TechRadar: Cameras and camcorder reviews

Review: Canon Selphy CP800

Matt Golowcyznski — Mon, 07 Nov 2011 14:36:00 GMT

The Canon Selphy CP800 is a compact dye-sub 6x4 printer, offering the basic functionality we'd expect for its £80 price tag. This includes a 2.5-inch LCD screen and a range of card slots, as well as a USB port for flash drives and another for connecting a computer.

It's possible to process images with Canon's My Colors option, while a Smooth Skin mode and red-eye correction are on hand to improve portrait photos. There's also an Image Optimize feature, which includes noise reduction and face detection. You may also choose for your images to be printed with or without borders.

The printer is a little noisy starting up, although it's ready for action within a few seconds. Printing times vary, but on average it takes 65-70 seconds for prints to fully emerge from the unit, with an extra 15 seconds or so when the Image Optimize feature is employed. Thanks to the application of a final overcoat, prints are dry straight out of the printer, and no fingerprints could be seen on any of the prints handled during the test.

Detail and sharpness are good, while colour reproduction is largely accurate, with faithful hues and just the right amount of saturation. The only issues came with the slightly inaccurate reproduction of purples and magentas, and a slight warmth applied to certain images.

Both the red-eye correction and Image Optimize features work well, the latter typically lifting exposure in darker images, although its noise reduction didn't seem to affect the high-ISO images printed. The Skin Soften mode also does well to remove wrinkles and blemishes, although its effect may be considered overzealous, and there's no control over its intensity.

Verdict

The Canon Selphy CP800 is a good choice for those who want to make the occasional few prints with minimal fuss. Packs containing a cartridge and 108 sheets of paper retail at around £35-40, although some can be found under £30, so it's best to shop around.

Review: Nikon V1

Angela Nicholson — Mon, 07 Nov 2011 14:22:00 GMT

Overview

Like the Nikon 1 J1, launched at the same time, the Nikon 1 V1 is a compact system camera (CSC). This means that it lacks the reflex mirror and optical viewfinder found in DSLR cameras, but it can accept interchangeable lenses.

Not surprisingly, the Nikon V1 has much in common with the J1, not least the 10.1 million effective pixel sensor, EXPEED 3 processor and the new Nikon 1 lens mount.

While Panasonic, Olympus, Samsung and Sony have opted for Four Thirds and APS-C sized sensors in their CSCs, Nikon has taken a leaf out of Pentax's book and used a smaller device. In Nikon's case this is a CX format sensor that measures 13.2 x 8.8mm.

Restricting the V1's effective pixel count to 10.1MP means that the sensor isn't excessively over populated, but nevertheless the smaller sensor size means that the Nikon J1 and V1 engineers had their work cut out to keep image noise down. Smaller sensors usually mean smaller photoreceptors (pixels) and smaller receptors gather less light so they create a weaker image signal, which requires greater amplicfication and the end result is usually a noisier photograph.

The most obvious difference between the Nikon V1 and the J1 is that the V1 has an electronic viewfinder (EVF), which adds a lump to the top-plate. While Nikon J1 users have to content themselves with composing images on the 3-inch, 460,000 dot screen, V1 owners can choose between using the EVF or the 3-inch, 920,000 dot screen.

Another key difference between the two cameras is that the Nikon J1 has a built-in flash, whereas the V1 doesn't. The Nikon V1 does, however, have a hotshoe that can accept Nikon's new SpeedLight SB-N5 flashgun.

Because they lack a mirror to bounce light onto a dedicated phase detection autofocus (AF) sensor, an issue with most compact system cameras is that they use slower contrast detection autofocus systems. Nikon's solution to this problem is to use a hybrid AF system that uses phase and contrast detection. Both the V1 and J1 use 73 pixels on their imaging sensor as AF sensors. These pixels are still used to make up the image, even though they're used in focusing.

Phase detection AF is generally faster than and contrast detection AF, but contrast detection is more accurate, so using a hybrid system should bring the best of both worlds.

Unusually, the Nikon V1 has both an electronic and mechanical shutter, and the user can select which to use via the menu. We are told that using the mechanical shutter can cut down on the blooming that can occur around bright highlights when an electronic shutter is used, but after shooting a series of comparison images, we're unable to verify this.

A key benefit of an electronic shutter is that faster continuous shooting rates are possible, and the Nikon V1 and J1 can shoot at up to 60fps, with 30fps and 10fps options also being available.

Full HD 1920 x 1080p video recording is possible at 60i, 30p (29.97fps) or 60p (59.94fps). In addition, slow motion video can also be recorded at 640 x 240 at 400fps or 320 x 120 at 1,200fps, both of which are played back at 29.97fps.

In Motion Snapshot mode, the camera shoots a snippet of full HD footage at 69.94fps for replay as at 23.976fps (making it around one second long) with accompanying music and ending with a still image. Footage is recorded to the buffer memory from the moment the shutter release button is half-pressed, so the video includes slow-motion action from the point immediately before the shutter release is pressed home.

Like the J1, Nikon is aiming the V1 at family photographers and those who want something more than a compact camera without the bulk and complication of a DSLR. These users are likely to rely on automatic exposure modes, but both cameras also have Program, Aperture Priority, Shutter Priority and Manual (PASM) exposure modes.

Build quality and handling

Because of the electronic viewfinder (EVF) on top of the Nikon V1, it's bigger than the J1. But it has the same control arrangement and - with the obvious exception of the choice of screens for composing and reviewing images - the Nikon V1 handles in a very similar way to the J1.

Although the Nikon V1 uses a smaller sensor than Micro Four Thirds cameras, this doesn't give any size advantage. If you want a really small camera then the Pentax Q could be the way to go – it's tiny, but it has a compact camera-sized sensor to match.

Like the Nikon J1, the V1 is minimalist and uncomplicated, with a fairly limited collection of controls on its back and top-plate. The magnesium alloy body has a high-quality feel, and the only weak point appears to be the rotating multi-controller dial (on the back of the camera), which feels insubstantial and loose when you rotate it.

There are two ways to start up the Nikon V1 when the Nikkor 10-30mm f3.5-5.6 VR collapsible lens is mounted. When the lens is collapsed, pressing the lens button and rotating the zoom ring extends the optic and brings the camera to life in a little under two seconds. Alternatively, pressing the on/off button on the top-plate activates the camera in around a second.

Although it's disappointing that the advanced PASM exposure modes can only be selected via the menu when the mode dial is set to Still Image mode (denoted by a green camera icon), most photographers tend to shoot in one mode, for example Aperture Priority, most of the time. Novice photographers can set the camera to Scene Auto Selector mode via the menu, or use the mode dial to set it to Smart Photo Selector.

In Scene Auto Selector mode, the Nikon V1 chooses settings that it calculates are correct for the scene, be it a portrait or a landscape, for example. It's unusual that there's no option to specify the type of scene being photographed to give photographers a semblance of control.

Smart Photo Selector is an evolution of Nikon Best Shot Selector. When this mode is selected, the Nikon V1 starts recording to the buffer as soon as the shutter release is depressed halfway, and an icon displays in the LCD that lets you know recording has begun. When the shutter release is pressed home, a shot is recorded, and the camera compares it with the frames captured in the buffer.

The Nikon V1 then selects what it calculates are the best five shots, based on composition and sharpness, and saves them to the memory card (SD/SDHC/SDXC). This can be useful and appears effective, but the camera is tied up with processing and comparing the images for a couple of seconds after shooting.

In Shutter and Aperture Priority modes, exposure is changed using a small switch that protrudes from the back of the camera, just above the mode dial. In manual mode this switch is used in combination with the multi-control dial below the thumb rest. Both controls are quick and easy to use.

When the AF-area mode is set to Single-Point or Subject Tracking (via the menu), the active AF point is selected by pressing the OK button at the centre of the multi-control dial, then using the navigation controls to set the desired spot. It's easy, but given the number of touchscreens that are appearing on the market, we're disappointed that the Nikon V1 doesn't have a touchscreen to enable faster, more intuitive AF point selection.

The Nikon V1 has a 3-inch 920,000 dot LCD screen that provides a clear view of the scene being composed even in quite bright light. Although the screen's viewing angle is very wide both vertically and horizontally, part of it is obscured by the EVF when viewed from above. An articulated screen would make shooting from awkward angles easier.

Electronic levels are becoming commonplace in cameras, but neither the Nikon V1 or J1 has one, so the photographer must use the grid display as a guide to get the horizon level. As it has a hotshoe, it may be possible to get a bubble level with the correct fit at some point in the future.

Like the Nikon J1, the V1 enables specific sensitivity settings to be set via its menu. Alternatively, there are three automatic settings, with ranges ISO 100-3200, ISO 100-800 and ISO 100-400. These options are very useful when light levels keep changing, and the Nikon V1 can generally be relied on to choose the lowest possible option at the selected exposure settings.

Performance

Given that they have the same sensor, processor and so on, it's no surprise that the Nikon V1 and J1 produce very similar images. Most look good straight from the camera, and although there's some variation, colours are natural looking, if slightly on the warm side, with just enough saturation to give them a bit of punch.

On most occasions the automatic white balance system performs well under natural or flash light, but a few of our shots taken in very overcast conditions have a slight magenta cast.

At 100% on a computer screen, edges in the Nikon V1's images can look a little bolder than they should, but fine details are still a bit soft. However, at sensible printing sizes images look good, with decent bite and detail.

We found that the Nikon V1's multi-purpose Matrix metering mode performs very well and isn't easily tricked into under or over exposure by bright or dark areas in the scene.

Our resolution tests reveal that the Nikon V1 can't record as much detail as some Micro Four Thirds cameras, but the results are still respectable, given the size of the sensor.

As we'd expect, more detail can be extracted from raw files than is present in the simultaneously recorded JPEGs. It's also worth shooting raw files and adjusting the noise reduction that's applied (using Capture NX2 – not supplied) as it's possible to find a better balance between noise and detail visibility than in the high ISO JPEG files.

Even images captured at the lowest sensitivity settings have a faint texture that's just visible when they are examined at 100% on the computer screen. Increasing the sensitivity to ISO 800 introduces some mottled colouring in areas of shadow. This becomes increasingly noticeable (at 100%) as the sensitivity is increased.

In many situations, the Nikon V1's AF system performs very well, finding its target quickly and accurately. It even manages to keep up with fast-moving subjects in good light. However, in low light there can be some hunting. This is often just a quick back and forwards adjustment in focus, but it's present and noticeable.

While the Subject tracking AF mode works well, activating it requires two presses of the rear OK button, and it can be hard to achieve the initial lock-on with some moving subjects.

The Nikon V1's 0.47-inch 1440k-dot EVF is clear and provides an excellent view in most situations. Unfortunately, as with most EVFs, it blanks out during continuous shooting, which makes following a moving subject tricky to say the least.

Interestingly, we found that for the majority of shots taken during this test, we used the main LCD screen for composition rather than the EVF. This is a mark of the quality of the LCD display, rather than a negative point about the viewfinder.

It's helpful that the EVF has a proximity sensor to detect when the Nikon V1 is being held to the eye, but it has a habit of turning off the main LCD when an object is a couple of inches from the EVF, so it can be a nuisance, for example when shooting at a low angle and reaching down to the control buttons.

Image quality and resolution

As it has a new sensor size it is hard to know what to compare the results from the Nikon V1 with. Although it doesn't resolve as much detail as cameras such as the Olympus PEN E-P3, these chart images look clean and sharp – without being oversharpened.

Resolution charts

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Nikon V1 is capable of resolving up to around 18 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

JPEG images

ISO 100, score: 18 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 18 (see full image)

ISO 1600, score: 18 (see full image)

ISO 3200, score: 16 (see full image)

ISO 6400, score: 16 (see full image)

RAW images

ISO 100, score: 22 (see full image)

ISO 200, score: 22 (see full image)

ISO 400, score: 20 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 16 (see full image)

ISO 6400, score: 14 (see full image)

Noise and dynamic range

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO Analyzer software to give noise and dynamic range measurements at every sensitivity (ISO) setting.

Signal to noise ratio

The Nikon 1 V1 uses a smaller sensor than APS-C or Micro Four Thirds cameras. This means that the V1's 10.1 million effective photosites (pixels) are likely to be smaller, which could be a challenge for image quality.

Our lab tests indicate that the V1 produces JPEG images that have a comparatively low signal to noise ratio.

Although the values are still lower, the raw files (after conversion to TIFF) are much closer in performance to that of the other cameras in this test. This significantly better raw file performance indicates that Nikon has chosen to process out the noise from the JPEGs at the expense of the image signal more than the other manufacturers.

JPEG signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Nikon V1 show lower scores for signal to noise ratio than the Olympus PEN E-P3, Sony NEX-5 and Panasonic Lumix DMC-GH2. This means that images will show a greater amount of noise especially at the higher end of the sensitivity range.

RAW signal to noise ratio

RAW images from the Nikon V1 show results for signal to noise ration are on par with those from the Olympus PEN E-P3, Sony NEX-5 and Panasonic Lumix DMC-GH2.

Dynamic range

For a full explanation of what our resolution charts mean, and how to read them please click here to read the full article.

Interestingly, our dynamic range measurements show that the Nikon V1 raw files compare favourably with the files from the Panasonic Lumix DMC-GH2 and Olympus PEN E-P3 and Sony NEX-5. Between ISO 100 and 800 it is only beaten by the Sony camera, and above ISO 800 it leads the way.

It's JPEG dynamic range performance is a little lower. It is generally on a par with, or a little better than the Panasonic GH2.

JPEG dynamic range

This chart indicates that the Nikon V1's JPEGs dynamic range compares well against the Panasonic Lumix DMC-GH2 and Olympus PEN E-P3, showing that it can resolve a good amount of shadow and highlight detail across the sensitivity range.

RAW dynamic range

This chart indicates that the Nikon V1's JPEGs dynamic range compares well against the Panasonic Lumix DMC-GH2 and Olympus PEN E-P3 and Sony NEX-5. From a sensitivity of ISO 1600 the Nikon V1 beats the dynamic range performance of thecomparisoncameras.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

Sample images

Click here to see high res version

Verdict

The higher resolution screen, EVF, hotshoe and choice of shutter types mean that the Nikon V1 is more likely to attract the attention of the enthusiast photographer than the J1 is.

While the build of the Nikon V1 will certainly meet with approval from these users, they may be disappointed that the shooting mode options are located in the menu. They may also be concerned that Nikon has plumped for a smaller sensor than most manufacturers.

Nikon is obviously keen to stake a claim in the new compact system camera market, but it doesn't want to damage its DSLR sales – after all, it is one of the top two camera manufacturers.

For this reason, perhaps more than any other manufacturer, Nikon has succeeded in producing a camera that sits between its compact and DSLR models. The Nikon V1 and J1 have larger sensors than the compact cameras and accept interchangeable lenses, but they lack the bulk and complexity of the company's DSLRs.

We liked

Like the Nikon J1, the V1 has a high-quality, durable feel. The controls are well laid out and unintimidating for the novice user. Image quality is also high for a small camera.

We disliked

It's a shame that there's no touchscreen and the LCD is fixed rather than articulated. We'd also like a quicker route to the exposure mode options.

Final verdict

Image quality from the Nikon V1 is good and noise is nicely controlled, especially if you have time to process the raw files individually. The sensor is small enough to allow a small camera body, but large enough to enable control over depth of field.

We think the Nikon V1 would grab more attention if Nikon had distinguished its handling a little more from that of the J1. Giving it an articulated touchscreen, an exposure mode dial and a customisable button or two would make it quicker to use and more versatile.

Review: Sony NEX-5N

Gavin Stoker — Thu, 03 Nov 2011 14:46:00 GMT

Overview

The second generation Sony NEX-5N sits in the middle of a revamped NEX compact system camera (CSC) range, just above the NEX-C3, with which it shares a 16.1MP effective resolution, and some way below the 24.3MP effective NEX-7. It follows on from the entry level NEX-3 and mid range NEX-5, introduced in summer 2010 as Sony's first-ever interchangeable lens compacts.

Outwardly, the slender, Russian tractor factory-approved body design isn't a massive departure from its plain-looking predecessor. Indeed, while its low profile shape when compared to the rival Olympus PEN, Panasonic GF and Samsung NX series has reportedly made the fledgling NEX range a big hit in Asia, the combination of slightly more conventionally styled bodies plus smaller lenses means that competing systems such as Micro Four Thirds have gone down slightly better in the West.

Will the Sony NEX-5N, progressing Sony's hard sell combination of small body yet large optics, be the one to take the range to the next level?

On paper at least, the NEX range has a key advantage to draw in the photo enthusiast - namely its incorporation of APS-C CMOS sensors, a size match for those found in DSLRs. These are much bigger than the Micro Four Thirds sensors used by Olympus and Panasonic, and those of the new Nikon 1 J1 and Pentax Q interchangeable lens system cameras.

Of course a larger sensor when combined with bigger glass in front of it theoretically delivers the best quality images. So can the Sony NEX-5N impress in use and transcend its unassuming exterior?

Features

Newsworthy differences between the plain old Sony NEX-5 and the NEX-5N include an upping of the headline resolution from 14.2MP to 16.1MP, albeit courtesy of the same APS-C format sensor, plus an ISO boost from a maximum ISO 12800 to ISO 26500, due to what Sony claims is a new Bionz processor.

There's still no integral flash, but once again there's a small clip-on option that slots in above the lens mount. The back screen LCD thankfully remains tilting, but this time it offers the touchscreen facility that we felt it should have had originally, the large onscreen function icons lending themselves to an inquisitive prod.

The pivoting monitor in the absence of an adjustable electronic viewfinder is useful for high or low-angle compositions, and led to us taking the kind of shots we might not otherwise have attempted, while avoiding grubby knees.

But the three-inch, 921k dot resolution screen's use remains slightly restricted. It can't be flipped out through 180 degrees so it's parallel to the body, like on a camcorder. Nor can it be flipped to face the user as they peer into the lens for a self-portrait, or turned screen inwards to the body for added protection.

Another flagship feature is the Sony's respectably swift 10fps continuous video capture speed. This is up from the already impressive 7fps of its forebear, albeit operating at a fixed focal point, while alternatively making sure our subjects remain sharp wherever they are in the frame. This is 25 point contrast detection - as opposed to phase detection - auto focus.

With 1200-zone evaluative metering instead of the 49-segment metering of the NEX-5, its maker also claims a shutter lag of 0.02 seconds, so it's five times faster than its older sibling. Subtle tweaks perhaps, but in operation the Sony NEX-5N really seems to fly.

The signature Sweep Panorama mode also seen on Cyber-Shot models again features, here generating up to 23MP images. There are both 2D and 3D versions, the latter only viewable on a suitably equipped TV, both of which stitch together a rapid-fire sequence of images to automatically deliver a single elongated image.

Again this works well, and is effortless. Pan with the camera in the direction of an onscreen arrow through an arc and the Sony NEX-5N will do the rest.

Another neat feature retained is background defocus, so users can achieve that attractive shallow depth of field effect to soften background clutter and make foreground subjects really jump out of the frame. The intensity of said effect is controlled by simply dragging a point on a slider.

Finally, Full HD 1920 x 1080 pixels video capture again features, with a dedicated red record button to commence its capture. There's a choice of AVCHD or more widely compatible MPEG-4 file formats, the latter necessitating a resolution drop to 1440 x 1080 pixels due to it applying less compression. While we don't get the accessory shoe of the NEX-7 or modern gimmicks such as GPS, the Sony NEX-5N very definitely has most feature boxes ticked.

Build quality and handling

As with Nikon's equally new V1 flagship CSC, the Sony NEX-5N has the kind of magnesium alloy construction usually reserved for mid-range DSLRs.

Not that it is immediately obvious, again thanks to that rather slender chassis weighing a body-only 210g - the lightest of the current NEX trio. Sony claims a depth of 23.3mm at its slimmest point, a pinch slimmer than the 24.2mm of its predecessor.

Although Sony's NEX series of Compact System Cameras incorporates some of the most svelte camera bodies in relation to the full APS-C sized sensors at their core, this compactness has, for us, always rather been undone by the physically larger E series lenses they've been matched with.

The result, as we see again with the Sony NEX-5N, is that, with the optically stabilised 18-55mm f/3.5-5.6 standard zoom that came with our £599 review kit attached to its E-mount, the camera looks oddly front-heavy. If we were cruel, we'd say that the NEX system still looked like a work in progress.

Still, if removing said lens, the Sony NEX-5N slips into a jacket pocket rather more easily than the majority of its CSC rivals, except the almost toy-like Pentax Q. And with the lens attached, it does feel like a more solid proposition overall.

An optically stabilised zoom is a must, incidentally, because unlike say the Olympus PEN range, including the Olympus PEN Lite E-PL3, Sony hasn't built anti-shake into the body itself.

JPEG and raw photos and 1920 x 1080p video are committed to either SD card or Sony's proprietary Memory Stick Pro Duo media, which share a slot in the base of the handgrip with the NP-FW50 rechargeable lithium ion battery.

The grip itself is barely larger than the battery it houses, but its pitted rubber surface prevents slippage while offering sufficient space to wrap three small fingers around, while the thumb rests on a tiny curved rubber pad at the back.

Funnily enough, although there's now touchscreen control, the scroll wheel and flanking function buttons at the top left and right of it remain on the backplate, and can be used for all selections. So if you're not a massive fan of touchscreens on cameras, you can ignore it.

