The Lumix S5 II is the smallest and lightest model in Panasonic's range of full-frame mirrorless cameras. It's positioned as a more affordable all-round hybrid camera with features designed to appeal to both photographers and videographers alike.
It's much smaller than the more expensive S1, S1R and S1H full-frame cameras and is actually about the same size as the GH6 model, which has a comparatively tiny Micro Four Thirds sensor.
The Panasonic S5 II features a newly developed sensor that for the first time on any Lumix camera supports Hybrid Phase Detection Auto-Focus. All previous cameras, including the original S5, have used a solely contrast-based AF system.
It offers 24.2 effective megapixels from its 25.28 megapixel full frame sensor, an expanded ISO range of 50-204,800, the latest Venus image processing engine, a free-angle 3.0-inch touchscreen LCD with 1.84m-dot resolution, and a 3.68m-dot, 0.78x magnification OLED viewfinder.
In terms of video, it supports internal 4:2:0 10-bit 6K (3:2) and 5.9K (16:9) at 30fps and 4:2:2 C4K and 4K at up to 60fps, while a new low-profile heat management system allows for unlimited recording times.
The S5 Mark II also provides HFR (High Frame Rate) recording at up to 120fps and Slow & Quick capture at up to 180fps and it has a full-size HDMI Type A terminal, rather than a micro version as on the original S5.
Other key features of the Panasonic Lumix S5 II include a 6.5-stop Dual Image Stabilizer, 9fps continuous shooting with the mechanical shutter and 30fps with the electronic shutter, and the the High Resolution mode, which allows the Panasonic S5 II to capture 96-megapixel equivalent photos by rapidly taking 8 separate images and combining them into one.
The weatherproof Lumix S5 II has a thumb-controlled AF joystick on the rear, dual SD UHS-II memory card slots, Bluetooth 5.0 and 5GHz/2.4GHz Wi-Fi connectivity, and USB Type-C charging.
The Panasonic Lumix S5 II is available now priced at £1999 / €2199 / $1999 body-only in the UK, Europe and USA respectively.
The Lumix S5 II is the first ever Panasonic camera to support Phase Detection Auto-Focus. For many Panasonic fans, that will be both an enormous relief and reason enough to buy the S5 II.
For people not invested either emotionally or financially in the Lumix system, it removes one of the main technological and marketing barriers for not doing so.
It's perhaps not an understatement to say that the Lumix S5 II is the first Panasonic camera to be able to compete on a level playing field with its main rivals, who have all offered hybrid contrast and phase-detect auto-focus systems for many years now.
Simply put, phase detection is a very big deal for the S5 II and more generally Panasonic cameras, which will presumably all support this feature in future releases (Panasonic officials have already strongly hinted that their Micro Four Thirds range will also incorporate it).
Offering fast and dependable 779-area metering, the new system is able to detect target subjects in difficult conditions such as low light and backlighting and, once locked on, will remain tracking them even with other moving objects in the frame.
There's no sign of the S5's characteristic "pulsing" effect in the continuous AF-C mode as the DFD system scans back and forth.
If effective continuous auto-focusing is top of your requirements list, then it's definitely worth choosing the newer S5 II model with its superior AF system.
The new Lumix S5 II introduces phase-detection auto-focus for the first time on any Panasonic camera - for many people, that will be the only reason that they need to seriously consider this camera.
Measuring 134.3 x 102.3 x 90.1 mm and weighing 740g body only, it's slightly larger and heavier than its predecessor, the S5 II, which in comparison measures 132.6 x 97.1 x 81.9 mm and weighs 630g. This is predominantly because of the new low-profile heat management system which allows for unlimited video recording times.
Remarkably, the new Panasonic S5 II is actually smaller than the popular Lumix GH5, a Micro Four Thirds model which measures 138.4mm x 100.3 x 99.6mm and weighs 823g.
If you have been considering the Lumix S-series but were put off by the relatively large size of the flagship S1 bodies, then the S5 II is definitely small and light enough to warrant a second look at the range.
