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As mentioned arguably the most impressive feature of the TZ60 is the extensive focal range, especially when you consider the compact size in which the optical zoom is houses. Fitted with a UHS-3 card and set to AFS, I fired-off 45 Large Fine JPEGs in High mode in 4.18 seconds before it began to stutter. This corresponds to a speed of 10.76fps. Set to RAW, I captured 13 frames in 1.23 seconds for a speed of 10.57fps before the camera stopped shooting. Both essentially confirm the top speed, but if you want to shoot a burst of longer than around a second you’ll need to make do with JPEGs.
On the old model, you could display your position (and those of your photos) on a crude-looking on-screen map, but it was a far less rich experience and presentation than using online maps on your phone, plus you had to pre-load maps for your region from the supplied DVD onto the camera. It was fun, but pretty redundant and I didn’t miss it on the TZ60 / ZS40. Remember you can still easily make a GPS log with the camera, set the recording interval and the total duration, then export it as a KML file for use on mapping software – or of course simply read the GPS co-ordinates embedded in the images. Panasonic Lumix TZ60 / ZS40 movie mode With quite a high pixel density, the sensitivity range of the Panasonic Lumix DMC-TZ60 has been kept to a moderate ISO 100-3200, expandable to ISO 6400. With raw image capture it will be interesting to see just how much the DMC-TZ60 can be pushed to the limits of the range, given that editing the raw files should produce better images than the in-camera JPEGs. At the time of writing, the raw-conversion software for the DMC-TZ60 wasn’t available, so we will look at this in more detail in our full test.The TZ60 / ZS40 also inherits the GPS-logging capabilities of its predecessor, along with support for the Russian GLONASS (Global Navigation Satellite System). GLONASS works in a similar way to the GPS system, but having support for both GPS and GLONASS increases your chance of ‘seeing’ enough satellites for an accurate position. This won’t make much difference in wide open spaces, but definitely helps when there’s obstructions to the sky such as buildings in a city. I used the TZ60 / ZS40 in various cities in the UK and can confirm it definitely acquired a position in situations where the older models like the TZ30 / ZS20 (without GLONASS) could struggle. Before you think it may out-perform your smartphone though, note that many ‘GPS’ chipsets in phones these days also support GLONASS.
On the top surface the TZ60 / ZS40 has a small bulge to accommodate the viewfinder housing alongside stereo microphones, a raised but fairly stiff mode dial, generously sized shutter release with zoom collar, and two buttons, one lozenge shaped for power and the other a red record button to start filming video in any mode. Unlike the Sony HX60V and Canon SX700 HS which both have popup flashes, the Lumix TZ60 / ZS40 has its flash built-into the front surface making it available without an additional press. The Sony HX60V is the only one of the three to feature a hotshoe. Although you wouldn’t know to look at it, the major change on the TZ80 / Z60’s rear panel is of course the touch-screen. The screen is a 3 inch LCD panel with a 1040k dot resolution but that’s nothing remarkable. What is new is that, for the first time in three generations, a Lumix TZ / ZS series model once again features a touch sensitive screen. It’s slightly disappointing that you can’t change the drive mode remotely, that has to be done on the camera, however once you’ve set a drive mode it is then possible to alter, say, the continuous shooting speed, or self-timer delay. You can even select the new post focus mode, though you can’t transfer the post focus mp4 clips via the app. Just before the results though, here’s a few brief specifications for you. The TZ60 / ZS40’s sensor delivers 4:3 shaped images with a maximum of 4896×3672 pixels – that’s enough to make photo quality (300dpi) prints at 16.3×12.2in. Since most people rarely print above 10x8in, you’ve got sufficient resolution to make a good-looking print or even crop-in a little without losing quality, at least at low sensitivities anyway.You can also choose whether to copy images in their original resolution, or in one of two smaller versions. It typically took about 6 seconds to copy an original JPEG from the camera to my iPhone 6 from a distance of about 1m; it’s not possible to copy RAW files though. There’s four continuous shooting modes on the Lumix TZ80 / ZS60: Low (2fps with Live View), Medium (5fps with Live View), High (10fps without Live View) and Super High (40fps for a burst of 60 frames and at a reduced resolution of 4.5 Megapixels using the electronic shutter). With Continuous autofocus, the top speed reduces slightly to 5fps reagrdless of whether you’re set to Medium or High, so you may as well go for the former and enjoy Live View.