Although there's not a physical shooting mode dial, a virtual version pops up on the screen, which the user can navigate with the thumb and a spin of the scroll wheel. Offered here are the expected Program, Aperture Priority, Shutter Priority, Manual, Panorama, Anti Motion Blur setting and scene modes, along with a smart auto mode that affords point and shoot simplicity.

While you might want to steer clear of the latter in busier scenes or with more detailed subjects, it's a more than reliable fall back when you want to concentrate on subject rather than settings.

It also means that, when set as a default, anyone trading up from a compact camera will be able to pick up the Sony NEX-5N and start taking colourful shots straight away.

Performance

When it comes to the business of taking photos with the Sony NEX-5N, to the right of the top plate, where a shutter release button might usually be, is the chunky on/off switch. The shutter release button is instead located on the forward slope of the handgrip and slightly to the left.

Flick the Sony NEX-5N on and the camera readies itself for action in just over a second, so a smidgeon slower than a DSLR, with the LCD fading into life. Squeeze down halfway on the shutter release and the camera's auto focus does its stuff, the back screen display momentarily softening before snapping back into focus, AF points highlighted in green with a beep to confirm that the user is able to press down fully to take the shot.

To us it doesn't feel as fast as the AF systems of the Olympus PEN or Panasonic G series, including the Panasonic Lumix DMC-GF3, which claim the world's fastest AF and again use contrast detection AF, but it's still plenty fast enough on a single shot basis.

In terms of exposure, and metering too, we were impressed, with burnt out highlights a rarity - indeed the camera tends to underexpose if anything, to preserve detail, and using Curves in Photoshop we were able to drag an impressive degree of shadow detail back.

The result was that we maintained both foreground and background detail in the same shot, so achieved an image closer to what our eyes were seeing at the time, which is arguably all anyone wants from a consumer-level camera. The bundled lens is up to the task, in that we were able to achieve sharp results handheld at maximum telephoto as well as maintain edge-to-edge sharpness at maximum wideangle. The usual Sony bugbear of pixel fringing was refreshingly absent here.

The well-saturated colours synonymous with the Sony range are in evidence when examining JPEG photos straight from the camera. White balance was only ever an issue when shooting in lower light, and at higher ISOs, and noise only really starts becoming an issue above ISO 6400.

At ISO 12800 we're seeing softening of edge detail and more grain in the shadows, while at maximum whack ISO 25600 we're getting a gritty appearance across the entire frame. But, ironically, this helps to maintain an impression of edge sharpness. You're best off sticking to ISO 6400, however, unless particularly pushed.

Whether shooting raw or JPEG, the results from the Sony NEX-5N and lens combo are sharp and detailed, and most photographers will be more than happy sticking with JPEGs for day to day shooting.

Incidentally, power is good for up to 410 shots from a full charge, according to CIPA testing. So that's a positive improvement on the 330 shots of its forebear, and an exact match for the performance of the new Nikon V1 competitor. But the Sony NEX-5N offers twice the longevity of the cheaper Nikon J1, which is a more exact price match.

Sample images

FOCUS: This outdoor image, taken in the light of a late autumn afternoon, witnesses the Sony NEX-5N's background defocus option to full effect, very effectively reducing the sharp portion of the image to the flower heads and blurring the backdrop.

See full-res image

SHADOW: A bright background and a dark foreground is a problem for any exposure system. Commendably here the Sony NEX-5N has preserved a lot of shadow detail, brought back with a subtle use of Curves in Photoshop and without introducing noise into the bargain.

See full-res image

LOW LIGHT: This low light shot, taken under low tungsten lighting at ISO 3200 and using the optically stabilised kit lens, reveals what the Sony NEX-5N and kit lens combo is capable of when performing at its very best.

See full-res image

PANORAMIC: Sweep Panorama mode creates up to 23MP images that can be 2D or 3D, by stitching together a rapid-fire sequence of shots into one wide photo.

See full-res image

Sensitivity and noise

Full ISO 100 image. See the cropped (zoomed to 100%) versions below.

ISO 100

ISO 200

ISO Auto

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12800

ISO 2560000

Verdict

There's very little with the Sony NEX-5N to find fault with, other than perhaps the niggle that its minimalist design and lack of physical buttons sometimes necessitates a little searching on behalf of the user. Enthusiasts may also find it a pain that the likes of ISO aren't given a dedicated button or placed immediately at their fingertips.

Once familiar with the quirks of its menu system, however, using the Sony NEX-5N became more of a pleasure than we expected.

It still looks a little odd with the 18-5mm lens bolted on the front, but it's a good catch-all lens for anyone buying into compact system cameras for the first time.

The price, although not cheap, nevertheless seems reasonable in the wake of some of the most recent additions to the compact system camera market, such as Nikon's 1 system cameras the Nikon V1 and Nikon J1, and the Pentax Q.

It may not look as attractive to us as most of its more conventionally styled rival cameras, but you only have to look at the Sony NEX-5N's images to realise that it knocks spots off most of the competition.

We look forward to comparing to the new flagship Panasonic, with its expected resolution hike. For the moment we'd have to say that in purchasing this Sony NEX-5N you can't go far wrong.

We liked

Its body design may be slightly drab, but where it counts this camera has got it. The Sony NEX-5N's combination of a large sensor and large lens delivers detail-rich images that knock spots off even long-awaited rivals such as Nikon's new 1 system cameras, the V1 and J1. Plus most of the current must-have features we'd want are here.

We disliked

What makes the NEX system a different proposition among compact system cameras - with the exception of Samsung NX, which also uses an APS-C sensor - has also led to the rather odd-looking combination of a slim body and unwieldy lens if going for the kit zoom on test here.

Also, photography newcomers will require a period of familiarisation with the quirks of Sony's menu system.

Final verdict

It's hard to knock the Sony NEX-5N at its suggested price of £599 with 18-55mm kit zoom. Yes, this is more than an entry-level digital SLR, but the NEX is going for a different market, and in that respect delivers most of what it sets out to do.

Review: Nikon J1

Angela Nicholson — Wed, 26 Oct 2011 14:01:00 GMT

Overview

Ever since Panasonic launched the first mirrorless compact system camera in September 2008, there has been rumour and speculation about whether Canon and Nikon would follow suit. Now, a little over three years later, Nikon has revealed its hand and unveiled two cameras, the Nikon J1 and V1.

Collectively these make up the Nikon 1 system, and they both have the same 10.1MP CMOS sensor. The J1 is the entry-level model, with the biggest differences between it and the V1 being the lack of an electronic viewfinder and a lower resolution LCD screen.

The Nikon J1 does, however, have a built-in flash, whereas the V1 doesn't - instead extra illumination must be provided by the new SpeedLight SB-N5, which has a novel shoe-mount.

With a street price of around £549 for a kit that includes the 1 Nikkor 10-30mm f/3.5-5.6 VR lens, the J1 is set to be the more popular of the two cameras - the V1 10-30mm kit retails for around £829.

As well as introducing the first new Nikon lens mount since 1959, the Nikon 1 cameras also debut a new sensor size that has been dubbed CX format and measures 13.2 x 8.8mm. This is smaller than both APS-C and Four Thirds format, and means that mounted lenses have a 2.7x focal length magnification factor.

It also means that the new cameras are slightly handicapped from the outset, because larger sensors mean more room for larger photoreceptors, and larger receptors usually result in better image quality.

However, Nikon hasn't exactly pushed the boundaries of sensor resolution, and has kept the effective pixel count at just 10.1 million. Until recently, Nikon was adamant that 12MP was enough for its APS-C format and full-frame cameras, provided the images are clean and of high quality, so the arguments are familiar for Nikon 1.

More big news for Nikon 1 is that the two cameras have a hybrid autofocus system that uses phase and contrast detection. Unlike DSLRs that use a dedicated AF sensor, the J1 and V1 use 73 pixels on the imaging sensor as phase detection AF sensors. Interestingly, although these pixels have a role to play in auto focusing, they are still used to make up the image.

Nikon employs both phase and contrast detection, because although current phase detection AF systems are faster, contrast detection is generally more accurate.

While the V1 has both an electronic and mechanical shutter (and the user can select which to use), the J1 just has an electronic shutter. Using an electronic shutter enables the continuous shooting rate to be pushed as high as 60fps, with 30fps and 10fps options also being available.

Full HD (1920 x 1080) video recording is possible at 60i, 30p (29.97fps) or 60p (59.94fps). In addition, slow motion video can also be recorded at 640 x 240 at 400fps or 320 x 120 at 1200fps, both of which are played back at 29.97fps.

In Motion Snapshot mode, the camera shoots a snippet of full HD video footage at 69.94fps for replay at 23.976fps (making it around one second long), with accompanying music and ending with a still image. Footage is recorded to the buffer memory from the moment the shutter release button is half-pressed, so the video includes slow-motion action from the point immediately before the shutter release is pressed home.

While Nikon is aiming the J1 at family photographers who are likely to rely on automatic exposure modes, it also has the program, aperture priority, shutter priority and manual (PASM) exposure modes that are preferred by enthusiast photographers.

Build quality and handling

Nikon opted to use a smaller than APS-C sized sensor to enable the J1 to be smaller than the average DSLR. While it is small and neat, the J1 isn't quite as small as the Olympus PEN E-PM1, which uses the larger Four Thirds sensor. And if you want something really small, then the Pentax Q could be the way to go – it's tiny, but then so is its sensor.

Design-wise, the J1 is minimalist and uncomplicated, with a fairly Spartan-looking top plate and small collection of controls on its back. The body is constructed from magnesium alloy and has a high-quality feel, as does the knurled wheel mode dial.

With the exception of the rotating multi-controller dial on the back of the camera, the buttons and dials feel well made and are responsive. The multi-controller works well enough, but it feels a little insubstantial and loose under your thumb as it's rotated.

When the Nikkor 10-30mm f3.5-5.6 VR collapsible lens is mounted, there are two ways to start up the J1. If the lens is collapsed, pressing the lens button and rotating the zoom ring extends the optic and brings the camera to life in a little under two seconds. Alternatively, pressing the on/off button on the J1's top plate activates the camera in around a second.

We were initially disappointed to discover that the advanced PASM exposure modes can only be selected via the menu when the mode dial is set to Still Image mode (denoted by a green camera icon). However, it isn't necessarily a huge drama, since many photographers tend to shoot in one mode, for example Aperture Priority, for the majority of the time.

Less experienced photographers can set the camera to Scene Auto Selector mode via the menu, or use the mode dial to set it to Smart Photo Selector.

Scene Auto Selector mode sets the camera to choose the settings that it calculates are appropriate for the scene. Unusually, there's no option to specify the type of scene being photographed.

Smart Photo Selector is an evolution of Nikon Best Shot Selector. In this new mode, depressing the shutter release half-way triggers recording and saving images to the buffer memory. An icon displays in the LCD that lets you know that recording has begun. Pressing the shutter release home also captures the desired shot, and the camera then compares it with the frames captured before the shutter button was fully depressed.

The camera selects what it calculates are the best five shots, based on composition and sharpness, and writes them to the memory card. While this can be useful, the camera is tied up processing and comparing the images for a couple of seconds after shooting.

Given Nikon's history in the photographic market, you would expect it to know a thing or two about camera design and control layout, and while the J1 is easy to use, Nikon DSLR users should expect a few differences. In shutter and aperture priority mode, for example, exposure is changed using a small switch that protrudes from the camera's back just above the mode dial. In manual mode, this switch is used in combination with the multi-control dial below the thumb rest. Both controls are quick and easy to use.

When the AF area mode is set to Single Point or Subject Tracking (via the menu), the active AF point is selected by pressing the OK button at the centre of the multi-controller dial and then using the navigation controls to set the desired spot.

It's straightforward, but it's a measure of the pace of change in the digital camera market that we're disappointed that the Nikon J1 doesn't have a touchscreen to enable faster, more intuitive AF point selection.

On the subject of the screen, the Nikon J1's 460,000 dot 3-inch LCD provides a decent view of the scene being composed, even in quite bright light. The viewing angle is also very wide both vertically and horizontally, but it's not quite as convenient to use as an articulated screen when shooting from awkward angles.

Another omission is an electronic level. These are becoming more commonplace in cameras these days, and while the Nikon J1 has a grid view to aid composition, a level makes it easier to ensure the horizon is level, whatever angle you are shooting from.

Although it's possible to set specific sensitivity settings via the Nikon J1's menu, when moving quickly between areas with different light levels it's useful to use one of the three automatic settings. The widest range is ISO 100-3200, and the camera can usually be relied upon to use the lowest value possible, but for those who want to make sure, ISO 100-800 and ISO 100-400 options are also available.

Overall, the Nikon J1 feels very nicely put together, and it has a reasonably good balance of menu and button-accessed controls, but it is likely to hold more appeal for the seasoned digital camera user than for traditionalists.

Performance

The majority of our test images look good straight from the Nikon J1. There is some variation, but generally the colours are fairly natural-looking, if slightly on the warm side, with just enough saturation to give them a bit of punch.

Under natural or flash light, the automatic white balance system performs well on most occasions, but a few of our shots taken in very overcast conditions have a slight magenta cast.

Although edges can look a little bolder than they should when viewed at 100% on the screen, fine details look a little soft. However, at more sensible printing sizes, images look good.

Nikon is mainly aiming the J1 at relatively inexperienced photographers who haven't yet learned the complexities and stumbling blocks of light metering. These users will find that the multi-purpose Matrix metering mode performs very well, and the camera isn't easily fooled by very bright or dark areas in the scene.

Considering the size of the sensor, the Nikon J1 resolves a respectable level of detail. However, our resolution tests reveal that it can't record as much detail as some Micro Four Thirds cameras. As usual, more detail can be extracted from raw files than is present in the simultaneously recorded JPEGs.

Noise is pretty well controlled, but even images captured at the lowest sensitivity settings have a faint texture that is just visible when they are examined at 100% on the computer screen.

Pushing the sensitivity to ISO 800 introduces some mottled colouring in shadow areas, which becomes increasingly noticeable (at 100%) as the sensitivity is increased. The best high sensitivity images are created by tailoring to the noise reduction for each raw file using Capture NX2.

Interestingly, although Nikon tells us that the J1 applies chromatic aberration correction to JPEG images, when we opened some raw files in Capture NX2 we found that they showed less chromatic aberration than their JPEG counterparts. Turning off the software's chromatic aberration correction brought the two file types closer into line.

Nikon makes some bold claims for the J1's AF system, and in many situations it performs well, even managing to keep up with fast-moving subjects. Not surprisingly, though, it isn't infallible. In low light, the lens is prone to a brief spell of hunting. On many occasions this is just a quick back and forwards adjustment in focus, but it's noticeable, nevertheless.

When Auto Area AF mode is selected, the Nikon J1 usually does a good job of identifying the subject. But switching to Single Point AF mode and setting the point yourself brings extra confidence, especially in busy scenes. The Subject Tracking AF mode also performs well, but the mechanics of activating it means it's hard to achieve the initial lock-on with some moving subjects.

Image quality and resolution

Resolution charts

As part of our image quality testing for the Nikon J1, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Nikon J1 is capable of resolving up to around 18 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 100, score: 18 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 18 (see full image)

ISO 1600, score: 18 (see full image)

ISO 3200, score: 16 (see full image)

ISO 6400, score: 16 (see full image)

Raw images

ISO 100, score: 22 (see full image)

ISO 200, score: 22 (see full image)

ISO 400, score: 20 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 16 (see full image)

ISO 6400, score: 14 (see full image)

Noise and dynamic range

Like the Nikon 1 V1, the Nikon J1 uses a smaller sensor than APS-C or Micro Four Thirds cameras. This means that the J1's 10.1 million effective photosites (pixels) are likely to be smaller, which could be a challenge for image quality.

JPEG signal to noise ratio

Our lab tests indicate that the J1 produces JPEG images that have a low signal to noise ratio in comparison with images from the Olympus PEN E-PL3 and Sony NEX-C3. They are closer to the JPEGs from the Pentax Q, but even this camera - which has a much smaller sensor than the J1 - has a better signal to noise ratio at higher sensitivity settings.

A high signal to noise ratio (SNR) generally indicates a cleaner and better quality image.

JPEG images from the Nikon J1 show lower scores for signal to noise ratio than the Olympus PEN E-PL3, Sony NEX-C3 and the Pentax Q.

Raw signal to noise ratio

The difference in the signal to noise ratio of the of the J1's raw files (after conversion to TIFF) and the Pentax Q's is much less than the JPEG files. From ISO 800 up, the J1 beats the Q, proving some benefit from the larger sensor. The raw files can't match the results from the Olympus PEN E-PL3 or Sony NEX-C3 though.

Raw images from the Nikon J1 compare well with the Pentax Q for signal to noise ratio, and are only just marginally lower than the Sony NEX-C3.

For a full explanation of what our resolution charts mean, and how to read them please click here to read the full article.

JPEG dynamic range

This chart indicates that the dynamic range of the Nikon J1's JPEGs compares well with that of the Olympus PEN E-PL3. The results are also far more consistent than those from the Sony NEX-C3.

Raw dynamic range

This chart indicates that the Nikon J1's raws compares well against the Olympus PEN E-PL3, Sony NEX C-3 and Pentax Q, with the best results from a sensitivity of ISO 1600. This test shows that the Nikon J1 is capable of capturing a good amount of shadow and highlight detail.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

Sample images

Here are some of the images we've shot with the new Nikon J1 during our testing.

DEPTH OF FIELD: Although smaller than APS-C sized, the J1's sensor is large enough to allow depth of field to be restricted when shooting at f/2.8.

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SHARP: Even in fairly low and very flat light, the J1's AF system usually gets the subject sharp quickly.

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NATURAL: Despite the bright sky, using matrix metering has resulted in a natural-looking image with only slight underexposure of the foreground here.

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FLASH: The bright sky is nicely balanced by the flash output for this low angle shot.

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ISO 800: There's little noise visible in this ISO 800 image.

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ISO 3200: Using a sensitivity setting of ISO 3200 has made this image a little on the soft side, and although chroma noise is visible, it's not a major problem.

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DETAIL: There's plenty of detail in this ISO 400 shot taken with the 10-30mm f/3.5-5.6 VR kit lens mounted, but chromatic aberration is visible along some backlit edges.

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FAST: The Nikon J1's AF system can latch onto and track fast moving subjects.

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NO FLASH: When you don't want to use flash, the maximum aperture of the 10mm f/2.8 lens comes in handy.

See full res image

Verdict

Nikon's announcement of its 1 system wasn't met with approval all round. Some Nikon users are disappointed by the company's decision to use a relatively small sensor, while others were hoping for something directed more squarely at enthusiast photographers.

While Nikon wants to stake a claim in the new compact camera system market, it doesn't want to damage its DSLR sales, and this goes some way to explaining its decision to develop a new lens mount and use a smaller than APS-C sized sensor.

Perhaps more than any other manufacturer, Nikon has succeeded in producing a camera that sits between its compact and DSLR cameras.

Experienced photographers may have been happier if Nikon had used a design a little closer to its most advanced compact model, the Coolpix P7100, with more direct control via buttons and dials and an articulating screen. Perhaps this will come in the future, but it would be intimidating to the intended Nikon J1 (and V1) market - those who want a step up from a compact camera without the complexity of an DSLR.

We liked

Nikon's minimalist design and the magnesium alloy body give the Nikon J1 a high-quality feel. Novice photographers will find that they soon become familiar with the control layout and menu arrangement and will enjoy the decent image quality.

We disliked

Exposure mode can only be changed via the menu, and although easy, changing the AF point requires a bit of button pressing – a touchscreen would make it much quicker.

Image quality is very good considering the sensor size, but it's not up to the standard from Micro Four Third and APS-C format cameras.

Final verdict

While the Nikon J1 is easy to get to grips with, a high-quality touchscreen would make its handling a little slicker and speed AF point selection. An articulated screen would make composing from unusual angles easier as well.

Image quality from the Nikon J1 is good, competing well with the average compact camera and approaching that of entry-level DSLRs.

In summary, the J1 provides a good introduction to interchangeable lens cameras, although it lacks some of the fun features such as in-camera filter effects seen on other offerings

Review: Olympus PEN Mini E-PM1

Gary Wolstenholme — Wed, 26 Oct 2011 13:33:00 GMT

Overview and features

Designed for the casual snapper who doesn't want to compromise on image quality, the Olympus PEN Mini E-PM1 is similarly specified to contemporary Olympus PEN models, but with an emphasis on ease of use and simplicity of design.

Compact system cameras (CSC) like this have exploded in popularity in the last year or so, due to their promise of high quality images and the flexibility of interchangeable lenses without the bulk of a DSLR. The compact dimensions are possible because the reflex mirror used in a DSLR camera is absent, enabling the lenses to be placed much closer to the image sensor.

The design also enables a much larger image sensor to be used than would typically be found in compact cameras. Having a larger image sensor should result in less noise at higher sensitivities, because there's more surface area per pixel to capture light to form an image.

Priced at around £450 with the standard 14-42mm kit lens and available in a range of different colours, this PEN is the cheapest and most compact of three new additions to Olympus' range of compact system cameras, the other two being the PEN E-P3 and the PEN Lite E-PL3. Its rivals include the Panasonic GF3 and Sony NEX-C3.

The overall design of this camera differs to other cameras in the PEN line-up, since manual exposure overrides are largely tucked away into the menu system, providing a user experience particularly suited to pointing and shooting.