The Lumix S5 II is still a remarkably small and compact full-frame camera, and one that thankfully doesn't sacrifice the overall handling experience to achieve that reduction.
The new S5 II is virtually identical to its predecessor, but there are a few key differences to the original version, including the a new 8-way joystick, expanded drive dial, 3.0-inch free-angle touch-control monitor and large, 3,680K-dot OLED Live View Finder.
Indeed, comparing the S5 side-by-side with the older S5, the two cameras so similar at first glance that you'd be hard-pressed to tell them apart.
They both utilise a familiar DSLR style with the viewfinder in the centre, a large tactile hand grip, and a healthy array of logically placed controls.
The new Panasonic S5 II has the same tank-like build quality and weather-proof exterior shared by all of the other Lumix S-series cameras. Its magnesium alloy full die-cast dust and splash-proof body has all of its main seams tightly sealed against moisture ingress.
Panasonic certainly haven't cut any corners in terms of the S5 II's build quality in order to meet the more aggressive price point. This is one of the best mid-range mirrorless cameras on the market in this regard.
Similarly, the S5 II continues to offer the same dual image stabilisation system (in-body IS and lens IS) that's employed by the S1 series for more effective, shake-free shooting when handled in lower lighting conditions. This provides a whopping 6.5-stops of Dual IS compensation for stills, or 5 stops of in-body IS, putting the S5 right at the top of its particular class.
The new S5 II additionally has an Active I.S. mode which provides highly stable video recording by optimising horizontal, vertical and rotational correction. This is especially effective in traditionally challenging conditions for handheld shooting, such as using telephoto lenses or filming while walking.
The Panasonic S-series adopted Leica’s L lens mount when it was initially launched – something that saw the company enter a collaborative partnership, known as the ‘L-Mount Alliance’, with both Leica and Sigma - and as you'd expect, the new Panasonic S5 II is no different in this regard.
Panasonic sent us the S5 II with the S 20-60mm f/3.5-5.6 kit lens for review. When we tested this lens a few years ago, we commented that it "is a welcome addition to the L-Mount range. It's versatile, compact and light, handles like a dream and complements a Lumix S1 body well in all areas."
All of those things hold true when using the 20-60mm on the S5 II - indeed even more so, as the compact nature of this zoom perfectly matches the more compact S5 II.
While photographers may bemoan the slight lack of telephoto reach available, videographers and especially vloggers will be delighted by the 20mm wide-angle focal length, which makes it possible to hand-hold the camera at arm's length and still get yourself comfortably in the frame without having to resort to having to using a selfie stick or some other form of extension (or a different lens entirely).
Indeed, we said that "With silent focusing, minimal focus breathing, excellent autofocus and a focal range of 20-60mm, this lens in clearly positioned in the hybrid realm, practically serving photographers and videographers in a wide range of scenarios." And that certainly applies to this lens when used on the Lumix S5 II, making the extra £200 / $300 for the camera and lens kit something of a veritable bargain.
Turning to the front of the Lumix S5 II, the wide L lens mount dominates proceedings, along with a hand grip that, while narrower than those typically found on a semi pro DSLR, nevertheless feels just right for the S5 II’s own shape and build, enabling the camera to be operated with just one hand.
With the lower three fingers of your right hand curled around the S5 II’s grip, your forefinger is free to alternate between rotating the front control dial that sits slightly proud of the grip at its topper-most edge, and the slightly raised and angled shutter release button just atop it, which is responsively springy.
Sitting just behind these controls are three small raised buttons, just like on the S1 and S1R. From left to right, these are for manually adjusting white balance, light sensitivity and exposure settings. The Panasonic S5 II's layout feels ergonomic and its operation – particularly of such key and regularly used features – well thought through.
Unlike the bigger S1-series, there's no top-plate LCD screen on the new Lumix S5 II. Instead the large shooting mode dial has been moved from top-left on the S1 to top-right on the S5 II, and there's a Burst/Bracketing Shooting dial in its former position.