The most important new feature of the Panasonic Lumix DMC-TZ60 is undoubtedly the 0.2in, 200,000-dot EVF. Over the past few years, we have seen an increasing number of cameras fitted with electronic viewfinders, including Panasonic’s own Lumix DMC-LF1 that was released almost a year ago. Now the same viewfinder has been added to the TZ range, along with the welcome addition of raw shooting. Staying on the subject of ports, the other wired connector on the TZ60 / ZS40 is micro HDMI. The camera additionally features built-in Wifi with NFC to aid negotiation on compatible devices, and also a GPS receiver which supports GLONASS. I’ll talk more about Wifi and GPS later in the review, but for now mention that the Sony HX60V has both Wifi and GPS built-in, but the Canon SX700 HS only has Wifi, instead relying on a separate handset to make a GPS log for subsequent syncing. Panasonic Lumix TZ60 / ZS40 screen and viewfinder On top of all this, the TZ60 / ZS40 inherits the unique GPS-driven landmark database of its predecessors, while also sporting the best smartphone remote control of the group. Sure the built-in mapping of the earlier TZ40 / ZS30 is gone, but in an age of Google Maps on large and detailed smartphone screens, I suspect no-one will miss it. The Panasonic Lumix DMC-TZ60 is slightly bigger and heavier than the previous TZ40 model that it replaces, bit it does now offer a longer 30x zoom lens (the TZ40 had a 20x lens) and also a built-in electronic viewfinder. The 30x lens is equivalent to 24-720mm on a 35mm camera, which provides an incredibly versatile focal range that will cover every subject from ultra-wide angle landscapes to close-up action shots. Even when set to 720mm, the lens doesn't extend too far from the front of the TZ60, making it look to all intents and purposes like a "normal" compact camera. This helps to make the DMC-TZ60 great for candid moments, as people assume that you're using just a standard point and shoot with a much more limited range. Camera shake is a natural result of such a large zoom being housed in a compact body, although any fears are allayed by the presence of Panasonic’s 5 axis optical image stabilisation – a set-up Panasonic claims will allow photographers to shoot up to three stops slower than previously.
Summary
In the absence of a touch-screen, it’s also the new key differentiator between the TZ60 / ZS40 and its rivals, and one that even I’d admit is preferable. Neither the HX60V nor SX700 HS have built-in viewfinders, and while the Sony can accommodate a considerably nicer one as an optional accessory using its hotshoe, it is a large and expensive option which I suspect most owners won’t bother with. The key benefit of the viewfinder on the TZ60 / ZS40 is it’s built-in, always with you, and doesn’t compromise the size of the camera compared to rivals. It’s small, basic, but very useful. Panasonic has made a significant improvement upon the 20x optical zoom range offered by the TZ60’s predecessor, the TZ40. The TZ60 features a Leica DC Vario-Elmar 4.3-129mm f/3.3-6.4 Asph zoom lens offering an impressive 30x optical zoom – equivalent to a massive 24-720mm focal range. Camera shake is tamed by a redesigned five-axis hybrid optical image stabilisation system. Panasonic claims a 0.5EV increase in performance over the OIS in the TZ40 predecessor, allowing users to shoot handheld with a shutter speed up to 3EV slower than before. Like its shape and size, the TZ80 / ZS60’s control layout owes a lot to its predecessor. About the only difference is the addition of a creative video mode position on the mode dial – for which one of the two custom positions is sacrificed. That’s not so important as there are now more programmable function buttons than before – four in all compared with two on the earlier TZ70 / ZS50, and of course the touch screen provides more opportunities for configuring settings. If the connection was unsuccessful for some reason you’ll hear an error sound from your phone or tablet, but if it works, you’ll hear a triumphant ‘ta-da’ sound instead. When it works you’ll feel like whooping too, at least the first couple of times, but clearly