This doesn't mean manual overrides aren't possible, though, and a comprehensive range of creative exposure modes are provided.

Features

At the heart of the Olympus PEN Mini E-PM1 lies a 12.3MP Live MOS sensor with a sensitivity range from ISO 200 to ISO 12800, which should be perfect for low-light conditions. A new image processing engine, introduced in all three recently released Olympus PEN cameras, promises to keep noise levels low, even at high sensitivity settings, as well as aiding processing speed and video quality.

The low weight of 265g with a battery and memory card installed, and a slim profile, should aid portability.

Olympus has devised a 35-point autofocus (AF) system that was the fastest to obtain focus among its peers, when tested in June 2011. AF certainly seems very snappy, and accurate enough for use with wide aperture lenses. One of the major benefits of a compact system camera is that the lens can be swapped over to suit the application. The Micro Four-Thirds system has one of the largest range of compatible lenses on offer of any compact system camera.

With ease of use being the main ethos behind the Olympus PEN Mini E-PM1's design, a reduced selection of buttons is provided, enabling access to the most commonly used functions, such as video recording, exposure compensation, flash, drive and focusing modes.

Everything else is tucked away into one of the simply laid-out menus. Common overrides can be easily accessed by pressing the OK button and other settings via the menu button. This design approach will certainly suit snap shooters well, who may rarely override the camera's automatic exposure, but may take a little getting used to if you're more at home with manual exposure control.

A live guide feature has also been included, which explains each function in the menu as it is selected.

A 3-inch LCD screen with a resolution of 460,000 dots provides the view for composing images and videos. The screen has an aspect ratio of 16:9, which is great for recording wide-screen videos, but not so great for taking images in the standard 4:3 aspect ratio. Much of the screen is wasted and black bars fill either side of the screen.

A highly reflective acrylic cover protects the screen. Unfortunately because it's so reflective, it also makes the screen difficult to see clearly in bright conditions. Since the electronic viewfinder is optional, this could be a major issue for some. The screen is incredibly difficult to see with the sun behind you, and guesswork may even become the last resort when composing shots when the screen can't be shaded easily.

Under more favourable conditions the screen is bright and clear and the menus easy to navigate, with pleasing animated flourishes as you select various items.

A decent selection of scene program modes and custom art effect filters are provided, which offer a one-touch fix for more creative-looking effects.

The art filter menu includes effects to reproduce various popular looks, including Soft Focus, Pop Art, Grainy Monochrome Film, Pin Hole Camera, Dramatic Tone and a Diorama effect, which reproduces the shallow depth of field effect of a tilt-shift lens. The effects applied are of good quality and can be used to quickly enhance your images.

Image stabilisation is provided via a sensor-shift mechanism, which means all Micro Four-Thirds-compatible lenses will benefit from the effects of stabilisation. This should help with photographing in low-light conditions.

Full 1080p HD video recording is possible in the popular AVCHD format for clips lasting up to 29 minutes. Footage can also be recorded at lower resolutions in Motion JPEG format, although clips are limited to seven minutes for this recording standard.

Video footage is very smooth and detailed, and can be played on an HD TV directly from the camera via the supplied HDMI connection. Olympus provides an optional EMA-1 external microphone adapter to enable a mic to be attached via the AP2 port below the hotshoe. This port also accepts the optional electronic viewfinder and the supplied external flash.

Build quality and handling

Six different coloured finishes are available for the Olympus PEN Mini E-PM1, including Silver, White, Purple, Silver-Rose and Brown, enabling you to pick the look that suits you best. The glossy white finish applied to our review camera looks very smart and stylish with the silver inlays and black screen surround.

The slim profile makes this compact system camera (CSC) almost pocketable. With the collapsible 14-42mm zoom, it is a just a little too big for most jacket pockets, and those considering transporting the camera in this way may wish to look at one of the pancake lenses on offer.

Although the thin body is great for portability, there is no finger grip provided, which can make handling the camera a little tricky, especially when attempting to hold it steady for video recording or in low light conditions. Although a rubberised grip is provided on the rear, the natural place for your thumb to rest is part way into the screen, and the glossy finish provides little grip. Still, this could be a compromise many will be willing to make for the compact dimensions.

The overall finish is of a very high quality, and the camera feels robust enough to cope with the rigours of daily use and abuse. The buttons for menus and other functions are all located to the right-hand side of the LCD screen and packed quite close together, too. Although this may suit users with dainty fingers, it may also prove troublesome for those who prefer more generous spacing between controls.

The supplied flash unit is also very compact, and clips onto the hotshoe connector. When engaged, it's raised approximately one inch above the lens, which provides enough distance to reduce red-eye issues at close quarters. The small size also means it isn't all that powerful, but it does have another surprising trick up its sleeve. Compatible Olympus flash units can be triggered wirelessly by the supplied unit, which is an advanced feature for a camera intended for casual users.

The menu system takes a novel approach to offering access to manual controls, while keeping operation as simplified as possible.

Pressing the Menu button leads to an animated list of clearly laid out options, including the Automatic, Art Filter and P,A,S,M modes. In each mode, pressing 'OK' lists all the most commonly used controls. For the most part this works really well, although changing apertures and shutter speeds in the semi-automatic and manual exposure modes can be a trifle frustrating at first, until you get used to the extra combination of button presses required to access each feature.

Image quality and resolution

As part of our image quality testing for the Olympus E-PM1, we've shot our resolution chart with the Olympus M. Zuiko 14-42mm f/3.5-5.6 II lens mounted.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 200 the Olympus E-PM1 is capable of resolving up to around 24 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 200, score: 24 (see full image)

ISO 400, score: 24 (see full image)

ISO 800, score: 22 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 16 (see full image)

ISO 6400, score: 14 (see full image)

ISO 12800, score: 12 (see full image)

Raw images

ISO 200, score: 24 (see full image)

ISO 400, score: 24 (see full image)

ISO 800, score: 22 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 16 (see full image)

ISO 6400, score: 14 (see full image)

ISO 12800, score: 12 (see full image)

Noise and dynamic range

These graphs were produced using data generated by DXO Analyzer.

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

Signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Olympus E-PM1 shows good signal to noise ratio results up to a sensitivity of ISO 1600. Above this sensitivity both the Sony NEX-5 and Pansonic Lumix DMC-GF3 show less noise in the images, and from ISO 6400 noise can become a real issue.

Raw signal to noise ratio

Raw images (after conversion to TIFF) from the Olympus E-PM1 shows a better signal to noise ratio across the sensitivity range than Sony NEX-5, Nikon J1 and Panasonic Lumix DMC-GF3.

For a full explanation of what our resolution charts mean, and how to read them please click here to read the full article.

Dynamic range

This chart indicates that the Olympus E-PM1's JPEGs show impressive dynamic range results up to a sensitivity of ISO 3200, only just beaten by the Sony NEX-5.

Raw dynamic range

This chart indicates that the Olympus E-PM1's RAW images (after conversion to TIFF) show that it can resolve a good amount of shadow and highlight detail across the sensitivity range, and compare well against the Nikon J1.

For more more details on how to interpret our test data, check out our full explanation of our noise and dynamic range tests.

Raw images

Performance

Five metering options are provided on the Olympus PEN Mini E-PM1, including ESP multi-segment, centre-weighted, spot, spot highlight and spot shadow. The ESP multi segment metering performs well in a wide variety of conditions, but just like any averaging system, care may need to be taken when metering high contrast scenes. Three stops of exposure correction either side of the metered value can be applied, which is a larger range than many cameras provide.

Auto white balance strikes a good balance between correcting colour casts under various lighting conditions without ruining the atmosphere of the ambient conditions. Shots taken in daylight are occasionally a little cooler than is preferable, and images taken under tungsten lighting benefit from using the dedicated preset.

The TruePic VI image processor does an excellent job of producing sharp, colourful JPEG images straight from the camera with good detail in both shadows and highlights.

There is little discernible difference between JPEGs straight from the camera and raw files processed using the software supplied in the kit in terms of quality and detail levels. Slightly more dynamic range is recorded in raw files, but (as usual) noise levels are better controlled in JPEG images at high sensitivities.

As far as noise control and dynamic range are concerned, the Four Thirds format Live MOS sensors used in Olympus and Panasonic cameras have improved noticeably over the last year or so. This improved performance can be seen in the Olympus PEN Mini E-PM1, with images taken up to ISO 800 showing no significant signs of noise with plenty of fine detail still retained.

The autofocus system generally performs well and is very speedy in good light. When light levels fall, however, it slows and becomes more hesitant.

Sample images

The ESP metering system produces balanced exposures in even lighting conditions

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The Dramatic Tone art filter heightens contrast and is especially suited to high contrast scenes.

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The Pin Hole Camera art filter darkens corners and adds a retro colour cast to images.

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The Grainy Monochrome Film art filter has a particularly gritty appearance, with noticeable grain and very high contrast.

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The Pop Art filter increases colour saturation to incredibly vivid levels.

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Manual control is possible, but can be a little fiddly to operate when compared with higher-end Olympus PEN models.

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Using a wider aperture lens can help reduce noise as a lower ISO setting cane be used. This night shot was taken with an Olympus 12mm lens at f/2.

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The small size and fast autofocus make the E-PM1 ideal for street photography and grab shots.

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Colours are reproduced accurately using standard colour settings.

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Colour saturation can be tweaked in the menus, enabling more or less vibrant images to be produced.

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The supplied 14-42mm kit lens has a minimum focus distance of only 25cm, making it suitable for the occasional close-up at maximum zoom.

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Dynamic range is good, with plenty of detail being recorded in both highlight and shadow areas of images.

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Noise and sensitivity

ISO200

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ISO400

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ISO800

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Higher sensitivities are slightly softened due to noise reduction, but the noise has a fine texture up to ISO6400.

ISO1600

See full-res image

ISO3200

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ISO6400

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Finally, at ISO12800, images contain much coarser noise and colour saturation suffers, but images taken at this setting should still be suitable for sharing online at reasonable sizes.

ISO12800

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Verdict

Although Olympus clearly has a particular niche in mind for its PEN Mini E-PM1, it's created a camera that will prove tempting for a much wider audience due to the relatively low price and compact size.

Those upgrading from a compact camera will feel right at home with the Olympus PEN Mini E-PM1's simplified control layout and easy-to-grasp menus and scene modes.

Those looking for quick access to manual controls and customisability may find the design a little frustrating for their tastes, though. It's not that those features aren't there, it's just that they take a little more work to access and adjust than cameras aimed at more advanced users.

The high-quality finish and sturdy design helps to make the Olympus PEN Mini E-PM1 feel like a premium product, and in this respect it's well worth the money. A finger grip to help improve handling and a less reflective LCD screen would be welcome additions, and would make this camera a much more attractive prospect.

Overall the images produced by the Olympus PEN Mini E-PM1 are of good quality, with low noise up to ISO1600 and not exactly poor noise performance beyond that. The creative art filters are a nice touch too, offering a quick and easy way to spice up your images.

We liked

The excellent build quality, fast autofocus, compact size and relatively low price all add up to a very attractive package. Beginners will love the simple control layout and image quality from the Four Thirds Format Live MOS sensor.

We disliked

Handling the camera can sometimes be tricky due to the slippery glossy finish and slim dimensions. The highly reflective screen makes composing images in bright light very difficult indeed.

Final verdict

Bearing in mind the target market for the Olympus PEN Mini E-PM1, which is primarily people looking for a higher-quality upgrade from a compact camera, Olympus has done a good job on the whole with this camera. The minimalistic control layout will suit those who simply enjoy pointing and shooting rather than photographers who like to fiddle with settings.

With low enough noise levels to produce decent sized prints up to ISO1600, and with the camera's performance being on a par with many of its peers at higher sensitivities, it should win many fans. The small body is especially suited to being coupled with a pancake-type compact prime lens to make this a truly pocketable camera, and the faster maximum aperture on those optics will also help with the image quality after dark.

The only true downside is with the highly reflective LCD screen. As cameras like this are often used in bright lighting conditions, outdoors and on holidays, this seems like an oversight on Olympus' part.

An optional electronic viewfinder can be obtained, but the extra cost may put users off this camera altogether, instead looking for an alternative with a better screen, or a built-in viewfinder.

Review: Canon EF 100mm f/2.8 USM Macro

Matt Golowczynski — Fri, 21 Oct 2011 15:46:00 GMT

The Canon EF 100mm f/2.8 USM Macro is one of two new 100mm macro lenses in Canon's range, the other being the more expensive L-series optic, the CanonEF 100mm f/2.8L Macro IS USM, which has the advantage of a new Hybrid IS system.

This one may lack image stabilisation but, nevertheless, it's priced attractively and competitively specified.

It contains an internal focusing system, which has the dual advantages of maintaining the same working distance throughout its focusing range and keeping the front element static as this happens.

Focusing itself is carried out via a ring Ultrasonic Motor (USM), which Canon claims offers fast and quiet autofocus, while the further inclusion of a three-group floating system is said to ensure correction for aberrations throughout the lens's focusing range.

On the inside, Canon has incorporated a secondary diaphragm to block stray light when shooting at f/2.8, while a single Ultra Low Dispersion element is also included to help minimise chromatic aberrations.

To help improve light transmission and to reduce both flare and ghosting, Canon has treated the elements within the lens with its Super Spectra Coatings. This works by cancelling out the reflections from the surfaces of the elements, so that more light can pass through to the sensor and not bounce around inside to degrade image quality.

The lens incorporates a particularly broad rubber manual focusing ring on its barrel, which turns easily and makes clear when the ends of its focusing scale have been reached. It can also be used to override the autofocus system once focus has been confirmed.

This is joined by two switches next to the distance window - one that alternates between manual and autofocus and another that closes off the focusing range to 0.48m-infinity for non-macro photography.

The distance window, meanwhile, indicates the focusing distance in both feet and metres, and also shows the current reproduction ratio down the maximum 1:1.

The mottled finish of the Canon EF 100mm f/2.8 USM Macro's body is similar to that of some previous Canon EOS DSLR cameras, such as the EOS 600D and EOS 5D Mk II, although its design is a little dated when compared with more recent finish options from other manufacturers.

The mount is constructed from a solid metal for durability, and above it sits a large red lens mount index that indicates the mounting position clearly.

The only other external features of note are the 58mm filter thread at the opposite end of the lens and the grooves around it, which can be used to mount either an external lens hood or a macro ring lite flash.

At this price we don't necessarily expect an image stabilisation system, and for macro work a sturdy tripod is generally recommended as a better idea. However, since Canon lenses don't offer image stabilisation inside their bodies, this puts it at a slight disadvantage to similar lens/body combinations from other manufacturers when used for non-macro work.

This is particularly the case with APS-C bodies such as the Canon EOS 600D and EOS 7D, where its effective focal length rises closer to 160mm, and this omission also means that the viewfinder image isn't stabilised for more precise composition.

Performance

Thanks to the use of a piezoelectric motor, focusing noise is about as silent as expected as the lens travels between its two extremes, and it's able to quickly shift its focus between varying distances before promptly confirming focus.

Furthermore, the use of different text colours in the distance window makes it easy to differentiate between its three readings, while the size of the focusing ring means that it's easily adjusted with just a finger if required.

Its positioning towards the front of the barrel makes this manoeuvre a little more difficult for those with smaller hands, but in most situations the macro lens will no doubt be either left to autofocus or be manually adjusted more precisely on a tripod.

Control over distortion is good, and the absence of chromatic aberration in the centre of the frame is particularly impressive, although as you venture further away from the centre it's clear that there's room for improvement.

Although central sharpness at f/2.8 is impressive this slowly drops off to softness towards the edges. By f/8, however, all is forgiven as the Canon EF 100mm f/2.8 USM Macro records excellent sharpness right across the frame. Predictably, things aren't quite as good at its smallest apertures, although even here consistency is still reasonable.

Verdict

Overall then, this lens is a capable performer, with quick and silent autofocus system and generally good to excellent image quality. While more expensive then the Tamron SP AF 90mm F/2.8 Di Macro 1:1, it has the distinct advantages of an internal focusing system and a much quieter motor.

Review: Olympus Zuiko Digital ED 50mm 1:2.0 Macro

Matt Golowczynski — Fri, 21 Oct 2011 15:44:00 GMT

One of a handful of macro lens options for Micro Four Thirds (MFT) users, the Olympus Zuiko Digital ED 50mm 1:2.0 Macro provides an effective focal length of 100mm when used with Four Thirds cameras, but with an actual focal length of 50mm it's much smaller and lighter than other 100mm macro options.

It contains 11 lenses arranged over 10 groups - among them, a single Extra Low Dispersion element. This is in place to help minimise chromatic aberration. Olympus has also incorporated a floating focusing system that corrects for aberrations throughout the optic's focusing range.

While the lens only offers a 0.52x magnification (half life-size) as standard, Olympus claims that the crop factor applied by Micro Four Thirds bodies results in images that more closely resemble those shot with 'true' macro lenses, which offer 1:1 reproduction ratios.

Should this not be enough, the lens can be combined with the EX-25 extension tube, which doubles its magnification.

The Olympus Zuiko Digital ED 50mm 1:2.0 Macro lens is small and only marginally heavier than non-macro 50mm lenses, and it's finished to match Olympus DSLR bodies. It's also one of the few macro lenses to be sealed against dust and splashes of water, and so it's a good match for the Olympus E-3 and E-5 DSLRs that offer similar protection against adverse conditions.

At its rear there's a solid metal mount, and above it sits a small but clear distance window, which displays distance in both feet and metres. Unlike similar lenses, however, there's no indication as to the lens' current reproduction ratio, while on some bodies such as the Olympus E-5, it's difficult to see the distance window clearly thanks to the overhang of the fill-in flash.

Neither a focus limiter nor an AF/MF switch feature on the barrel, so focus modes need to be changed through the host body. Externally, the only other features are a rubber focusing ring and a 52mm filter thread, as well as a bright red index dot to aid mounting.

The optic's size adds little to the overall profile of a Micro Four Thirds DSLR, and although its focusing ring is a little shallow, it's hard to imagine it realistically being any larger on such a small lens.

Performance

The focus ring turns freely and is easily accessible by the user's thumb or finger, or combination of the two. But because it moves the lens group electronically rather than mechanically, it can't be used to fine-tune autofocus as with similar macro lenses.

This lens is fairly slow to focus manually, which for a macro lens is undoubtedly preferable to a system where it's far too fast be controlled precisely.

The lack of an internal focusing system means that the lens extends to almost double its length when used at its closest focusing distance.

The lens takes a step-by-step approach to autofocusing, first getting the general area right before taking a little longer to find the exact position. Autofocusing speed is perfectly respectable, although it's a shame that there's no Supersonic Wave Drive motor as it falls a little behind lenses with similar technology in place.

This also means that it isn't as quiet either, joining the Pentax smc D-FA 100mm f/2.8 macro WR and Sony 100mm f/2.8 Macro lenses in the noisy corner.

Wide open, the Olympus Zuiko Digital ED 50mm 1:2.0 Macro turns in some weak results in terms of sharpness, although in this respect it's hardly alone among macro lenses.

Things are much better once the aperture is stopped down, though, and it does a good overall job to match the performance of rival lenses up until its maximum aperture of f/22. While lab testing shows it to have relatively poor control over distortion, it does far better at keeping chromatic aberrations to a minimum.

It's worth noting that thanks to the relatively small sensors with which this optic is used, it's far easier to obtain greater depth of field in images. This is of particular relevance to macro photography, because depth of field at close focusing distances is incredibly narrow, which can be problematic if the focus falls slightly outside of what is expected.

Verdict

Overall, the Olympus Zuiko Digital ED 50mm 1:2.0 Macro is a good performer, but one with room for improvement. At this price many would no doubt trade its weatherproofing for a more refined focusing motor. Nevertheless, once it's stopped down towards its middle apertures, its sharpness equals that of similar lenses, and its control over chromatic aberrations is just as admirable.

Review: Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED

Matt Golowczynski — Fri, 21 Oct 2011 15:36:00 GMT

Nikon caters particularly well for macro photographers, with 40mm, 60mm, 85mm and 200mm options in addition to this 105mm lens. An update to the popular Nikkor 105mm f/2.8D AF Micro optic, the Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED adds a host of improvements, chief of which being Nikon's second generation Vibration Reduction (VR) system.

This, a macro first according to Nikon, uses a compensatory lens group that shifts to counter image blur. It promises a four-stop effect when used as close as 3m away from the subject, which drops to three stops when used at a 1:2 reproduction ratio, and two stops when used at 1:1. Nikon does, however, recommend that Vibration Reduction is turned off when using a tripod.

Elsewhere, an internal focusing system enables the lens to constantly maintain the same length, and therefore the same working distance from the subject. This is useful for macro photography in general, but particularly for shooting living subjects such as insects.

Internal focusing also means that the front of the lens stays static as the Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED focuses, enabling filters and other front-mounted accessories to be used without any hassle.

Focusing itself is carried out by Nikon's Silent Wave Motor technology, which arrives with the same high speed, low noise promises as the similar technology found in its rival lenses. As with similar systems, it also enables the manual focus ring to be used for fine-tuning, once autofocus has been confirmed.

Optically, the lens has 14 elements arranged over 12 groups, with a single ED element among these for the prevention of chromatic aberration.

A nine-bladed diaphragm is said to help produce circular bokeh, and Nano Crystal Coating is also used to help minimise flare and maintain image contrast. This works by gradually changing the angle of refraction as the light enters the lens, which helps more to pass through to the sensor rather than be reflected.

