TechRadar: Photography & video capture news

Is a Samsung Galaxy camera on the way?

Amy Davies — Mon, 13 Feb 2012 13:03:00 GMT

A filing for a Samsung Galaxy camera trademark has sparked rumours that Samsung is about to launch (or at least is working on) a new OS based camera.

The news comes just weeks after Polaroid revealed its Android "smart camera" at CES 2012.

At present, no other camera companies have models with operating systems installed, which gives the benefits of being able to download apps to customise the way the camera works.

It would make sense for companies such as Sony and Samsung to develop app based cameras, as both already have smartphones in the market.

Coming soon

Last week, Olympus told us that apps were "on the list" of things that the company is working on, but a spokesperson for the company revealed that the culture of secrecy meant that giving people the option to change and alter their cameras would be difficult.

Samsung's trademark application was filed under the "Cameras and camcorders", suggesting that it's not just another product under its existing Galaxy line-up of mobile phones.

7 Days in Cameras: CP+ photography show delivers big hitters

Amy Davies — Sat, 11 Feb 2012 14:00:00 GMT

Week in camera news

This week has been all about the big numbers in the photography world, with Nikon unleashing a 36 million pixel DSLR, Pentax revealing a 46MP compact and staggering number of superzoom compacts.

It's been the CP+ photography show in Japan, which usually doesn't mean quite so many releases. But, with 2011 hitting Japanese manufacturers hard, it seems this year they wanted to save some of their goodies for their own home-grown show.

After weeks, months, nay years, of speculation, rumour and gossip, the headline release is the Nikon D800, the company's new semi-pro DSLR.

Also making their debut this week are new cameras from Olympus, Sigma, Pentax and Canon. Read on to find out all of this week's big camera news, each with links to the full story.

Don't forget to let us know what you think over on our Facebook page.

Nikon news

Many of the headline specs of the D800 came as no surprise as it seemed that most of the details had already been leaked online. However, it still impressed us when we went to see it at the beginning of the week.

It features a 36 million pixel sensor, 6fps shooting, 51 autofocus points and many of the same features as its bigger brother, the D4.

Read our Hands on: Nikon D800 review to get a clearer idea of what the new camera is all about. We spoke to Nikon about that huge resolution sensor, who told us it was all about 'choice.'

Some may be disappointed that the D800 doesn't have an articulating screen, but if you're a pro, according to Nikon you won't be. Do you agree that pros don't want articulating screens?

Rod Lawton, one of our friends over at N-Photo magazine, argued that the D800 could take on the might of the hugely popular Canon EOS 5D Mark II. With Canon declining to announce a 5D upgrade this week, will the D800 be a Canon 5D Mark II killer?

Olympus news

We've guessed it was coming for several weeks now, but the Olympus OM-D E-M5 was finally revealed on Wednesday. Featuring a 16 million pixel Live MOS micro four thirds sensor, it's styled after the classic OM series of film cameras.

If you're a little bit confused about the differences between the OM-D and Olympus' other highly specced camera, read our Olympus OM-D E-M5 vs Olympus PEN E-P3 comparison piece and find out which one is for you.

Does the OM-D mean the end of Olympus DSLRs? The company is refusing to rule it out, but it hasn't released a new one for years. We take a look at the likelihood of them making a comeback.

This week also saw Olympus reveal some new compact cameras, including a new 24x optical zoom model. Mark Thackara, the company's UK marketing manager believes that mobile phones will never replace compacts - what do you think?

Sigma news

Nikon wasn't the only one with big numbers this week, Sigma has also unveiled the Sigma SP1 and Sigma DP2 compact cameras which feature a whopping 46 million pixel sensor.

Fovean X3 sensors that are used in these cameras are actually constructed using three layers of 15.3 million pixels, and are shared across Sigma's other cameras, including its flagship DSLR, the Sigma SD1 which also got an update and price reduction this week.

Canon news

A lot of people will be left disappointed that Canon didn't introduce a new DSLR (or compact system camera) at the CP+ show this week.

However, they have introduced three new EF lenses, an underwater compact, a duo of stylish IXUS compacts, two new superzooms and a range of new Powershot A cameras.

Although a CSC isn't forthcoming from the company, a representative told us in an exclusive interview that compact system cameras are a good idea because they bring more people into photography.

Introduced a few weeks ago at CES, Canon's G1 X is what many believe will eventually morph into a mirrorless model, especially with its large sensor. Its biggest rival Nikon was shocked by Canon's decision to produce the camera with one spokesperson telling us the G1 X was for "fanboys" only.

Also this week...

Kodak announced it was going to stop making cameras in order to cut costs, Sony revealed it's NEX lens line-up plans and Pentax unveiled two new tough cameras.

Opinion: Is this the end of Olympus DSLRs?

Rod Lawton — Fri, 10 Feb 2012 17:00:00 GMT

Is this the end of Olympus DSLRs?

The announcement of the Olympus OM-D will bring joy to fans of the old OM-series film SLRs, which were ground-breaking in their day for their compactness, technical sophistication and design.

But the announcement had a sting in its tail. The OM-D is not a DSLR. It's a compact system camera (CSC) in a DSLR's body, and the viewfinder is the electronic sort rather than optical.

Ask any SLR fan - even the best of today's EVFs lack the clarity and immediacy of an optical 'finder.

So does the OM-D finally spell the end for Olympus's digital SLRs?

Mark Thackara, Olympus UK's national marketing manager, won't be drawn: "They [Olympus] haven't ruled out the possibility of a new Four Thirds camera. We know there is a vocal community who would like to see another body in the Four Thirds format, so we will have to wait and see."

The facts, however, speak for themselves. The company's last DSLR was the pro-spec Olympus E-5, back in 2010, and you have to go back nearly three years, to February/March 2009 for the two before that (the Olympus E-450 and E-620).

Micro Four Thirds future

So are compact system cameras really the way forward? Were Olympus's DSLRs really so bad?

Presumably, if enough had been sold they'd still be with us. But it didn't help that endless carping over sensor sizes and pixel counts, mostly from those who'd never picked one up and used it, mean that Olympus DSLRs were often seen as the poor relation to APS-C format cameras.

This was the point; you did actually have to use them. The Olympus E-series DSLRs had a tight, light, precise feel that rival SLRs lacked then and still lack now. They were a lot better in this respect than, dare we say it, Olympus's current PEN-series cameras.

Olympus DSLRs

Take the Olympus E-400, which eventually evolved into the E-450. It had a body barely larger than a DSLR-style compact system camera, but Olympus never upgraded its primitive 10-megapixel Live MOS sensor to the later and much better 12-megapixel version.

And if the E-400 was still around now, and was fitted with the brand new 16-megapixel sensor used in the OM-D - well, would we really need the OM-D?

Olympus would be able to revive its iconic OM brand with a camera which was spiritually and physically much closer to the original.

Instead, what Olympus has launched may well prove to be an excellent camera, but it's pretending to be a DSLR when it isn't. It's a digital replica of the OM rather than a reincarnation.

Compact system camera advantages

The CSC format does have advantages. The removal of the mirror allows straightforward, fast and effective live view operation, always a difficulty for DSLRs. It means that even though the OM-D E-M5 is as broad and as tall as the old E-400, it's a lot less thick in the body. And the electronic viewfinder can display exactly the same information as the LCD display.

There are technical innovations too, like the swivelling, touch-screen display, 5-axis sensor-shift anti-shake system and FAST (Frequency Acceleration Sensor Technology) autofocus.

The OM-D E-M5 is probably going to be a very good camera, but it's not a DSLR. And will it really match the lightness, precision and feel of the DSLR cameras that Olympus used to make?

