Fujifilm X-M1 review

Great image quality is super-sharp, well priced for such image quality, tilt-angle LCD is useful, hotshoe for accessories and future expansion, minimum shutter speed, advanced shooting options, long-lasting battery

Autofocus slip-ups all too common, top thumbwheel easily knocked by accident, exposure can be off, retro styling of X-series feels somewhat lost, no ISO 100 sensitivity, no touchscreen controls, Wi-Fi issues

The X-M1 is something of a departure for Fujifilm. Despite bearing the "X" name this compact system camera (CSC) seems to have laid off with the retro style and dial-laden designs of its bigger brother X-E1 and X-Pro1 models. It may sound more B-movie than blockbuster, but we gave it the Hollywood-style treatment anyway: jetting off to Iceland to visit a number of shooting locations used in the Joseph Kosinski-directed Tom Cruise movie Oblivion with the X-M1 in tow.

Despite a lesser build quality and the lack of a built-in viewfinder compared to its X-series peers, the X-M1 doesn't hold back when it comes to image quality. The 16.3-megapixel APS-C sized sensor under the hood comes with a Fujifilm-only design that means no low-pass filter is needed and that ought to produce optimum sharpness; that next-level crispness reminiscent of the big screen - ultra-high definition eat your heart out.

We sure put the X-M1 through its paces too. Shooting inside a dormant volcano 120-metres underground, an ash-laden "black sand" desert, in rain-soaked lava fields and beyond. Did the X-M1 deliver a star performance?

Whereas the retro-styled Fujifilm X-E1 brings Marilyn Monroe levels of classy to its design, the X-M1 has done away with most of the retro cool and pared things down to a simpler design. Perhaps that's a bit more Tom Cruise - it is smaller, after all - but where are the chiseled abs and smooth contours? Compared to its pedigree the X-M1's faux (plastic) leather - which isn't miles away from some sort of snakeskin pattern - isn't as enticing as we'd like.

READ: Fujifilm X-E1 review

The camera's design feels sandwiched somewhere between the consumer-friendly functional and more complex camera operator style. We're big fans of the 3-inch, 920k-dot, tilt-angle LCD screen on the rear - which we used a whole lot - and the inclusion of a main mode dial simplifies jumping between those manual and auto shooting modes. On the rear there's a "Q" button to deliver an on-screen quick menu, but this doesn't always feel like the most engaging way of making adjustments, and the lack of a touch-sensitive screen panel feels like an absence.

When it comes to some functionality we're surprised there were no retakes too: the inclusion of dual thumbwheels is welcome for manual control, but with the top-set one it's all too easy to knock it by accident and unwontedly adjust the exposure compensation. If this were the days of film there would be stacks of under- or over-exposed frames and reshoots aplenty.

Perhaps the X-M1 is at a slight disadvantage as we've just wrapped up a week with the Panasonic Lumix GX7 which rather stunned us. But at ?899, the Lumix is a full ?220 more than X-M1's ?679 asking price. Swings and roundabouts.

READ: Panasonic Lumix GX7 review

When it comes to lenses, Fujifilm's XF-mount optics have so far been aimed at a pro audience. Prime lenses with wide apertures and premier sharpness might not sound out of place on a movie set, and while the X-M1 can make use of these optics, the kit comes complete with the new yet more basic 16-50mm f/3.5-5.6 lens. It's a bit more DVD than Blu-ray, but does the job and keeps the price fair - a key sell for this camera.

But despite the price being lower than other X-series cameras there's still plenty of pro to be found here. That APS-C sized sensor is the very same as found in its pricier X-series peers - and as large as you'd find in many DSLR cameras - and includes the Fujifilm-only "X-Trans CMOS" (yes, that rather silly sounding name again) which means no low-pass filter is needed for optimum image sharpness. True movie cameras function in a different way altogether, but the Fujifilm is as close to an in-between to that and the way most normal cameras operate.

We liked to be stunned with beautiful visuals. When you visit those special places - Iceland is one such place, so it's no surprise that many movies are shot there for its unique settings - and want to record those magic moments, having a camera that can do it justice is a great thing. And the X-M1 is one such camera.

