Review: Panasonic Lumix LX100 II – a classic reinvented
The Panasonic Lumix LX100 II is an unusual kind of upgrade: most of the camera feels familiar, while the changes concentrate on the parts that dated its predecessor. The broad zoom, physical dials and 1-inch sensor remain, but updated Venus Engine processing, higher-resolution crop modes and a substantial video overhaul make this more than a cosmetic revision.
That philosophy suits photographers who want to look, compose and adjust rather than carry specialist lenses. It also explains why this fixed-lens travel compact still competes with phones: a proper grip, dedicated exposure controls and a viewfinder are absent from many slab-like devices.
For Australian travellers, the combination is especially useful. A 24mm-equivalent wide end suits architecture around Sydney Harbour, while 72mm reaches for signs, street details and distant scenery. Physical controls also make shooting from a car or during Australian road trips less disruptive than navigating a touchscreen.
It is a deliberate travel instrument, refreshed for modern clips and stills, and a convincing point-and-shoot choice for beginners who want more control without a bag of equipment.
What actually changed
| Feature | LX100 II | Original LX100 |
|---|---|---|
| Sensor | 16.1MP 1-inch; 17MP 4:3 and 21MP 16:9 | 16.1MP 1-inch |
| Lens | 24–72mm equivalent, f/1.8–2.8 | 24–72mm equivalent, f/1.8–2.8 |
| Video | 4K60 open gate, 10-bit; 5.7K60 ProRes | 4K60, 8-bit |
| Stabilisation | 5-axis hybrid OIS | 5-axis hybrid OIS |
The headline gain is moving video rather than a larger sensor. The original already offered 4K at 60fps, but the II records open-gate 4K in 10-bit and can capture 5.7K60 Apple ProRes for colour grading or slow motion. That is a substantial improvement for anyone making a travel film rather than relying on compressed phone footage.
Still photographers benefit from the 17MP 4:3 and 21MP 16:9 crops, useful when framing a panorama or a street scene needs extra room. The familiar 16.1MP sensor and 24–72mm-equivalent f/1.8–2.8 lens have not changed. The appeal is versatility around a proven optical core, not an upgrade in every specification.
Handling that still feels right
The LX100 II retains the convincing grip, top shutter dial, rear command dial and aperture ring of its predecessor. The focus ring also provides magnified manual focus, giving a fast way to inspect detail on a distant sign or nearby café window. For a beginner, these tactile controls make the relationship between settings and results easier to understand.
It is heavier than a phone but smaller than most interchangeable-lens cameras, with the battery bringing the total to roughly 350g. That weight feels reassuring on long Melbourne laneway walks, yet the camera still disappears into a small shoulder bag. The electronic viewfinder remains modest, but it is invaluable when harsh Australian sunlight washes out the rear screen.
Still photographs in Australian conditions
Under the hard midday light common around Sydney in summer, the sensor has useful headroom for bright skies and sunlit sandstone. Detail is crisp at normal settings, and the wide dynamic range preserves highlights better than a clipped phone sky. Colours can look restrained, though changing the picture profile gives more latitude for a travel journal or print.
At dusk in Melbourne’s laneways, the f/1.8 aperture gathers useful light, while optical stabilisation steadies handheld shots at slower shutter speeds. The zoom’s maximum f/2.8 is less generous, and the lens does not become brighter as you zoom. For portraits, the broad aperture and close-focusing ability are more valuable than maximum megapixels.
Video, sound and low-light work
Open-gate 4K provides more framing choices than a standard 16:9 crop, especially for vertical travel edits, although it consumes more storage and processing power. The 10-bit files also grade more smoothly than 8-bit captures. A speed-rated SD card remains essential, and thermal limits matter when recording extended 4K footage on a hot day.
A microphone input is welcome for clearer narration and ambient sound, but there is no headphone socket for monitoring. In practice, I would carry a small windscreen and record scratch audio on a phone. That extra step is less elegant than a professional setup, but it produces flexible footage for a compact travel camera.
Casino floors make useful low-light tests because they combine coloured displays, moving people and difficult contrast. Before an image-led feature about entertainment venues, background reading on how slot machines work can provide useful context. At places such as Crown Melbourne, follow house rules, respect privacy and capture the atmosphere rather than treating patrons as props.
Smartphones, weight and the travel kit
Modern phones are extraordinary for daylight snapshots: they start instantly, focus almost everywhere and need no charger beyond the one already in your pocket. However, exposure compensation can still involve menus, and lens changes may interrupt a sequence. The LX100 II offers a consistent viewfinder, fixed focal range and direct access to aperture, shutter speed and ISO.
It also avoids the problem of choosing between carrying a phone and a camera. When travelling around the Blue Mountains, I can keep both without much extra bulk, although the camera encourages a small bag with a spare battery and a fast SD card. Before a walk, browsing travel photo inspiration can settle on a subject instead of prompting another accessory purchase.
Battery, buying and Australian value
The LX100 II uses a removable rechargeable battery and USB-C charging, making it practical to top up during a café stop or overnight in a hostel with a power outlet. A spare battery remains sensible for full sightseeing days, and the supplied strap is adequate for an ordinary shoulder bag. Care is still needed around salt air, sand and tropical heat.
For Australian buyers, compare tax-inclusive local pricing, warranty coverage and the bundled battery at established retailers such as Camera House or JB Hi-Fi. The original LX100 is also a compelling used option when its older processing and video limitations are acceptable. For a used example, inspect the lens barrel, test the battery and viewfinder, and check the sensor under bright light.
The case for the classic compact
The strongest argument for this camera is the balance it strikes. It is small enough to carry every day, but has a proper viewfinder, a useful zoom and controls that reward practice. For beginners, the aperture ring and physical dials turn exposure from a hidden setting into something you can see and feel, without turning the camera into a technical project.
It is especially convincing for travellers who already edit on a phone but want better files, stronger low-light options and smoother video. The original LX100 remains sensible for stills-focused users, while the II earns its premium if modern clips, 10-bit capture or improved autofocus are priorities. For me, that quiet combination of restraint and capability is the LX100 II’s real selling point.