Maybe, like the song says, you don't know what you've got till it's gone?

Buying Guide: Best flashguns for Nikon DSLRs: 8 tested

Matthew Richards — Fri, 10 Feb 2012 15:50:00 GMT

Flashguns explained

A good flashgun is one of the most essential and versatile DSLR accessories. It's not just for dark times, when you're shooting indoors or at night - a flashgun is equally useful for filling in unsightly shadows in bright, sunny-day portraits.

Unlike the pop-up flashes in most Nikon DSLRs, flashguns give you more power, greater flexibility over lighting techniques and, in some cases, advanced facilities for wireless multi-flashgun shooting.

The maximum power of a flashgun is indicated by its guide number (GN). This is usually stated for shooting at a sensitivity of ISO 100 and a focal length of 105mm. That's because most flashguns have motorised zoom heads that automatically adjust as you alter the zoom setting of your lens, or fit prime lenses of varying focal lengths.

As you stretch from wide-angle to more telephoto focal lengths, the light used to illuminate the periphery of a scene is wasted. So, by zooming the flash head, its light is concentrated on the area that will appear in the photo.

The GN enables you to know the maximum range of the flashgun at any given aperture. You simply divide the GN by the aperture you're using.

As an example, a flashgun with a GN of 40 would enable you to shoot an object from up to 10 metres away with an aperture of f/4, or from up to five metres away with an aperture of f/8. That might sound like more power than you'd ever need, but there are other factors to take into account.

Directing flash

The GN gives maximum distances only when you're aiming the flashgun directly at a target. However, one of the most essential features of any good flashgun is a bounce and swivel head.

Due to the small physical size of a flash head, direct flash produces 'hard' lighting that can be unflattering for portraits, and cause dark shadows. By tilting the flash head upwards in indoor portraiture, you can bounce the flash off a white ceiling. This effectively gives a much larger source of light, which makes for softer lighting.

The downsides of this are that the distance between the flashgun and target is increased and not all of the light is reflected, so flashguns with extra maximum power come into their own. The swivel facility does the same job when you're shooting in portrait orientation.

Working out the manual flash setting, especially when bouncing flash off walls or ceilings, can be a nightmare. Thankfully, all the flashguns in this test are fully compatible with Nikon i-TTL (intelligent Through The Lens) flash metering. This aims to ensure accurate and consistent flash power for correctly exposed images in any conditions.

A practically imperceptible burst of pre-flashes is fired to work out the correct flash exposure for the scene, just before the camera's shutter opens and the shot is taken. That's the theory, anyway, although we found the accuracy of i-TTL metering varies with different flashguns in our tests.

The zoom range of most flashguns is about 24-105mm, but this is for full-frame cameras such as the Nikon D700. However, DSLRs such as the Nikon D3100, D5100 and D7000 and D300S have a smaller APS-C sensor. With the 1.5x crop factor of these cameras, the effective zoom range translates to 16-70mm.

With many flashguns, this means that some light is wasted because there's no facility for setting them up for use on DX (APS-C) rather than FX (full-frame) cameras. It's not always the case, as the Nikon SB-700, SB-900 and recently announced SB-910 are clever enough to sense what type of DSLR they're attached to and adjust themselves to DX or FX mode automatically.

With the Metz 50 AF-1, you can make the change manually in the custom settings, although the correlation between effective focal length and flash zoom setting still doesn't display accurately between 16 and 24mm.

For ultra-wide-angle shooting, most flashguns feature a diffuser panel, which usually flips down from the top of the flash head when required.

This diffuser often shares its stowaway area with a fill‑in reflector card that can slide forward and be used to bounce flash. It's handy in portraiture, where you can use the flashgun in its vertically upright bounce mode while reflecting a little light into the subject's eyes.

Another useful feature is an AF (autofocus) assist beam. This typically fires a red coloured grid onto the target to help the camera autofocus in gloomy light.

When you're only using a small fraction of the flashgun's total available power, recycling times (the time it takes the flash to get ready to fire again) are usually short. However, there can be quite a delay after a full-power flash is fired. This can be anything from 4-22 seconds when you're using alkaline batteries.

Recycling speeds can generally be increased by using NiMH rechargeable batteries, and these are a much more cost-effective option for extended shooting sessions too.

Key flashgun features

Look out for these key features when buying a flashgun. A wider range of features will expand your shooting options.

Wide-angle diffuser

Flipping down over the front of the flash head, this diffuses the light to give a wider area of coverage. This is essential when you're using ultra wide-angle lenses.

Master/slave modes

Advanced flashguns can often be used as either master or slave units in multi-flashgun lighting setups, enabling you to get more exotic lighting effects.

AF illuminator

A patterned grid of light, usually red in colour, enables the camera's autofocus system to lock on to targets accurately, even in very dark conditions.

Bounce and swivel head

This enables you to bounce light from the flashgun off walls and ceilings for a softer lighting effect. It's most useful for portraiture.

LCD panel

For making the most of advanced settings, or for arranging custom functions, an LCD status display is an absolute necessity.

Onboard controls

These should enable simple yet effective hands-on control of flashgun settings. They're usually much quicker than camera-based menu options.

Flash stand

This lets you position your flash wherever you like while keeping your hands free, and means you don't need a bulky lighting stand.

Sunpak PF30X

Sunpak PF30X - £82/ $128

The Sunpak PF30X is larger than the Nikon SB-400 but far smaller than the other flashguns in the group. It runs on just two AA batteries and features a bounce-only head with no swivel adjustment.

Full power output is rather low, at GN 30, although there's no zoom facility in the head, so the quoted power doesn't benefit from you zooming in to match a telephoto focal length.

The control panel is basic, with no fancy features or even an LCD information panel. You can only use the Sunpak in i-TTL mode, as manual power adjustments aren't available either on the flashgun or via the camera's flash menu.

There are a couple of switches with LED confirmation for altering flash exposure compensation between +/-1.5EV, but that's it.

Performance

The i-TTL metering proved quite accurate in our tests. For more advanced use, though, the lack of manual power adjustments is a bugbear, as is the lack of swivel for bouncing flash.

The full-power recycle times of 16 and 22 seconds for NiMH and alkaline batteries are really tedious, taking up to four times longer than Nikon's SB-400.

Flash output

There's no facility to set manual flash power on the Sunpak, so it could only really be tested at maximum output, where it acquits itself fairly well.

Aperture reading at 1m
Theoretical: 30
Measured: 22

i-TTL exposure accuracy

Almost as accurate as the Nikon flashguns on teat, the Sunpak does well in terms of i-TTL accuracy, with a flash exposure of -0.3EV in this case.

iTTL exposure accuracy
Measured: -0.3EV

Colour accuracy

As is the case with i-TTL metering, there is practically nothing to separate colour accuracy between the Sunpak and the Nikon SB-400 and SB-700 flashguns.

Colour accuracy
Measured: 18

Image quality verdict

The lack of manual power settings might be frustrating for advanced users, but i-TTL metering and colour accuracy are both pretty good.

Nikon SB-400 Speedlight

Nikon SB-400 Speedlight - £125/ $195

Ideal for photographers who want to keep things simple, the Nikon SB-400 really couldn't be any easier to use. There's no LCD status panel or onboard controls, although you can still select modes such as red-eye and slow sync via the camera, or apply flash exposure compensation.

Although small, the SB-400 is nevertheless well made, with a metal mounting plate and a solid feel. In keeping with the downsized build, the flashgun runs on two AA batteries, rather than a more conventional four, and its maximum rated power of GN 30 is the joint lowest in the group, along with the Sunpak PF30X's.

