While the DMC-GF1's image sensor has a 4:3 aspect ratio, the LCD screen itself has a 3:2 aspect ratio, implying that Panasonic expects most users to switch the camera to 3:2 mode. (This is the same aspect ratio as 35mm film.) This is a very good move on Panasonic's part, as I much prefer the slightly more rectangular 3:2 proportions to the boxier 4:3.

The DMC-GF1 ships bundled with either a 14mm to 45mm f3.5 to f5.6 lens, or a 20mm f1.7 prime lens. Micro Four Thirds cameras have a multiplication factor of 2X, which means that these lenses have the 35mm film camera equivalent to 24mm to 90mm and 40mm, respectively.

The lenses themselves are very small when compared to SLR lenses. This is because the DMC-GF1 does not require a big mirror in front of the lens to facilitate an SLR-style viewfinder. As such, Panasonic can get the back of the lens extremely close to the image sensor, which allows for smaller lens designs. The 20mm "pancake" lens, for example, is only 1-inch long. One of the things that make the DMC-GF1 feel like more than a normal point-and-shoot are the zoom and focus rings on the lenses. Rather than a lever for zooming in and out, the actual rings help to give the DMC-GF1 the feel of a much larger camera.

Panasonic has done an excellent job with the DMC-GF1 interface. All essential shooting functions (mode, burst, ISO, white balance, exposure compensation, and exposure lock) are available from external buttons, and the menus for changing options are easy to use, making it possible to change settings very quickly.