Fujifilm X-M1 review sample image - ISO 400 - click for 100 per cent JPEG crop

We've thrown a lot of conditions at the camera and, ultimately, it's taken our direction and bossed them all. As we've said the sensor is the very same as found in the X-E1 and even the X-Pro1 and there's nothing between them in the output department either. No scrimping, this is pro stuff all the way, with the exception of the lens being somewhat more limited than those pricier primes.

READ: Fujifilm X-Pro1 review

There's no ISO 100 setting, however, which is a bit of a disappointment. Instead sensitivity runs from ISO 200 through to ISO 6400, with the option of Auto ISO that often auto-selects ISO 400 as its go-to sensitivity. But we have no qualms about shooting at such sensitivities, simply because the resulting quality is up there among the very best that any compact system camera can deliver.

Fujifilm X-M1 review sample image - ISO 400 - click for 100 per cent raw crop

The camera's full range is just about usable throughout and particularly impressive at its low-mid settings. It's not often that a camera can produce shots that look similar from ISO 100-800, but that's the case here. There's little interfering grain or image noise to speak of, and while it does begin to crawl into images from ISO 1600 and more aggressively thereafter, there's still a relatively decent level of sharpness all things considered.

And so to the behind-the-scenes featurette: what is it that makes the quality so standout? There are a number of things: first the sensor is physically large; second there's the X-Trans technology that uses a unique a wider colour array compared to usual cameras to decode colour at each pixel site, and; third, which goes hand-in-hand with the last point, there's no low-pass filter - traditionally used to anti-aliase incoming light to avoid those jaggied edges - as the wider-base colour array is clever enough to process without it. Big sensor, big "pixels" with direct light for optimum sharpness - it's got all the ingredients for great things, and that shows in the results.

Fujifilm X-M1 review sample image - ISO 6400 hand-held - click for 100 per cent JPEG crop

Shoot raw, shoot JPEG, shoot both together. We did find exposure to be a little unreliable in the varied conditions, but with the RAF raw files (nothing to do with the Air Force) available there's plenty of scope to adjust images in post-production. It's also easy - a little too easy - to make EV adjustments using the camera's top dial. Some shots in the gallery below are exposure-adjusted, but we've not made any raw file adjustment - despite the temptation to pull back some of the highlights - to give a true representation of like-for-like quality.

Of the two formats the raw files do look far flatter than the more contrasty JPEG files and with no lens correction they may also look slightly more distorted. But their addition of some grain and that extra lick of detail will make more sense for serious shooters who want to grade-up their shots with some post-production precision.

Image quality may be one thing - and the X-M1 sure does have that box ticked - but out on location is the ultimate test. After all there are stacks of interchangeable lens cameras out there all biding for your cash. Is the X-M1 worth the price of admission?

It's a mixed bag, really. The X-series isn't renowned for having the very fastest autofocus, something that firmware v2.0 has part rectified in both X-E1 and X-Pro1 models. In the case of the X-M1 it feels as though someone missed that memo. It's no curtain call by any means, but it doesn't stack up well considering the A-list competition out there.

For example low-light was rarely an issue to shoot in. We descended 120-metres down into the dormant Thrihnukagigur volcano in Iceland where it's obviously none too bright. Some additional lighting and ISO 6400 set us up for hand-held shooting - just about, anyway, as the f/3.5 maximum aperture at the wide-angle setting of the kit lens was a push with the given the available shutter speeds - with autofocus achieving focus the majority of the time. Even in other dim conditions, such as at dusk, we were able to latch onto fairly elusive subjects, so long as they remained stationary.

The problems arise in unexpected circumstances half of the time. Indeed it's hard to pinpoint exactly what the X-M1 doesn't like. Shooting in the black sand desert had around a 50 per cent autofocus fail rate. We get that black on black isn't the most contrasting by its very nature, but even when focusing on specific, light-laden close-ups there were problems despite, to our eyes, clearly identifiable contrast. Such a hit and miss ratio isn't great.

