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We have collected 9 reviews of the Panasonic Lumix DMC-FZ150. Experts rate Panasonic Lumix DMC-FZ150 8.4/10. Reviewsor.com helps you find reviews, best prices, user reviews of the Panasonic Lumix DMC-FZ150 and Panasonic Digital cameras.
The Panasonic Lumix DMC-FZ150 is a new super-zoom camera featuring a wide-angle 24x zoom lens, 12.1 megapixel high-speed MOS image sensor, and 12fps continuous shooting without autofocus and 5.5fps with autofocus. Successor to the FZ100 model, the bridge-style Panasonic FZ150 compact also offers a 3-inch, 460K-pixel rotating LCD screen, full HD 1080p movie recording in AVCHD format at 25/30fps, Intelligent Resolution technology, Light Speed auto-focus, Nano Surface Coating lens coating, a range of creative effects, a port for an optional stereo microphone, and an accessory shoe for an external flash. The FZ150 also offers Power O.I.S anti-shake system, iA (intelligent auto) mode, manual shooting modes, 3D still images, RAW format support and an ISO range of 100-3200. The Panasonic Lumix DMC-FZ150 is available in black and retails for £449.99 / $499.95. The Panasonic Lumix DMC-FZ150 shares an awful lot in common in terms of its external design with its predecessor, the FZ100, so some of the comments that we made in that review apply equally to this latest model.
The Panasonic DMC-FZ150 CMOS-powered 24X superzoom is a replacement for the slightly unloved FZ100 and incorporates a lower-resolution 12MP sensor that the company says will outperform its predecessor's 14MP chip. The camera retains a 25-600mm equivalent lens but now incorporating 'Nano Surface Coating' to mitigate the effects of internal reflections. And, just like its predecessor, the FZ150 retains the ability to record Raw images. The FZ150 also shoots 1080p60 HD movies in the recently-created AVCHD Progressive standard. The FZ150 comes with a rechargeable battery and charger (with a solid rating of about 400 shots per charge), USB cable, shoulder strap, lens cap with attachment string, lens hood and a small printed basic manual. On the CD you'll find a full manual, SILKYPIX Developer Studio 3.1 SE, PHOTOfunSTUDIO 6.5 BD edition (both for Windows) and a link to a trial version of video editor Super LoiLoScope. You'll need a mini-HDMI cable for connecting the camera to an HDTV and an SD/SDHC/SDXC card to supplement the camera's 70MB internal memory.
The Panasonic Lumix DMC-FZ150 ($499.99 direct) is a superzoom camera with an SLR-inspired design. Its large 24x Leica lens covers a 25-600mm (35mm equivalent) field of view and the characteristic hump that holds its viewfinder and pop-up flash is straight out of the SLR design handbook. The 12-megapixel camera is capable of grabbing full-resolution images at 12 frames per second and recording HD video in 1080p60 format, setting it apart from other superzooms that have less ambitious video aspirations. It is priced higher than the 36x zoom Canon PowerShot SX40 HS ($429.99, 4 stars), and it can't fit into your pocket like our Editors' Choice 18x Nikon Coolpix S9100 ($329.95, 4 stars). But if fast continuous shooting and HD video are major concerns, and you need a long zoom lens, the FZ150 may be the camera for you. Design and Features The 3.2-by-4.9-by-3.7-inch, 1 pound, 2.6-ounce FZ150 is similar in size and design to the Canon PowerShot SX40 HS, which measures 3.6 by 4.8 by 4.2 inches and tips the scales at 1 pound, 5.2 ounces.
The bridge cameras just keep on coming from Panasonic, always with the same smattering of minor updates. True to form then, the only real difference between the FZ100 and this new FZ150 is the sensor, which is no longer Panasonic's 14-Megapixel MOS but a new 'high sensitivity' 12-Megapixel sensor, which looks very similar to the one used in certain Sony, Casio and Canon cameras. The FZ100 was a pleasant bridge camera that was let down by a sub-standard sensor, so will Panasonic have put things right with the FZ150? The Lumix FZ150 is almost exactly the same as the FZ100. Obviously, a few tiny details have changed though, such as the shape of the flash and a four-way controller that's now a single key rather than four separate buttons. There's now a zoom control on the lens barrel too, so you can zoom with the end of your left thumb rather than your index finger. This can also be used to control the manual focusing function. Build quality is good and the FZ150 is pleasant to handle and use. Grip is excellent and the controls are simple and easy to find your way around. The only let-down is that the plastics aren't top quality, so the FZ150 doesn't have the same reassuringly sturdy feel as the Fuji HS20, for example.