the Lumix engineers feel excited every time as the app plays the confirmation literally at full blast. The problem is some handsets, such as the GS3 and GS4, can be pretty loud at full volume and there doesn’t appear to be any way to change this sound or turn it down. It even plays at full blast when your phone is muted. This caused me some embarrassment on more than a couple of occasions including one time when literally every customer in a small bar turned round to see what was going on – quite alarming. The button layout of the camera is straightforward, with a familiar selection of rear controls and the useful addition of a control ring around the lens. I had no issues accessing any of the exposure or image settings, and the various shooting modes can be selected via a dedicated dial on the top of the camera. Panasonic Lumix TZ60: Other features
While you can start recording in, say, Aperture Priority or Manual, don’t get too excited as exposures are fully automatic once you start filming. The only exception is when filming in the Intelligent Auto mode, where the TZ60 / ZS40 can choose from one of four scenes: portrait, landscape, macro and low light. Like earlier models, stabilisation is always active, even if you’ve disabled it for still photos. On the upside the optical stabilisation brings genuine benefits to the TZ60 / ZS40’s movie shooting as you’ll see in the clips below.While you can start recording in, say, Aperture Priority or Manual, don’t get too excited as exposures are fully automatic once you start filming. The only exception is when filming in the Intelligent Auto mode, where the TZ60 / ZS40 can choose from one of four scenes: portrait, landscape, macro and low light. Like earlier models, stabilisation is always active, even if you’ve disabled it for still photos. On the upside the optical stabilisation brings genuine benefits to the TZ60 / ZS40’s movie shooting as you’ll see in the clips below.Like the TZ40 / ZS30 before it, audio is recorded in stereo from built-in microphones, and you can also zoom the lens while filming. As before you can start filming in any mode by simply pressing the red record button and you can also capture still photos while filming, albeit only in the 16:9 aspect ratio but at a usable resolution of 13.5 Megapixels – but watch out as there’s only a limited number you can take during a clip (indicated on-screen) and if you’re moving the camera at the time, they’ll almost certainly suffer from motion blur due to the slower shutter speeds typically implemented during video recording. Panasonic says it has made great improvements to the autofocus in the TZ60. It claims that the AF at the 720mm (equivalent) end of the lens is as fast as that at the 420mm (equivalent) end on the TZ40, which is reassuring. Trying to choose between the TZ60 and TZ70? Read the What Digital Camera Panasonic Lumix TZ70 vs Panasonic Lumix TZ60 comparison In terms of the sensor, the TZ60 features a 1/2.3in Live MOS sensor that features a resolution of 18.1MP. This is around standard for a camera in the travel compact market, although Panasonic has added one new feature that the TZ range has been crying out for for some time – namely the ability to capture both JPEG and Raw files. I should also mention the TZ60 / ZS40 can shoot RAW, providing the opportunity to make easier adjustments to things like white balance, sharpening and compression at a later point, although in my tests it offered little benefit in spatial or tonal detail.
At the other end the 24mm focal length provides a very wide angle of view that's perfect for land- and city-scapes. The 30x zoom lens makes this one of the most versatile compacts in terms of focal range, especially as it is coupled with Panasonic's excellent POWER O.I.S system, which helps to ensure that the majority of photos taken in good light are sharp. The TZ60's lens isn't particularly fast at either the wide-angle setting, with a maximum aperture of f/3.3, or the telephoto setting, with a maximum aperture of f/6.4, but given the focal range on offer, we feel this is a compromise worth making.
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