Also like the Sunpak, there's a full 90 degrees of bounce, but no swivel.

Performance

Despite not having a zoom facility, or even an autofocus illumination lamp, the SB-400 does well. In both the direct and bounce modes, i-TTL metering is accurate, and manual power adjustments are available via camera menus on the latest Nikon DSLRs.

However, the reduced height puts the flash tube close to the lens, so you're more likely to need to shoot in bounce mode to avoid red-eye.

Flash output

The tiny SB-400 doesn't have a massive power output, and like the rest of the flashguns on test, it's actual output falls some way short of the claimed figure.

Aperture reading at 1m
Theoretical: 21
Measured: 32

i-TTL exposure accuracy

At -0.2EV, the SB-400 comes extremely close to a perfect flash exposure, matching the larger Nikon SB-700 and SB-900 in terms of i-TTL accuracy.

i-TTL exposure accuracy
Measured: -0.2EV

Colour accuracy

Compared with the bigger Nikon flashguns, colour balance is slightly on the warm side. However, this could be quite flattering for portrait subjects.

Colour accuracy
Measured: 11

Image quality verdict

With its small flash head positioned close to the camera, image quality is only good in bounce mode, for which the SB-400 is a bit lacking in power.

Polaroid 160 Dua Flash

Polaroid 160 Dua Flash - £160/ $249

With the popularity of video capture in DSLRs, the Polaroid 160 Dua Flash aims to cater to your every need. As well as a regular bounce and swivel flash head, a secondary LED array gives constant lighting for video shooting.

However, the LED light source replaces the conventional addition of an autofocus illuminator. Worse still, we found that the Polaroid stopped the camera's built-in AF illuminator working.

Onboard controls look and feel dated, and manual power adjustments are only available between full and 1/16 power, whereas most competing flashguns go down to 1/128.

There's also no onboard facility to adjust flash exposure compensation, which has to be done via the camera. Wireless master/slave options are lacking.

Performance

In i-TTL mode, flash exposures were often a little on the bright side in our tests, and recycling speed from full power was pedestrian.

The motorised zoom, which has a meagre range of 24-85mm on full-frame cameras, is particularly slow and noisy, and there's no ability to switch this for correct zoom settings on APS-C cameras.

Flash output

The maximum power proves quite disappointing compared with Polaroid's claims, and this continues throughout the manual flash range down to 1/16.

Aperture reading at 1m
Theoretical: 45
Measured: 22

i-TTL exposure accuracy

Uniquely in the group, the Polaroid is a little on the bright side, delivering +0.3EV flash exposures that are more likely to wash out highlights.

i-TTL exposure accuracy
Measured: +0.3EV

Colour accuracy

There's a slight blue colour cast to images. It's quite marginal, though, and rather less noticeable than that produced by the Nissin flashgun.

Colour accuracy
Measured: -2

Image quality verdict

A little too bright in most shooting conditions, when we used i-TTL flash metering the Polaroid was good in terms of colour accuracy.

Metz 50 AF-1 Digital

Metz 50 AF-1 Digital - £180/ $280

The Metz 50 AF-1 feels very robust considering its price. Bettering the company's previous model, it boasts a rugged metal (rather than plastic) mounting plate and a maximum power output of GN 50, instead of 48.

The bounce range of -7 to 90 degrees is generous, and the head swivels a full 180 degrees to the left, but only 120 degrees to the right.

A fairly typical 24-105mm motorised zoom range is available for full-frame cameras, and you can adjust the display to take the crop factor of APS-C cameras into account.

For multi-flashgun setups, there are two slave modes: one offers full wireless communication with the camera or master flashgun, while the other senses another flash via a light-sensitive cell.

Performance

The menu system is a little arcane, and not as intuitive as those on the Nikon SB-700 and SB-900. But after a bit of practice, adjustments become fairly easy.

The manual flash settings are mostly accurate, but we found practically no difference between the 1/32 and 1/64 settings. In i-TTL metering mode, the Metz often underexposed images.

Flash output

In the range between 1/4 and full output settings, the Metz is a little down on power. However, accuracy improves at lower output settings.

Aperture reading at 1m
Theoretical: 50
Measured: 32

i-TTL exposure accuracy

In i-TTL mode, images are often underexposed by a full stop (-1EV), meaning dark pictures and requiring flash exposure compensation to be dialled in.

i-TTL exposure accuracy
Measured: -1.0EV

Colour accuracy

Colour rendition is good, but we found we usually had to add positive flash exposure compensation in order to avoid colours looking quite muddy.

Colour accuracy
Measured: 16

Image quality verdict

The Metz gun often suffered from flash underexposure in i-TTL mode during our tests, making for dull-looking images. Colour accuracy is good, though.

Nissin Di866 MkII Speedlite Pro

Nissin Di866 MkII Speedlite Pro - £230/ $358

A high-end flashgun at a reasonable price, there's a lot to like about the Nissin Di866 MkII Speedlite Pro. Uniquely in this group, it has a colour LCD info panel that might sound gimmicky but makes for easy navigation of the advanced menu options.

These include variable speed repeating strobe bursts and full wireless master/slave operation with other Nikon or Nissin flashguns.

Another neat feature is that additional AA battery holders are available, speeding up the process of replacing charge.

The Nissin features a secondary, smaller fill flash strobe, too, also unmatched in the group. This is useful for supplying direct flash when you're using the main flash head in bounce or swivel mode.

Performance

Recycling speeds from full-power flashes are three seconds slower than the Nikon SB-700's when using NiMH batteries, and the Nissin takes twice as long to recycle on alkaline cells.

There's a tendency towards underexposure in i-TTL mode, and the motorised zoom is a little noisy. There's also no facility for switching from FX to DX zoom settings. Still, it's a good flashgun for the price.

Flash output

The full power output lags quite a way behind the manufacturer's stated maximum, and accuracy is disappointing at 1/2 and 1/4 settings as well.

Aperture reading at 1m
Theoretical: 60
Measured: 32

i-TTL exposure accuracy

Like the Metz, the Nissin often underexposed images when we used it in TTL mode. In this case, it's given the same -1.0EV flash exposure.

i-TTL exposure accuracy
Measured: -1.0EV

Colour accuracy

Along with dark exposures, colour balance is a little on the cool side. This makes the Nissin less than ideal for skin tones and portrait photographs.

Colour accuracy
Measured: 20

Image quality verdict

Many of our test images are too dark in i-TTL mode, and the Nissin lacks accuracy in manual mode as well. Consistent results are a challenge.

Sigma EF-610 DG Super

Sigma EF-610 DG Super - £230/ $358

Sigma's latest flashgun edges ahead of the other models on test to give the highest-rated maximum power output in the group. Like the Polaroid, it has 0-90-degree bounce and 180-degree swivel to the left, but only 90 degrees to the right.

Unlike the Polaroid, the Sigma EF-610 DG Super boasts full wireless master/slave operation for multi-flashgun setups.

Onboard controls include direct access to +/-3 stops of flash exposure compensation, as well as manual power settings, going from full to 1/64. That's a stop less than most similar flashguns, which go down to 1/128, but at least the individual increments proved accurate in our tests.

Performance

There's a lot of punch, but from full-power flashes, recycling times are a disappointing eight or 10 seconds when using NiMH or alkaline batteries respectively. The Sigma unit also often underexposed shots in our tests when we used i-TTL flash metering, so we had to resort to flash exposure compensation more than we'd have liked.

The onboard menu system is a little confusing too - we needed the manual quite a lot.

Flash output

The Sigma flash has the highest GN in the group, but power is quite lacking at the maximum setting. It also tracks fairly low throughout the manual range.