This smaller but still chunky, roughly ridged and raised dial over at the left hand edge of the camera has 6 different settings, which variously provide quick access to the self-timer, time-lapse, high resolution, burst shooting (2 modes) and normal single shooting modes.
Underneath the dial is a shiny red ring, just like on the S1-series cameras, which has perhaps been deployed to lend the cameras a more professional air.
Stereo microphones and a vacant hotshoe for an accessory flash are slotted directly on top of the EVF. Interestingly there’s no built-in pop up flash on the Panasonic S5 II, which is maybe a slightly surprising omission for a mid-range camera.
The chunky, roughly ridged and raised shooting mode dial over on the top-right makes it easy to adjust settings ranging from Intelligent Auto focus to program, shutter priority, aperture priority or manual pretty quickly.
On the same dial we also get a manual video mode setting, an S&Q setting, and no fewer than three custom modes. In the S(low)&Q(quick) shooting mode, the S5 II can capture Full HD video at up to 180fps and then play back the videos at 24p, 30p, or 60p.
The on/of switch is more of an actual lever which sits adjacent to the shooting mode dial. This is quite stiff in operation – you almost have to force it – which, to give it a positive spin, means this is a camera that is almost impossible to accidentally activate or deactivate.
Flick this lever to on and the camera is ready to take the first shot just as quickly as your finger can move from it to the shutter release button just in front. There’s no waiting around with the S5 II - it’s ready when you are.
The control dial at the front of the handgrip is, incidentally, mirrored by one the size of a five pence piece that sits recessed into the top plate at the back. Here it readily (and again, ergonomically) falls under the thumb of the right hand; thereby continuing to give the impression that the layout has been well thought through.
Completing the S5 II's top-plate is a one-touch movie record button, finished in the same metallic dark red as the ring which sits underneath the drive mode dial. Just like the shutter release button, again this has a nice springy feel to it that makes it easier to locate and activate.
When it was released, the original S5 was the only sub-£$2000 camera on the market to offer UHD 4K 60p 4:2:0 10-bit internal video recording, 4:2:2 10-bit internally in any resolution or frame rate, 4K at up to 60p internally, and an anamorphic mode.
Now the new S5 II ups the ante even further by offering high bit-rate video performance that Panasonic claim is on a par with the Lumix S1H.
It now supports internal 4:2:0 10-bit 6K (3:2) and 5.9K (16:9) recording at 30fps and 4:2:2 C4K and 4K at up to 60fps, while the newly developed low-profile heat management system allows for unlimited recording times without having to substantially increase the size of the camera body.
The S5 II also supports HFR (High Frame Rate) recording at up to 120fps and Slow & Quick capture at up to 180fps and it even has a full-size HDMI Type A terminal, rather than a micro version as on the S5.
Dual Native ISO is borrowed directly from the S1H and Panasonic's broadcast line of video cameras. This automatically switches between native ISO settings of 640 and 4000 without increasing noise by changing the way the camera reads out the image sensor.
The one drawback on the S5 is that you couldn't manually switch between the LOW and HIGH settings, instead relying on the camera to do so at various ISO levels.
This has been addressed on the S5 II with the provision of new LOW and HIGH settings in addition to AUTO.
In addition, functions such as Waveform Monitor, Vector Scope and Zebra Pattern have been added, as well as features such as System Frequency (24.00Hz) and Synchro Scan.
The Lumix S5 was already a very capable video camera, but the new S5 II takes things to another level and is clearly the one to choose if you're a keen videographer.
With lugs for attaching the shoulder strap provided out of the box to be found left and right of the camera, the right-hand flank provides a port protected by a sliding switch that allows for the insertion of two SD-XC cards.
The S5 II has dual memory card slots, but thankfully unlike the S5 it has two UHS-II SD card slots, rather than just one UHS-II SD slot and one slower UHS-I slot.
The two ports on the left-hand flank provide a means of connecting an accessory microphone and headphones, plus USB-C and full-size HDMI leads, the latter a notable upgrade from the original S5.
The rubberized flaps protecting these feel a little flimsier than the rest of the camera, and time will tell whether these become worn and stop adhering so precisely over time.
