My Honest Take on the LUMIX S1: The Good, The Okay, and The Undesirably

By Malkijah E. Rashad

LUMIX S1 Review 2025

I’ve spent a lot of time with the Panasonic LUMIX S1, and honestly, it’s one of those cameras that can make you fall in love and pull your hair out at the same time. Built like a tank, capable of stunning results, and made for creators who like to get hands-on, it’s a true photographer’s tool with personality and quirks to match.

If I had to compare it to something, I’d say the S1 reminds me of my old Saab 9-3 over-engineered, unconventional, and impossible not to respect once you understand how it works.

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The Good

The image quality has that signature pop colors that leap off the screen and tones that stay natural. Panasonic’s color science is seriously underrated. The dynamic range is outstanding, and the low-light performance continues to impress. I’ve comfortably shot sports at ISO 12,800, and the files held up beautifully.

Action shot taken with LUMIX S1 at ISO 12800 showing low noise performance

The IBIS (in-body image stabilization) is world class. It’s like having a built-in tripod; handheld video and long exposures feel effortless. The EVF is sharp and crystal-clear, easily one of the best I’ve used.

And yes, I actually like the weight. It feels like a DSLR balanced, solid, ready for work. Add weather sealing, professional ergonomics, and a fair used price, and you’ve got a hybrid camera that still competes with newer models in 2025.

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The Okay

The S1 is packed with features maybe too many. It’s highly customizable, but some menus feel buried three layers deep. Once you learn it, the control is amazing, but it’s not beginner friendly.

The tilt screen is useful but not fully articulating.

Then there’s the L-Mount lens situation. The LUMIX lens collection is okay but uneven. The 24–105 mm f/4 is an “S” model (solid but not Pro), while the 70–200 mm f/2.8 S Pro shows what Panasonic can do at the top level. The issue is that there aren’t enough Pro f/2.8 telephoto options. The f/4 lenses are sharp and reliable, but the system still needs more fast glass.

Luckily, Sigma’s L-Mount lineup fills many gaps affordable, sharp, and perfectly compatible with the S1. Still, the L-Mount ecosystem has room to grow.

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The Undesirable

The biggest frustration is auto focus for video. Panasonic’s contrast based DFD system just can’t compete with Canon’s Dual Pixel or Sony’s Real-Time AF. It hunts and hesitates, which can be nerve-wracking in fast-moving scenes.

Customer service and education also fall short. Documentation is minimal, and you’ll end up learning from YouTube and forums. The menu system is powerful but cluttered, and Panasonic’s community presence is relatively small, making it harder to find help or shared setups.

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My Takeaway

After really learning this system, I’ve come to understand the engineering behind the S1 and it’s brilliant once you get it. It’s more camera than most people think. Every design choice serves precision: first-point shooting, accurate results, and IBIS as your greatest ally.

The S1 was built for run-and-gun videography and action photography, a combination that perfectly fits my sports media day business. It’s tough, consistent, and confidence-inspiring.

Sure, Sony and Nikon now offer competitive systems, but I have to give Panasonic credit they built this in 2019, and it still holds up beautifully in 2025. I can use it today without hesitation, and it easily stands beside newly released cameras.

Sports media portrait with Lumix S1 in Studio Lighting

What’s even better? I can pair it with inexpensive LUMIX or Sigma lenses and still get professional level results. I used to preach, “Buy the best glass and a basic body.” With the S1, I’ve flipped that script: buy the great body first. The sensor, IBIS, and color science make even modest lenses shine.

So, while it’s not perfect, it’s powerful, beautifully built, and deeply rewarding for creators who enjoy mastering their tools. The LUMIX S1 is still one of the best-kept secrets in full-frame cameras.