Aperture reading at 1m
Theoretical: 61
Measured: 32

i-TTL exposure accuracy

A little on the dark side, the Sigma gives us -0.7EV flash exposures. This isn't as low as the results from the Metz and Nissin, but is still rather gloomy.

i-TTL exposure accuracy
Measured: -0.7EV

Colour accuracy

The Sigma flash adds a touch of warmth to our colour rendition tests. Technically, results are poor for accuracy, but images look quite natural nevertheless.

Colour accuracy
Measured: 23

Image quality verdict

Like the Metz and Nissin guns, the Sigma unit often gives underexposed results in i-TTL mode, and colour accuracy could be better.

Nikon SB-700 Speedlight

Nikon SB-700 Speedlight - £250/ $390

With a carry pouch and a range of accessories, the Nikon SB-700 is a flashgun feast. As well as a stand for mounting the flashgun on a tripod for remote firing, you get a diffusion dome and two colour filters.

The flashgun automatically senses when the diffusion dome is fitted, locking the motorised zoom at its wide-angle setting to enable soft, even lighting. Auto-sensing also applies to the amber and green filters, adjusting White Balance for tungsten or fluorescent ambient lighting respectively.

The control panel and menu system have been overhauled from the SB-600's, and ensure intuitive operation. The SB-700 is superb for wireless multi-flashgun setups, where it can be a master or slave unit.

Performance

Maximum power is modest, at GN 37, but this is fine for general use. We liked the way the flashgun automatically converts between full-frame and APS-C cameras.

Other finery, which is shared with the more expensive SB-900 and SB910 flashguns, includes a choice of three different illumination patterns for standard, centre-weighted or 'even' corner-to-corner lighting.

Flash output

Still a little way short of the expected overall power output, the SB-700 is, nevertheless, very consistent throughout the rest of the range.

Aperture reading at 1m
Theoretical: 28
Measured: 22

i-TTL exposure accuracy

As with the other Nikon flashguns in the test group, the SB-700 proves almost impossible to fool, giving accurate results time after time.

i-TTL exposure accuracy
Measured: -0.2EV

Colour accuracy

Colour rendition is indistinguishable in shots taken using the SB-700 and SB-900. Both flashguns give natural-looking results, with neutral greys.

Colour accuracy
Measured: 9

Image quality verdict

There's practically nothing to separate image quality between the SB-700 and the fully professional SB-900, making the former a bargain.

Nikon SB-900 Speedlight

Nikon SB-900 Speedlight - £325/ $506

Nikon's pro flashgun, the SB-900 has a beefy maximum output of GN 50. It launched with exotic features such as simplified master/slave wireless operation, automatic detection for cameras with different image sensor sizes, three different lighting pattern options, and extras such as coloured filters and a diffusion dome, though these features have now trickled down to the cheaper SB‑700.

Other similarities include a thermal protection system, with a visual temperature display on the back.

However, the SB-900 adds repeating flash for a strobe effect, plus an auto-aperture mode for balanced exposures. Nikon has just announced a replacement, the SB-910.

Performance

Working seamlessly with Nikon cameras, i-TTL metering proved entirely reliable in our tests. And while the recycling speed from a full-power flash is one second slower than with the SB-700, it's still fast, at four seconds with NiMH batteries. Overall, the SB-900 is the ultimate choice for professionals, but the SB-700 is better value for amateurs.

Flash output

The SB-900 matches the Metz for outright power, and it proves really consistent throughout the whole range, right down to 1/64 power.

Aperture reading at 1m
Theoretical: 34
Measured: 32

i-TTL exposure accuracy

You'd expect supreme accuracy from Nikon's top professional flashgun, and that's what you get, although it's matched by the SB-400 and SB-700.

i-TTL exposure accuracy
Measured: -0.2EV

Colour accuracy

The fantastic power ouput of Nikon's biggest flashgun is matched by good performance in our colour accuracy tests across the spectrum.

Colour accuracy
Measured: 18

Image quality verdict

For accuracy in both manual and i-TTL modes, the SB-900 is a standout performer, and colour accuracy is impressive. It's the top pro choice.

Verdict: best flashgun for Nikon cameras

Compared with the outdated Nikon SB-600, the new Nikon SB-700 is a big leap forward. A key feature is auto-sensing for FX/DX-format cameras, the motorised zoom and focal length display being automatically switched accordingly.

Auto-sensing is also on hand for use with the amber and green filters supplied, as well as the diffusion dome. What's more, advanced features are instantly accessible from a brilliantly simple and intuitive onboard control system. These extras include fully wireless master/slave operation for multiple flashgun setups, plus three alternative lighting patterns

The Nikon SB-900 adds greater maximum power and extra flash modes. For most of us, though, the SB-700 is more than capable enough for practically any shooting scenario.

Meanwhile, the Nissin Di866 MkII is a similarly full-featured flashgun, with neat extras such as a secondary fill-flash tube and colour LCD info panel. It's good value, but recycling speeds were slower than on Nikon's flashguns, and it frequently suffered from underexposure in i-TTL mode.

The similarly high-spec Sigma EF-610 DG Super and less advanced Metz 50 AF-1 also tended towards underexposure.

The Polaroid 160 Dua Flash was less impressive. Substituting the AF assist beam for an LED array giving continuous lighting might sound like a good idea for video shooting. Ultimately, though, it's quite a basic flashgun.

The smaller Sunpak PF30X lacks even basic onboard controls and has no facility for adjusting manual power settings. The Nikon SB-400 is a better option if compactness is top of your wish list.

Verdict

The Nikon Speedlight SB-700 gives consistent results you can count on, and is an absolute joy to use.

Exclusive: Nikon: pros don't want articulating screens

Amy Davies — Fri, 10 Feb 2012 12:44:00 GMT

Nikon has said that it doesn't believe that pro photographers want articulating screens on DSLRs, instead choosing to use a fixed LCD for the new Nikon D800.

Speaking to TechRadar, James Banfield, Group Support & Training Manager for Nikon, said, "Because it [the D800] is a pro-end camera, it's not a feature that is often asked for.

"What we tend to find is that people use third party adapters when shooting video if that's what they want.

"The screen on the D800 is really clear, regardless of which angle you want to shoot at," he explained.

The D800 features a 3.2 inch, 921k dot, wide-viewing angle LCD monitor with automatic brightness control, which the company says is capable of delivering much wider colour reproduction than previous models.

Other models

Meanwhile, articulating screens tend to be found on beginner or enthusiast level cameras, such as Nikon's D5100 and the Canon EOS 60D.

Tiltable screens are a common feature often found on compact system cameras, such as the Olympus PEN E-PL3.

"Articulating screens tend to be aimed at the beginner audience as they've seen them on a compact before, and they're more likely to use features such as Live View.

"It's about understanding the given audience for any particular camera."

The Nikon D800 also features a 36 million pixel sensor, 51 autofocus points and 6fps shooting.

Exclusive: Canon: G1 X is a 'new category'

Amy Davies — Fri, 10 Feb 2012 11:30:00 GMT

Canon believes that there is currently no competitor for its recently announced G1X premium compact camera.

The Canon G1 X was launched during CES 2012 and features an almost APS-C sized sensor and 4x optical zoom. It doesn't replace the G12 premium compact, with Canon instead branding the camera as a new category.

Many people were expecting Canon to launch a compact system camera, as it is now the only major camera manufacturer on the market without a model. Its biggest rival, Nikon, was also surprised by the decision to announce a new premium compact.

Some now believe that the sensor found inside the G1 X is what will eventually make its way into any CSC it chooses to release, but for now, Canon is maintaining that there is no obvious competitor for the G1 X.

