Panasonic Lumix S1R II Review

Introduction

Panasonic’s camera release schedule might be far more leisurely than the likes of Canon, Nikon and Sony, but whatever it comes up with is always worth investigating.

Enter its latest full frame, mirrorless flagship in the Panasonic Lumix S1R II. As the name indicates, this is a direct successor to the original six-year-old Lumix S1R. That gap is an absolute age in digital camera terms. So, what’s been improved and enhanced?

For starters, this is Panasonic’s first in its series to offer 8K video capture at a frame rate of 30fps, partly thanks to a whopping 44.3 megapixel back-illuminated CMOS sensor. In terms of continuous shooting, up to 40fps is offered via electronic shutter, or it’s up to a still respectable 10fps with mechanical shutter.

So, is the S1R a worthy addition to Panasonic’s full frame ‘S’ camera line up – and one that proves worthy of the wait between models?

Design and Handling

• Classic DSLR-like design with rechargeable battery incorporating handgrip, yet lighter weight mirrorless build
• 5.76 million dot resolution eye-level electronic viewfinder
• Dual card slots for both SD and CFexpress

Feeling very solidly constructed when gripped, in playing to an existing audience split between photographers and videographers, the Panasonic Lumix S1R II boasts a classic DSLR-type design and control layout, albeit with a slightly smaller mirrorless camera shape and form. With plenty of premium-looking metal accents and accessories, it appears reassuringly high quality from the get-go. As it should be given the premium asking price.

It’s worth noting that it shares its body as well as considerable technical DNA with Panasonic’s more recently announced S1 Mark II and S1 IIE models. These alternatives are equally worth checking out for similar durability and functionality, especially if a 24-megapixel resolution rather than a huge 44 MP count suits just fine.

Unlike prosumer DSLRs, the S1R II doesn’t feature a top plate LCD window to allow me to monitor and switch key settings immediately. I found this model’s large and chunky physical dials and command wheels are placed within quick and easy reach, with a plethora of customisable settings on its shooting mode dial.

As with most high-end mirrorless models, an angle adjustable 3-inch, 3:2 aspect ratio LCD monitor is provided at the back, which here is touch sensitive. Being able to tap an on-screen button to adjust selections rather than diving deep into menus not only makes life easier, but it’s also a time saver.

Even more positively, the S1R II’s screen mechanism is one of the most flexible on the market. It can be tilted upwards and downwards as well as swung out to the side and rotated to face whatever is in front of the camera lens, extending the range of creative compositional angles accessible to us.

Unlike on the Canon EOS R50 V, the LCD is provided in addition to, rather than replacing, a smaller OLED viewfinder. On the Panasonic, this eye-level screen is self-activating thanks to a built-in eye sensor, alleviating the need for further button presses.

As expected, the EVF has a higher resolution than the 1.84 million dot backscreen at 5.76 million dots, which provides a very life-like view free from image lag. Whichever option is chosen, both LCD and EVF provide 100% frame coverage. 

At 795g with battery and memory card inserted, the magnesium alloy constructed camera feels reassuringly chunky without being unmanageable. Though adding the likes of Panasonic’s equally new 24-60mm f/2.8 ‘S’ series zoom I had to test alongside the camera adds a further 544g in weight. 

Unlike my recent experiences with the Canon EOS R50 V and OM System OM-3, this Lumix’s grip feels large and firm in the right hand, enabling reassuringly steady handheld shooting.

With a large, springy shutter release button angled forwards atop the grip, where it falls readily under my forefinger, there’s a separate red record button for videographers located just behind it. As a further aid to flexible shooting when recording in landscape or portrait fashion, a second record button is tucked just beneath the lens mount at the front, where you might more usually expect to find the lens release button.

It feels like Panasonic has thought of nearly everything in terms of design and implementation. That extends to the fact that images and videos can be saved to either CFexpress Type B or SD media cards, with vacant slots for both provided beneath a sliding cover within the grip.

