The Lumix G9 has a secondary screen more than welcome. On the left shoulder, under the mode wheel, a selector is used to choose its shooting rate. Note that the burst I and II positions, by default, do exactly the same thing until you have customized them. The overall ergonomics is inspired by that of the Lumix GH5, with, on the hood, direct access to the white balance, sensitivity and exposure compensation and, on the back, a joystick, a coding wheel, access directly to focus modes and AF modes.
There is a field on which the Lumix GH5 will not mess you up: its design. Neither handsome nor ugly, neither seductive nor repulsive. More modern in its aesthetics than the Lumix GH4, the GH5 has been especially designed to be functional. All the controls are judiciously placed and operated, the case fits well in hand, all the knobs and switches are perfectly notched, firm when necessary, fluids when necessary. The engineers have even pushed the vice to offer a new look “flat” to the menus and, better still, to completely customize its control menu, depending on whether one has the needs of photographer or videographer! Well, do not get me wrong – the sub-menus and sub-sub-menus and sub-sub-menus and so on. are still as dense as before.
The Lumix FZ1000, any bridge is it, does not replace the FZ200. In fact, the FZ1000 looks more like a model of the Hybrid for GH4 videographers, feeling reinforced by the layout of the controls very similar. Same mode selector (but here not lockable) on the right shoulder, even shot rate selector on the left shoulder, same pronounced taste for customizable keys (from Fn1 to Fn5). As long as we do, we would have appreciated that Panasonic also offers its FZ1000 a steering system with two thumb wheels (one inch and one index) and a touch screen history to stand out from the Sony RX10, but it’s not is not the case.
The Lumix FZ300 abandons the classic curves of the FZ200 and borrows the big brother FZ1000 its very angular design. While it will be up to everyone to make his own opinion aesthetic side, impossible to disagree with the excellent grip, the handle very gripping, the finish almost irreproachable. Despite the slight overweight, the FZ300 remains very balanced in hand, reassures and quickly forget the not-so-distant era when bridges were the poor relation of the NPCs with, all too often, a large plastic toy finish. In any case, it was necessary at least to make the FZ300 one of the – too – rare tropicalized bridges of the market.