Next to similar macro lenses, such as Canon EF 100 f/2.8 Macro USM, the lens is fairly bulky, but its 62mm filter thread is a reasonable size and means that you won't need to spend a small fortune should you want to invest in a filter or two.

The barrel is finished in the same mottled effect Nikon uses on its DSLRs, and despite being almost entirely plastic on the outside, it feels perfectly solid. A gold ring encircles the front of the barrel, behind which sits a large focusing ring that moves freely enough to be easily operable while not being so slack that it moves out of a set position.

The three switches for focusing, focus limit and Vibration Reduction are all clearly labelled and click satisfactorily into position, while their positioning on the barrel enables each to be conveniently flicked back and forth by the thumb as required.

Performance

The lens moves quietly enough while focusing, not quite as silently as Sigma's new 105mm EX DG OS HSM macro lens, but not far behind it either.   More importantly, it focuses swiftly and comfortably to the standard expected from its price tag. When hunting against low-contrast detail, it quickly runs back and forth until focus is found, and when it's found it's confirmed without hesitation.

This will, of course, vary between different camera bodies, because higher end DSLRs will be equipped with superior focusing systems to those further down in the range.

Because the lens isn't particularly small, it's a pity that its focusing window should be. The three lines of information – distance in metres, feet and magnification ratio – are closely bunched up together, and the size of the window provides a poor viewing angle. To see the bottom line, you essentially need to be looking down from directly above the lens, which isn't particularly convenient.

Still, that this minor grievance is the only one worth mentioning should make it clear that there's very little to fault with - and plenty to like about - the Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED's operation.

At its maximum aperture, the Nikkor lens does a stellar job to record sharp and detailed images, with just a slight drop towards the edges of the frame. When stopped down to around f/8, results are just as impressive, but sadly it can't keep it up for long, and by f/16 diffraction causes its results to fall behind some of its rivals.

Sadly, its control over both distortion and chromatic aberrations, while not bad, is also bettered by even cheaper macro optics.

The Vibration Reduction system is effective, though, not always providing its claimed four-stop advantage but safely having the benefit of a couple of stops.

Verdict

In short, for its wide-mid aperture results, the Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED's a corker, and with its VR system on board it's a great choice for non-macro work such as portraiture.

Review: Jessops Major Carbon Fibre

Matthew Richards — Thu, 20 Oct 2011 14:56:00 GMT

Overview and features

Carbon fibre tripods are notoriously pricey, often costing upwards of £300 once you include a head. That makes the Jessops Major Carbon Fibre look an absolute steal at £99 RRP or as low as £80 if you shop around, especially as it comes complete with its own three-way head.

It's not only easy on the wallet, but also easy on the back, weighing just 1.8kg. That's a whole kilogram less than most aluminium tripods. But is it all good news?

Jessops stipulates a maximum load of 5kg for the Major Carbon Fibre tripod legs and 6kg for the three-way head that's supplied as part of the complete kit. That's pretty respectable, especially considering that the tripod itself only weighs 1.8kg.

By contrast, the Hama Omega Carbon II carbon fibre tripod and ball head has a lower 4kg load rating, yet it's a weightier 2.7kg to carry around.

With three sections, each leg has two quick-action clip locks, and comfort padding is fitted to the upper sections of all three legs. The leg sections have diameters of 22mm, 20mm and 17mm, which is rather thinner than normal and the main reason that the tripod weighs so little.

The camera tripod's centre column can be inverted for ultra low-level shooting, and there's also the provision of no less than four different leg angles to choose from, where most tripods only offer three.

Using wider leg angles, you can shoot at a minimum height of 48cm without inverting the centre column, which also features a weight hook at its base.

There's a bubble level on the shoulder of the tripod legs, plus another one in the head. The second is rather superfluous, because it's not mounted on the camera platform, so simply duplicates the information provided by the lower bubble level. The upshot is that it's easy to level the tripod legs, but there's no indication of whether or not the camera itself is level.

Build, performance and verdict

Build quality

We wouldn't expect fully professional build quality at this price and, sure enough, the Jessops Major Carbon Fibre feels a bit flimsy compared with heavier tripods.

Then again, the light weight makes it very travel-friendly and it folds down reasonably small, to a length of just 64cm. The flipside is that the maximum operating height is a meagre 161cm, even with the tripod's centre column fully extended.

The clip locks work well in combination with the spiral-etched carbon fibre leg sections, enabling smooth operation when making height adjustments.

There's not much else to get excited about, however, as there's no pivot facility for the centre column or other advanced features.

Performance

Thin legs inevitably mean more flexing, and the Jessops Major Carbon Fibre lacks the stability of heavier-duty tripods, even when the bottom leg section isn't extended at all.

The head feels a touch wobbly as well, despite the ability to fasten it to the platform with three grub screws, using an allen key. The quick-release plate is a strangely oversized affair, measuring 8x5cm. This should enable a firm, solid connection to the camera, but the D-ring for mounting is very small and difficult. The screw also lacks a slotted head, so you can't use a coin to aid tightening.

One neat trick is that any of the four-position, multi-angle legs can be used in an almost vertical upward direction. The extreme rotation of one of the legs can come in really useful when you need to shoot very close to a wall, or when you're pinned into a corner.

We liked

For hiking or holidays, the 1.8kg carrying weight is a joy, and the ability to rotate any of the legs almost vertically upwards is great if you're pinned up against the wall.

We disliked

Typical of lightweight tripods, it's prone to flexing and can't match the stability of a sturdier alternative.

Final verdict

A reduction in stability is often the sacrifice you have to make for reduced carrying weight in a tripod and, sadly, the Jessops Major Carbon Fibre is no exception. It has a lot to offer as a travel tripod, where weight saving is at a premium, but it simply can't match the sturdiness of most full-sized aluminium tripods.

Review: Benro A297EX FlexPod and BH2-M

Matthew Richards — Thu, 20 Oct 2011 14:53:00 GMT

Overview, features and build quality

For DSLR and lens combinations weighing up to 8kg, this aluminium-based Benro tripod and ball head are well engineered to take the strain of heavy camera kit.

Sold separately, they also offer a range of features to suit the most demanding of photographers in all sorts of shooting scenarios.

The tripod and ball head combination is smartly styled, immaculately finished and comes complete with a durable padded carrying case.

Well matched for use with heavy SLRs and lenses, the Benro A297EX FlexPod tripod has a maximum load rating of 10kg, while the BH2-M ball head is rated at 8kg.

The combined tripod and ball head weigh 2.7kg and fold down to a carrying height of 75cm. Each leg has three sections, with diameters ranging from 28mm to 24mm to 20mm as they descend from top to bottom.

By extending the centre column, the maximum available height is a lofty 184cm.

Features

Leg sections are clamped with clip locks and the bottom sections have solid rubber feet, although these lack retractable spikes. A bubble level in the tripod collar and another one in the ball head help you to level the tripod and the camera for perfectly straight horizons in your photos.

There's also a weight hook fitted to the bottom of the centre column, to help stabilise the tripod when shooting outdoors in breezy conditions.

Advanced features include multi-angle legs, which hinge out to any of three angles. This is particularly useful for low-level shots down to about 49cm or for shooting in cramped areas or on rough terrain.

Equally useful for close-up photography and for shooting with ultra wide-angle lenses, the centre column has a 180 degree pivot facility.

Build quality

The locking action of the tripod's leg section clamps is reassuringly tight. When the clip locks are released, the leg sections extend smoothly, although there's a little stiffness when collapsing the sections from their fully extended lengths.

Tension in the hinges for opening the legs is sufficient to stop unwanted movement, but not so stiff that adjusting the leg angles is difficult. Comfort padding is fitted to only one of the three legs, but it's better than nothing.

Clips for operating the three-position leg angles are smooth and precise, and the pivoting centre column assembly is well designed and very secure.

At the top of the Benro A297EX FlexPod tripod's centre column, the platform features three grub screws for securely attaching the head with an allen key. The tension of the leg section clip locks and the main leg hinges can also be adjusted if and when necessary with allen keys.

Build quality of the Benro BH2-M ball head feels similarly robust. The locking screw enables complete steadiness, even with long telephoto lenses or when using the camera in portrait orientation.

Performance and verdict

Performance

Any tripod with the word 'flex' in its name might sound a bit off-putting, but the Benro A297EX FlexPod proved very solid and resistant to flexing in our tests. Bubble levels in both the tripod collar and the ball head make for quick and easy levelling of both the tripod and the camera.

The tripod's centre column can be removed and inverted for low-level shooting. But there's no need for this, because the pivoting facility enables you to quickly and easily swing the centre column through a complete 180 degree arc.

It's similarly simple to adjust the angle of the legs from the centre column to any of three different positions.

The Benro BH2-M ball head has no friction control or separate panning control, but is nevertheless solid and well built. Its scissor-action lock on the quick-release plate makes for fast fitting and removal, while offering a degree of security against releasing the plate accidentally.

With its single locking screw, the ball head is very quick to adjust. There's also a reassuring level of friction when the screw is released a little, despite there being no secondary friction control.

The quick-release plate also offers a secure, solid fit to both the tripod head and the camera.

Verdict

At the price, the Benro A297EX FlexPod is right up with the leaders in the class, such as the Giottos MTL9361B, Manfrotto 055XPROB and Vanguard Alta Pro 263AT.

We liked

Impressive stability, good implementation of 180 degree pivoting centre column and bubble levels on both the tripod collar and ball head to aid levelling.

We disliked

Collapsing the leg sections from their maximum extension can sometimes feel a little sticky.

Verdict

A solid performer, the Benro A297EX FlexPod tripod combines excellent stability with great versatility. Advanced features such as its 180 degree pivoting centre column and three-position multi-angle legs are well implemented and easy to use.

Benro's BH2-M ball head is similarly well engineered, but lacks the finery of an adjustable friction damper or separate panning control, although the bubble level is a nice touch and is helpful for levelling the camera.

Review: Manfrotto 055XPROB and 496RC2 head

Matthew Richards — Thu, 20 Oct 2011 14:44:00 GMT

Overview and features

One of the biggest names in tripod manufacture, Manfrotto offers a huge range of tripods, monopods and heads to suit almost any requirement and budget, from tiny tabletop supports to fully professional carbon fibre kit. This reasonably priced combination, available for sale separately, comprises the 055XPROB aluminium tripod and new-generation 496RC2 ball and socket head.

Despite weighing 2.9kg – slightly heavier than most competing tripods of its size and class – the maximum load capacity of the combined Manfrotto 055XPROB legs and 496RC2 head is 6kg. That's slightly less than the 8kg ratings of the Benro A-297EX and BH2-M head and the Giottos MTL9361B and MH1311652 ball head.

The Manfrotto's rating is split between 7kg for the 055XPROB legs and 6kg for the 496RC2 head but, in our tests, the kit felt every bit as strong as the Benro and Giottos products.

The legs are of the time-honoured three-section type, but the difference in diameter between each section is 5mm, compared with just 3mm in many competing tripods. The result is that the sections are particularly easy to extend and contract once you've released the high-quality and extremely effective clip-lock clamps. The section diameters themselves are a chunky 30mm at the top, 25mm for the middle section and 20mm for the bottom.

Multi-angle legs are now featured on the vast majority of current tripods, but whereas most feature three alternative angles, the Manfrotto has four. However, unlike the Jessops Major tripod, which also features four leg angles, the Manfrotto's legs can only be raised to a horizontal position, rather than being rotated almost vertically upwards.

By opening the tripod's legs to a greater angle from the centre column, you can reduce minimum shooting height with your DSLR from 71cm to 58cm. To go lower than this, you need to remove and invert the centre column, shooting with the camera upside down.

Maximum height with the legs and centre column fully extended is an impressive 187cm.

The Manfrotto 055XPROB features a pivoting centre column, which is absent on its slightly cheaper 055XB tripod. This particular feature is good but not great, as we'll come to later.

Other features include a bubble level on the tripod collar, but there isn't one in the ball head to help level your camera. The new-generation 496RC2 improves on its predecessor by including an adjustable friction damper, but there's no separate pan control.

Build, performance and verdict

Build quality

Build quality on the Manfrotto 055XPROB tripod and 496RC2 head feels sturdy and dependable, from the rubber feet all the way up to the ultra firm-fitting quick-release plate on the head. All joints and controls operate very smoothly and easily, yet are very solid when locked in place.

Unlike some of Manfrotto's very cheapest tripods that we've used in the past, the 055XPROB tripod and 496RC2 ball head have a really professional feel to them, and are also very good value at the price.

One thing we would have liked to see, however, is the use of allen key screws rather than regular slotted screws for securing the head onto the tripod platform. This seems a bit of a penny-pinching measure.

Performance

In normal use, the Manfrotto 055XPROB legs and 496RC2 head combine to give rock-solid support, even at the highest available operating height of 187cm. Everything is quick and easy to adjust, from the top-quality leg section clip locks to the centre column lock and the clamping screw in the ball head.

The push-release catches for adjusting the angles of the legs has a similarly fast and simple action.

Speed and simplicity are carried through to the unique pivoting mechanism for the centre column, which relies on just one locking clamp, whereas most competing systems use two. All you need to do is to loosen the centre column lock, raise the centre column while pressing in a safety catch at its base, then pivot the centre column through 90 degrees. After pivoting, the same locking screw clamps the now horizontal centre column.

However, this simplicity comes at a cost. Competing centre column pivoting systems featured on the likes of the Benro A-297EX, Giottos MTL9361B and Vanguard Alt Pro 263AT all enable you to lock the centre column at practically any angle through 180 degrees in the vertical axis.

By contrast, the Manfrotto 055XPROB's centre column can only be used either vertically upwards or with a 90 degree pivot, as a horizontal boom. Compared with the competition, it lacks a bit of versatility.

You also lose the weight hook normally featured on the bottom of the tripod's centre column as this gives way to the safety lock release catch. Instead, a small hook forms part of the tripod shoulder at the top.

The sturdiness of the ball head is excellent and the friction damper featured on the Manfrotto 496RC2 is a useful addition. Unlike many ball and socket heads, there's a cut-out on both sides of the vertical position rather than just on one side, so you can easily flip the camera over to portrait orientation in both directions.

We liked

All operating functions are very quick and easy to use, build quality and performance are excellent throughout.

We disliked

While simple to operate, the pivoting centre column only has vertically upright or horizontal options, lacking the full range of 180-degree rotation offered in many competing tripods.

Final verdict

Great build quality and excellent stability are the hallmarks of the Manfrotto 055XPROB tripod and 496RC2 head. But it's also extremely simple to use, especially when it comes to the centre column pivot facility. The only downside is that the pivot lacks 180-degree versatility, as it can only be used in regular vertical mode or as a horizontal boom.

Review: Nikon Coolpix P7100

Josie Reavely — Wed, 19 Oct 2011 11:19:00 GMT

Overview

The Nikon Coolpix P7100 is the brand's new replacement for its flagship advanced compact camera - the Coolpix P7000 - and comes with a number of new and upgraded features over its predecessor, including some fresh controls, a high-resolution tilting LCD display and a revised user interface, to name a few.

The Nikon Coolpix P7000 was originally launched just over a year ago in order to compete with Canon's revered PowerShot G-series, matching its main rival - the Canon PowerShot G12 - in terms of key specifications, full manual control and premium build quality. It also proved itself capable of producing beautiful images straight out of the camera. Where it fell short, however, was in its handling, delivering a sluggish shooting experience.

The new model doesn't appear to have had much of its fundamental hardware altered in comparison to its ancestor: the Nikon Coolpix P7100 still packs the same 10.2MP CCD, a 7.1x optical zoom lens, which offers an equivalent focal range of 28-200mm on a 35mm camera, and vibration reduction (VR).

Also unchanged is the 720p HD movie mode, which is starting to look a little outdated in comparison with a lot of the lower-spec compact cameras out there that now offer Full HD filming capability.

Nonetheless, the Nikon Coolpix P7100 offers an impressive range of advanced technologies that improve upon the P7000's specifications, not least the addition of the previously-mentioned, more flexible articulated screen (albeit of the same size and resolution).

There's also a new front control dial for improved handling and AE lock when shooting movies, plus some new additions to the camera's effects options and claimed enhancements to the Nikon Coolpix P7100's responsiveness and image quality.

But does Nikon's latest launch live up to the manufacturer's claims?

Build quality and handling

The chunky design of the Nikon Coolpix P7100 may not win it any beauty pageants, but what it lacks in conventional good looks it more than makes up for in functionality.

Like its stocky main rival - the Canon PowerShot G12 - the Nikon Coolpix P7100 sports the same angular, utilitarian design as its former incarnation. Some of the other compact cameras that fall into the advanced category sport more elegant styling, but the Nikon does have its own sense of quirky retro charm.

It's tall, irregularly shaped and covered in all manner of protrusions, including numerous buttons, dials and other controls, as well as an optical viewfinder. Newcomers to the advanced compact camera category might be a little daunted by the sheer number of controls when taking an initial glance.

Admittedly the user interface does take a little longer to grow accustomed to if you're not used to having complete manual control over all of your settings, but practice makes perfect and - once you've got used to how this camera operates - you won't look back.

The solid metal body and plethora of superbly engineered, chunky dials and controls that litter the surface of the Nikon Coolpix P7100 lend the camera a robust, professional finish: it certainly feels like it's built to last. Its larger-than-average dimensions mean that it can happily incorporate generous, ergonomically-shaped front and rear grips which - in conjunction with the tactile rubberised cladding coating them - helps users to keep a firm purchase on the camera.

The top panel features the main set of controls. There's a small illuminated power button sandwiched in-between the well-stocked, chunky mode dial on the left and a slightly smaller, dedicated exposure compensation dial on the right.

The responsive shutter release sits forward of these controls and is encircled by a spring-loaded switch that powers the Nikon Coolpix P7100's 7.1x zoom lens from one end of its focal range to the other at speed. Perched on the right-hand corner of the top panel there's a small Fn2 button, which can be programmed by the user to access one of a number of different settings, helping to speed up operation.

To the left of the mode dial, the top panel slopes upwards to accommodate the porthole-shaped optical viewfinder around the back.

On top, the Nikon Coolpix P7100 features a metal hotshoe for attaching accessories, including any of the excellent Speedlight models that Nikon has to offer in its Creative Lighting System.

A further dial sits behind the camera's small pop-up flash, which sits flush to the camera body when not in use. This dial provides handy shortcuts to key features comprising image quality, ISO sensitivity, white balance, bracketing, Picture Controls and the customisable My Menu screen.

Around the back, the rear LCD remains the same sizeas the P7000's, at three inches, and sports an unaltered - but nonetheless impressive - high resolution of 921,000-dots. However, it does differ in that the Nikon Coolpix P7100's screen is now tiltable, making it more flexible when shooting high or low-angle images, as well as when filming video.

The LCD was one of the high points of the older P7000's design, and it's just as impressive today, offering a clear, detailed display and a wide viewing angle. There is a small optical viewfinder on offer too, for those occasions when conditions make using the screen tricky.

To the right of the screen you'll find AE-L/AF-L, playback, menu and delete buttons, all arranged around a large, textured four-way D-pad. The D-pad itself can also be rotated, for fast scrolling through on-screen options, settings and images in playback, while each of the directional keys offers softkey access to the Nikon Coolpix P7100's flash, focus mode, macro and self-timer options.

Above, there's a rear command dial and a button to toggle the various bits of on-screen information - including a live histogram and virtual spirit level - on or off, as well as a button to activate the pop-up flash.

The front of the camera now features a new control dial that's easy to reach and operate with your index finger, although it does appear to do the same job as the rear command dial, so we're a little baffled by its inclusion in the interface.

A customisable Fn1 button completes the Nikon Coolpix P7100's comprehensive array of controls, save for a button to unlock the metal ring that surrounds the lens housing, enabling accessories to be attached.

The level of control that the Nikon Coolpix P7100 affords over every aspect of the shooting process is second-to-none. Photographers who love to tweak and hone settings a customisable options on their cameras will have plenty to keep them occupied with this highly advanced compact.

Equally, however, when you want to take a break from the technical side of things and simply concentrate on your timing or composition, there's a comprehensive set of automatic shooting modes on offer too.

Performance

The JPEGs that come straight out of the camera are beautifully detailed, featuring faithful tones and true-to-life colours with just the right level of punch to them. The Nikon Coolpix P7100 also provides the added benefit of being able to shoot raw files, giving you the ultimate level of control over the entire shooting process from capture to computer, at the same time as enabling you to really maximise the potential of the images you create with this formidable camera.

Chromatic aberration is generally well-controlled, although there is some evidence of fringing in between areas of high contrast in some scenes - generally only visible if you start 'pixel-peeping'. Distortion is similarly well-controlled throughout the 7.1x optical zoom lens's focal range and the level of sharpness delivered across the board is also impressive.

For those who want to ease themselves into the experience of shooting with such an advanced compact camera (or if you just want to take a break from the manual modes), there are plenty of automatic exposure modes on offer. Auto mode takes care of everything for you and produces consistently high-quality results, with accurately-exposed, pleasingly coloured shots with minimal effort on the photographer's part.

If you want to get a bit more involved, there are 18 scene modes to choose from - each of which is manually selectable - although you get the added bonus of the Scene Auto Selector if you can't decide which to use or want to speed things up a bit. The modes on offer cover just about every shooting situation, including the 'usual suspects' such as Portrait, Landscape, Sports and Night Portrait, in addition to a flash-free Museum mode, useful Backlighting Correction feature and a Pet Portrait mode.

