality and features without a mortgage, it is all the Leica we will ever need. And for me, I can ski with it at 50mph in my pocket, ride my bike with it in my saddle bag, and always have it handy. I don't know anyone who would treat a Leica M9 this way. Most of them sit locked behind glass display cabinets. Mine makes photos.
Bottom line: I still keep my Nikon's 50mm f1.4 lens for fine portraiture and product photography, and to keep at least one mid-range lens for the D300. But I recently sold my Nikon's ten-year-old massive 28-70mm f2.8 pro lens, for $900, once I bought the Lumix). Why? Because the LX7 obsoleted the Nikkor. The LX7 cost me far less in total with viewfinder, spare battery, cards, EVF, leather half-case and leather wrist strap than I sold the well-used Nikkor lens for. And because it is far more versatile and pocketable, it takes more and better pictures.
All I use the Nikon D300 now for is for ultrawide (the 16mm fisheye and 12-24mm lenses) and telephoto (the 70-210mm f2.8) shooting. For everything else, the LX7 with the EVF is now this professional photographer's primary camera.
Just don't call it a point-and-shoot. You will insult it.
Bob Reed / Alpine Images
277 of 292 people found the following review helpful.
Best hiking/climbing camera ever
By Monty VanderBilt
My primary requirement for a camera is that it be compact, but still take great pictures under the conditions I run into often. I hike and climb a lot and do not want the bulk of a DSLR hanging in front of me, and the camera must be accessible so I don't delay the group while digging my camera out of the pack. So I gravitate toward the compact camera that gives me as much of the DLSR feature set as possible.
I chose the LX7 primarily because it has a very fast lens. For me that means handheld shots under a thick forest canopy are not blurred because of slow shutter speeds. My previous camera was the DMC-LX5, the predecessor to this model and it was great. I'm replacing it because I made the mistake of taking movies in a sandstorm during a hike down Buckskin gulch in Utah. Ever since that the camera has been complaining when sand grains stick in the lens mechanism and get inside the camera on the sensor. So don't do that!
When the LX7 arrived I downloaded the PDF manual (much easier to read than the small one in the box) and went through the new features to familiarize myself with how to use them. I kept being delighted with the improvements over the LX5 that make this the best camera I've ever owned for hiking/climbing shots. In brief, they are:
1) Fast lens - good for hand held shots in dim lighting situations (forests, twilight, ...). You don't hold up your companions setting up a tripod shot.
2) Wide angle - no need for a panorama when the wide angle lens can get it all
3) Compact - light and small enough to hand around your neck all day without being uncomfortable
4) Raw - Most of the time I take jpeg simply to document the hike. But when dramatic lighting or scenes call for it I can kick in the Raw for a killer result.
5) Bracketing - many outdoor shots with snow or sun/shadow scenes have huge contrast. Exposure bracketed shots combined in post solve this.
6) New! Auto HDR - LX7 will do the bracketing and merging in camera. Haven't tested enough to see if it beats (4) for quality though.
7) New! Auto Pano - I take a lot of panorama shots from viewpoints, and it's time consuming to stitch them in post. The LX7 will do them in camera.
8) New! 3D - I know, 3D is overrated, but for that shot hanging over the cliff nothing else works as well. LX7 has a 3D photo mode.
9) New! Time Lapse - I don't do time lapse much because I couldn't, but I hope to capture progressive alpenglow from camp, and a time lapse of 3 shots 1-minute apart also works as a long self-timer. I've nearly fallen scrambling on steep summit rocks to get in the picture withing 10 seconds.
10) White body - I bushwhack a lot and twice my camera has "sneaked" out of my case when I forgot to close the zipper. White cameras are easier to find!