Moving to the rear of the Panasonic S5 II, again this is button festooned without being over-bearingly so.
The camera’s 3-inch LCD screen with 1.84m-dot resolution is also a touch screen, meaning that you can drag the focus area around the screen with your finger or thumb. Alternatively, if you prefer physical controls, you can use the small thumb-operated joystick to the upper-right of the LCD to do the same.
Instead of the clever but rather convoluted three-axis tilting LCD that's featured on the S1 cameras, the new Lumix S5 has a rather more conventional free-angle screen that's hinged on the left-hand side.
This can be tilted all the way out to the side of the camera, turned forwards for selfies and vlogging, and turned towards the back of the camera to help protect it when the camera isn't being used. It's very useful as an aid to shooting video as well as more unusual compositions when you can't always get an eye flush to the viewfinder.
The top-left of the back of the camera is where we find the playback button for reviewing stills and video. There's also a dedicated LVF button alongside it for manually switching between the rear LCD screen and the EVF, which perhaps feels a little redundant given that the camera automatically switches to the EVF when you hold the camera up to your eye (this setting can be turned on and off as desired).
The previous Lumix S5 had a pretty decent 2,360k 0.74x OLED viewfinder, which the new S5 II improves on by incorporating a 3,680k 0.78x OLED viewfinder, surrounded by a large, prominent and comfortable eye piece.
Directly to the right of the EVF is a tactile circular switch for changing the auto-focus mode from single to continuous to manual focus, into which is set the AF area button for selecting one of the seven available AF modes. You can choose from Tracking, Full Area, Zone (Horizontal/Vertical), Zone, 1-Area+, 1-Area and Pinpoint.
Along with the afore-mentioned AF joystick, the small AF On which can be used for back-focusing completes the S5 II's very handily-placed collection of focusing controls.
This being a Panasonic camera, we’re provided with the very useful Quick menu short cut button – located via the button marked with an enigmatic ‘Q’ situated to the right of the LCD - which gives completely customizable quick access to 12 of the camera's key settings.
Menu/Set, Display and a shared delete/back button are also to be found at the rear of the S5 II, along with a familiar multi-directional control pad, encircled by a scroll wheel for maximum fluidity of operation.
The menu screens are, as expected, comprehensively featured but pleasingly legible and intuitively navigated. That said it was also nice to have the Quick menu feature in order to circumnavigate them when we knew what we wanted and wanted to get to the relevant setting swiftly.
At the base of the camera we find a single screw thread, located directly in line with the central point of the lens mount, for attaching the S5 II to a tripod.
Also found here, nestled within the base of the S5 II’s handgrip is the rechargeable 2,200mAh DMW-BLK22 lithium-ion battery.
On the S5 this provided 440 images (rear monitor), 470 images (LVF), 1,500 images (Power Save LVF mode), as measured using stringent CIPA industry standards.
Perhaps unsurprisingly on the more power-hungry S5 II, battery life drops significantly to 370 shots when using the LCD or LVF.
A ‘proper’ charger with its own mains plug is also provided out of the box – or at least was with our fully working review sample - and you can also charge the camera whilst you're out and about by attaching a power-bank to the USB-C port. Note that the S5 II supports the latest USB 3.2 standard whereas the S5 only supported USB 3.1.
All of the sample images in this review were taken using the 24 megapixel Fine JPEG setting, which gives an average image size of around 12Mb.
The Panasonic Lumix S5 II produced still images of excellent quality during the review period.
This camera produces noise-free JPEG images from ISO 50 all the way up to ISO 6400, with significant noise first appearing at ISO 12800. The faster settings of 25600 and 51200 display quite a lot of noise, but they're still fine to use for making smaller prints and web images. You should avoid using the expanded ISO 102400 and 204800 settings if possible.
The High Resolution Mode is capable of creating 96 megapixel images, while the various Photo Styles and Filters allow you to quickly and easily customise the look of the camera's JPEG and Raw images before you take them.