We're a little disappointed that Nikon's impressive Easy Panorama feature hasn't made it onto the list, but you do get a manual Panorama Assist option instead. Each of the scene modes produces very good results, and the Auto Selector proves itself to be adept at correctly interpreting our subjects, successfully picking an appropriate mode with consistency.

Also on the mode dial is Nikon's array of special effects, each of which can be previewed on screen as you scroll through the options. On offer is Creative monochrome, Painting, Zoom Exposure, Defocus During Exposure, Cross Process, Soft, Nostalgic Sepia, High Key, Low Key and Selective Color.

Normal, with no effects applied

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Creative monochrome

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Painting

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Defocus During Exposure

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Cross Process

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Soft

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Each setting adds its own distinctive look to your images in-camera, processing them quickly and producing pleasing results that enable that little extra bit of creativity if you want some time away from your computer screen.

When it comes to noise control, the Nikon Coolpix P7100 fares better than its predecessor as well as succeeding in out-performing the competition at higher ISO sensitivities. The camera does a decent job of suppressing noise across its native range, maintaining an impressive level of detail at all but the very top settings.

Image quality and resolution

Resolution charts

As part of our image quality testing for the Nikon P7100, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Nikon P7100 is capable of resolving up to around 18 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 100, score: 18 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 18 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 14 (see full image)

ISO 6400, score: 14 (see full image)

Raw images

ISO 100, score: 22 (See full image)

ISO 200, score: 20 (See full image)

ISO 400, score: 20 (See full image)

ISO 800, score: 18 (See full image)

ISO 1600, score: 16 (See full image)

ISO 3200, score: 16 (See full image)

ISO 6400, score: 16 (See full image)

Noise and dynamic range

We shoot a specially designed chart in carefully controlled conditions, and the resulting images are analysed using the DXO Analyzer software to generate the graphs below.

Signal to noise ratio

Our lab results from the Nikon Coolpix P7100 show that there is an improvement over the Nikon Coolpix P7000 for signal to noise ratio, and these results are also better than those produced by the Canon PowerShot G12 and Olympus XZ-1. These results show that the Nikon P7100 handles noise well, with less noise in images across the sensitivity range than the comparison cameras.

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Nikon Coolpix P7100 show improved noise performance over the Nikon Coolpix P7000 and are on a par with those from the Canon PowerShot G12 and Olympus XZ-1

After conversion to TIFF, raw images from the Nikon Coolpix P7100 show improved noise performance over the Nikon Coolpix P7000, Canon PowerShot G12and Olympus XZ-1

For a full explanation of what our resolution charts mean, and how to read them, please click here to read the full article.

Dynamic range

When it comes to dynamic range there is only a marginal improvement over the Nikon Coolpix P7000, and while it cannot match the Canon PowerShot G1 2 and Olympus XZ-1 its performance is still better than average, showing that it's capable of capturing a good amount of both shadow and highlight detail across the sensitivity range.

This chart indicates that the Nikon Coolpix P7100's JPEG dynamic range relates closely to the Nikon Coolpix P7000, but it cannot match the Canon PowerShot G1 2 and Olympus XZ-1.

This chart indicates that the Nikon Coolpix P7100's raw files (after conversion to TIFF) dynamic range is an improvement over the Nikon Coolpix P7000, and beats both the Canon PowerShot G1 2 and Olympus XZ-1 at sensitivities over around ISO 200.

For a full explanation of our noise and dynamic range tests, please read our full guide to noise and dynamic range results.

Sample images

JPEGs straight out of the camera demonstrate the Nikon Coolpix P7100's ability to record faithful colours with a wide dynamic range.

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The Nikon Coolpix P7100's effects filters include a punchy, high-contrast black and white setting, complete with simulated film grain.

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The Nikon Coolpix P7100's autofocus system is responsive and accurate, enabling us to track our subject and capture this rare moment where he remained still.

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The Nikon Coolpix P7100's wide-angle lens enables you to capture sweeping vistas in plenty of detail.

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This advanced compact's Macro autofocus mode is excellent, giving scope for photographing small subjects up close with a very pleasing amount of detail and superb colours.

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The Macro autofocus mode in action again.

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This high-contrast scene is testament to the sensor's ability to record a wide range of tones.

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Sensitivity and noise

Full ISO 100 Image, see the cropped (100%) versions below

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

Verdict

The launch price for this camera isn't cheap at £499.99 - around the same as an entry-level DSLR kit - but once the street price settles it should bring the Nikon Coolpix P7100 into line with the competition.

The larger size of the Nikon Coolpix P7100 - like the Canon G12 - means that there's plenty of space for controls on its outer surface. While you might struggle to stuff this camera into an average-sized pocket, the pay-off you get in terms of handling is worth it, in our opinion.

The amount of options and settings that are directly accessible from the camera body makes the Nikon Coolpix P7100 slick to operate whether you're shooting with it on Auto or manual: just about every key setting that you might want to alter quickly while shooting is at your fingertips, so you'll rarely need to dip into the main menu system.

The claims Nikon made at this camera's launch with regard to improved handling were certainly borne out during our test period, thanks in no small part to the Nikon Coolpix P7100's new EXPEED 2 processor.

The Nikon Coolpix P7100's autofocus system is fast and accurate, the camera is quick to start up and shot-to-shot times - including when shooting RAW files - are much improved in comparison to the criticised P7000. In terms of functionality, the Nikon Coolpix P7100 matches rivals in most respects, but its 7.1x optical zoom is the Nikon Coolpix P7100's trump card over its main - less well-endowed - competitors, adding another level of flexibility to its feature-set.

We liked

The snappy autofocus system and comprehensive array of controls scattered across the robust camera body keep the shooting process slick, and the Nikon Coolpix P7100 delivers great-looking images whether you shoot on Auto or in one of the manual modes. The flexibility of being able to capture RAW files is the icing on the cake.

We disliked

The sheer number of controls the Nikon Coolpix P7100 offers may prove daunting for less-experienced users, and some may be disappointed with the lack of Full HD movie-making capability. Action photographers are unlikely to be bowled over by the camera's continuous shooting rate, either.

Final verdict

The number of upgraded features in comparison to the older model it replaces may not be numerous, but the changes that have been made are very significant. The combination of superb image quality and total manual control, along with a much-improved - dare we say - snappy performance, leaves a lasting impression.

In short: the Nikon Coolpix P7100 is the camera that the P7000 should have been.

Review: Canon PowerShot SX150 IS

Marcus Hawkins — Sat, 15 Oct 2011 11:16:00 GMT

Overview

Canon traditionally updates its SX budget compact superzoom line every August/September, and 2011 sees the release of the £199 Canon PowerShot SX150 IS. The SX130 IS replacement is a case of evolution over revolution – not a bad thing, considering the great features and value the SX130 offered.

The Canon PowerShot SX150 IS features a 14.1MP CCD (a 2MP increase on the SX130's 12.1MP) and an image stabilised 5-60mm 12x wide-angle zoom that offers the same 28-336mm equivalent reach as its predecessor. The bright, but relatively low-res, 3-inch LCD from last year's model is also retained.

There's been a slight tweak to the layout of the controls – specifically, the welcome introduction of a direct movie record button and a rejig of the mode dial. The optical image stabilisation gets an upgrade, too. The Canon PowerShot SX150's new Intelligent IS system is designed to identify the shooting situation and apply the most appropriate form of stabilisation from a range of seven different settings, including Tripod IS, Panning IS and Macro IS.

However, the key appeal of the Canon PowerShot SX150 IS, apart from the incredible zoom range, is the level of manual control it offers. This super easy PowerShot is aimed at families and features all of the automatic features a casual snapper could want. These include Smart Auto and Easy modes that detect 32 scene types and optimise settings accordingly.

However, for those who want to take their photography further, the Canon PowerShot SX150 IS includes the full complement of PASM semi-auto and manual shooting options. The camera doesn't enable you to record images in raw format - it's strictly JPEGs here - but otherwise there's enough DSLR-like functionality to consider this a serious alternative when you don't want to lug a 'grown up' camera around.

Build quality and handling

The Canon PowerShot SX150 IS is a compact but substantial unit. Think mini bridge camera - it's too bulky to carry around in a trouser pocket, but will slip comfortably into a coat pocket or bag.

To keep the price down, there's an abundance of plastic in the build – although it feels solid and well constructed – and the pop-up flash has to be manually flipped up.

More significantly, the Canon PowerShot SX150 IS is powered by two AA batteries. You'll either see this as an advantage or disadvantage.

On the upside, you can lay your hands on a set of AA's almost anywhere, so whether you're shooting in Acrington or Addis Ababa, you shouldn't be caught short of juice. The downside is that the Canon PowerShot SX150 IS chews through a pair of Alkaline cells faster than Monsieur Mangetout.

Canon reports an Alkaline battery life of approximately 110 shots, but in our real-world testing it came in much shorter than this. That's not surprising, once you factor in the work the lens motor and image stabiliser put in. You'll need NiMH rechargeables to hit the more acceptable measure of 320 pictures.

A brace of batteries adds a little to the weight of the Canon PowerShot SX150 IS, but it's the monster zoom that gives the camera its heft. At 28mm at its widest setting and 336mm at the telephoto end, it offers a great deal of versatility in a relatively small package – a great option for travel photography.

We clocked the Canon camera at a little under three seconds to push through its full range, but this slowed to over 10 seconds when shooting a movie. This, presumably, reduces any potential nausea from overzealous zooming, as well as reducing the volume of the motor.

In terms of handling, the Canon PowerShot SX150 IS offers a comfortable experience. A slightly deeper handgrip might have been beneficial. As with the SX130, there's only really room for two fingertips under the polished chrome insert on the front, although the slightly raised thumbrest on the rear of the body adds stability.

The Canon PowerShot SX150 IS controls are large and well placed, with the now-familiar Canon combined command wheel/four-way control pad providing quick access to the majority of camera functions.

If anything, it's a little too slick. Each of the four points around the wheel/pad features a frequently used function, such as ISO and flash: tap the point to bring up the menu and spin the wheel to adjust the setting. However, it can be too easy to inadvertently press one of the adjacent points as you're rotating the wheel with your thumb and start adjusting that instead.

There are some very well-implemented controls, though. Exposure compensation falls easily within thumb reach, and the compensation meter remains on the screen until you cancel it – a useful touch.

As with the Canon PowerShot SX130 IS, the mode dial on the top of the SX150 IS remains ridged and stiff, and you're unlikely to knock it out of position.

The new move recording button – above the control dial, next to the exposure compensation button – means you no longer have to select the dedicated movie mode on the dial before you start filming.

Performance

When it comes to picture quality, the images produced by the Canon PowerShot SX150 IS are perfectly acceptable throughout the ISO 80-1600 sensitivity range.

Predictably though, you'll get the best results by keeping under ISO 400. Pictures taken at ISO 800 exhibit noise and lack bite, and there's a distinct drop off in detail at 1600.

ISO80

ISO100

ISO200

ISO400

ISO800

ISO1600

The Canon PowerShot SX150 IS's lens is capable of holding sharpness across the frame, though. Barrel distortion is well handled at wide-angle, and fringing is kept to a minimum. There's a subtle hint of green haloing around some high-contrast subjects, but you really have to go looking for it.

A camera with such an extensive zoom requires careful handling if you're to avoid blurred pictures. The maximum aperture of f/3.4 narrows to f/5.6 at the long end and consequently, as shutter speeds drop, the risk of camera shake increases.

Canon's integrated Image Stabiliser offers up to four stops of compensation for this – a one-stop improvement over the SX130 IS that could conceivably make the difference between a sharp shot and a soft one.

It's fairly tricky to measure the performance of the Intelligent IS system on the Canon PowerShot SX150 IS, because the camera switches between the options automatically – you can't override the selection, only switch IS on or off. However, it proved reliably effective during our tests.

Unsurprisingly, the IS isn't a complete miracle-worker at the long end of the lens as light levels drop off, and you'll still need to support the camera well.

Image quality and resolution

The Canon PowerShot SX150 IS produced good results in the labs tests, showing that its signal to noise ratio is on par with the Panasonic Lumix TZ-20 and Samsung WB700.

For a compact camera, the amount of noise that actually appears in your images across the sensitivity range is average. Dynamic range results from the Canon PowerShot SX150 IS also show a good performance with consistant values across the sensitivity range.

A highlight of this camera is the above average performance, with less of a drop in dynamic range than you'd expect from a compact model, showing that this camera is capable of good low light photography and in normal shooting conditions will capture a good amount of both shadow and highlight detail.

Resolution charts

As part of our image quality testing for theCanon PowerShot SX150 IS, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 theCanon PowerShot SX150 IS is capable of resolving up to around 22 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 80, score: 22 (see full image)

ISO 100, score: 22 (see full image)

ISO 200, score: 22 (see full image)

ISO 400, score: 22 (see full image)

ISO 800, score: 20 (see full image)

ISO 1600, score: 18 (see full image)

Noise and dynamic range

These graphs were produced using data generated by DXO Analyzer.

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

Signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Canon PowerShot are on a par with those from the Samsung WB700 and Panasonic Lumix DMC-TZ20 .

For a full explanation of what our resolution charts mean, and how to read them please click here to read the full article.

Dynamic range

This chart indicates that the Canon PowerShot SX150 IS's JPEGs just have the edge over the Nikon Coolpix S6200 and Samsung WB700.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

Sample images

At full telephoto setting and widest maximum aperture (f/5.6), there was a noticeable degree of vignetting (darkening of the corners of the frame) when shooting brighter scenes. Stopping down the aperture to f/7.1 reduced this significantly.

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The Canon PowerShot SX150 IS comes with a selection of Creative Filters to apply while you're shooting. The adjustable Miniature Effect can be used when you're taking video footage as well as JPEGs.

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Colours are bright, holding up well at even ISO 1600, as here (although it is starting to break up in the shadows). The Canon PowerShot SX150 IS's Auto White Balance errs on the slightly warm side, although not unpleasantly so.

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In our Canon PowerShot SX150 IS bench test, the camera's dynamic range proved above average throughout the sensitivity range. Its real-world performance bears that out.

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The darker tone of the background has led to the slight overexposure of the white dress and glasses, and close-up inspection shows some posterisation in the pink areas. There are plenty of manual controls to override the camera's exposure, including exposure compensation of +/- 2EV in 1/3 stop increments.

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When viewed at 100%, the high contrast areas at the edges of this scene show some green and purple shadowing, but for the most part fringing is well controlled by the Canon PowerShot SX150 IS.

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The four-stop advantage that the Canon PowerShot SX150's Intelligent Stabilisation offers means you can get useable results at longer focal lengths or lower light levels than you might expect. However, for the sharpest pictures it's still wise to support the camera with two hands, even though all its controls can be adjusted with one.

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Wide and telephoto shots

Panasonic FS22 at 5mm (28mm equivalent)

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Panasonic FS22 at 20mm (112mm equivalent)

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Verdict

Canon has a compact camera with wide appeal in the shape of its PowerShot SX150 IS. It's a camera that anyone can tailor to their shooting ability, offering as it does an impressive blend of automatic and manual features, supplemented by a set of fun Creative Filters.

Handling is excellent, and although performance isn't class-leading in some areas, the Canon PowerShot SX150 IS produces sharp, natural (but vivid) pictures that are very pleasing.

The 720p HD videos from the Canon PowerShot SX150 IS are equally as good, with excellent sharpness, smoothness and a good level of noise control.

The built-in stereo microphones do pick up some motor noise, though. However, the addition of a dedicated movie record button enables you to react faster to shooting opportunities, and puts paid to one of the common criticisms of its predecessor, too.

We liked

The Canon PowerShot SX150 IS is easy to use, with enough manual control to keep discerning photographers happy. You get a lot of genuinely useful picture-taking technology for your money, rather than an abundance of marketing-driven gimmicks.

We disliked

The occasionally fiddly command wheel/control pad isn't a deal-breaker by any means, but it can be irksome. Despite the sprightly autofocus pick-up, shot-to-shot times are disappointingly sluggish.

Final verdict

Although the new features the Canon PowerShot SX150 IS offers aren't substantial enough to tempt the majority of SX130 users to upgrade, those photographers looking for DSLR-like controls in a compact body that costs under £200 should seriously consider this PowerShot. Its size, versatile zoom and reliance on AA battery power makes the Canon PowerShot SX150 IS a serious contender as one of the best travel compact cameras available today.

Review: Nikon Coolpix S8200

Josie Reavely — Sat, 15 Oct 2011 11:06:00 GMT

Overview

The latest addition to Nikon's elegant Style range of compact cameras seeks to combine form and function, marrying a chic design with a glut of high-end features; all in an easy-to-use, compact package.

The new Nikon Coolpix S8200 - which replaces the older S8100 - was launched alongside another, lower-spec 'S' model - the S6200.

Each camera comes with its own unique traits that set them apart and cater for different types of photographers. Headlining the Nikon Coolpix S8200's feature set is a 16MP back-illuminated sensor, 14x optical zoom lens with Vibration Reduction (VR) and a Full HD movie recording mode, complete with stereo sound. These make it a versatile alternative to the rest of the travel zoom compacts on the market, albeit without the GPS functionality that's offered by some pricier rivals.

Rather than sporting a completely overhauled feature set, the Nikon Coolpix S8200 offers just a few upgrades over its predecessor, notably the higher-resolution CMOS sensor (16MP compared to the S8100's 12.1MP), bigger focal range (14x zoom compared to 10x) and a wider starting focal length of 25mm, offering more versatility than the S8100's 30mm equivalent wide setting.

The 3-inch dimensions of the LCD display we saw on the older model remains the same on the Nikon Coolpix S8200. However, the resolution has been upped a little from 921,000 to 961,000-dots.

With an equivalent focal range of 25-350mm (on a 35mm camera), the Nikon Coolpix S8200 is ideally suited to photographers who like to shoot anything and everything, with its relatively compact dimensions making it a tempting option for avid globetrotters in need of a lightweight travel-friendly alternative to a bulkier camera system.

Build quality and handling

If you're familiar with the design of the Nikon Coolpix S8100, then you'll quickly realise that Nikon's made no move to mess with its tried-and-tested formula when sculpting the S8200. With near-identical dimensions, the new model is the spitting image of its predecessor, save for tipping the scales at a bulkier 213g, compared to the S8100's 180g weight.

The top panel houses a small power button that illuminates green on powering up the camera, along with a zoom-lever-encircled shutter release and a mode dial - all of which are colour-coded to match that of the body.

You can choose from sedate silver or black, as well as a more distinctive white or - as with our review camera - a vibrant cherry red version if you're a bit more of an extrovert.

The centre of the top panel features the compact camera's stereo microphones, and on the far left you'll find the diminutive built-in pop-up flash, which sits flush to the body when not in use.

The front panel is clad in a soft-touch finish that makes the Nikon Coolpix S8200 feel very tactile, as well as improving grip.

The chunkier-than-average dimensions - although arguably still pretty compact for a camera with such a big zoom lens - coupled with a raised colour-coordinated strip on the front panel further enhance the grip.

These features, when added to the weight of the Nikon Coolpix S8200, lend a robust, well-balanced feel to the camera, and make it easier to hold steady when shooting at the telephoto end of its expansive focal range in particular.

Around the back, the 3-inch 961,000-dot LCD screen is clear and bright, featuring a wide viewing angle from all sides, plus a decent anti-reflective coating. All of this adds up to a particularly versatile screen that suffers from only minimal glare in all but the brightest of lighting conditions.

The controls are set out to the right of the LCD, with a relatively large dedicated movie button positioned right next to the textured rear thumb grip, for easy access. The four-way D-pad is well-proportioned and features a rotating wheel design, enabling you to scroll through options and images at speed. The textured surface of this wheel makes it easy to locate and turn with your thumb.

The four directional keys can be depressed for more precise navigation through menus, while they also offer time-saving shortcuts to frequently-used settings comprising flash, exposure compensation, macro AF and self-timer.

Chunky buttons surround the D-pad, calling up the Nikon Coolpix S8200's playback, main menu and delete options respectively.

Underneath, there's an off-centre metal tripod mount and the lockable spring-loaded door that protects the battery and memory card slots.

With a clear, logical menu system that's very easy to navigate, and well-placed, sensibly-sized controls, the Nikon Coolpix S8200 is both simple and speedy to operate: it's easy to start shooting with straight out of the box.

Performance

Generally, we're very impressed with the quality of the images this versatile camera can produce. With such a wide focal range on the Nikon Coolpix S8200, you get the barrel and pincushion distortion at the wide and telephoto ends that you'd expect. There's also evidence of chromatic aberration between areas of high contrast in some scenes, but these are not atypical of a high-zoom compact at this price point, so we can hardly complain.

Colours are rich without being oversaturated, and the level of detail captured by the BSI 16MP sensor is good, albeit with some (again, not unexpected) loss of sharpness at the far end of the focal range. The camera's macro mode - which enables you to focus down to 1cm from your subject - is particularly impressive, producing pleasingly punchy images with plenty of sharp detail.

Also worth a mention is the Nikon Coolpix S8200's Easy Panorama mode, which simply requires you to frame your starting shot, then hold down the shutter release while panning across the scene. The camera fires of a ream of shots in quick succession and stitches them together automatically, with excellent results in all of our tests.

