Panasonic Lumix DMC-FZ48 review

If there’s a running theme in our camera reviews, it’s our frustration at huge megapixel ratings that push up noise rather than picture detail. With most casual shoppers assuming that more equals better, savvier consumers are left out in the cold. Panasonic is by no means blameless in this respect but it bucked the trend with its LX-series premium compacts. Now it’s doing it again for ultra-zoom cameras.

Fewer pixels inside means less noise in pictures

The FZ48 is the successor to the FZ45 but it replaces the older model’s 14-megapixel sensor with a 12-megapixel one. Let’s be clear: that’s still a lot of pixels, and enough to make A3 prints at 240dpi. However, with fewer pixels crammed into its tiny 1/2.33in sensor, more light hits each one, leading to more accurate measurements and less noise.

That’s not the only positive change compared to the FZ45. The 3in screen’s resolution has doubled to 460,000 pixels, and looks crisp and bright. The main specifications of the 24x lens are unchanged but it now has what Panasonic calls a “nano surface coating” to minimise internal reflections. We were impressed to find barely any sign of lens flares in our tests, even when shooting directly into the sun.

Lens flare is almost non-existent thanks a new coating – Click on the image to enlarge it

With less data to process and store, the lower resolution also contributes to the FZ48’s faster performance. However, this doesn’t fully explain the threefold improvement in continuous performance, which now stands at 3.7fps. It’s limited to bursts of seven frames, but with a fast SDHC card it was ready for another burst in less than two seconds. The screen shows captured shots rather than a live view, though, and the autofocus didn’t update between shots, which made capturing moving subjects tricky. The pricier, even faster FZ100 remains a better choice for sports and wildlife photography.

The FZ45’s 720p AVCHD Lite video mode has been upgraded to AVCHD 1080p (files are encoded as interlaced but the video within is progressive scan). Details were crisp, noise was understated and the focus and zoom motors didn’t spoil the high-quality stereo soundtrack. Automatic exposures reacted smoothly to changing light, and there’s full access to priority and manual exposure modes for video – a rare feature for a digital stills camera and a crucial one for creative video projects.

The camera’s cosmetic design and controls are unchanged since the FZ45, with lots of buttons for quick access to key settings. There’s extensive scope to fine-tune picture quality, including manual exposure and focus, variable noise reduction and the ability to set the maximum ISO and minimum shutter speeds. It’s a great set of features for keen photographers, so it’s disappointing that Panasonic has removed the option to capture in RAW format. Many people won’t miss it, but the FZ45’s RAW images looked much better than its JPEGs after a quick bit of processing in Photoshop Elements or the bundled Silkypix editor.

There’s extra detail from the LCD and plenty of controls for tinkerers

Thankfully, the FZ48’s JPEGs are pretty good to start with. The lens displayed impeccable focus throughout its zoom range, and colours were rich and flattering. There was little sign of lens distortions and no chromatic aberrations. Noise was still perceptible throughout our tests, with noise reduction muddying subtle textures in well-lit shots and smearing everything in darker conditions. However, noise was significantly lower than from the FZ45, and among the lowest we’ve seen from an ultra-zoom camera.

The FZ48 also excelled in the reliability of its automatic exposures. The aptly named Intelligent Auto mode picked the right balance of shutter and ISO speed to minimise noise without resulting in blur, adapting not just to varying light but also the zoom position and movement in the scene. However, we’re disappointed that Panasonic is still peddling its Intelligent Resolution technology, which extends the zoom range from 24x to 32x by applying digital magnification. This made subjects appear bigger but no more detailed, and noise was much more visible. Intelligent Resolution is disabled by default in most shooting modes but it’s impossible to disable in Intelligent Auto mode. The Macro Zoom mode caused similar frustrations, appearing to zoom in by up to 3x but actually just applying an ugly digital zoom that gave us false hope when taking macro photos.

Intelligent resolution is just a fancy name for digital zoom – Click on the image to enlarge it

Still, these are niggles we could work around, and otherwise the FZ48 is an outstanding camera. Panasonic deserves high praise for choosing a 12-megapixels sensor while many of its competitors are moving to 16 megapixels. However, this isn’t an honorary Best Buy award at the top of this review. The FZ48 is the best ultra-zoom camera currently available.

With the pocket-sized Olympus SZ-30MR matching its 24x zoom, shoppers should think carefully about whether they’re happy with the FZ48’s bulkier dimensions. However, the FZ48’s electronic viewfinder, extensive controls and superior quality for both photos and videos are ample compensation for the extra bulk; and something we’d gladly pay an extra £50 for. The FZ48 is an excellent choice for people who want a huge zoom and lots of creative control.