Fujifilm X-M1 review sample image - ISO 200 long exposure - click for 100 per cent JPEG crop

As we've already alluded to moving subjects, too, aren't favoured by the camera's lack of speed. This isn't just a Fujifilm thing, it's something we hark on about all the time when it comes to compact system cameras - the continuous autofocus just isn't up to scratch compared to a decent DSLR camera. Not necessarily a problem if landscapes are your thing, but worth noting none the less. That might sound at odds with the X-M1's 5.6 frames per second (5.6fps) burst shooting mode which can snap an apparent 10 consecutive raw and JPEG files. We managed to fire off 11 before there was any sign of slowdown - selling itself short, we feel (a bit like the way Oblivion put itself out there as an action flick when it was so much more than that).

When it comes to a full day's shooting it's power that's all too easy to overlook. Especially when you're right out in the sticks of the northern hemisphere with nothing but moss-covered lava fields and sideways-rain to keep you company. But the X-M1 persevered: its battery kept on going like a true star throughout a couple of days. Not constantly in use by any means, but it got a thorough workout.

Other small yet useful features help elevate the camera's star status too. Things like being able to set a minimum (though no maximum) shutter speed proved of considerable help throughout our days of shooting.

Add in classic Fujifilm film types - in their digitised stock forms - and shots can take on an amplified, or more subtle finish straight from camera. There are more extreme filters available too but, unfortunately, it's not possible to keep the original raw file alongside the adjusted JPEG - so if you don't like the outcome then you'll need to change tack and reshoot. Now there's a feature that needs to be fixed up.

Fujifilm X-M1 review sample image - ISO 200 long exposure - click for 100 per cent JPEG crop

But other features are more an elaborate stunt than necessity. Take the wireless image transfer feature, for example. The concept of sharing images direct from camera using a smart device is a welcome one, but there are a few hoops to jump through in order for it to happen. You'll need to download an app and pair devices before it's possible to attempt to ping files over.

We say attempt as this is where the hoops get inhumanly small: we weren't able to pair up with the HTC One irrelevant of how many times we tried, including after restarts and resets on both sides. If it was a movie stunt there'd be a few broken limbs. But Wi-Fi isn't a necessity for a camera like this, not until it's implemented better anyway. So we can cut this particular unwarranted scene out of our minds. But those seeking Wi-Fi as a must-have are best to look in Samsung's direction.

READ: Samsung Galaxy NX: Real-world camera test

When it comes to the visuals the Fujifilm X-M1 is a winner. The images this camera can produce mean serious business - they're among the best from any compact system camera that we've yet seen. That's big-screen star points scored from that point of view then.

But the process of getting to those shots is littered with quirks: the exposure compensation dial is knocked out of place all too easily, while autofocus feels limited in light of the other A-listers out there. It costs the camera all too dear as it's less enjoyable than the higher-spec kit in that range that tantalises us that much more.

The X-M1 is new ground for Fujifilm: it's a camera targeted towards the masses, yet it maintains a decent level of its all-important pro-spec look and feel. Imperfections there may be, and it can feel a little more B-movie than Hollywood at times, but the X-M1 will score a cult-movie-like following for all its positives. A compact system camera that really shouldn't be overlooked, there's more to it than meets the eye.

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Panasonic Lumix GX7 review

Built-in electronic viewfinder, decent build quality, super-fast autofocus speed, decent image qualty, fully user-customisable, responsive touchscreen controls, manual focus override with focus peaking works well, 1/8000th sec shutter speed, price fair for full feature list

Colour noise in high-ISO shots, some viewfinder activation lag, continuous autofocus still not quite there, can't shoot in-camera effects with raw+JPEG, accidental focus point adjustment via touchscreen, so-so battery life, pinpoint AF requires double tap, overexposure can be an issue

The Panasonic Lumix GX7 immediately took up the "most wanted" position in our desirable compact system cameras list when it was announced earlier this year. How's that for hype? But it's hype with reason: the GX7 comes complete with a brand new Micro Four Thirds sensor, has a built-in tilt-angle electronic viewfinder that has minimal impact to the camera's size, and all the bells and whistles features that advanced photographers will want.