All of the exposure modes on offer are geared towards avid point-and-shoot photographers: there's limited scope for adjusting settings such as the ISO, white balance and metering in Auto mode, but otherwise you simply get a comprehensive range of fully automatic scene modes and presets to cover just about every photographic situation.

Perhaps the most impressive aspect of the Nikon Coolpix S8200's performance, however, is its speed of operation. The camera is ready to shoot almost instantly, and the autofocus system is quick and precise, with the wide coverage over the frame making it simple to track and photograph off-centre and moving subjects in particular.

Image quality and resolution

As part of our image quality testing for the Nikon Coolpix S8200, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the 100 is capable of resolving up to around 24 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 100, score: 24 (see full image)

ISO 200, score: 22 (see full image)

ISO 400, score: 20 (see full image)

ISO 800, score: 20 (see full image)

ISO 1600, score: 18 (see full image)

ISO 3200, score: 16 (see full image)

Noise and dynamic range

These graphs were produced using data generated by DXO Analyzer.

We used the Nikon Coolpix S8200 to shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

Signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Nikon Coolpix S8200 show that the camera handles noise better than the Panasonic Lumix DMC-TZ20, Canon IXUS 310 HS and Samsung WB700.

For a full explanation of what our resolution charts mean, and how to read them please click hereto read the full article.

Dynamic range

This chart indicates that the Nikon Coolpix S8200's JPEGs have a better result for dynamic range than the Samung WB700from ISO 200, but lags behind both the Canon IXUS 310 HS and Panasonic Lumix DMC-TZ20.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

ISO comparison test

Nikon Coolpix S8200: ISO 100 (see full image)

Nikon Coolpix S8200: ISO 200 (see full image)

Nikon Coolpix S8200: ISO 400 (see full image)

Nikon Coolpix S8200: ISO 800 (see full image)

Nikon Coolpix S8200: ISO 1600 (see full image)

Nikon Coolpix S8200: ISO 3200 (see full image)

Sample images

The 1cm macro autofocus mode produces vibrant close-ups packed with plenty of detail

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The Nikon Coolpix S8200 captured the subtleties in the lighting in this scene superbly

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The camera's Easy Panorama mode lives up to its name and produces excellent results

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The big zoom lens enables you to get closer to distant subjects without having to move an inch

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The Nikon Coolpix S8200 is capable of capturing very pleasing images with great colours and a good level of detail

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The compact's artistic Effects options - accessed via the mode dial - includes a particularly good high-contrast black and white setting

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Verdict

We're glad to see that Nikon is making the most of its back-illuminated CMOS technology, which places the circuitry for the sensor behind - rather than in front - of it, increasing its sensitivity to light, which should theoretically result in a better performance under dim conditions and higher ISO sensitivities.

Performance in low light is a bit of a point of contention with this camera's predecessor, and the Nikon Coolpix S8200 fares a little better in spite of the sensor's resolution hike, but still doesn't blow the competition out of the water. Images stay pretty clean up to ISO400, then quality drops off fairly sharply. We'd use ISO1600 at a push, but 3200 is best left alone.

As a beginner-friendly, go-anywhere compact, the Nikon Coolpix S8200 excels in just about every aspect. Taking into account the blisteringly quick performance, versatile focal range, decent overall image quality, Full HD movie mode and all-encompassing set of exposure modes, you couldn't ask for much more at this price-point. GPS would have been a bonus for travellers but this would have bumped up the price and reduced the battery life.

We liked

The snappy performance, versatile zoom and decent image quality all leave a lasting impression, as does the build quality and user-friendly design.

We disliked

The only thing it's lacking is GPS, and there are no manual modes to advance to once you've outgrown the point-and-shoot exposure modes.

Final verdict

There's plenty to like about this camera - the only thing that's really missing is any advanced manual functionality, which would increase its appeal as a long-term investment for an aspiring photographer who's keen to develop their skills. If however all you want is a robust, stylish, highly flexible camera that's simple to operate and produces beautiful images, then the Nikon Coolpix S8200 could be the one for you.

Review: Nikon Coolpix S4150

Sarah Hill — Thu, 06 Oct 2011 11:08:00 GMT

Overview

Released in August, the Nikon Coolpix S4150 is a mid priced compact in the Coolpix range, with a 3 inch, 460k-dot touch control LCD screen, 14 megapixel CCD image sensor and NIKKOR wide-angle 5x zoom lens.

The Nikon Coolpix S4150 can be picked up for around £140, placing it in the middle range of compact cameras. It offers three different shooting modes - auto, scene and smart portrait.

There are twenty scene modes to choose from including portrait, macro, pet mode (where the shutter noise is muted), museum (no shutter noise or flash) and fireworks. Alternatively you can choose "smart scene" and the camera will pick the scene it thinks will work best for your shot.

The Nikon Coolpix S4150 utilises five different flash modes depending on what mode you're using, including redeye reduction and fill flash. Smart portrait offers users the option of letting the camera take a photo when a subject is smiling and also offers blink detection.

The Nikon Coolpix S4150 doesn't offer a manual mode, but you are able to change aspects such as the sensitivity which ranges from ISO 80 to 3200, the exposure compensation and the white balance, including creating your own custom white balance, which is straightforward.

In camera retouching, resizing and editing is available. The resizing and retouching offer some useful tools for people who do not have access to photo editing software, although the editing options allowing you to add frames and cartoon hearts are likely to be less used by most.

Video can be shot in HD 720p (1280 x 720), VGA (640 x 480) or QVGA (320 x240). You can zoom in whilst shooting a video, but that's about all you can do - the touch screen options are not available during the recording. The decreased quality is immediately evident whilst using the QVGA mode, but the HD video and VGA create film that would be perfectly acceptable to post online.

Build quality & handling

Available in four different colours including red and purple, the Nikon Coolpix S4150 is lightweight and compact at 128grams with a 3.7 inch longest edge, but it feels durable and solid to hold.

The majority of the back is taken up by the touchscreen; the rest of the space is used for five buttons - video record, scene select, play back and the shutter and zoom on the top edge. All the other functions are accessed through the touchscreen menu on the LCD. The buttons are well placed and the camera is easy to hold in your hand, although if you have large fingers it's worth noting that the flash can be easily covered if you're not paying attention.

The screen is bright and easy to view, although it did suffer a little in bright sunlight. The menu options are accessible through two menus - a quick menu on the left where you can change macro, flash and timer modes as well as exposure compensation and a larger lower menu where all the other options are listed.

We found it a little difficult to select the menu options because of their edge location on the screen. Although the camera is provided with a stylus, it is only affixable to the camera via the wrist cord, and is small and therefore easy to lose. If you're using your fingers the screen can be unresponsive and requires at times a forceful application to get it to do what you're asking.

Performance

The overall quality of the images is good - they're sharp and crisp with a good balance of well represented colours. Whilst the auto mode fares well the majority of the time, it has its limitations and occasionally overexposes images, especially those taken in bright sunlight.

Smart portrait mode is supposed to take a photo when your subject is smiling, but during our test it was unresponsive and became frustrating for both subject and photographer as we waited for it to decide if we were smiling wide enough. Blink mode, on the other hand, worked well - preventing photos from being taken when a blink was detected.

The images you see on the LCD occasionally differ to the images you see once downloaded, especially those images taken at high ISO settings. On the screen they appear blurry, out of focus and unusable - but once downloaded some are salvageable.

Although it can shoot up to ISO 3200 it's worth noting that at the higher end of the spectrum photos suffer badly from a loss of colour and image definition, even whilst shooting in daylight, and during low light or darkness the camera is unable to take reasonable shots that are in focus without the use of the flash or a tripod.

Chromatic aberration is limited and fairly well controlled, although sometimes visible when zoomed to full capacity.

If you look at the sample images at 100%, you will see a couple of examples where the in-camera sharpening has produced some less than pleasing results. There's loss of picture quality surrounding the faces of the people in the shot, giving them an almost halo like appearance. However, given that it's unlikely that most people will blow up the images to this size, it's not likely to be a big issue for the average user.

Lab data

Resolution charts

As part of our image quality testing for the Nikon Coolpix S4150, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Nikon Coolpix S4150 is capable of resolving up to around 20 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 80, score: 20 (see full image)

ISO 100, score: 20 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 16 (see full image)

ISO 800, score: 14 (see full image)

ISO 1600, score: 14 (see full image)

ISO 3200, score: n/a (see full image)

Noise and dynamic range

These graphs were produced using data generated by DXO Analyzer.

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

Signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Nikon S4150 compare well against the Canon IXUS 115 HS, Samsung PL170 and Samsung ST95

For a full explanation of what our resolution charts mean, and how to read them please click here to read the full article.

Dynamic range

This chart indicates that the Nikon Coolpix S4150's JPEGs compare well against the Samsung PL170 and Samsung ST95.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

Sample images

Photos have a good overall colour quality, with a sharp, crisp focus

Sunset mode allows you to boost the colour temperature to create more vibrant photos

Using auto mode can result in overexposure for some shots, especially during bright light

Landscape mode also allows you to boost the saturation

Multi focus for portraits ensures all subjects are in focus

An example of the colour quality available via auto mode

Taken at the widest end of the zoom range.

Taken at the telephoto end of the zoom range.

Sensitivity test

ISO 80

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

Verdict

Nikon Coolpix S4150

At £140 the Nikon Coolpix S4150 isn't the cheapest camera in the compact range, but it does have some pleasing options and takes decent pictures while in auto mode. For anyone looking for more control over what they're shooting however they may find the lack of options frustrating and limiting.

We liked

It's a small camera, great for a first time buyer or someone who doesn't want the hassle of a thousand menu options. It's got a good all round auto option, with some interesting scene modes for the more adventurous.

We disliked

The touch screen really needs to be better. It's clunky at best and completely unresponsive at worst. The lack of manual control will put off more serious users and its performance in low light left a lot to be desired.

Verdict

This is a good camera to sling into a bag or to quickly pack away for the beach, coping well in most ordinary, every day situations. However, using the touchscreen is frustrating for those used to the ease of something like the iPhone, which will be enough to put some off, but if you can live with the stylus this is a good all round camera.

Review: Canon EF 400mm f/2.8L IS II USM

Matthew Richards — Wed, 05 Oct 2011 10:50:00 GMT

Overview and features

Combine a 400mm full-frame prime lens with a fast maximum aperture of f/2.8 and there are two things you can be assured of – size and weight. The mighty Canon EF 400mm f/2.8L IS II USM
measures a whopping 163 x 343mm (484mm long with the lens hood fitted) and tips the scales at 3.85kg.

It's supplied in its own custom-made hard case that, in itself, exceeds the maximum carry-on size for most airlines. Indeed, you don't fit this lens to your camera, you fit the camera to the lens. But sometimes, big really is beautiful.

A scaled up version of the Canon EF 300mm f/2.8L IS II USM super-telephoto lens, the 400mm offers the same wealth of features.

Designed for full-frame DSLR camera bodies such as the Canon EOS 1Ds Mark III or Canon EOS 5D Mark II, it's also equally compatible with APS-C-sized cameras such as the Canon EOS 7D, where it has a mighty effective focal length of 640mm.

In either case, the fast f/2.8 maximum aperture is a real bonus for freezing the action in dull lighting conditions, making the lens ideal for wildlife and sports photographers.

Headline attractions include super-fast, ring-type USM (Ultrasonic Motor) autofocus, complete with full-time manual override.

Better still, you get an additional Focus Preset mode where you can store a focus distance in memory and call it up at the touch of a button, with or without confirmation beep.

There's also a neat Power Focus mode with its own 'Playback ring'. Turning the ring by varying amounts enables dual-speed motorised focus adjustments, ideal for use in video shooting.

There's also a three-position focus limit switch with Full, 2.7-7m and 7m to infinity options.

To guard against camera shake, Canon's latest 4-stop Image Stabiliser (IS) has three separate modes to choose from.

Mode 1 stabilises the image full-time, so you can view the effect through the viewfinder when composing shots. Mode 2 is for panning with the camera in either portrait or landscape orientation. Mode 3 only applies stabilisation when the shot is actually taken, and works really well when you're tracking erratically moving objects.

Rounding out the feature set on this high-end camera lens, currently selling for around £8,880, are four AF stop buttons placed at 90-degree increments around the circumference of the lens, towards its front.

If you're not happy with their placement, you can pay to have the ring that houses them rotated by a Canon service centre.

There's also a Kensington lock attachment for securing the lens, a beefy tripod mount and somewhat enormous lens hood.

Build quality and handling

The Canon EF 400mm f/2.8L IS II USM is a lens that's designed for the great outdoors and, as such, has particularly sturdy build quality along with weather seals to guard against dust and moisture.

There's also a rubber O-ring fitted in the metal mounting plate to form an environmentally sealed fixing between lens and camera.

Construction of the barrel is based on magnesium alloy and titanium components and, heavy as this ultra high-performance super-telephoto lens is, it's still 1.5kg (28%) lighter than the first edition.

This makes handheld shooting quite feasible, at least for short periods of time. For extended periods of shooting, a monopod makes the lens much easier to use.

Handling of the Canon EF 400mm f/2.8L IS II USM lens is very refined with smoothly operating, high-precision controls in every area.

Performance

The use of top-quality fluorite elements aims to ensure great image quality with high resolution and contrast, along with minimal colour fringing.

Canon's SubWavelength Coating (SWC) is also employed to reduce ghosting and flare, while the outer surfaces of the front and rear elements have fluorine coatings for easy cleaning.

Optical quality is impeccable in every respect. We were massively impressed at the sharpness and contrast, even when shooting at the maximum aperture of f/2.8 under gloomy lighting.

However, you do need to watch out for depth of field. At a focus distance of 10m with an aperture of f/2.8, DOF is only 10.2cm on a full-frame DSLR camera and a mere 6.4cm on an APS-C-sized body.

Distortion is practically zero, chromatic aberrations are negligible and peripheral illumination is excellent. The lens is also very resistant to ghosting and flare.

Given the long 400mm focal length, or an effective 640mm on Canon APS-C cameras, the 4-stop stabiliser really does have its work cut out.

In our tests, it performed extremely well, not only enabling sharp handheld shots when needed, but working brilliantly when using the lens on a monopod.

Autofocus is similarly top-drawer, with spectacularly fast and supremely accurate performance.

Sharpness and fringing test

Sharpness

As part of our test of the Canon EF 400mm f/2.8 IS II USM we've shot our SFR Plus chart at every aperture to check for sharpness and fringing across the frame. The resulting images are then fed through the Imatest Master software.

The graph below shows the results of the test, with each of the coloured lines depicting the lenses performance at the centre of the frame (in blue), and an average of the results for the mid-range (pink) and edge (yellow) frame.

The graph shows that the Canon EF 400mm f/2.8L IS USM performs well across the aperture range. Despite the progressive fall towards f/22 the results for this lens are impressive with little drop in sharpness across the frame. The best results are achieved between f/2.8 and f/7.1.

Fringing

This graph shows that signs of fringing are low across the aperture range, whilst results at the middle and edge frame are higher at the centre fringing is almost non-existent.

Sample images

Taken with a Canon EOS 5D Mark II, f/2.8, 1/1000 second

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Taken with a Canon EOS 5D Mark II, f/8, 1/100 second

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Taken with a Canon EOS 5D Mark II, f/2.8, 1/1600 second

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Taken with a Canon EOS 5D Mark II, f/5.6, 1/125 second (full-frame)

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Taken with a Canon EOS 5D Mark II, f/2.8

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Taken with a Canon EOS 5D Mark II, f/5.6

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Taken with a Canon EOS 5D Mark II, f/8

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Taken with a Canon EOS 5D Mark II, f/11

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Taken with a Canon EOS 5D Mark II, f/8

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Taken with a Canon EOS 5D Mark II, f/8

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Verdict

The Canon EF 400mm f/2.8L IS II USM is as good as it gets for a super-fast, super-telephoto prime lens.

From its rugged build quality and expansive feature set to its brilliant optical performance, trick focus modes and rock-steady image stabiliser, everything comes together perfectly.

The only downsides are that it's big and heavy to use, and massively expensive to buy.

We liked

Superb image quality made all the more effective by excellent autofocus and image stabilisation systems.

We disliked

It's very big, still heavy despite the Mark II's weight loss, and extremely expensive.

Final verdict

Even with its disadvantages, the Canon EF 400mm f/2.8L IS II USM would be a great super-telephoto lens to hire for special occasions.

Review: Canon EF 300mm f/2.8L IS II USM

Matthew Richards — Wed, 05 Oct 2011 10:08:00 GMT

Overview and features

The Canon EF 300mm f/2.8L IS II USM is one of the latest telephoto and super-telephoto lenses to hit the market, or perhaps we should say to clobber it, given the size and weight of the 300mm and its even bigger 400mm brother.

A fully professional telephoto lens, aimed predominantly at sports and wildlife photographers, the Mark II edition of the EF 300 f/2.8L is certainly no lightweight, at 2.4kg. That's despite an all-new magnesium alloy body with titanium components that shave 8% off the weight of its predecessor.

It measures 128mm in diameter and is 248mm long, extending to 374mm with the lens hood fitted.

As one of Canon's top-notch professional lenses, the EF 300mm f/2.8L IS II USM has just about every feature you could wish for. Ring-type USM autofocus is of the highest standard, and comes complete with Power Focus mode and a Focus Preset facility.

Select Power Focus from the three-position AF/PF/MF switch and a separate focus ring, called the Playback ring, enables dual speed motorised focus adjustments – ideal for video shooting.

The Focus Preset button enables you to store a focus position in memory, then return to it at any time by pressing the button again. As well as on/off positions, there's an additional 'on' setting that gives you a confirmation beep.

A three-position focus limit switch enables you to select the full focus range or limit it to 2-6m, or 6m to infinity.

There are also four AF Stop buttons around the lens' circumference, forward of the focus and Playback rings, which are useful for locking focus in AI Servo mode.

The Image Stabiliser (IS) is updated in the Mark II lens to give a 4-stop benefit, compared with its predecessor's 2-stop stabiliser.

It also comes with three separate modes. Mode 1 is for regular shooting, Mode 2 is for panning in either landscape or portrait orientation shooting, and Mode 3 only applies stabilisation during actual exposures, which works well when you're trying to track erratically moving objects.

Other features include a drop-in 52mm filter holder at the rear of the lens, strap mounts, a carrying strap and a rotating tripod mount. The tripod mount's locking knob also includes a Kensington lock facility for securing the lens, like those often fitted to laptop computers.

Build quality and handling

Build quality of the Canon EF 300mm f/2.8L IS II USM is everything you'd expect at the price, befitting a professional super-telephoto lens designed for the rugged outdoors.

Environmental seals guard against the ingress of dust and moisture, complete with a rubber O-ring in the mounting plate where the lens fixes to the camera.

The use of expensive fluorite lens elements aims to maximise image quality, while the front and rear elements have fluorine coatings on their outer surfaces to enable easier cleaning.

Canon's SWC (SubWavelength Coating) is also used to reduce ghosting and flare.

Not-so-little extras include a whopping lens hood, a soft fabric wraparound lens cap and a custom-made 300B hard case, which is similarly well made and nicely padded.

Switches and control rings all have a high-precision feel to them and handling is excellent, despite the size and weight of the lens.

Performance

The Canon EF 300mm f/2.8L IS II USM lens performs stunningly in every respect. The ring-type USM autofocus is blazingly fast and accurate, while the 4-stop image stabiliser makes for consistently sharp handheld shots.

Even so, the 2.4kg weight of the lens can make prolonged unsupported photography a bit of a strain.

Image quality is spectacular with pin-sharp results from corner to corner. Contrast is great, even when shooting at the widest aperture of f/2.8 in dull lighting conditions.

Distortion, vignetting and chromatic aberrations are all negligible, while the 300mm super-telephoto lens is also remarkably resistant to ghosting and flare.

On a full-frame DSLR camera such as the Canon EOS 1Ds Mark III or Canon EOS 5D Mark II, the fast maximum aperture not only enables you to freeze the action even under gloomy lighting, it also enables a really tight depth of field.

Indeed, shoot at a focus distance of 10m at f/2.8 and the depth of field is just 18.3cm. At the closest focus distance of 2m, depth of field shrinks to just 6.4mm.

Mount the lens on an APS-C-sized body such as the Canon EOS 7D, and the effective focal length extends to 480mm, while the depth of field at 10m and 2m drops to just 11.6cm and 4.1mm respectively.

Sharpness and fringing test

Sharpness

As part of our test of the Canon EF 300mm f/2.8 IS II USM we've shot our SFR Plus chart at every aperture to check for sharpness and fringing across the frame. The resulting images are then fed through the Imatest Master software.

The graph below shows the results of the test, with each of the coloured lines depicting the lenses performance at the centre (in blue), and an average of the results for the middle of the frame (pink) and the image edge (yellow).

The graph shows that the Canon EF 300mm f/2.8L IS USM performs well across the aperture range, with the best results for sharpness achieved between f/4 and f/7.1.

As usual the lens performs best at the centre, but at most apertures the edge performance is not far behind.

Fringing

This graph shows that signs of fringing are low across the aperture range. Despite the expected rise at the edge of the frame the amount of fringing is still very low.