The night photograph was excellent, with the maximum shutter speed of 60 seconds and Bulb mode of up to 30 minutes allowing you to capture plenty of light.
ISO sensitivity can be set between ISO 50 and ISO 204800 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.
The Panasonic Lumix S5 II has 2 different JPEG image quality settings available, with Fine being the highest quality option. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.
The Panasonic Lumix S5 II's maximum shutter speed is 60 seconds and there's also a Bulb option for exposures up to 30 minutes long, which is excellent news if you're seriously interested in night photography.
The shot below was taken using a shutter speed of 30 seconds at ISO 100. The camera takes the same amount of time again to apply noise reduction, so for example at the 30 second setting the actual exposure takes 60 seconds.
The Panasonic Lumix S5 II's High Resolution Mode combines 8 shots into a 96 megapixel image to create a 12000x8000 pixel super high-resolution photo. The resulting Raw files are 165Mb in size! We found during testing that selecting Mode 2 in the Motion Blur Processing sub-menu produced the sharpest images.
Panasonic's Photo Styles are preset combinations of different sharpness, contrast, saturation and noise reduction settings. The 15 available Photo Styles are shown below in the following series, which demonstrates the differences. There are also four Custom options so that you can create your own looks.
The Panasonic Lumix GH6 offers a range of digital filter effects that can be applied to both JPEG and Raw files, with 8 different options available in the main menu.
This is a selection of sample images from the Panasonic Lumix S5 II camera, which were all taken using the 24 megapixel Fine setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.
1/100s · f/1.8 · ISO 400 85mm (35mm) Download Original
1/100s · f/1.8 · ISO 400 85mm (35mm) Download Original
1/100s · f/1.8 · ISO 320 85mm (35mm) Download Original
1/60s · f/5.6 · ISO 400 60mm (35mm) Download Original
1/60s · f/8 · ISO 800 34mm (35mm) Download Original
1/100s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/5.6 · ISO 160 60mm (35mm) Download Original
1/60s · f/8 · ISO 320 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 125 60mm (35mm) Download Original
1/60s · f/8 · ISO 160 41mm (35mm) Download Original
1/60s · f/8 · ISO 100 55mm (35mm) Download Original
1/60s · f/5.6 · ISO 250 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 320 37mm (35mm) Download Original
1/60s · f/11 · ISO 400 20mm (35mm) Download Original
1/60s · f/8 · ISO 800 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1600 46mm (35mm) Download Original
1/60s · f/8 · ISO 125 14mm (35mm) Download Original
1/60s · f/8 · ISO 125 28mm (35mm) Download Original
1/60s · f/4 · ISO 100 14mm (35mm) Download Original
1/80s · f/5.6 · ISO 100 14mm (35mm) Download Original
1/60s · f/5.6 · ISO 100 14mm (35mm) Download Original
1/60s · f/5.6 · ISO 125 28mm (35mm) Download Original
1/80s · f/5.6 · ISO 100 28mm (35mm) Download Original
1/200s · f/4 · ISO 100 14mm (35mm) Download Original
1/250s · f/4 · ISO 100 14mm (35mm) Download Original
1/60s · f/5.6 · ISO 125 14mm (35mm) Download Original
1/60s · f/4 · ISO 100 14mm (35mm) Download Original
1/60s · f/11 · ISO 160 28mm (35mm) Download Original
1/60s · f/4 · ISO 160 14mm (35mm) Download Original
1/60s · f/8 · ISO 100 14mm (35mm) Download Original
1/60s · f/8 · ISO 100 19mm (35mm) Download Original
1/60s · f/11 · ISO 250 14mm (35mm) Download Original
1/60s · f/8 · ISO 125 28mm (35mm) Download Original
1/80s · f/11 · ISO 100 14mm (35mm) Download Original