But with a sensor size that's smaller than much of the competition, is the GX7 the camera to carve out an on-par space for Panasonic's G-series when it comes to image quality? We've been using the Lumix GX7 out in the real world in all manner of conditions - from the fjords of western Norway to dim-lit aquariums and beyond - to see if it can deliver that next level experience. Does the Lumix GX7 match up to the hype?

The basis of the GX7 is essentially a souped-up GX1. But 18-months on from that earlier model's release date and it's not just a case of a little tweak here and a tiny adjustment there: the GX7 is an entirely different beast that's been built from the ground up. That probably explains why there's no GX2 or other number models - whether consciously or unconsciously it seems to signify Panasonic's feature-set leap from one model to the next. And seven is better than one, right?

Panasonic has gone in deep with the GX7. It's got a long list of features, among the most standout of which are the tilt-angle electronic viewfinder (EVF) and rear touch-panel LCD screen. The EVF sits horizontal on the body but can be angled through to 90 degrees to face directly upwards, while the LCD screen can face 90 degrees upwards or 45 degrees downwards. It's a tilt frenzy. And we like it.

The EVF is generally no slouch either: not only is it a rarity among compact system cameras, it's the first built-in one we've seen with a tilt-angle mount, and its 2,760k-dot resolution isn't mucking around. But it's not quite perfection as some ghosting during movement sees subjects blur in preview; move particularly quick when tracking and we even saw red and green fringes temporarily spill out around some subject edges. There's another ongoing issue too: the eye-level finder takes around half a second to activate, before  which the EVF is blacked-out to save on battery life. Even with the rear LCD screen switched off there's still a delay in EVF activation.

But when steadied the EVF's resolution has plenty to shout about and its 100 per cent field-of-view ensures that what you see is what you get in the final frame. Overall there are more pros than cons and while it might not be as responsive as an OLED finder the colour gamut in this particular LCD panel is far more lifelike.

The camera's 3-inch rear LCD has held up well during our testing too. Its 1,040k-dot resolution is about as high as you'll find in any dedicated camera, while the electrostatic touch-panel - it's the same screen as found in the Lumix G6 - is the most responsive we've used to date. Sunlight can cause occasional issues with visibility, but not awfully so and, thanks to the EVF, that's a limited issue.

READ: Panasonic Lumix G6 review

If anything, one of the LCD screen's biggest plus points is simultaneously one of its weaknesses: that responsive touchscreen. It's all too easy to activate accidentally, which typically moves the autofocus area to somewhere that you won't want it. Whether that's by the bulk of a hand, an accidental knock or - and specifically with this model - a nose or cheek touching the screen when lifting the camera to the face, we found it happened all too often.

Panasonic Lumix GX7 review - sample image at ISO 200 - click for 100 per cent raw crop

We've been thinking through this issue as it's more prolific in the GX7 given the EVF placement. The immediate solution, which we found ourselves opting for all too often, is to switch off the touchscreen controls altogether. But doing so can feel limiting. An option we'd like to see is for Panasonic to offer a limited active are of the toucshcreen. At present the GX7 offers full edge-to-edge selection across the entire screen - which is potentially great - but that is either on or off. If there was an option to deactivate this outermost-edge - whereby menus would have to be accessed using the physical keys only and the touch interface for focus point control only - we think it might end up being certain photographers' best friend. Just a thought.

Okay so there aren't actual bells or whistles on board. But the GX7 is adorned with a huge variety of controls. From the quartet of physical programmable function (Fn) buttons and five additional touchscreen virtual Fn buttons, each of the total nine Fn access points can be set up to control whichever settings you want from an extensive 37-strong list in each instance. The GX7 sure has got you covered. Set it up how you want it and use it how suits you best.

But that doesn't affect the fairly typical G-series layout. The Fn1 button defaults to load up a quick menu which presents 12 options on the screen - each can be selected via the touchscreen or by using the d-pad. This adds yet another layer of depth to the quick-access settings so nothing is ever far from your reach. It's advanced, yet not complicated. And once you've set it up how you'd like it it's spot on in use.