Reflected in its price and build, this is a camera body that’s been built for a wide range of shooting scenarios. With an operating temperature from -10 to +40 degrees centigrade, the S1R II is dust and splash resistant. However, it’s not waterproof, so any more than a mild drizzle and you’ll want to keep the S1R II protected and out of harm’s way.

Features

• 44.3MP back illuminated full frame CMOS image sensor
• 177MP handheld high-resolution stills mode
• First Lumix to feature 8K resolution video at 30fps

As well as that touched on above, further features of note include the S1R II’s generous 779-point phase detection auto focus system.

As expected, AF response time has been ratcheted up in the years since the original and is now claimed by Panasonic to be 1.6x faster. Its ability to zero in on human features is similarly stated as twice as accurate, while AI enhancements are said to have improved subject recognition.

As with Panasonic’s equally new S1 II and S1 IIE high-end mirrorless, Capture One software support is provided for anyone shooting tethered. Likewise, compatibility with Panasonic’s Flow video production app is provided, with this being the first camera in its maker’s series to offer 8K, 30fps 10-bit video recording and much more besides. This includes real-time support for LUTs, or Look-Up tables, allowing for different colour grading or visual effects.

As with similar composite features found in OM System cameras, the S1R II also offers up a high resolution shot mode, here crafting an image to the tune of a massive 177MP if the 44.3MP regular resolution is somehow not quite enough.

A more practically essential feature is the camera’s body integral five-axis image stabilisation mechanism, here the equivalent of eight stops. An essential aid to handheld shooting in any scenario, it’s especially useful when walking with the camera. Unlike on a consumer-level mirrorless, what you don’t get to help freeze action however is a built-in flash, though a hot shoe is provided for an accessory bulb.

For videographers, HDMI output is provided alongside the ability to add an accessory microphone in support of the stereo microphones already built in, plus monitor recording directly via a set of headphones.

Of course, there is a standard USB port too, which allows in-situ charging of the camera’s lithium-ion battery – useful for anyone out in the field who doesn’t have immediate access to a mains port.

Given the feature-packed proposition here, it’s hard to find fault with the S1R II as a general-purpose image capture device. Unlike the OM System OM-3, it doesn’t have the niche feature of a dedicated astro photography mode, as a solid alternative to the Sony and Canon cameras of this world only really the Panasonic’s asking price feels like one of the few barriers to purchase.

Image Quality

• 44.3 effective megapixel images as a choice of JPEG or Raw
• 779-point phase detection auto focus system
• AF recognition now AI enabled and enhanced

The Panasonic S1R II’s full frame sensor and high 44.3-million-pixel count, when twinned with capable lenses like the 24mm f/1.8 prime and 24-60mm f/2.8 zoom I was sent for my two-week test period, suggests itself as perfect for shooting landscapes and portraiture, particularly when considering large wall prints at any stage.

Whether shooting JPEG or Raw in the case of this camera, that headline resolution also allows plenty of scope for the cropping of images. You can achieve this without losing too much in the way of critical detail, while response times are consistently swift and results consistently free from tell-tale artefacts.

Personally, I much prefer more naturalistic looking images than anything that looks obviously processed or that has had a filter applied in any way. With the S1R II photos straight from the camera are, in my opinion, good to go.

That said, I did enjoy the option to switch from standard to ‘vivid’ setting from among its varied Photo Style settings if wanting to add a bit more punch as regards the greens and blues of a landscape. Having said that, any difference from the camera’s default setting is subtle at best.

I also found that the selected optics can provide an impressive degree of detail and sharpness that, particularly when shooting with a narrow depth of field and a blurred background, lends results an almost three-dimensional quality so that subjects almost appear to leap off the screen.

Yes, I had high hopes for the Panasonic Lumix S1R II and pretty much across the board it lives up to expectations.

Should you buy it?