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You can often tell what a camera will do by the category it falls under: dSLRs offer unrivalled versatility; superzooms suit the more ambitious amateur; and ultra-compact snappers are great for taking to the pub or beach. Then we have the cameras that sit in the middle ground, which is where we find the Panasonic Lumix DMC-FX77.
It's trim but not tiny and has a good zoom and a great lens, even though it isn't aimed at the pros. Around the back there's an impressive touchscreen display, which Panasonic hasn't made the camera's major selling point. Why? Because there's so much else to love about this slimline, unfussy device, as our tests quickly revealed.
It's available to buy from £180.
Build and specs
The case is largely featureless, with a gently curved front and a flat back covered almost entirely by a bright, wide touchscreen. You use this not only to frame and review your shots, but also to navigate the menus and controls by touch. Aside from the touchscreen there's only a power switch, separate shutter releases for stills and video and the zoom rocker. The latter is supplemented by an on-screen equivalent for those who'd rather steer clear of physical buttons.
This all sounds very neat, but in practice it's not that comfortable to use. The physical buttons are small and fairly unresponsive, with a definite click to the power switch and a slow zoom on the rocker. What's more, the lack of any obvious ridges or notches makes the Lumix DMC-FX77 harder to hold than it ought to be. Clutching it out over tall drops or water made us nervous.
The screen itself has one of the more responsive touch interfaces we have encountered. The menus are chunky and easy to prod with a fat finger. On the whole, they're well thought out, but we'd have appreciated some common features, such as macro -- which would otherwise have been a single click away on a camera with buttons -- being moved to the top of the stack.
Other than that, the build quality can't be faulted. The case is metal on five sides with touch plastic on the back. The 5x zoom -- equivalent to 24-120mm in a 35mm camera -- is extremely quiet. The battery and SD/SDHC/SDXC media cards are loaded through the underside, the door for which is sufficiently offset from the tripod screw not to be obstructed when the camera is mounted.
The Lumix DMC-FX77 has a 12.1-megapixel sensor. If you were to rank the current crop of new digital compacts by resolution, that would put it towards the lower end of the pack. It's important to point out, though, that resolution has very little to do with image quality. A slightly lower pixel count will usually deliver superior results as each photosite on the sensor can be physically larger; this makes it more sensitive to low light and less likely to become overloaded in brighter conditions.
We weren't surprised, then, to see the Lumix DMC-FX77 put in a good performance throughout our tests.
In regular shooting, minimum focusing distance stands at 50cm with the lens fully retracted; it's twice that at full telephoto. In macro mode, whether invoked manually or by the camera when set to Intelligent Auto mode, this drops to a more respectable 3cm.
This was enough for us to shoot some great close-up subjects. The spines of the teasel in the image below are clearly defined at the top of its head, and a rapid fall-off in the focus below and beyond it draws the eye towards the subject in the frame. This was helped greatly by the Lumix DMC-FX77's wider than average maximum aperture of f/2.5 in wide angle. If used when shooting portraits, this will help to achieve a more professional result. At the other end of the scale -- telephoto -- the maximum aperture tops out at a more common f/5.9.
At less extreme distances, the Lumix DMC-FX77 produced well detailed shots with a longer depth of field when it detected that subjects were further from the lens. In the image below, the metering point was at the furthest end of the bridge; by setting the aperture to a narrower f/8, focus is maintained right up to the closest struts and supports.
There was very slight evidence of clipped highlights on the facing edges of the painted ironwork, which had directly reflected the ambient light into the lens. Otherwise the scene was evenly exposed for a very balanced result overall.