There was one thing that kept the Panasonic Lumix DMC-FZ100 from earning a CNET Editors' Choice Award: photo quality. So when Panasonic announced that its successor, the FZ150, had a new imaging sensor and processor, I had high hopes for it. The main problem with the FZ100 was Panasonic's JPEG processing of photos taken above ISO 200, which produced soft smeary details and yellow blotching caused by noise. It's not great when any camera does this, but it's especially disappointing in a $500 one. The FZ150 gets a new 12-megapixel MOS sensor (dropping from 14 megapixels), which Panasonic claims improves its signal-to-noise ratio, and new noise reduction more evenly suppresses noise in dark and light areas of photos as well. The end result should be better photos at higher ISOs with less noise. And, in fact, it does produce better low-light photos. However, it seems to have cost the FZ150 some quality at its lower ISOs. Though noise levels are better, it looks like Panasonic is overprocessing the JPEGs. It makes subjects look crunchy when viewed at larger sizes or when heavily cropped. On the other hand, if you don't regularly enlarge or crop photos for large prints, the photos straight from the camera might be perfectly fine.
Panasonic has a strong reputation in the long-zoom category, both for their pocket-sized ZS series and the full-sized FZ series, like the FZ150 on review here. It replaces last year's FZ100, which boasted an incredibly fast burst-shooting mode, full HD video, and a great design, as well as a knack for taking some really ugly photos in even slightly challenging settings. The FZ100 was a bit of a misstep, sure, but with this new flagship superzoom, Panny wisely kept baby and ditched the bathwater. The FZ150 looks at a lot like its predecessor, and parts of the spec sheet are nearly identical, including the 25-600mm equivalent 24x zoom lens, articulating 3-inch LCD, and the aforementioned burst shooting and HD video modes. But crucially, it swaps out the old junker of a sensor with an updated 12.1 megapixel MOS chip. Everyone loves a great redemption story, and the FZ150 proved itself to be the best superzoom we've tested. That title seems to change hands every week, but read on to see why we think the FZ150 will be at the top for a while.
Panasonic's Lumix FZ150 is a 12.1 Megapixel super-zoom camera with a 24x stabilised range, 1080p video capabilities and a fully-articulated 3in screen. Launched in August 2011, it replaces the Lumix FZ100, and like its predecessor is positioned as a premium version of a simpler model with the same lens range, in this case the cheaper FZ47 / FZ48. Panasonic believes some people just want the big zoom, in which case the more affordable FZ47 / FZ48 will suffice, whereas others are happy to pay a bit extra for additional features, which is where the FZ150 comes-in. Like the FZ47 / FZ48, the new FZ150 inherits the same 24x optical zoom of its predecessor, delivering a 25-600mm equivalent range, and therefore continuing to fall short of the whopping 35x and 36x ranges boasted by the Canon PowerShot SX40 HS and Olympus SP810UZ respectively. That said, while the Canon and Olympus undoubtedly reach comfortably further in the telephoto stakes, the 25-600mm range of the Panasonic continues to be extremely versatile, with few occasions when you'd want anything more.
What Digital Camera
The Panasonic Lumix FZ150 updates the previous FZ100 model, and is much like a beefed-up FZ48 with added tilt-angle LCD screen, better movie mode and Raw shooting. But with other manufacturers producing longer-reaching superzoom cameras, is the FZ150's 24x optical zoom enough to withstand the competition? The FZ150's 12.1MP sensor is a lower resolution than its predecessor in order to produce images without compromising quality. The sensor also features an increased output - now with two transfer lines for double the readout speed. This opens the door for the FZ150's Full HD 1080p (not interlaced) movie mode. At 50fps (25fps output from sensor) and with a 20Mbps data rate these are similar specs to that of a camcorder. That extra sensor speed also means up to 12 frames per second continuous shooting. Panasonic Lumix FZ150 review sample image - click for full size gallery Sensitivity from ISO 100-3200 adds an extra stop of sensitivity over the FZ100 but more significantly the FZ150 can also shoot Raw files. Earning its bridge camera title the FZ150 has a 0.2in, 201k-dot electronic viewfinder (EVF) to complement its 3in, 460k-dot vari-angle LCD screen. There's even a standard hotshoe to attach additional accessories.
The Panasonic Lumix DMC-FZ150 could be the biggest threat yet to consumer-grade digital SLRs. Panasonic's latest superzoom packs a fold-out screen, HD movie recording and an impressive set of optics, yet its body remains compact and light. The specifications more than justify its £400 price tag and so, it would seem, does its output. You can't miss the barrel on the front of the case. It's home to a monster 24x zoom that takes the lens from a landscape-loving 25mm to a tight 600mm (35mm equivalent). This is supplemented by a 4x digital zoom, but, with so much optical power at your fingers, it's a shame to invoke it. The lens is bright at its widest setting, too. Here, the aperture stretches to f2.8, narrowing to f8.0 at full zoom. There are two zoom controls -- a cuff around the shutter release and a rocker on the side of the barrel. This is a neat move on Panasonic's part, as the cuff is most useful when using the rear-mounted LCD, and the rocker when your eye is pressed to the viewfinder. In the latter pose, your hands automatically change their position on the camera's body, gripping the barrel so that your left thumb instinctively falls onto the rocker.