David Parry from Canon UK told TechRadar: "This is a pretty unique camera in the market. If you look at other ones available, you've either got ones with interchangeable lenses, or you've got those with a similar look and design but don't have the zoom flexibility."

Perhaps the most likely competitor is the Fujifilm X100, which proved extremely popular. It boasts an APS-C sized sensor, which is bigger than the G1 X's, but it has a fixed focal length lens.

No retro

The Fujifilm X100 is regularly lauded for its retro styled good looks, but Canon has decided not to go down the same trend.

"There are lots of cameras out there that have gone for the chrome look," Parry said, "But we really wanted to stick with a form factor and look that people are comfortable with.

"We have to remember that cameras at this sort of level are going to be used by people who see cameras as tools, or use them to get the right image. They don't want to relearn how a camera works."

According to Parry, the G1 X has been in development for a long time. "It's been a dream of Canon Inc to actually build a camera like this for quite a while," he told us.

"It's finally come around to being produced, and I think we've hit the nail on the head with what we were trying to do, which is SLR style image quality in a compact form."

Exclusive: Olympus: Phones will never replace compacts

Amy Davies — Fri, 10 Feb 2012 09:57:00 GMT

An Olympus representative has said that he believes that compact cameras will survive, but only if they can offer something unusual, such as long zooms.

Despite the apparently falling popularity in compact cameras, several key manufacturers have launched a wide range of new models at both CES and the CP+ show taking place this week in Japan.

One of the key features that a lot of these cameras have in common is their long zoom capabilities. Olympus itself launched a SZ-31 zoom camera this week that features a massive 24x zoom.

Speaking to TechRadar, Mark Thackara, Olympus UK marketing manager, said, "The concern for us is that we have to keep giving people a reason why they should have a camera as well as a phone."

"That's all about zoom, and I can't see that changing. They will never fit a 24x [optical] zoom in a phone - and if they do, I'll eat my hat."

Accessories

Currently, mobile phones rely on digital zoom to increase their reach while there are also accessories for some, notably the iPhone, which allow extra lenses to be attached.

Samsung experimented with the idea of an optical zoom camera phone back in 2006, and there has been the odd mobile pop up in Japan, but for now at least it looks like mobile manufacturers have given up on the idea.

It does seem unlikely that phone companies will want to ruin the sleek exterior of pocket-friendly mobile phones, but with the introduction of the Polaroid "smart" camera that runs the Android operating system and houses a 3x optical zoom, perhaps we will begin to see some interesting hybrids appearing on the market.

Until then, it seems increasingly likely that camera manufacturers will continue to play a game of "mine's bigger than yours" when it comes to zoom capability.

Nikon D800 pre-orders frozen in US

Amy Davies — Thu, 09 Feb 2012 16:48:00 GMT

Pre-orders of the brand new Nikon D800 full-frame DSLR have been suspended on some US sites, apparently because the demand is too high.

The 36MP camera was only announced on Tuesday, but already the D800 is proving so popular that several key US retailers, including Amazon, have stopped offering the camera up for sale.

In the UK, there is no listing for the D800 on Amazon, but it is currently still available to pre-order from dedicated camera manufacturers such as Warehouse Express and Park Cameras.

A retailer speaking to US website Slashgear said, "The item is in high demand and supplies from the manufacturer are limited. Its availability will fluctuate, and if the item is not currently in stock, we cannot guarantee that will receive additional quantities in a timely manner."

D4 also delayed

This is the second worrying piece of news regarding Nikon cameras of late, after it was revealed that the Nikon D4, its flagship pro model announced in January, will also be delayed.

The D800 features a 36 million pixel sensor, making it the world's highest resolution full-frame camera. It's priced at around £2,400, making it around half the asking price of a D4, although it shares many identical features.

Pentax to produce Ricoh cameras

Amy Davies — Thu, 09 Feb 2012 16:44:00 GMT

Ricoh has announced that its cameras will be developed and produced by Pentax, the company it bought last year in a £70m merger.

The news won't come as surprise to many, as Pentax is the more historic brand and produces more cameras than Ricoh. The move makes sense to both parties as it means technology and resources can be shared.

Writing on the company's website, Ricoh said, "In an effort to strengthen customer relationships and provide innovative products and services, Ricoh will re-organise its structure."

New cameras

The swap will be effective worldwide from April 1, 2012, and will give "PRI" (Pentax Ricoh Imaging) the function of digital cameras for the consumer market, which will include support for Ricoh branded cameras.

Ricoh meanwhile, will continue to develop its security system business and imaging solutions for the business to business market.

Speaking at the launch of the new Pentax K-01 camera last week, Jonathan Martin described to TechRadar how the merger was going.

"At the moment we haven't seen too much influence at a local level, but the future looks positive with Ricoh as our parent company," he said.

"From our point of view, it can only be a good thing [the merger] for our brand, and they want us to grow our business."

Ricoh cameras include the GXR, the world's first interchangeable unit camera. It is not yet known whether new Ricoh cameras from the group will be branded as Ricoh, Pentax or perhaps even Ricoh-Pentax.

Buying Guide: Best photographers' vests and jackets: 6 tested

Josie Reavely — Thu, 09 Feb 2012 14:58:00 GMT

Photographer's vests and jackets explained

When shooting outdoors, especially on long photo shoots, you'll often need comfortable clothes that protect you and your camera from temperature changes and bad weather.

Equally as important, they need to feature plenty of pockets in order for you to be able to store essential accessories. That's why a photographer-friendly vest or jacket is useful.

The exact features you need will largely depend upon your individual style of shooting and photographic genre. Nevertheless, here are the key features to look out for when choosing a photography jacket or vest:

Fit

Make sure you try before you buy wherever possible, or if you're buying online pay close attention to the manufacturer's sizing guidelines. Also look out for features such as draw cords at the waist/hem, adjustable sleeves and so on, since these all help you to tailor the garment to your shape for the highest level of comfort.

Weatherproof features

Windproof fabric, taped seams, waterproofing treatments such as Nikwax and Teflon coatings, generous flaps to protect pockets and well-proportioned hoods with visors are all desirable when it comes to keeping yourself protected from the elements.

Insulation

If you're a cold-weather photographer, you could consider a specialised winter garment rather than an all-season jacket, or opt for a lightweight version that you can use as part of a layering system.

Ventilation

Breathable fabrics and built-in vents around the back and under the arms will enable moisture to escape, helping you to stay dry and comfortable.

Storage

Check that the jacket offers enough pockets for your individual needs, and that the method of fastening them suits your photographic genre (ie avoid Velcro if you need to stay quiet while shooting).

Paramo Aspira Smock

Paramo Aspira Smock - £290

We tested the ladies' version of the Paramo Aspira Smock, but there's a smock available for men too, costing £300.

Both are offered in a range of colours, with our test product featuring an attractive blue design with silver reflective piping. If you want something even more striking, ladies can opt for the hot pink instead, while men have the choice of more muted red, green and blue hues.

Available in sizes ranging from S-XL (and XXL for men) the Paramo Aspira Smock features a generous cut that enables multiple layers to be worn underneath while maintaining freedom of movement, and draw cords around the waist and hem enable you to customise the fit to suit your shape.

Designed with the more intrepid outdoor enthusiast in mind, the jacket boasts a number of features to enable climbing accessories such as helmets and harnesses to be worn, with a large adjustable hood that easily provides plenty of protection, whatever headgear you're wearing.

The integral wired visor does an excellent job of keeping rain at bay - a particular bonus if you wear glasses.