Sample images

Taken with a Canon EOS 5D Mark II, f/2.8, 1/1000 second

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Taken with a Canon EOS 5D Mark II, f/8, 1/125 second

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Taken with a Canon EOS 5D Mark II, f/8, 1/200 second

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Taken with a Canon EOS 5D Mark II, f/5.6, 1/250 second

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Taken with a Canon EOS 5D Mark II, f/5.6, 1/160 second (1.6x crop factor)

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Taken at f/2.8 with a Canon EOS 5D Mark II

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Taken at f/4 with a Canon EOS 5D Mark II

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Taken at f/5.6 with a Canon EOS 5D Mark II

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Taken at f/8 with a Canon EOS 5D Mark II

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Taken at f/11 with a Canon EOS 5D Mark II

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Taken at f/8 with a Canon EOS 5D Mark II

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Taken at f/8 with a Canon EOS 5D Mark II

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Verdict

Splash out the current selling price of around £5,590 on a DSLR lens and you expect fully professional quality. Even so, the Canon EF 300mm f/2.8L IS II USM is something rather special.

The wide-ranging features all work brilliantly, and build quality is excellent in every way.

Ultimately, however, image quality is the most important factor and it's here that the lens really excels.

We liked

Stunning image quality and top performance in every area, from super-fast autofocus to extremely efficient image stabilisation.

We disliked

It's a little heavy for handheld use over long periods of time.

Verdict

The Canon EF 300mm f/2.8L IS II USM super-telephoto lens amply demonstrates what Canon's current range of DSLR cameras are really capable of.

Review: Ricoh PX

Matt Golowczynski — Tue, 04 Oct 2011 14:15:00 GMT

Overview

Rugged waterproof compact cameras tend to be fashioned to look as hardwearing as they claim to be, with chiselled edges, intricate details and exposed screw tops all giving the impression of solidity. Ricoh's PX proves this doesn't always have to be so; it eschews it all and instead opts for a clean and minimal design.

While the company's previous waterproof digital cameras were aimed at industrial rather than consumer use, the Ricoh PX combines its more conventional styling with a set of specifications comparable to those from other rugged models.

The camera incorporates a 16MP CCD sensor, one fitted with a stabilisation system to help keep images blur-free, along with a Smooth Imaging IV engine for all image-processing tasks.

Optically the Ricoh PX spans a reasonable 5x optical zoom range of 28-140mm, but Ricoh confidently claims that this can be doubled "with almost no drop in image quality" – a claim that'll be investigated later on.

Regarding its rugged credentials, the PX is waterproof to a depth of 3m and dustproof to the Class 6 JIS/IEC specification.

It may also be safely dropped from a height of 1.5m, although Ricoh points out that some scratches and cosmetic damage may result from doing so.

Scratch resistance has, however, been incorporated into the camera's LCD screen, which measures 2.7 inches in size and offers a fairly basic 230,000dot resolution.

The rest of the camera's specifications are in line with what we'd expect for a sub-£200 model. A 256-segment metering system provides the multi, centre-weighted and spot trio of options, while exposure compensation may be regulated over a range of +/-2EV.

A capable sensitivity range of ISO 100-3200 also features, as do a variety of focusing options such as multi-area, spot and AF tracking.

A handful of Ricoh's trademark extras can be found among its feature set, such as the Skew Correction mode to correct sloping verticals, and a multi-pattern auto white balance option which varies white balance for different areas of an image.

There are also a number of novelty capture options, such as High-Contrast Black and White, Miniature and the slightly odd Sweets mode, which does little more than provide a white frame for those times when you want to photograph sweets.

Movie recording is also possible on the Ricoh PX to 720p resolution, and a micro HDMI port is found alongside a mini USB one.

Helpfully, it's also possible to charge the camera through a USB cable connected to either the supplied adaptor or a computer, while all images and videos are recorded to the user's choice of SD, SDHC and Eye-Fi media, or to the 40MB of internal memory.

Build quality and handling

Ricoh claims the PX has been designed so that it may be easily slipped in and out of a pocket, so the photographer can respond swiftly when a photo opportunity presents itself.

And this much is true. The lack of any protrusions means it slides comfortably in and out of a jeans or jacket pocket, although its bulky body means that it won't be quite at home in tighter pockets (and it's certainly too large to be discreetly carried around inside a shirt pocket).

Build quality is impressive, though, with metal used throughout its outer shell and a sturdy battery compartment door at its base.

Although the Ricoh PX's water and dustproofing capabilities are clearly marked on its top-plate, its design doesn't particularly allude to this. Admittedly its lens is sealed and its battery door is a little harder to close then usual, but all buttons travel easily when pressed.

The only exception to this ease of operation is with the zoom rocker, which protrudes from the camera's top plate and is somewhat annoying to manoeuvre with the forefinger (see above).

Worse still, when the rocker is used it moves the zoom erratically, beginning at a steady pace before rushing through the rest of its range, while its ideal position on the back of the camera is occupied by a lesser-used dial that changes flash settings.

Thankfully, the otherwise pleasing operation of the camera's external controls is matched with a responsive menu system. It's long overdue a makeover, but it remains functional and lists options clearly and in full.

To make things easier on the eye, colours and images are also used to accompany scene modes and other options, but only conservatively so.

Performance

Ricoh claims the PX is ready for action in approximately 1.4 seconds, and while this much is true it's not particularly class leading.

Things are slightly better with the focusing system, though: the multi-pattern option does well to identify key subjects and focus accordingly, and while the system isn't the fastest we've seen at this price point. it's snappy enough for most types of photography.

While the LCD screen suffers from the typical issues with visibility in bright light, and isn't quite as highly specified as some other digital camera displays, it redeems itself somewhat by having a wider viewing angle than expected.

The Ricoh PX shows no ill effects after being dropped from various heights up to its 1.5m limit, and seems more than happy to be used underwater too.

Here, the menu system is still easy to read and images are displayed well, although, as may be expected, the screen's viewing angle isn't quite as great as it is out of the water. Underwater focusing speeds are good, though, and images typically show just a small drop in contrast.

After use, we couldn't spot any water droplets inside the battery compartment, and the camera's design meant that it could be easily and quickly dried too.

The camera does a decent job to expose correctly for most scenes. Instead of focusing on any main subject, the multi-pattern system attempts to compromise for the whole scene. This is good for predictability but not so great if you simply want print-ready results.

On the handful of occasions it does under or overexpose it's understandably because there are dominant highlight or shadow areas. With colour, the camera is reasonably faithful in its reproduction of tones and colours. Auto white balance is good most of the time, even if now and again it makes images appear a little too warm.

Sadly, details at 100% are lacking, thanks to noise and the imapct of in-camera noise reduction, which mar images shot on even the lowest sensitivities. Colour is fine up until ISO 800, but past this noise reduction takes over and leaves images looking decidedly less lively.

These issues with noise are applicable to the camera's movie recording too, which means they also lack a little bite.

Sound quality is reasonable, though, and there's only a little ambient noise picked up by the Ricoh PX's microphone.

Some chromatic aberrations are also noticeable, but, overall, these are well controlled, and only really visible at 100%, while distortions from the lens are also present but pleasingly minimal.

Photos shot between the 5-10x Super Resolution range of the camera's zoom aren't quite as good as they are when taken with the camera's standard optical zoom, with a noticeable dip in contrast and detail.

This being said, for web use and at smaller print sizes, such flaws aren't anywhere near as noticeable as they are at 100%.

Lab data

Resolution charts

As part of our image quality testing for the Ricoh PX, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Ricoh PX is capable of resolving up to around 20 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 100, score: 20 (see full image)

ISO 200, score: 20 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 14 (see full image)

ISO 3200, score: 12 (see full image)

Noise and dynamic range

These graphs were produced using data generated by DXO Analyzer.

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

Signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Ricoh PX are consistently lower than the Canon PowerShot 220 HS, Nikon Coolpix S4150 and Panasonic Lumix DMC-FS37 upto a sensitivity of ISO 3200 where it just has the edge over the Nikon Coolpix S4150. However these results show that images upto a sensitivity of ISO 3200 will still produce good images with visible but not substantial noise appearing from ISO 1600.

For a full explanation of what our resolution charts mean, and how to read them please click here to read the full article.

Dynamic range

This chart indicates that the Ricoh PX's JPEGs show a gradual decline of dynamic range as the sensitivity increases, and is consistently lower than the Canon PowerShot 220 HS, Nikon Coolpix S4150 and Panasonic Lumix DMX-FS37. This shows that from ISO 400 shadow and highlight detail could easily be lost from images.

For more more details on how to interpret our test data, check out our full explanation of our noise and dynamic range tests.

Sample images

See a selection of sample images taken with the Ricoh PX, featuring a range of different subjects and conditions.

Colours can be a little too saturated

See a full res version of this photo here

Sometimes, punchy colours are exactly what you want, like with this stained glass window

See a full res version of this photo here

Noise and noise reduction compromise image details, even at lower sensitivities

See a full res version of this photo here

The auto white balance system has left this image a little warm

See a full res version of this photo here

The camera puts in a good macro performance

See a full res version of this photo here

The camera may focus down to 3cm away from the subject at its wideangle setting

See a full res version of this photo here

Verdict

The Ricoh PX is an interesting addition to the ever-expanding rugged digital camera market, and its build quality and ease of operation score points. It's also one of the few sub-£200 waterproof models on the market.

Sadly, it's a little on the bulky side and the position of its zoom rocker is less than convenient, while its images leave a lot to be desired.

We liked

A decent focusing system and design that separates it from many of its peers, the Ricoh PX is a solidly built camera with good underwater performance and a range of both useful and novelty functionality.

We disliked

Noise and its effects on image details is an issue with the Ricoh PX, while the awkward operation of the zoom and the basic LCD screen are equally unlikely to impress.

Verdict

Rugged cameras have been around for long enough for us to no longer be simply happy to be able to shoot in harsh environments, get shots while in the sea or skiing. While the PX does a decent job of getting the subject sharp and correctly exposed, its images are let down by a relatively low level of detail. This limits the size of the prints that can be made, which is a shame if you are looking to blow-up shots from your holidays.

Review: Nikon Coolpix S6150

Marcus Hawkins — Mon, 03 Oct 2011 16:06:00 GMT

Overview

The Nikon Coolpix S6150 sits towards the top of Nikon's Coolpix Style range of compact cameras, and accordingly it packs a rich feature set in a slim, high-class camera body – all for under £160.

At its core is a 16MP CCD sensor and Nikon's EXPEED C2 image processing system that promises enhanced 720p HD video recording and high sensitivity performance.

Motion detection and lens-shift vibration reduction help to compensate for camera shake throughout the 7x zoom range, which offers a useful equivalent focal length of 28-196mm. Meanwhile Nikon's Best Shot Selector automatically selects the sharpest image from up to 10 sequential ones.

ISO can be squeezed to 3200 if you really need to reduce the risk of blurred pictures, but naturally this comes at the expense of detail and colour saturation.

The emphasis is on automatic operation – 19 scene modes and scene auto selector ensure that this Coolpix compact camera will appeal to those who don't want too much asked of them, technically.

A standalone Smart Portrait mode features a range of useful features, such as skin softening, blink warning and the ubiquitous smile shutter.

You can further improve pictures in-camera via the Retouch menu – Nikon's D-Lighting contrast adjustment is probably the one you'll reach for the most.

If you really must, you can draw on your photos and view them in a music-accompanied slideshow, complete with cute animated characters.

Build quality and handling

The Nikon Coolpix S6150 arrives just six months after the launch of the Coolpix S6100 and is near-identical in terms of specs. It's a point-and-shoot camera, with a 3-inch 460k-dot LCD touchscreen being used for the majority of operations.

Scene selection, playback and video recording still have their own dedicated buttons below the thumb grip, and this combination does speed up operation.

The responsiveness of the Nikon Coolpix S6100's touchscreen (or rather, the lack of it) has come in for some criticism, and there are still issues with the S6150's.

In terms of layout, it's well thought out, with controls separated into two distinct menus. A stab on the left of the screen brings up frequently changed functions, including flash mode and exposure compensation, with secondary features accessed by tapping the bottom of the screen.

We would have liked to have seen ISO appear in the quick adjustment menu, but that's nitpicking. The icons used to represent each function are clear and logically laid out, and it doesn't take long to memorise them.

However, the placement of the menu tabs at the edges of the screen can make it awkward for the sausage-fingered among us (and we include ourselves here) to access them cleanly at times. Nikon includes a plastic stylus in the box, and this does speed up the selection process significantly.

The lack of responsiveness is particularly frustrating when you're stroking the screen to browse your pictures during playback. Perhaps we've been spoiled by the feather-light finesse of the Apple iPhone's interface, but if you're going to rely on a touchscreen for the majority of interactions, it needs to be slicker than what Nikon's offering here.

Performance

As you'd expect from Nikkor ED glass, the versatile 5-35mm zoom on the Nikon Coolpix S6150 compact camera delivers sharp images with plenty of detail. Images exhibit a hint of grittiness even at the lowest ISO settings when viewed at 100%, although you won't notice it unless printing is pushed to extremes.

Like many compact cameras we've tested, the Nikon Coolpix S6150's noise only becomes significantly degrading when you hit ISO 800. Our bench tests indicate that it holds its own up against the S6200, one step up the Coolpix food chain, until ISO 200.

Colours are generally accurate, occasionally erring on the warm side. The reds in particular look a little hot on the LCD monitor, but appear more subdued in the downloaded files.

720p movies from the Nikon Coolpix S6150 are equally as good, appearing smooth and finely detailed. Filming controls are limited, though – you can only change autofocus and white balance, and switch on wind-noise reduction – and the stereo mic has a tendency to pick up the sound from the zoom.

If you opt for continuous focus it also struggles to keep up when zooming, resulting in blurred footage as the camera hunts for a lock. Exposure stepping is also noticeable when you zoom and pan across brighter/darker areas, too.

Image quality and resolution

As part of our image quality testing for the Nikon Coolpix S6150, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Nikon Coolpix S6150 is capable of resolving up to around 20 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 80, score: 22 (see full image)

ISO 100, score: 20 (see full image)

ISO 200, score: 20x (see full image)

ISO 400, score: 20 (see full image)

ISO 800, score: 18 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 12 (see full image)

For a full explanation of what our resolution charts mean, and how to read them please click here to read the full article.

Noise and dynamic range

These graphs were produced using data generated by DXO Analyzer.

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

Signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Nikon Coolpix S6150 are on a par with those from the Nikon Coolpix S6200, and produce a better signal to noise ration between sensitivities of ISO 100 and 800 than the Samsung WB700 and Canon IXUS SX220 HS.

Dynamic range

This chart indicates that the Nikon Coolpix S6150's JPEGs dynamic range is similar to the Samsung WB700 and Nikon Coolpix S6200.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

Sample images

The Coolpix S6150's Nikkor lens focuses down to 50cm, while the Macro close-up mode allows you to move as close as 3cm.

See full-res image

Auto white balance is pretty reliable, although it has stripped some of the warmth from this scene. You'll still need to hit the presets for more consistent results.

See full-res image

Fringing creeps in along high-contrast edges, such as on the window framework towards the edges of the frame.

See full-res image

You can't change the metering pattern, but you can lock the exposure and focus together with a Touch AF/AE touchscreen option for more precise readings in tricky lighting.

See full-res image

A fixed range auto ISO setting enables you to choose the automatic ISO adjustment from two ranges: ISO 80-400 or ISO 80-800. This means you can make the most of the lower sensitivities while still maintaining the flexibility that automatic selection offers.

See full-res image

There's a typical range of post-shoot creative filters you can apply, including the familiar fisheye and miniature effects, as seen here.

See full-res image

Wide/telephoto shots

Zoom at 5mm (28mm equivalent)

See full-res image

Zoom at 35mm (196mm equivalent)

See full-res image

ISO performance

ISO 80

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

Verdict

For the most part, the Nikon Coolpix S6150 is easy to live with. Start-up times are sharp, and its slim, but sturdy build, rubberised finish, raised lens mount and thumb rest result in confident, assured handling.

The touchscreen, ironically, is less tactile – although it does make pictures glorious to look at.

Image processing time occasionally slows shooting down too, but navigating the menus is a breeze and the zoom travels rapidly through the range. Most importantly, the Nikon Coolpix S6150 is capable of pleasingly detailed, well-balanced images.

We liked

The 7x zoom delivers a practical everyday reach, taking in everything from family portraits to tree tops – and the decent image quality comes wrapped up in a solid, good-looking body that's intuitive to use.

We disliked

The disappointing touchscreen interface could end up frustrating more committed photographers. At 210 shots, battery life isn't class-leading, and the lengthy charge time for a flat cell, coupled with USB-only camera charging, means that you'll probably want to factor a spare battery into the cost.

Final verdict

Overall then, this Coolpix update offers an attractive slice of camera technology for the money. If you're not in the market for more manual control options but want a feature-packed digital camera in the £150 price range, the Nikon Coolpix S6150 certainly represents one of the best value compact cameras around, however the disappointing touchscreen certainly lets it down.

Review: Kenko Teleplus Pro 300 AF DGX 1.4x

Tech staff — Mon, 03 Oct 2011 11:09:00 GMT

Teleconverters are a convenient way to achieve a new focal length without the cost and physical burden of a new lens, but manufacturer's own models can be fairly pricey.

Canon's current 1.4x Extender costs an eye-watering £450, while Nikon's equivalent is priced at around £300. The Kenko Teleplus Pro 300 AF DGX 1.4x, meanwhile, promises to do much the same job, and is available for a far more attractive £180.

Although you lose out on the weatherproofing offered by the Canon, elsewhere the model does well to equal its more expensive rivals. Available in Canon, Nikon and Sony fittings, the Teleplus Pro 300 is equipped with contacts to maintain autofocus and metering, although as with any 1.4x converter, it reduces light by one EV stop.

The elements inside the lens are multi-coated to help improve light transmission and prevent reflections, and Kenko claims that the design ensures that no additional vignetting is introduced.

The teleconverter slots securely onto the camera body, while its large lens release button makes it easy to dismount the optic. The only lens that failed to autofocus during our testing was the Nikkor AF-S 60mm f/2.8 G ED macro lens, although the instruction leaflet explains an AF compatibility issue with this combination and explains that it can still be used manually.

Otherwise, there were no issues with focus or metering. As expected, images captured with the teleconverter in place show a slight dip in contrast over those shot without, and details aren't quite as defined. However, chromatic aberrations are kept to a minimum and the overall standard of images is still more than reasonable.

Review: Olympus PEN Lite E-PL3

Josie Reavely — Thu, 15 Sep 2011 15:30:00 GMT

Overview

Small but perfectly formed, cameras in the Olympus PEN range are well loved for their stylish good looks and user-friendly handling. One of a trio of new launches from the manufacturer, the new Micro four Thirds PEN Lite E-PL3 continues the PEN trend for combining retro charm with a comprehensive feature set.

It may be smaller than its big brother, the E-P3, but it's brimming with innovative technologies and beginner-friendly characteristics.

Micro Four Thirds (MFT) cameras belong to the relatively new breed of mirrorless interchangeable lens cameras, (popularly referred to as Compact System Cameras, or CSCs) which marry some of the merits of shooting with a DSLR with the reduced size and weight benefits provided by a compact digital camera.

Incorporating a unique internal design, the mechanism inside a CSC differs from that of a traditional DSLR. Omitting the traditional DSLR reflex mirror system and optical viewfinder design, CSCs allow for the lens to be positioned much closer to the sensor. This enables manufacturers to significantly scale down the size and weight of these cameras, without having to scale down the sensor as well.

As a result, CSCs like the Olympus PEN Lite E-PL3 benefit from having a larger sensor than compact camera in a more compact package that's lighter and more portable.

Olympus' past PEN models haven't quite matched up to their rivals in terms of successfully saving on body weight and size. However, the recently released trio of new PENs (the Olympus PEN Lite E-PL3, E-P3 and E-PM1) herald the arrival of a new, smaller, lighter and faster generation of cameras.

The three new PENs share the same basic specifications, but each model sports its own unique design, control layout and dimensions. A few differentiating features highlight the diverse users that the individual cameras are designed to appeal to.

As the 'middle child' of the bunch, the E-PL3 is smaller and lighter than its big brother, the E-P3. It seeks to deliver the same user-friendliness as the smaller entry-level E-PM1, combined with the manual functionality of the more advanced flagship model.

Currently being sold for around £500, the Olympus PEN Lite E-PL3's rivals include the £629 Panasonic Lumix DSC-GF3, the £430 Sony Alpha NEX-C3 and older brother the £790 Olympus PEN E-P3.

Build quality and handling

The first thing that strikes us about the Olympus PEN Lite E-PL3 is its sleek metal finish. It's a beautifully engineered camera that feels extremely solid, with robust, well-placed controls adorning its outer surface.

The styling is in keeping with its predecessor's understated good looks, but the black, white, red and silver options that are available offer some scope for making more of a style statement if you want to stand out from the crowd.

Our polar-white review model proves to be a distinguished-looking option, with subtle silver detailing and controls punctuating the design that add to the camera's overall aesthetic appeal.

A sculpted, rubberised rear thumb grip offers some comfort when grasping the compact system camera, but the completely smooth front panel on the E-PL3 does make it a bit of a slippery customer.

You can buy an optional extra grip that bolts onto the camera to make up for it, but we can't help missing the more ergonomic shape of the older E-PL2 version – not to mention the integral flash.

That said, the achievement Olympus has made in reducing the size and bulk of the new model is impressive when comparing the two cameras side-by-side. The removal of said grip and flash is a necessary trade-off in order to keep the E-PL3's silhouette as slender as possible.