Elsewhere within the design there's an AF/MF (auto/manual focus) switch and AF/AE (autofocus/auto-exposure) button lock, plus a physical mode dial and dual thumbwheel set-up for selecting the mode and adjusting manual settings respectively.

In the hand the GX7's magnesium alloy construction feels like a sturdy wedge and all the on-board controls fit well in their given positions. The top thumbwheel has taken a tip out of the Olympus OM-D E-M5's book in style terms, as it's fully exposed and sitting directly on top - but this doesn't affect its practicality by any means. The camera also comes complete with a deep-grooved grip that's a perfect match for three fingers. We did find the fourth finger to slip under the body, but the camera body still nestles well in this position, and part of this model's prospect is its small scale.

READ: Olympus OM-D E-M5 review

In addition to the all-black model that landed in the 'Lint offices for review, there's also a model with a silver-like top which, for us, is the preferable finish of the available pair. It's Panasonic going down the same line as other camera manufacturers and looking to push that modern-retro fashion, a la Olympus and Fujifilm.

Overall the GX7 is a serious customer. Detailed finish, good looks and high quality are wrapped up into an attractive yet functional package. It might not ooze the immediate coolness of something like the Olympus Pen E-P5 - which is a lovely thing indeed - but Panasonic's gone and squeeze in more functionality friendliness.

READ: Olympus Pen E-P5 review

We've put the GX7 through its paces in testing. From shooting the fjords of western Norway, through to dim-lit street statues and other tricky low-light conditions such as aquariums. It's been a revealing process with lots of highs and just a couple of lows.

Key to the GX7 is its "Light Speed AF" autofocus system that - and just like other G-series models - offers up among the fastest automatic focus going. And it really is knock-out fast. Near instant focus is available in all but the most pressing of conditions. The only near contender for the autofocus crown is the aforementioned Olympus E-P5, but choosing a winner between these two is a tough call.

Panasonic Lumix GX7 review - sample image at ISO 200 - click for 100 per cent JPEG crop

Autofocus can be set to single (AF-S), continuous (AF-C) and the half-way house automatic (AF-F). Finding a focus point and acquiring a sharp shot wasn't a problem throughout use, and the ability to tap the screen to specify the focus area and then adjust the size of that area by using the rear thumbwheel makes light work of most scenes.

If the viewfinder is your preferred point of use, however, then do note that the active user-placed focus area - if that's the AF area mode you happen to be using - is the one that will remain in play, so should it be in an obscure position when the EVF activates you'll suffer a delay in making touchscreen adjustments on the rear screen as both panels do not operate at the same time.

Continuous autofocus, too, suffers the all-too-familiar ongoing limitations that we've experienced in not only Panasonic's G-series but from all compact system camera manufacturers right across the board. Fast-moving subjects can be successfully tracked using subject tracking AF - ie, the camera knows where to position the focus area to follow the subject, but the actual autofocus isn't swift enough to maintain the same frequency. When shooting fish behind glass in an aquarium this was exactly the case and resulted in focus hesitations that cost a number of shots. If the light was better then the GX7's other features - including its 1/8000th sec maximum shutter speed - go some way to compensate, even if it would mean pre-focusing and crossing fingers. It's far from incapable, but continuous autofocus still doesn't feel advanced enough to us.

Panasonic Lumix GX7 review - sample image at ISO 5000 - click for 100 per cent JPEG crop

Low light is no problem though, which is always a plus point that plenty of buyers want to hear about. Unlike some competitor systems - such as the Sony NEX series' inability to use a specified focus area when there's what it deems as too little light - the GX7 was able to focus on any given situation we threw at it. Well, with the exception of subjects being too close-up - but nothing can be done about that as it's dependent on the attached lens in use.

Throughout this review we stuck with the provided 14-42mm f/3.5-5.6mm lens that comes complete with optical image stabilisation. It's fine enough but doesn't always show off the GX7 to its fullest ability. It also raises another interesting point about the GX7's inclusion of sensor-based image stabilisation - the camera can auto-select between the in-lens system or utilise the sensor-based mode for lenses without stabilisation on board. That'll appeal to those considering utilising an adaptor alongside lenses outside of the Micro Four Thirds range.