As well as being stylish and practical, we found the Paramo Aspira Smock to be warm and fully waterproof, protecting us from the worst of the British winter weather. The insulation offered is very effective, although this makes the smock more suitable for cold weather use alone - we suspect it'll be too warm for milder conditions.

There are plenty of good-sized pockets, including two internal 'dry' chest compartments for you to stow your memory cards, filters, GPS device and/or other accessories.

Upper arm vents provide a means of temperature control, while the two-way zip on the front of the smock offers further ventilation and easy, one-handed access to the internal pockets.

In addition to a range of other pockets that are quick and easy to access, removable foam pads around the back offer protection and airflow, keeping your back cool if you're wearing a camera backpack.

Billingham PhotoVest

Billingham PhotoVest - £195/$299

With classic styling, the Billingham PhotoVest will appeal to a broad range of photographers, but it's the practical advantages that this versatile garment has to offer that really piqued our interest.

Based on the 10-year-old original PhotoVest, the updated version is still designed to give photographers fast access to their kit, but benefits from the latest fabric technology (Cordura 500) to offer improved performance and comfort. The result is a lightweight, comfortable vest that affords plenty of freedom of movement.

The material is supple and enables you to move quickly and quietly - a plus for wildlife photographers - although the lack of colour choice (it's only available in light khaki) might prove to be restrictive if you're looking to camouflage with your surroundings.

The ventilation flap around the back enables some airflow and helped us to stay cool during periods of physical exertion in chilly weather, although we envisage that the thickness of the material might make it less suitable for use in warmer climes.

The range of pockets on the vest (eight in total) means that you can carry a fair amount of kit, with the weight and bulk of your spare lenses and accessories spread across your body rather than being concentrated on your shoulders, back and neck as it would be with a bag.

The extra-large compartments are protected from moisture by flaps, with some featuring zips for added security.

Being able to quickly scoop a lens or flashgun out of a pocket rather than having to remove and rummage through a bag meant that we were able to work more intuitively. All in all, it's a well-made product that should offer wide appeal.

Stealth Gear Extreme Photographers Jacket2

Stealth Gear Extreme Photographers Jacket2 - £259.99/$411

If you're an intrepid outdoor photographer who's often found crawling through the mud, scrambling up windswept peaks or tracking sensitive subjects through woodland, then this jacket was designed for you.

It's not lightweight, but this robust jacket exudes quality in terms of design, the materials used and its construction.

Rather than going down the fashion-led route that some photography clothing manufacturers have adopted, Stealth Gear's products are squarely aimed at serious wildlife photographers who need to blend in with their surroundings.

To that end, this jacket features 'forest green', rustle-free 100% polyester micro-suede with DuPont Teflon: a material that feels soft to the touch and enables you to make quick, quiet movements, while offering complete protection against the wind and rain.

The array of pockets and compartments spread across the body and sleeves of the jacket means you can distribute a lot of kit between them, potentially dispensing with the need for a bag if you're travelling light.

The colossal lower pockets on the front of the jacket feature zipped sides to enable expansion, so you can stash items as large as a professional camera body - plus several lenses - and have them to hand at a moment's notice.

Seemingly innumerable extra internal and external pockets provide plenty more space for memory cards, spare batteries and other accessories, too.

Back ventilation, extra padding and reinforced panels around the elbows and shoulders, plus the innovative 'Sit-Anywhere-Seat' that unzips from the back to give you a dry place to perch are just a few of the numerous touches that add up to a high-performance jacket that does everything an outdoor photographer could want – and more!

Matin Photographers Shooting Vest

Matin Photographers Shooting Vest - £65

This lighter-weight garment is better suited to warm weather shooting than some of the other jackets in this test, although you could just as easily team it up with your winter layers to keep on using it all year round.

Constructed from lightweight poly/cotton material, the Matin Photographers Shooting Vest features a Teflon coating for water resistance and – internally – a cool mesh lining for added breathability.

The cut is shorter than that of some other vests, providing a closer fit that some may favour over some of the longer and occasionally bulkier alternatives. The added benefit of this is that the weight of the larger kit is stowed around your hips, feeling well balanced with all of the pockets fully loaded.

To improve the fit further, adjustable straps - fastened with metal poppers - provide scope to tighten or loosen the vest around the waist. The shoulders of the vest feature popper-fastened loops to help secure your bag strap(s) - if you're carrying one - a useful feature that counteracts the somewhat slippery nature of the vest's material.

Externally, there are two good-sized pockets towards the bottom hem, each featuring a Velcro-fastened flap and elasticated opening to enable larger items such as lenses and camera bodies to be slipped in easily. Internal padding provides some protection for your hips too.

Three further differently-sized pockets - also with Velcro-secured flaps - provide additional storage space for small lenses and other accessories, and there's also a removable laminated press pass holder attached to the left-hand chest pocket.

A smaller zipped pocket - ideal for memory and/or business cards, for example - with a handy key ring attachment, is also provided.

Around the back there's a large, secure, zipped pocket with an additional Velcro flap that's ideally sized to accommodate a medium-sized telephoto lens: this also provides some balance for the kit stowed in the front pockets, although we would have preferred it if there was some padding in this area, as there is around the front.

Two further good-sized internal pockets, plus a smaller zipped pocket, offer space for any additional accessories.

Overall, this is a reasonably priced, snug-fitting vest that feels very comfortable to wear.

Country Innovation Rover Jacket

Country Innovation Rover Jacket - £325

One of the unique attributes of the Country Innovation Rover Jacket is the double-layered Ventile material from which it is constructed. 100% cotton, the fabric originally came about during World War II, with its wind and water-repellent properties proving to be highly useful in the manufacture of fighter pilot suits.

Country Innovation recognised the benefits of using a natural fabric that's wind and weatherproof while still breathable, and integrated it into some of its latest products.

The jacket is surprisingly light given its overall bulk, and – with its careful craftsmanship and attention to detail in terms of the design – feels like it's really built to last. Available in men's and women's versions, it features a longer cut for extra protection from inclement weather, with drawstring waist and hem adjustment to ensure a snug fit.

During one particularly torrential downpour, we really appreciated the generously-sized, detachable hood, which features several points for adjustment and a wired peak.

Coupled with the Moleskin-lined high collar on the jacket and the high front-fastening on the hood itself, you can easily protect almost the entirety of your face from the wind and rain.

The jacket offers a decent selection of pockets – both internally and externally – with zips on some for any items that require a bit of extra security. The remaining compartments feature water-repellent flaps and – particularly in the case of the two lower front pockets – are well-proportioned and offer useful fleece-lined side access too.

The one drawback is that the top opening is rigid (rather than being elasticated or expandable), so can't accommodate really bulky items such as a pro camera body. However, they're generous enough to take most medium-sized lenses/ flashguns.

Domke Photogs Jacket/Vest

Domke Photogs Jacket/Vest - £154/$150

This is the lightest of the full jackets we had on test, plus the sleeves can be unzipped to convert it into a vest, making it particularly versatile too. The Domke Photogs Jacket/Vest – thanks to its lightweight nature – packs down relatively small when not in use and, with 16 pockets in total, offers plenty of storage capacity whether you're using it as a full jacket or a vest.

Both the jacket and lining are made from machine-washable, 100% cotton fabric, keeping it light, soft and breathable, while – with its pre-washed, weathered-looking khaki finish – it looks unobtrusive.

The material also means it's rustle-free when you're moving about, making it less likely that you'll spook any wildlife, although some of the Velcro-fastened pockets will need to be avoided in situations where stealth is required.

The generous front pockets feature a bellows-style design to accommodate larger pieces of kit such as camera bodies and/or lenses, plus there's a good range of additional pockets with varying dimensions liberally spread across the front of the jacket, as well as inside and on the sleeves.

