Auto review has a useful zoom feature, which lets you magnify an image 2X, 4X, 8X, or 16X using the zoom lever, and the LCD also displays a little navigator window representing the full image area, with a scrollable outline showing the part of the picture currently enlarged.
The Panasonic Lumix DMC-FX7's performance figures were generally quite good, especially in the shutter-lag arena, where the camera clocked a good 0.6-second timing under high-contrast lighting and a decent 0.9 second under more challenging low-contrast lighting, thanks to the built-in focus-assist lamp.
While this camera's burst mode wasn't among the fastest we've tested, it was certainly versatile. You can choose high-speed and low-speed bursts or an Infinity mode that cuts the capture rate in half but can continue shooting for as long as your memory card has space. We got 3 full-resolution shots in 1.7 seconds using low-speed burst mode and 7 shots in 4 seconds at 640x480 resolution in high-speed mode. The Infinity mode yielded about 19 shots per minute until our index finger tired.
The Lumix was slow to rouse from its slumber, requiring almost 5 seconds to wake up and report for duty. Once powered up, it snapped off photos every 2.4 seconds without flash and every 4.2 seconds with the speed light switched on.
The big LCD viewfinder was easier to use under medium to bright light levels than it was in dim light. The viewer doesn't gain up in low light, making viewing of poorly lit subjects difficult. It did work well outdoors under all conditions except direct sunlight.
The built-in electronic flash fills the frame with anemic but even illumination out to about 13 feet at the wide-angle setting at ISO 400 and only 7.2 feet at telephoto. The slow-sync flash option is particularly useful when combined with image stabilization to brighten the background in flash pictures.
Most photographers will be very pleased with the images that the Panasonic Lumix DMC-FX7 camera produces, even when making 8x10 or larger prints. As expected, the Leica lens produced sharp, detail-filled images, with a bit less distortion and fewer chromatic aberrations than we've seen in some other cameras in this class. Image defects, such as they were, seemed to be attributable more to the sensor and processing system than to the lens. For example, while images were generally well exposed and full of detail in both shadows and highlights, a bit of noise was visible even at ISO 100 and became more obvious when we boosted sensitivity to ISO 400. JPEG artifacts also showed up under high magnification.
Colors were generally quite accurate, if a bit muted, with the exception of some greens in grass and foliage, which often were a bit harsh. Flesh tones sometimes were a little yellow. The automatic white-balance controls did a good job indoors and out, but the camera's red-eye-reduction system didn't totally eliminate reddish pupils.