The 14-42mm lens does lend itself well to manual focus shooting too, and the GX7 has seen definite progression in this area. A quick flick of the AF/MF switch on the rear sets either auto- or manual-focus into play, while an inter-menu setting, once activated, allows for manual focus override. Here it's possible to manually tweak focus and there are two points that make this all the easier: a focus-area-dependent magnification box which pops up on the screen to show a 10x magnified preview; and what's known as focus peaking. The latter shows up in-focus highlights as a bright colour, such as blue, to confirm that they're in focus. It's aperture-dependent (to a point) in order to assist with depth-of-field focus and it all works rather swimmingly.

Panasonic Lumix GX7 review - sample image at ISO 200 - click for 100 per cent raw crop

As well as the usual list of multi, centre only, user-defined single point, subject tracking and face priority autofocus area types, one of our favourite autofocus modes - pinpoint AF - has also seen a GX7 refresh. The crosshair-like autofocus pin-point now magnifies the focus area in a smaller box shown up on screen. It's also possible to independently position the auto exposure area as separate crosshair to differentiate exposure and focus. A great touch. Thing is, despite apparent betterment, we preferred the older version for one simple reason: in the GX7 pinpoint AF requires a double tap of the screen to reposition the focus point. Urgh. As precision touchscreen accuracy on a screen like this can be a little tricky, it makes for a less accurate user experience - and a slower one. We'd much rather have a single tap method, then all the new additions would be all the more welcome.

We've been shooting high and low - quite literally from mountain tops and down to sea-level, as well as throughout the GX7's ISO 200-25,600 sensitivity. No ISO 100 option is a shame, but that's somewhat commonplace in these camera types, yet the addition of a 1/8000th sec shutter speed goes some way to compensate for this. Previous G-series models have come equipped with ISO 160, whereas the GX7's "extended" ISO 125 option is a signifier of yet something else: a brand new sensor. Panasonic has been bigging up this latest addition to the series, touting a -6dB noise reduction compared to even the GH3's sensor. But just how good is this new slice of 16-megapixel silicone and do those numbers convert to a meaningful step up in image quality?

Arguably there's a slight stigma attached to the Micro Four Thirds sensor. As it's smaller than the likes of the Sony NEX and Samsung NX series, Panasonic has had to push big claims in the GX7. Typically the size means Micro Four Thirds won't perform as well at higher ISO sensitivities as larger competitors. Now we're not saying that the GX7's high-ISO shots are the very best out there - after all, there are epic DSLR cameras and more on the market - but we've been generally impressed with how good everything looks for the most. Bright, colourful and sharp JPEG shots at the low-mid sensitivities are a definite plus.

Panasonic Lumix GX7 review - sample image at ISO 1000 - click for 100 per cent raw crop

But there are caveats: auto exposure can throw things more than a little off - we found frequent overexposure of around 0.7EV was a problem in a large number of our shots - and when shooting raw the GX7's shots not lack the same definition as something like the Olympus E-P5, they also reveal a lot more colour noise. So, yes the GX7 can produce good quality images, but to give it context it's not ahead of where Olympus has managed to push to.

When everything is on point, however, there's loads to like. Part of this is down to the GX7's full-on feature set - we used the waist-level tilt-angle screen and viewfinder on numerous occasions with great preview and feedback in both modes. Like any camera, the GX7 is a tool; and an enabler at that.

Panasonic Lumix GX7 review - sample image at ISO 20,000 - click for 100 per cent JPEG crop

We've taken a good look at shots at their full 16-megapixel scale and they do reveal signs of processing that has some impact to quality from around the ISO 800 mark. Or thereabouts. Here detail areas show up slight processing artefacts. This increases as the ISO sensitivity rises, but when JPEG snaps with five-figure ISO sensitivities are still apparently passable - despite heightened processing and softness - we can only put our thumbs up. Sure, ISO 25,600 is an unwarranted push in our opinion, but it puts the figures on the page.