The clear plastic press pass holder that attaches to the right-hand top chest pocket (which can be detached when you're not using it) along with the pen-holder slots and convenient business-card sized pocket on the arm hints at this jacket's suitability for photojournalists and travel photographers in particula. However, this relatively keenly-priced jacket will serve enthusiasts and professionals of just about any persuasion.

Longer-style tailoring and drawstring adjustment around the waist are further noteworthy features, and the jacket also incorporates a lightweight water-resistant nylon hood that rolls away into a zipped collar compartment when it's no longer required.

Kodak no longer making cameras

Amy Davies — Thu, 09 Feb 2012 14:14:00 GMT

Kodak has announced that is intending to stop making digital cameras, pocket video cameras and digital picture frames in the first half of 2012 to "cut costs".

The company, who filed for bankruptcy protection last month in the U.S, said that it will instead seek licensees to expand its brand licensing program, while still planning to offer online and retail photo printing, along with desktop printing.

Kodak was actually the inventor of the digital camera, pioneering the sensor technology that is now so ubiquitous.

Last year, it sold the division that invented and produced sensors, which also produced sensors for other companies, such as Leica. Kodak has also been selling off a growing number of digital imaging patents, as well as suing companies who infringed those patents in recent months in a bid to raise cash.

The company estimates that it will generate operating savings of more than $100 million dollars following the move.

Phased out

Writing on the Kodak UK Twitter page, the company said "Today we announced that Kodak is phasing out digital cams [sic], video cams & digital frames in 2012.

"Kodak will continue to honour all warranties and provide support as we phase out dig & vid cams and frames.

"Kodak will focus consumer biz [sic] on inkjet, online and retail printing," it said.

According to the company's website, some of the most recent cameras announced by the company just last month at CES may not be launched because of the move. It also said that it will continue to sell its existing inventory of cameras and imaging products.

Nikon D4 delays expected

Amy Davies — Thu, 09 Feb 2012 12:56:00 GMT

Nikon USA has confirmed that there will be delays in the shipping of its new flagship full-frame DSLR, the D4, which was announced at the beginning of the year.

Worldwide sales of the Nikon D4 were originally expected to start in mid-February, but Nikon is now expecting that this will be pushed back, closer to the middle of March.

Rumours suggested that the reason for the delay was because of a firmware upgrade. Nikon is yet to comment on this, instead stating "minor production delays" from the US team.

Demand

Nikon UK has described "overwhelming popularity" as the reason for the delay.

It could be good news for Canon, whose rival EOS 1DX is also slated for release in March. At the launch of the D4, Nikon was keen to point out that it would have its flagship DSLR out in the market quicker than its biggest rival, and at a cheaper price point.

That said, there have also been rumours suggesting that the Canon EOS 1DX would also face a delay, with a suspected real release date of mid-April. A spokesperson for Canon UK was unable to confirm any problems with 1DX supply.

Although at the time of launch, Nikon's 16 February release date was marked as "TBA" in official press releases, the company has been reluctant to offer a new expected date.

Watch this space.

Buying Guide: Best superzooms for Canon DSLRs: 8 tested

Matthew Richards — Thu, 09 Feb 2012 12:00:00 GMT

Superzoom lenses explained

A key advantage of DSLRs over compact cameras is that you can fit the ideal lens for whatever you're shooting. The downside is that when you're on your travels, you may not want to be weighed down by a big bag full of extra lenses.

With a mighty zoom range, a superzoom lens will typically deliver focal lengths of 18mm at the wide-angle end and anything from 125mm to 270mm at its longest telephoto zoom setting. This gives you an effective zoom range of between 29-200mm and 29-432mm on the Canon APS-C bodies all eight lenses on test are designed for.

The big questions are: how great a zoom range can you get without sacrificing image quality, what features are required to make superzoom lenses really effective, and how much do you need to pay for them?

All-in-one lenses

A standard 18-55mm zoom lens on crop-factor Canons offers respectable wide-angle coverage, equivalent to 29mm, while its effective 88mm focal length at the long end is good for portraiture.

But it runs out of reach if you want to zoom in on distant targets. The general solution is to swap to a telephoto zoom, such as the Canon EF-S 55-250mm, which closes the distance with a maximum effective focal length of 400mm. But sometimes things aren't that simple.

In dusty environments, there's always the risk of your camera ingesting dirt while you're changing lenses, which can end up stuck on the sensor. Nobody likes black blobs on all their shots.

In situations where you need to react quickly to take advantage of unexpected and fleeting photo opportunities, it's also a major disappointment to miss the shot because you were too busy changing lenses.

In these conditions, superzoom lenses reign supreme. They're also ideal as holiday or travel lenses, because they're so compact and lightweight, making them perfect for when you want to carry around the bare minimum of photographic kit.

Back in the days of 35mm film photography, most superzoom lenses tended to offer focal length ranges of around 28-200mm or 28-300mm. For APS-C cameras, 18-125mm and 18-200mm give equivalent zoom ranges. But some lenses, such as the Sigma 18-250mm OS and the Tamron 18-270mm VC, go further still.

Bigger might seem better when it comes to zoom range, but any superzoom lens is a compromise. With added complexity in design and the physics involved in delivering extended zoom ranges, optical performance is likely to be impaired.

Compared with lenses with a modest zoom range, you can expect a superzoom to have less outright sharpness, increased chromatic aberrations and more pronounced distortions.

Optical problems

Distortions can also take on a nonlinear character, so straight lines are not only bowed but can take on a slightly wavy appearance, which is particularly problematic for architectural photography. These degradations in optical quality may be exaggerated in lenses that try to push the boundaries in terms of extreme zoom range.

However, some of the very latest designs manage to maintain good optical quality while giving you the ultimate in zooming versatility.

One thing that all superzoom lenses lack is a 'fast' maximum aperture, and those with the largest zoom ranges typically drop to f/6.3 at the telephoto end. Shooting on a dull day at ISO 100, this can often require shutter speeds of around 1/30 sec, which is far too slow to avoid camera-shake.

Optical image stabilisation is therefore a key feature of good superzoom lenses, and most of the latest designs include a 4-stop stabiliser, enabling you to get consistently sharp handheld telephoto shots at 1/30 sec.

Ultrasonic motor system

Fast, accurate autofocus is a major ingredient for success, especially at longer zoom lengths. Depth of field is greatly reduced at telephoto focal lengths, so focus accuracy becomes critical. Standard micro-motor autofocus systems can be very precise, but are often relatively noisy and can lack speed.

The Sigma 18-125mm f/3.8-5.6 DC OS HSM, the Sigma 18-250mm f/3.5-6.3 DC OS HSM and the Tamron 18-270mm f/3.5-6.3 Di II VC PZD feature quieter Hypersonic or Piezo Drive autofocus - similar to Canon's USM (Ultrasonic Motor) system, which is lacking on both of Canon's superzoom lenses for APS-C cameras.

It's important to realise that not all ultrasonic autofocus systems are created equal. Upmarket 'ring-type' systems are best, because these are virtually silent, very fast and offer the added benefit of full-time manual focus override in One Shot AF mode.

However, the type fitted to the Sigma and Tamron lenses feature a small ultrasonic motor rather than being based on large rings that are mounted around the inner circumference of the lens. They're still quieter and faster than regular micro-motor autofocus systems, but not as near-silent or swift as ring-type ultrasonic systems, and lack full-time manual override. All in all, they're good but not great.

