Panasonic Lumix DMC-FS18 review

Panasonic Lumix DMC-FS18 : A Lumix with a new lens and a slimmer chassis

Panasonic’s latest ultra-compact camera offers an effective resolution of 16.1MP via a CCD sensor twinned with an all-new DC Vario-Elmar 4x optical zoom lens. The manufacturer tells us that the new lens not only offers excellent results, but also allows for the camera’s body to be 20 per cent slimmer in depth compared to previous models. As a result, the FS18 is one of the most pocketable cameras in its class.

The lens boasts a 35mm-equivalent reach of 28-112mm, with a two-step aperture offering either f3.1 to f9 for wide-angle shots or f6.5 to f20 at the telephoto end. The latter really taxes the Mega OIS image stabiliser as it’s pretty dark for a compact, but on the most part it copes well. 

Among the usual array of features you’ll find 28 scene modes, face recognition and low-light shooting modes that support ISO 6400. Backlighting can be detected in the camera’s intelligent Auto mode, which is a nice touch likely to save many a sunset-inspired portrait.

720p video recording is supported at 24 frames per second too, though it is let down by mono-only audio. Although usable for everyday filming, the frame rate isn’t suited for high-speed use, such as recording sport or racing. A frame rate of 30fps would have made a difference, but it’s reserved for more expensive models.

Besides being particularly slim, the main chassis of the FS18 is laid out as you might expect. The front of the camera is completely dominated by the new lens, with the top edge relatively free of clutter and featuring nothing more than a comfortable shutter with integrated swing-arm zoom mechanism and power switch.

Where ultra compacts sometimes suffer is in the rear face, but the FS18’s will seem like a massive shock when compared to the other surfaces that are often packed with a variety of controls and shortcuts. Some cameras cram or even sacrifice control buttons in favour of a large LCD, but the FS18’s controls remain well laid out, thanks in part to its 2.7-inch screen.

Image fidelity is generally good and the brightness allows for harsh sunlight, which is quite a worthy consideration for summer holiday snaps where bright conditions can really hamper the display.

The Live View can be toggled to show camera settings or cleared to show a rule of thirds grid too. It only falls over in low-light conditions where the live feed is hindered by some background noise.

Though the selection of screen modes is excellent and easily accessible, we found the intelligent Auto mode worked well on the whole, figuring out most of our compositions on the fly. The macro mode (which is conveniently accessible on the control pad) performed well and shifted the minimum focus range right back from 50cm to 5cm. Though the focus isn’t as short as some of its slightly more expensive contemporaries, the autofocus out-performed our expectations at close range. Like with any compact it’s hard to judge depth of field and achieve pixel-perfect focus, but – allowing for a few failed attempts – we were rewarded with some particularly pleasing results.

It might not be built as a high-speed camera, but thanks to the FS18’s Venus Engine VI image processor, it is capable of full-resolution burst shooting at two frames per second. Though it doesn’t compete with a mainstream DSLR, it does at least double your chances of catching that magic moment that makes the process worthwhile.

Though the FS18 doesn’t provide much manual support, it does offer solid, dependable results with minimum input. There’s certainly a wealth of options in the camera market, but as someone once said to us, ‘the best camera is the one you use’. If the dependability and portability of Panasonic’s latest Lumix is anything to go by, then we believe that the FS18 could be the one to go for.