Like we say, raw files haven't drawn that extra detail out as we'd hoped. If anything it shows how sharpened JPEG files are compared to their raw counterparts, and the colour noise that seeps in even at mid-level ISO sensitivities - mid-greys show up colour noise in ISO 640 examples - is a little disappointing. But it's the raw, untouched data - if you've got a decent post-production plan then there's plenty here to play with.

Panasonic Lumix GX7 review - sample image at ISO 640 - click for 100 per cent raw crop

We suspect that a better lens than the 14-42mm will draw yet more out of the GX7. In our experience with the earlier pre-production model - which we took around Longleat safari park - we took some sharp pictures and while we've still nabbed some great shots with the final production model, that lens isn't as bitingly sharp as we'd like.

There's a stack of detailed adjustments and in-camera processing available too. From the new black and white mode, which comes complete with colour filter effects of red, yellow, blue and other colours for that distinct B&W finish, through to a shadow and highlight gamma curve tool. Annoyingly it's still not possible to apply in-camera effects when raw & JPEG shooting is selected.

Panasonic Lumix GX7 review - sample image at ISO 5000 - click for 100 per cent JPEG crop

Overall it's good news. As a whole package the GX7 delivers what it needs to. Whether claims of best-yet and various decibel figures equate to true image quality hikes we're not so convinced upon inspection. But what matters is what's on screen (or the page) - and when everything's been right we've seen great images come from the GX7.

For all the excitement of the other features we've not insofar mentioned the GX7's inclusion of Wi-Fi technology. Well, it's got this onboard in addition to NFC (near field communication) built-in to enable sharing via a smart device direct from the camera. You'll need to download Panasonic's app to your smartphone or tablet for everything to run smoothly, whereafter connecting up between the two is fairly easy for sharing.

But for all the benefits of Wi-Fi we just don't really care about it all that much. Panasonic doesn't offer the best implementation of such a system, in part due to the limitations on sharing - it's not possible to push to Dropbox for example, instead only Panasonic's own Lumix Club account can be used. It's the same old story as we've been harking on about throughout various other G-series camera implementations, including the Lumix GF6.

READ: Panasonic Lumix GF6 review

It is possible to use a smart device as a remote control which is fun enough but not necessarily top of the priorities list. When it comes to sharing from camera it's Samsung that's got the best system setup, something that no other manufacturer - as yet - can match up to.

READ: Hands-on: Samsung Galaxy NX real-world test

Wi-Fi is also a battery drainer. And given that the GX7's battery is so-so at best - we'd recommend bagging a spare for sure - it's something we've actively tried to avoid.

The Lumix GX7 is the package deal. It's bursting with features, it's a pleasure to use and it produces some excellent shots. Pro-spec features such as a 1/8000th sec maximum shutter speed and that tilt-angle viewfinder further bolster the package deal that, straight of of the box, is unlike anything else out there on the market.

Only there is one strong competitor that can't be overlooked: the Olympus E-P5. Out of the two models we think the E-P5 is the better looking and it even produces images with preferable processing and less noisy raw files to our eyes. But - and here's the clincher - add a VF4 viewfinder on to the Olympus model and watch the price tag soar. It's the do-it-yourself trip of a lifetime that'll inevitably cost more. And herein lies one of the GX7's most appetising features: its ?899 price-point. Yes it's not cheap but for what you get it's well worth it. If money were no object then we'd pick out the E-P5 each and every time - but when there's little cash lining those pockets the price-point becomes of crucial importance. We also prefer the layout, menus and customisability of the Panasonic, which also carries plenty of weight when it comes to general functionality.

In true Panasonic fashion the GX7 ticks plenty of boxes. But beyond feeling solely functional, this Lumix has soul too; it successfully flirts with the current design trends and pulls it off. It feels luxury, it feels exciting and it definitely feels worthy of the hype. There are shortcomings as we've detailed, including so-so battery life, but considering the feature set and the price-point the Lumix GX7 is up there among the compact system camera greats. It's got every base covered - and covered well.

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