1/60s · f/11 · ISO 100 28mm (35mm) Download Original
1/125s · f/4 · ISO 100 14mm (35mm) Download Original
1/100s · f/4.8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 125 18mm (35mm) Download Original
1/60s · f/8 · ISO 100 14mm (35mm) Download Original
1/60s · f/8 · ISO 125 18mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 160 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 160 60mm (35mm) Download Original
1/60s · f/8 · ISO 160 22mm (35mm) Download Original
1/60s · f/5.6 · ISO 320 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 400 60mm (35mm) Download Original
1/60s · f/8 · ISO 400 34mm (35mm) Download Original
1/60s · f/16 · ISO 1250 20mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 24mm (35mm) Download Original
1/60s · f/3.5 · ISO 250 20mm (35mm) Download Original
1/60s · f/5.6 · ISO 320 60mm (35mm) Download Original
1/60s · f/8 · ISO 320 20mm (35mm) Download Original
1/60s · f/11 · ISO 320 20mm (35mm) Download Original
1/60s · f/5 · ISO 500 41mm (35mm) Download Original
1/60s · f/5.6 · ISO 500 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 2000 60mm (35mm) Download Original
1/60s · f/3.5 · ISO 2500 20mm (35mm) Download Original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
1/60s · f/8 · ISO 320 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 160 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 400 37mm (35mm) Download Original
1/60s · f/5.6 · ISO 320 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
1/60s · f/11 · ISO 250 20mm (35mm) Download Original
1/60s · f/8 · ISO 500 20mm (35mm) Download Original
1/60s · f/8 · ISO 2000 38mm (35mm) Download Original
1/60s · f/5.6 · ISO 320 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 250 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 5000 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download Original
1/60s · f/8 · ISO 250 60mm (35mm) Download Original
1/60s · f/11 · ISO 640 20mm (35mm) Download Original
1/60s · f/11 · ISO 1000 60mm (35mm) Download Original
1/60s · f/6.3 · ISO 320 20mm (35mm) Download Original
1/60s · f/8 · ISO 160 34mm (35mm) Download Original
1/60s · f/5.6 · ISO 160 25mm (35mm) Download Original
1/60s · f/4.4 · ISO 160 34mm (35mm) Download Original
1/60s · f/4.4 · ISO 320 30mm (35mm) Download Original
1/60s · f/5.6 · ISO 2000 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1000 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 2000 41mm (35mm) Download Original
1/40s · f/4 · ISO 6400 20mm (35mm) Download Original
1/60s · f/8 · ISO 1000 30mm (35mm) Download Original
1/60s · f/5.6 · ISO 500 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 250 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 640 36mm (35mm) Download Original
1/60s · f/5.6 · ISO 800 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 5000 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 2500 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 800 60mm (35mm) Download Original
1/60s · f/3.5 · ISO 2000 20mm (35mm) Download Original
1/60s · f/3.5 · ISO 1600 20mm (35mm) Download Original
1/60s · f/5.1 · ISO 1600 47mm (35mm) Download Original
1/60s · f/5.6 · ISO 1250 20mm (35mm) Download Original
1/60s · f/5.6 · ISO 4000 60mm (35mm) Download Original
1/60s · f/3.6 · ISO 1600 22mm (35mm) Download Original
1/1s · f/7.1 · ISO 100 20mm (35mm) Download Original
1/60s · f/4.6 · ISO 2500 37mm (35mm) Download Original
The Panasonic Lumix S5 II enables users to capture RAW and JPEG format files. We've provided some Panasonic RAW (RW2) samples for you to download (thumbnail images shown below are not 100% representative).
