Panasonic Lumix DC-S9 rot mit Objektiv Lumix S 20-60mm 3.5-5.6

With its compact design, 6K video support and fast access to real-time LUTs, the Lumix S9 is a great full-frame option for creators. However, the camera does make some omissions in the name of portability.

There is no doubt about the quality, either of manufacture or of end results. The handling is somewhat clunky in some respects, centred mainly on the lack of a viewfinder and dependence on a just about OK monitor screen. In bright light this is a real issue and this is where the viewfinder option is most missed. This is inevitable and would equally apply to all cameras that rely on the monitor only. Size is also an issue, not so much the actual body itself but the size of the lenses that go with it. The overall bulk is reduced, but not by enough to fit the kit in a large jacket pocket. This means a bag of some sort is still needed, so although the weight may be less, it's not by much and there is no huge advantage. This may change when new, smaller lenses are introduced with the S9 specifically in mind. Video looks pretty good, but the smartphone connection is also not the best and in fact the camera refused to connect to my phone at all. Would it be any benefit compared to just using the phone to shoot impromptu videos? Perhaps not for much of social media with its severe compression, but perhaps for YouTube, yes. The camera is still Recommended, despite the issues raised, providing the photographer can live with the drawbacks or does not find them an issue.

The Lumix S9 becomes one of the smallest and most affordable full-frame cameras around, similar in size to Sony’s ZV-E1, but undercutting it on price while also sporting higher resolution photos and video. The core quality and autofocus, not to mention the excellent stabilisation and decent battery, are mostly inherited from the S5 II, making it an effective tool for content creators. Pop a small lens on it, and you’ve also got a nice travel camera. But like the ZV-E1, there are a number of compromises to meet the size and price point. Most obviously, both models lack a viewfinder, and neither have the dual card slots nor mechanical shutters of the larger models they’re based on. Panasonic takes this even further by imposing limits on video clip length - just 15 minutes in 4k - while the accessory shoe on the top has no electrical contacts for dedicated microphones, and there’s no headphone jack either. And while the new 26mm lens is remarkably small, it’s manual focus only with a fixed f8 aperture. If you want AF, you’ll be fitting something larger, although Panasonic does have a compact 18-40 arriving soon. With the increasingly discounted S5 II giving you a viewfinder, twin card slots, a mechanical shutter, flash sync, more controls, greater connectivity and a bigger grip for not much more, it may be initially hard to choose the S9 over it. But over time I grew fond of its looks, not to mention the easy access to LUT effects, clever Hybrid Zoom and the new MP4 Lite mode. Ultimately while it’s not quite a full-frame X100 with interchangeable lenses, the S9 remains an attractive option for those who won’t miss the features lost from the S5 II. Meanwhile those who do want a better-featured body will be very well served by the S5 II which is quite frankly remarkable value for what it offers.

The S9 is a capable video camera for creators who want the look and image quality of a full-frame camera. Its ergonomics and lack of photography essentials like an EVF and mechanical shutter don't make it ideal for stills, but we're impressed by the well-thought-out video-to-phone-to-social-media workflow.