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Monday, 19 August 2024

Panasonic Lumix FZ80D Bridge camera User review 19 August 2024

 

All photos Lumix FZ80D Raw capture Processed in Adobe Camera Raw



The Lumix FZ80D  is an entry level bridge camera which came onto the market in July 2024. It is a mild upgrade of the FZ80 introduced in 2017 which was a mild upgrade of the FZ70 of 2013. So although billed as a “new” model most of the body, controls, sensor, lens and functions are carried over from previous models.

I bought one when it became available in Australia and have been testing it a range of different situations, including outdoors, indoors, bright light, low light, close-ups, landscapes, distant scenes, still and moving subjects. I also photographed my standard test chart to check for lens characteristics. I made about 3000 pictures in the testing process.

For several years Panasonic produced several levels of fixed lens cameras. The FZ series are bridge types with a built in superzoom lens, an EVF over the lens axis and a full sized handle. These cameras generally look like and operate like DSLR or MILC models.

Over the years , there have been three levels of FZ models, the top tier being designated FZxxxx, next down are FZxxx and the lowest level FZxx. 



The FZ70/80/80D are intended for casual users who are attracted to the huge 20-1200mm (full frame equivalent) 60x zoom range but want something relatively easy to operate with JPG capture and who are not overly concerned with high quality output.

Some experienced/enthusiast photographers might be attracted to the FZ80D at least in part for the challenge of extracting decent image quality from this low-tech device. These users will obtain better image quality by using the A, S and M settings on the Mode Dial, Raw capture and processing in Adobe Camera Raw. Many files from this camera benefit greatly from noise reduction software which uses artificial intelligence, such as Adobe Denoise AI.  The paradox of this is that any photographer prepared to utilise these strategies would be better served by using a more capable camera to start with.

In Australia the recommended retail price is $850, which seems ambitious. Vendors soon marked it down to $799 then $699 suggesting a dearth of pre-orders indicating a low level of interest from buyers.


The specifications look quite enticing. 18Mpx sensor, 20-1200mm (full frame equivalent) superzoom lens and lots of features such as multi-exposure, time lapse, stop motion animation, HDR, bracketing, 4K video, filter effects and a whole lot of scene modes for various subject types.

But there is no auto-panorama mode, no electronic level gauge,  no eye sensor for auto switching between EVF and screen which is touch sensitive but  fixed. There is thread for a 55mm screw-in protect filter but no lugs for a lens hood.

The body shape is ye olde-worlde Lumix 2012 style which is not terrible but could be better ergonomically, as seen in more recent models such as the FZ1000.2.

Autofocus is also ye olde-worlde contrast detect type, superseded years ago by faster and more reliable phase detect systems. It works decently well in good light with static subjects but is slow in low light and is unreliable with subjects moving quickly towards or away from the camera.  It can track slowly moving subjects decently well in good light.

The sensor crams 18 million pixels into a tiny 6.17 x 4.55mm chip, producing large amounts of digital noise even at low ISO sensitivity settings. Color depth and dynamic range are low.


The lens on my copy of the camera is decent for a budget superzoom.

It is best in the middle of the zoom range where it can transfer a lot of information from subject to picture. At the wide end the center is good but the edges and corners are soft. At the long end there is marked loss of contrast and resolution across the frame.

Purple/green color fringing can be troublesome at high contrast subject edges.  Centering on my copy is good.  Flaring around bright highlights is often seen.

The lens is commendably resistant to flare from bright light sources just inside or outside the edges of the frame.

The small aperture (large f-number) at most focal lengths forces us to use higher ISO sensitivities than we would prefer, to the detriment of image quality.

The optimum aperture for best quality is f3.5-4 at the wide end and the smallest available f-number when this is f4 or more.

The lens has an image stabiliser which is essential for hand held work at the long end of the zoom. On the FZ80 which I owned and reviewed a few years ago the IS was unreliable, leading to numerous unsharp frames. This time around the IS appears to work well with no faults that I have noticed. Even so considerable care and good technique must be used when handholding at 1200mm (equivalent) or unsharp frames will be produced.

With the zoom at 160mm I find the FZ80D works well for close-ups, delivering nice sharp near macro shots of little things.


Ergonomics and the user experience are not dreadful but not wonderful either, hampered by the fixed screen and lack of an eye sensor.  There is only one control dial which is the push-click type enabling us to get two functions from the single dial. 

The EVF is new and provides a decent but not outstanding  view of the subject.


Optimising image quality

The temptation with a camera like this is to set the Mode Dial to [iA] and let the camera figure out a shutter speed/aperture/ISO firing solution leading to JPG output.

However we can get better image quality by setting   A,  S  or M on the Mode Dial and taking control of the primary exposure parameters with RAW capture.

Especially at the long end of the zoom we need to use good technique to hold the camera steady  and move the active AF area to the best position to ensure optimum focus with minimum camera shake.

Raw files from these mini sensor cameras are often soft and mushy out of the camera so In Adobe Camera Raw I often push the Contrast, Vibrance, Texture, Clarity and Sharpening and Masking sliders much further to the right than would be appropriate with a better quality original file from a larger sensor with a better lens.

I usually manage noise reduction in two stages. First I use the ordinary Luminance noise reduction slider to remove some of the noise without reducing detail. Then I use Enhance > Denoise at about 40-50% to complete the noise reduction process while maintaining as much detail as possible.  Excessive use of Denoise AI introduces green color fringing which can be difficult to manage.

I find best results are achieved if I leave a bit of noise in the image. 

Summary

The Lumix FZ80D is by 2024 standards a mediocre entry level bridge camera. The main appeal of the FZ80D is the 60x superzoom. But I find that in practice the optical compromises required to compress such a zoom range into a very small package outweigh the benefits.

I rate the Lumix FZ1000.2 a much better camera in every respect and well worth the extra cost.

I am disappointed and puzzled that Panasonic has discontinued the FZ300 which I have rated as the most appealing mini sensor (6.17x4.55mm) bridge camera since it was introduced in 2015, in favour of a minor upgrade to the less capable and less appealing FZ80.


Similar products 

The Powershot SX70 is still in Canon’s catalogue.   It is similar in specifications to the FZ80D and is similarly compromised as to performance and image quality.

The Lumix FZ300 is discontinued and the Lumix FZ2500 is listed as in runout by several retailers.

The Sony RX10.4 is or will soon be discontinued according to Sony Alpha Rumors.

Nikon is still offering the P950 which has an ultra super zoom making it much larger than the FZ80D. My experience with these Nikon ultra zooms is that getting good image quality at focal lengths over about 1000mm (full frame equivalent) is really quite difficult unless the subject is fairly close to the camera and in bright light.

Which leaves us with the Lumix FZ1000.2 which I do recommend although that model is getting a bit old and could benefit from a comprehensive upgrade.

Comment

I am a long time user and advocate of bridge cameras. But it appears I am part of a shrinking cohort.  The number of bridge cameras being offered has declined to the point that the species is almost extinct and I feel sad about that.

 




 

 

 

 

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