The end result is a camera that's pretty much the same size as the NEX-C3, which Sony is hailing as 'The World's smallest, lightest, interchangeable lens camera with an APS-C sized sensor'. The E-PL3 is a shade taller, but not by so much as to make it noteworthy, but of course it does use a smaller sensor.

While the resolution of the Olympus PEN Lite E-PL3's screen hasn't changed in comparison to its predecessor's, the ratio (now widescreen format) has.

The big news of course is its new, more flexible design: it hinges out from the body and can be tilted to make framing high and low-angle stills and movies that little bit easier than you can with a fixed screen.

It lacks the touch-screen functionality offered by the pricier Olympus PEN E-P3, but you can't have everything at this price-point.

In use, the wide viewing angle and decent anti-reflective coating go a long way to enhancing the usability of the screen, helping to make up for the lack of viewfinder.

But what is disappointing is that the live view image displayed doesn't make full use of the display's dimensions. Instead, it's confined to the central portion of the LCD, with black bars on either side containing shooting information.

Press the one-touch movie button to start filming, however, and the entire screen is filled. It may not be the most detailed screen on the market, but the resolution is adequate for everyday shooting and the decent level of brightness and contrast contributes further to a good overall performance.

The controls are fairly minimal in comparison to the more advanced E-P3. It's an important part of the design that's geared towards keeping the E-PL3 as user-friendly as possible, while still allowing for some manual control.

The top panel houses an easy-to-operate mode dial with a wealth of automatic and manual modes, plus an alternative point of access to the camera's HD movie mode and the fun-to-use Art Filters.

To the right of the articulated LCD around the back, the silver four-way d-pad provides softkey access to exposure compensation, flash, drive mode and metering options, while a rotating scroll wheel that encompasses it offers an alternative means of quickly scrolling through menus and on-screen options.

The control layout is fuss-free and easy to navigate, resulting in an overall pleasurable handling experience that beginners and more seasoned enthusiasts alike should find simple to get to grips with.

Performance

Headlining the Olympus PEN Lite E-PL3's list of upgraded features is a speedy new autofocus (AF) system, which Olympus claims to be the fastest on the market (a title shared by the E-P3, which sports the same new system).

The newly-developed 35 point system is incredibly responsive, finding an instant lock in most cases, with a newly-added AF-assist lamp lending a helping hand when the light levels start to drop.

Accuracy is impressive, with the camera's autofocus system proving to be unfazed by off-centre subjects.

Its TruePic IV processor drives the E-PL3's zippy performance, with the added benefit of enabling full-time AF and subject tracking. The latter feature works pretty well in practice with moderately paced subjects, but it starts to struggle if you try to keep up with particularly fast movement. But this factor alone doesn't take the shine off the E-PL3's impressive capabilities.

Equally remarkable is this little CSC camera's near-immediate start-up. Unlock the lens, which retracts into a locked resting position when you want to stow the camera away, and you're ready to shoot the second you spot a photo opportunity. Shot-to-shot times are also very quick, even when you're shooting RAW and JPEG files simultaneously.

Art Filters make another welcome appearance on the Olympus PEN Lite E-PL3's mode dial – a fun feature that we've always liked about the PEN series.

With the E-PL3 you get six – compared to the E-P3's ten – different settings to choose from. These filters are Pop Art, Soft Focus, Grainy Film, Pin Hole, Diorama and Dramatic Tone.

We found we could take or leave the Dramatic Tone filter – its HDR-esque effect might be a little strong for some tastes. The vintage-style Pin Hole and miniaturising Diorama remain our firm favourites, with each producing compelling images imbued with their own unique aesthetic qualities.

The Olympus PEN Lite E-PL3 offers a range of sensitivity settings spanning ISO 200-12,800, with 19 options in total (plus Auto). Noise is pretty well controlled up to and including ISO 6400 – the maximum setting we'd recommend if you want to shoot in low light without sacrificing too much detail.

The very top setting produces somewhat impressionistic results, with a lot of noise and softening of detail. It's there if you really need it, but is best avoided if you want to make high quality prints from your shots.

For the best results, shooting RAW files offers more scope for noise removal at the processing stage, and – although shots will require extra sharpening compared to the E-PL3's JPEGs – it's possible to get some very satisfying images using this method.

Colours are generally very pleasing, although images shot under tungsten lighting can turn out very warm indeed. Shooting RAW, or manually adjusting the WB setting, solves the issue.

Accuracy in day-lit scenes is good, and there's a decent array of options available to help you tweak the appearance of your shots in-camera if you so wish.

The HD (1080i) video mode the E-PL3 offers can be used in Auto, or any of the P, S, A and M modes, giving you as much or as little control over your movies as you want. Video quality is pretty good on the whole, save for some warping of verticals and smearing of detail if you pan too quickly.

The built-in stereo microphones do a good job of picking up ambient sound, but they are quite sensitive, which means they also record the sound of you operating the camera, as well as any breeze if you're shooting outdoors.

The AF system is very responsive and incredibly quiet, though, so there are no issues with mechanical noise being added to your soundtracks.

The 14-42mm f3.5-5.6 kit lens feels a little lightweight and – dare we say – cheap compared to the superb build quality of the camera body itself. But with its stylish silver finish, it looks the part.

The focusing and zoom rings are pretty smooth to operate, and the lens itself puts in a fairly good optical performance, given its kit-lens status.

Sharpness is so-so, particularly at the 42mm end of the focal range, and sensor-shift image stabilisation proves to be a welcome measure that helps make up for the relatively slow maximum aperture range.

On the whole, though, this is a useful everyday lens that'll tide you over until you feel ready to explore the vast range of other MFT optics available.

Image quality and resolution

As part of our image quality testing for the Olympus E-PL3, we've shot our resolution chart with the Olympus M. Zuiko 14-42mm f/3.5-5.6 II lens mounted.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 200 the Olympus E-PL3 is capable of resolving up to around 22 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 200, score: 22 (see full image)

ISO 250, score: 22 (see full image)

ISO 320, score: 22 (see full image)

ISO 400, score: 22 (see full image)

ISO 500, score: 22 (see full image)

ISO 640, score: 22 (see full image)

ISO 800, score: 22 (see full image)

ISO 1000, score: 22 (see full image)

ISO 1250, score: 20 (see full image)

ISO 1600, score: 20 (see full image)

ISO 2000, score: 20 (see full image)

ISO 2500, score: 18 (see full image)

ISO 3200, score: 18 (see full image)

ISO 4000, score: 14(see full image)

ISO 5000, score: 14 (see full image)

ISO 6400, score: 14 (see full image)

ISO 8000, score: 12 (see full image)

ISO 10000, score: 12 (see full image)

ISO 12800, score: 12 (see full image)

Raw images

ISO 200, score: 24 (see full image)

ISO 250, score 24 (see full image)

ISO 320, score: 24 (see full image)

ISO 400, score: 24 (see full image)

ISO 500, score: 22 (see full image)

ISO 640, score: 22 (see full image)

ISO 800, score: 22 (see full image)

ISO 1000, score: 22 (see full image)

ISO 1250, score: 22 (see full image)

ISO 1600, score: 22 (see full image)

ISO 2000, score: 22 (see full image)

ISO 2500, score: 20 (see full image)

ISO 3200, score: 18 (see full image)

ISO 4000, score: 14 (see full image)

ISO 5000, score: 14 (see full image)

ISO 6400, score: 14 (see full image)

ISO 8000, score: 14 (see full image)

ISO 10000, score: 14 (see full image)

ISO 12800, score: 14 (see full image)

Noise and resolution

These graphs were produced using data generated by DXO Analyzer.

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG Signal to noise ratio

JPEG images from the Olympus E-PL3 show a better signal to noise ratio than the Panasonic Lumix GF3, Samsung NX11 and Sony NEX C3 between sensitivities of ISO 400 and 1600.

RAW Signal to noise ratio

Converted RAW files from the Olympus E-PL3 show a better signal to noise ratio than the Panasonic Lumix GF3, Samsung NX11 and Sony NEX-C3 above ISO 200, showing the Olympus E-PL3 produces cleaner and more detailed images.

JPEG Dynamic range

This chart indicates that the Olympus E-PL3's JPEGs have a at least a 1EV higher dynamic range than the Panasonic Lumix GF3 and Samsung NX11's JPEG files upto a sensitivity of ISO 3200.

RAW Dynamic range

This chart indicates that the Olympus E-PL3's converted Raw files have a at least a 1EV higher dynamic range than the Panasonic Lumix GF3 and the Samsung NX11, and compare well against the Sony NEX-C3.

Photo samples

JPEGs from the Olympus PEN Lite E-PL3 are detailed, faithfully coloured and pleasingly saturated by default.

The E-PL3's metering system generally copes well with high contrast situations, as demonstrated by the successful capture of both shadow and highlight detail in this image.

See full-res image

On its default colour setting, JPEGs straight out of the camera deliver pleasing colours with just the right amount of saturation.

See full-res image

An example of the sort of result you get when shooting with the E-PL3's Grainy B&W Art Filter – quite an extreme effect, but it works well with high contrast subjects.

See full-res image

The E-PL3's manual controls enable you to set the aperture and shutter speed, so you can be in charge of the depth of field and/or amount of movement recorded in your shots.

See full-res image

Shooting with a relatively wide aperture, it's easy to create images with a shallow depth of field that ensures the focus remains squarely on your main subject.

See full-res image

The E-PL3's 12.3MP CMOS sensor records plenty of fine detail and handles noise well – as shown in this image shot at ISO 1600.

See full-res image

The range of tones captured is impressive, making it easy to create well-balanced shots under bright or stormy conditions.

See full-res image

An example of the results you can get with Olympus' Pin Hole Art Filter – the dark vignette really enhances moody scenes in particular.

See full-res image

The E-PL3's sensor does a good job of recording subtle tonal variations, enabling us to capture a pleasing image of this partially sunlit landscape against the darker sky.

See full-res image

The 14-42mm f3.5-5.6 lens that's part of the standard E-PL3 kit (other options are available) proves to be a useful everyday lens, albeit with a drop in sharpness levels when zooming in.

See full-res image

Lab tests

Our ISO sensitivity tests in the lab reveal that the Olympus PEN Lite E-PL3 performs better than the Panasonic GF3 and Samsung NX11 across the board, and it also manages to outdo Sony's NEX-C3 at some settings.

Viewing images at 100% reveals relatively noise-free images right up to ISO 800, although colour fidelity and the level of sharp detail are well maintained up until ISO 6400. Beyond this point, noise becomes more obvious, but we'd say shots remain usable throughout much of the E-PL3's upper sensitivity range.

ISO 12800 is very noisy and colours look a little muddy, but it's still there if you can't bear to miss an important low-light photo opportunity.

Verdict

The loss of some the previously-mentioned much-loved features seen on the previous Olympus PEN Lite E-PL2 may grate on some existing E-PL2 owners and potential E-PL3 upgraders' nerves.

Only you can decide whether the tilting screen, new sensor and faster performance are enough to justify upgrading to the E-PL3, particularly so soon after the initial launch of the E-PL2, just over six months prior to this new model's introduction.

The asking price of £549.99 at the time of the camera's launch has already dropped on the high street, with a price tag closer to the £500 mark if you shop around online.

Your hard-earned cash does bag you the 14-24mm kit lens, plus that flash unit that's missing from the camera body itself. So, taking into account the features and the superb build quality that the E-PL3 has to offer, we're inclined to say it's worth the money.

The E-PL3 looks stylish and feels like it's really built to last. Plenty of beginner-friendly features are on hand to get you started, with the full complement of manual controls available once your skills develop, so it'll grow with you.

The new AF system is nothing short of excellent and – overall – this camera puts in a good performance in terms of image quality.

We liked

The simple interface, fast AF performance and tilting LCD add to the user-friendliness, responsiveness and versatility of the E-PL3.

The stylish design and metal finish combine to produce a solid, good-looking camera.

We disliked

Noise at the upper end of its ISO sensitivity range means the camera would benefit from being coupled with a faster lens to get the best shots in low light.

There also aren't many differences when compared to the older E-PL2, so potential upgraders may be put off.

The lack of built-in flash means you have to invest in an external one to improve low-light performance.

Final verdict

Putting the previously mentioned, potentially contentious issues aside for a moment, there's no doubting that Olympus has succeeded in creating a mini-marvel with the PEN Lite E-PL3.

It's beautifully engineered, stylish and puts in a blisteringly quick performance. As a compact system camera in its own right, we have to say it offers one of the best user experiences we've encountered to date, and as such we'd happily recommend it to a budding enthusiast in search of lightweight alternative to an entry-level DSLR.

Review: Nikon Coolpix S9100

Gary Wolstenholme — Thu, 15 Sep 2011 12:25:00 GMT

Overview

Slim compact digital cameras with a large zoom lens were first made popular by Panasonic's TZ range of cameras, including the recent Panasonic TZ20 and its 16x zoom lens.

The Nikon Coolpix S9100's design is very similar, with the lens to one side of the body and a large LCD screen dominating the rear, all packaged in a body that's just 34.6mm deep.

Nikon's Coolpix S9100 squeezes an 18x zoom lens and 1080p video recording into a relatively slim body, priced at around £220. The zoom covers a very useful range, equivalent to 25-450mm on a 35mm camera, which should make this camera ideal for travel due to its flexibility and compactness.

The wide-angle lens will be useful for group shots of people, architecture and vistas, whereas the 450mm telephoto lens is best suited for isolating subjects and picking out distant details.

The Coolpix S9100 sits at the top of Nikon's S-Series of cameras, which emphasises stylish design and ease of use, rather than manual controls and customisable functions.

Taking photos in low light is possible thanks to Nikon's 12.1MP back-illuminated CMOS sensor, which enables sensitvity settings as high as ISO 3200. Back-illuminated sensors differ from traditional designs because the circuitry is out of the optical path, increasing the area that can be used to receive light, improving ISO performance and dynamic range.

A combination of sensor-shift and electronic image stabilisation work hard to increase the chance of achieving a sharp handheld shot in low light conditions. Nikon's latest Expeed C2 image processing engine is also included, which promises to improve responsiveness, high ISO sensitivity and the quality of movie recording when compared to previous versions of this technology.

Full HD (1080p resolution) video recording is possible at 30fps for up to 29 minutes at a time, which is a specification that has become pretty much standard on compact cameras of this level. Stereo sound is recorded via the built-in microphone and the zoom lens can be used while recording.

When using the default single AF mode on the Nikon Coolpix S9100, autofocus is disabled during movie recording, which can lead to out of focus videos as you zoom in on your subject. However, full time AF can be enabled in the menu, which attempts to adjust the focus as required.

Face Detection, Blink Detection and Red Eye Reduction are included, to aid ease of use.

But to aid creativity in-camera, Nikon has also included a small selection of special effects modes. These include one to reproduce the look of high contrast monochrome, sepia, high key, low key and selective colour effects.

Build quality and handling

The Nikon Coolpix S9100's stylish metal body has a two-tone finish, available in three colour combinations. The silver camera we reviewed has a high-quality gun metal finish to the front part, with a black back plate.

A finger grip placed on the front of the compact superzoom camera provides a firm hold over the body, enabling it to be used easily with one hand.

The Nikon Coolpix S9100 feels very well built, although at 214g, it isn't overly heavy, and shouldn't weigh photographers down if being carried on a wrist strap all day.

Controls such as the zoom, shutter and mode dial are all within easy reach of index finger and thumb, and a thumb rest is provided on the rear. The thumb rest space is quite narrow, so care needs to be taken not to accidentally press the video recording button next to it.

A rotating dial on the camera's rear speeds navigation though menus and provides quick access to exposure compensation, macro, self timer and flash modes. The dial is quite small, so those with larger fingers may find it a little fiddly to use in a hurry. Care needs to be taken when pressing the OK button in the centre of the dial, because it's incredibly easy to nudge the dial and select something else by mistake.

A built-in flash is hidden in the top of the compact camera body, and can be released via a catch on the edge of the Nikon Coolpix S9100.

The flash doesn't pop up automatically, so it can be easily forgotten. Automatic modes display a message on-screen to remind you to raise the flash ready for the next shot.

A very good anti-reflective coating on the camera's 3-inch screen aids display visibility in bright light. The screen is very sharp and shows contrast in photos well, with all information displayed very clearly thanks to the high 921,000 dot resolution.

Starting the Nikon Coolpix S9100 doesn't take long, with the camera ready to take pictures around two seconds after pressing the power button.

Autofocus is generally very quick too, although it can struggle to focus accurately, especially at the long end of the zoom. This means pictures of fast-moving or erratic subjects can often be missed.  

Performance

For the most part, the Nikon Coolpix S9100 produces sharp images with accurately reproduced colours and contrast, and a large amount of fine detail recorded.

Keeping the pixel count down to a respectable 12.1MP and using back-illuminated CMOS technology has resulted in a camera capable of shooting at higher ISO settings than compact digital cameras could traditionally manage.

Photographs taken at sensitivities of up to ISO 400 show few signs of softening due to noise reduction, retaining fine details and accurate colours well.

Stepping sensitivity up to ISO 800 results in slight softening due to noise reduction, but this is only noticeable on close examination.

Colour saturation and detail are both lost at higher sensitivities, although the performance is still very impressive for a compact camera at ISO 3200, and the images should still make reasonable 9x6-inch photo prints if exposed correctly.

Two metering options are available, and the Matrix option does a good job in a wide range of conditions, although it's easily fooled by strongly backlit subjects and bright, overcast skies. As a result, these types of scenes may require positive exposure compensation to photograph.

A scene mode auto selector function removes the hassle of having to manually change scene modes from photo to photo.

Occasionally this automatic selection may choose an inappropriate scene mode, though. For example, on a dull, overcast day, the scene auto selector will sometimes switch to the night portrait mode, resulting in a long exposure.

Sensor shift image stabilisation mostly works well, although it can occasionally be difficult to achieve satisfactory sharpness at the long end of the zoom, even outdoors, in moderately good light. Due to this, it pays to take extra care when using the telephoto end of the zoom range to ensure there's as little camera movement as possible.

The Nikon Coolpix S9100's auto white balance works well in a wide range of conditions, leaving just enough colour cast to retain the atmosphere of the shot.

A good range of presets are provided for those times where more accurate colour is desirable, and a custom white balance preset can also be taken from a neutral surface.

Distortion can often be a problem with superzoom compact cameras like the Nikon Coolpix S9100. Strong barrel distortion can be seen in straight lines towards the edges of the frame at the wide end of the zoom range, which is quite common. At the telephoto end, there's still a little barrel distortion, although at a much less noticeable level.

Image quality and resolution

As part of our image quality testing for the Nikon Coolpix S9100, we've shot our resolution chart.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 160 the Nikon Coolpix S9100 is capable of resolving up to around 20 (line widths per picture height x100) in its highest quality JPEG files.

Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:

ISO 160, score: 20 (see full image)

ISO 200, score: 20 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 12 (see full image)

Noise and dynamic range

These graphs were produced using data generated by DXO Analyzer.

We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software.

Signal to noise ratio

A high signal to noise ratio (SNR) indicates a cleaner and better quality image.

JPEG images from the Nikon Coolpix S9100 produce a good signal to noise ratio when compared with the Panasonic Lumix DMC-TZ20, Canon IXUS 220 HS and Fujifilm Finepix 550 EXR, beating all but the Canon IXUS 220 HS at ISO 800.

Dynamic range

This chart indicates that the Nikon Coolpix S9100's JPEGs have a at least a 0.5EV lower dynamic range than the comparison cameras up to a sensitivity of ISO 800.

Nikon S9100 review: Sample images

Shutter lag is minimal, even when shooting with the built in flash

(See the full-res image here)

A decent amount of fine detail is captured by the 12.1 sensor

(See the full-res image here)

The telephoto is equivalent to a 450mm lens on a 35mm camera and is perfect for picking out distant details.

(See the full-res image here)

The wide angle is equivalent to a 25mm lens on a 35mm camera and is great for capturing wider views in limited space.

(See the full-res image here)

Barrel distortion can be quite pronounced at the wider end of the zoom range.

(See the full-res image here)

Colours are repriced accurately and contrast is good.

(See the full-res image here)

The zoom range is great for travel, with a wide angle suited to landscape and architecture.

(See the full-res image here)

Contrast is reduced at the telephoto end of the zoom range and the camera sometimes struggles to focus accurately.

(See the full-res image here)

Nostalgic Sepia special Effect

(See the full-res image here)

High Contrast Monochrome Special Effect

(See the full-res image here)

Selective Colour Special Effect

(See the full-res image here)

Verdict

Priced at around £220, the Nikon Coolpix S9100 is a camera that offers good image quality and a flexible zoom range in a compact body at a very reasonable price.

The ease of use will suit point-and-shoot photographers incredibly well, as will the compact dimensions. Having an 18x zoom lens included will add to the flexibility on offer, too.

We liked

A flexible zoom range and good image quality at high sensitivities are packaged in a compact, easy to use body.

We disliked

The fiddly dial on the rear and unreliable autofocus at the long end of the zoom may spoil the experience for some.

Final verdict

Unfortunately there are a few niggles, such as the difficulties with focusing, especially at the telephoto end of the zoom range and with lens distortion.

Despite these shortcomings, with care the Nikon Coolpix S9100 can produce excellent quality images in a wide range of conditions, making it an ideal point and shoot camera for those who travel frequently and will make good use of the extended zoom range.