1/100s · f/1.8 · ISO 400 85mm (35mm) Download original
1/100s · f/1.8 · ISO 400 85mm (35mm) Download original
1/100s · f/1.8 · ISO 320 85mm (35mm) Download original
1/60s · f/5.6 · ISO 400 60mm (35mm) Download original
1/60s · f/8 · ISO 800 34mm (35mm) Download original
1/100s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/5.6 · ISO 160 60mm (35mm) Download original
1/60s · f/8 · ISO 320 60mm (35mm) Download original
1/60s · f/5.6 · ISO 125 60mm (35mm) Download original
1/60s · f/8 · ISO 160 41mm (35mm) Download original
1/60s · f/8 · ISO 100 55mm (35mm) Download original
1/60s · f/5.6 · ISO 250 60mm (35mm) Download original
1/60s · f/5.6 · ISO 320 37mm (35mm) Download original
1/60s · f/11 · ISO 400 20mm (35mm) Download original
1/60s · f/8 · ISO 800 60mm (35mm) Download original
1/60s · f/5.6 · ISO 1600 46mm (35mm) Download original
1/60s · f/8 · ISO 125 14mm (35mm) Download original
1/60s · f/8 · ISO 125 28mm (35mm) Download original
1/60s · f/4 · ISO 100 14mm (35mm) Download original
1/80s · f/5.6 · ISO 100 14mm (35mm) Download original
1/60s · f/5.6 · ISO 100 14mm (35mm) Download original
1/60s · f/5.6 · ISO 125 28mm (35mm) Download original
1/80s · f/5.6 · ISO 100 28mm (35mm) Download original
1/200s · f/4 · ISO 100 14mm (35mm) Download original
1/250s · f/4 · ISO 100 14mm (35mm) Download original
1/60s · f/5.6 · ISO 125 14mm (35mm) Download original
1/60s · f/4 · ISO 100 14mm (35mm) Download original
1/60s · f/11 · ISO 160 28mm (35mm) Download original
1/60s · f/4 · ISO 160 14mm (35mm) Download original
1/60s · f/8 · ISO 100 14mm (35mm) Download original
1/60s · f/8 · ISO 100 19mm (35mm) Download original
1/60s · f/11 · ISO 250 14mm (35mm) Download original
1/60s · f/8 · ISO 125 28mm (35mm) Download original
1/80s · f/11 · ISO 100 14mm (35mm) Download original
1/60s · f/11 · ISO 100 28mm (35mm) Download original
1/125s · f/4 · ISO 100 14mm (35mm) Download original
1/100s · f/4.8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 125 18mm (35mm) Download original
1/60s · f/8 · ISO 100 14mm (35mm) Download original
1/60s · f/8 · ISO 125 18mm (35mm) Download original
1/160s · f/5.6 · ISO 100 60mm (35mm) Download original
1/60s · f/5.6 · ISO 160 60mm (35mm) Download original
1/60s · f/5.6 · ISO 160 60mm (35mm) Download original
1/60s · f/8 · ISO 160 22mm (35mm) Download original
1/60s · f/5.6 · ISO 320 60mm (35mm) Download original
1/60s · f/5.6 · ISO 400 60mm (35mm) Download original
1/60s · f/8 · ISO 400 34mm (35mm) Download original
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1/60s · f/3.5 · ISO 2000 20mm (35mm) Download original
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This is a sample 4K video taken with the Panasonic Lumix S5 II.
This is a sample 4K video taken with the Panasonic Lumix S5 II.
This is a sample 4K video taken with the Panasonic Lumix S5 II.
This is a sample 4K video taken with the Panasonic Lumix S5 II.
This is a sample 4K video taken with the Panasonic Lumix S5 II.
This is a sample 4K video taken with the Panasonic Lumix S5 II.
This is a sample 1080p video taken with the Panasonic Lumix S5 II.
This is a sample 4K timelapse video taken with the Panasonic Lumix S5 II.
This is a sample 1080p timelapse video taken with the Panasonic Lumix S5 II.
The new Lumix S5 II introduces phase-detection auto-focus for the first time on any Panasonic camera - for many people, that will be the only reason that they need to seriously consider it, whereas previously they may have chosen a rival model just because of the auto-focus system.
The distracting pulsing effect that plagued video recording in particular has now gone, replaced by a very competent hybrid AF system that belies its first-generation status - if only Panasonic had implemented it at the launch of the L-mount system, they would certainly have enjoyed larger market share. let's hope that they roll it out on all future cameras, Micro Four Thirds models included.
Panasonic haven't just rested on their focusing laurels, though, as there are also a significant number of additional upgrades that help turn the already very capable S5 into an even better Mark II edition for 2023.
These include faster burst shooting speeds, a higher resolution and magnification viewfinder, and a full size HDMI port, all things that we found lacking in the original S5 model.
Video performance has also been significantly upgraded, with 6K recording and unlimited recording times in particular catching the eye. The Lumix S5 was already a very capable video camera, but the new S5 II takes things to another level and is clearly the one to choose if you're a keen videographer.
Note that the older S5 will still continue to be sold alongside the newer Mark II model as a more affordable option, so if you mostly shoot stills and can live with its contrast-based AF system, it's now the cheapest way into Panasonic's full-frame system.
Ultimately we'd probably splash the extra cash and buy the new S5 II, though, simply because of the break-through phase-detection auto-focus. It may not be a new feature within the wider market, but for Panasonic it's a very important development indeed, and one that helps to make the new Lumix S5 II one of the best all-rounder hybrid photo and video cameras on the market.
Listed below are some of the rivals of the Panasonic Lumix S5 II.
The EOS R6 Mark II is the successor to one of our favourite full-frame mirrorless cameras, principally adding a new 24 megapixel sensor, 40fps burst shooting and improved auto-focusing. Read our in-depth Canon EOS R6 II review now, complete with full-size sample photos and videos.
The X-H2S is the fastest, most capable APS-C sensor camera that Fujifilm have ever released, but it's also by far the most expensive. Find out exactly what this new flagship camera is capable of and who it's aimed at by reading our complete Fuji XH2S review complete with full-size JPEG, Raw and video samples.
The Fujifilm X-T5 is the successor to the very popular X-T4 which was released in 2020, principally adding a new 40 megapixel sensor, 160 megapixel Pixel Shift Multi-Shot mode, 6.2K video recording and better auto-focusing. Can the new XT5 improve on what was already an outstanding camera? Find out now by reading our in-depth Fujifilm X-T5 review...
The Nikon Z6 II mirrorless camera is an evolutionary upgrade of the original Z6, principally improving the autofocusing, buffer and video and adding a second memory card slot. Is this enough to compete with its main rivals? Find out now by reading our in-depth Nikon Z6 II review, complete with full size sample photos and videos...
The new OM-1 flagship is both the last ever Olympus camera and the first ever OM System camera. Confused? Well no need to worry, as we take an in-depth look at what this new Micro Four Thirds flagship has to offer in our OM System OM-1 review, complete with full-size sample photos and videos...
The much anticipated Panasonic GH6 is finally here! But what does this new flagship camera offer, and can it really improve on the best-selling GH5? We find out in our review of the Panasonic Lumix GH6 mirrorless camera, complete with sample photos, test shots, videos and more...
The Panasonic S5 is a brand new hybrid full-frame mirrorless camera that's equally as capable at shooting both stills and video. In an ever more crowded market, does the Lumix S5 offer enough to stand out against the likes of the Sony A7 III, Canon EOS R and Nikon Z6? Read our in-depth review of the Panasonic S5 to find out, complete with full-size sample photos and videos.
The new Sony Alpha A7 IV is a new 33 megapixel, 4K/60p video, 10fps burst shooting, cutting-edge auto-focusing hybrid full-frame mirrorless model that pulls no punches in its bid to be the only camera that you need. Find out why we think this is one of the best all-round cameras of 2021 by reading our in-depth Sony A7 IV review...
Reviews of the Panasonic Lumix S5 II from around the web.
Building on the solid foundation of the original LUMIX S5’s tough compact frame, class-leading 5-axis in-body image stabilization, and excellent color science, the LUMIX S5 II didn’t need any significant overhauls. However, the addition of phase detection autofocus brings the S5 right in line with some of the best hybrid cameras money can buy. We could be looking at a camera of the year contender. Read the full review »
The Lumix S5 Mark II is arguably the best value new full-frame camera around at the time of making this review, packing a wealth of features while comfortably undercutting key rivals on price. The long-awaited inclusion of phase-detect autofocus transforms both photo and video, eliminating the distracting pulsing which haunted earlier Lumix cameras. Read the full review »
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