Canon EF-S 18-135mm f/3.5-5.6 IS

Canon EF-S 18-135mm f/3.5-5.6 IS - £350

Despite being a kit lens option for the Canon EOS 7D - arguably the most advanced APS-C camera in the world - the Canon EF-S 18-135mm f/3.5-5.6 IS isn't entirely convincing when it comes to specifications and features. On the surface, it's quite a bare-bones affair, with no focus distance scale or even a zoom lock switch, and the finish feels a bit lacklustre.

Other omissions are any kind of USM (Ultrasonic Motor) autofocus system and - like most of Canon's lenses - it doesn't even come with a lens hood, which costs about £25 extra to buy separately. It's not especially big on zoom range either, with a humble 7.5x zoom (equivalent to 29-216mm).

At least you get Canon's latest 4-stop image stabilisation, which comes complete with auto detection for panning and tripod mounting - although the latter didn't work entirely consistently in our tests.

Image sharpness is merely average, but distortions are reasonably low for a superzoom lens. Chromatic aberrations are quite noticeable but, because it's a genuine Canon lens, you can tune these out in Digital Photo Professional if you shoot in raw quality mode.

18mm sample image from the Canon EF-S 18-135mm f/3.5-5.6 IS

135mm sample image from the Canon EF-S 18-135mm f/3.5-5.6 IS

Canon EF-S 18-200mm f/3.5-5.6 IS

Canon EF-S 18-200mm f/3.5-5.6 IS - £410

Physically, the Canon EF-S 18-200mm f/3.5-5.6 IS is only a single millimetre longer and three millimetres wider than its 18-135mm stable mate, but it's 140g heavier and £60 pricier. It also has a lot more telephoto potential, the long 200mm end being equivalent to a focal length of 320mm on crop-sensor DSLRs.

Build quality feels almost identical in both Canon lenses, although cosmetic differences include a silver-coloured rear edge to the zoom ring. Other similarities include a 4-stop image stabiliser, standard micro-motor autofocus system and the lack of a focus distance scale and lens hood.

As for differences, the 18-200mm has a narrower manual focus ring and features a zoom lock switch.

Sharpness could be a little better throughout the whole zoom range, but distortions are only slightly higher than with the Canon 18-135mm, which is pretty good considering the additional zoom range. Colour fringing proved quite noticeable, but, being a genuine Canon lens, it's fully compatible with in-camera corrections and DPP lens tuning.

The extra telephoto makes this lens a better buy than the cheaper EF-S 18-135mm IS.

18mm sample image from the Canon EF-S 18-200mm f/3.5-5.6 IS

200mm sample image from the Canon EF-S 18-200mm f/3.5-5.6 IS

Sigma 18-125mm f/3.8-5.6 DC OS HSM

Sigma 18-125mm f/3.8-5.6 DC OS HSM - £255

How long do you really need to go? If you're willing to sacrifice a little of the 'super' in your superzoom, and settle for a 7x zoom range equivalent to 29-200mm, this Sigma lens has a lot going for it. Quite compact but with a reassuring heft, the 18-125mm feels particularly solid and well built. The zoom and focus rings have a smooth feel to them and - more remarkably for a superzoom lens - the Sigma doesn't suffer at all from zoom creep.

The HSM (Hypersonic Motor) autofocus proved only marginally quieter and faster than the standard micro-motor systems in the Canon lenses, but was very accurate even in very tricky conditions.

Like the larger Sigma 18-250mm on test, this lens also features Sigma's latest-generation 4-stop OS (Optical Stabilizer), which performed every bit as well as the Canon and Tamron equivalents.

Along with its impressive build quality and advanced features, optical quality is very good. Sharpness and contrast proved slightly better than with the Canon lenses, especially at large apertures. Distortions are well controlled, which is an upside of the more modest zoom range. It's a great buy for the price.

18mm sample image from the Sigma 18-125mm f/3.8-5.6 DC OS HSM

125mm sample image from the Sigma 18-125mm f/3.8-5.6 DC OS HSM

Sigma 18-200mm f/3.5-6.3 DC

Sigma 18-200mm f/3.5-6.3 DC - £175

Unfeasibly small for a superzoom lens, this Sigma is barely larger than the Canon EF-S 18-55mm IS kit lens supplied with the Canon EOS 1100D and 600D. Yet it delivers an impressive 11.1x zoom range, equivalent to 29-320mm. As well as being relatively tiny, it's just two-thirds the weight of Canon's 18-200mm lens, making it a tempting travel companion.

Look a little deeper and the Sigma is less impressive. The downsized build is partly due to the lack of optical stabilisation and, coupled with a meagre maximum aperture of f/6.3 at the telephoto end, sharp handheld telephoto shots are a major challenge in anything other than bright, sunny conditions.

The lens also lacks Sigma's HSM autofocus system, and the standard micro-motor fitted proved much slower and rather noisier than those fitted to the Canon lenses. In dull lighting conditions there was also more hunting than usual involved, as the AF system struggled to lock on to targets.

Sharpness proved only average, and colour fringing was very noticeable towards the corners of the frame. It's less than half the price of some lenses in the group, but still relatively poor value.

18mm sample image from the Sigma 18-200mm f/3.5-6.3 DC

200mm sample image from the Sigma 18-200mm f/3.5-6.3 DC

Sigma 18-200mm f/3.5-6.3 DC OS

Sigma 18-200mm f/3.5-6.3 DC OS - £295

This newer edition of Sigma's 18-200mm lens is much bigger and 205g heavier than its older sibling, and has a larger filter size of 72mm, as opposed to just 62mm. The biggest difference, however, is that this lens features an all-important Optical Stabilizer. Handheld shooting is therefore much easier at telephoto zoom settings, given the slow maximum aperture of f/6.3.

It's not all good news, however, because despite being the 'new' version, this lens is still over four years old, and was actually one of the very first Sigma lenses to feature a stabiliser. As such, it's the company's first-generation system, which only delivers a 3-stop advantage, whereas all the other stabilised lenses in our test group give a 4-stop benefit.

Build quality feels pretty solid, and the layout is very similar to the smaller and lighter Sigma 18-125mm f/3.8-5.6 DC OS HSM. Optical quality is good rather than great, very similar to the Canon 18-200mm.

There's no HSM autofocus and AF performance is quite slow, noisy and prone to hunting. Overall, it's better than the original Sigma 18-200mm, but not as good as the other two Sigma lenses in the group.

18mm sample image from the Sigma 18-200mm f/3.5-6.3 DC OS

200mm sample image from the Sigma 18-200mm f/3.5-6.3 DC

Sigma 18-250mm f/3.5-6.3 DC OS HSM

Sigma 18-250mm f/3.5-6.3 DC OS HSM - £400

The newest and mightiest of Sigma's superzoom lenses, the 18-250mm is pretty much the same size and weight as the company's older 18-200mm OS lens and has the same 72mm filter size, yet offers three key advantages.

First of all, the effective telephoto reach extends to 400mm instead of 320mm. Secondly, that reach is made all the more usable in handheld shooting thanks to the inclusion of Sigma's latest generation 4-stop image stabiliser, which works a treat.

Finally, the lens comes complete with HSM autofocus, which we found to be much quieter and a fair bit quicker than with either of Sigma's 18-200mm lenses. Even so, autofocus is only a bit quieter and not much faster than with the Canon superzooms. Overall build quality is very good and, for a relatively heavy lens, zoom creep is minimal.

The lens proved sharper than the Canon lenses, especially at wide aperture settings. Distortions were less pronounced as well, compared with the Canon 18-200mm and Sigma 18-200mm lenses. For power and versatility, this is the best Sigma lens in the group and a better buy than either of the Canon lenses.

18mm sample image from the Sigma 18-250mm f/3.5-6.3 DC OS HSM

250mm sample image from the Sigma 18-250mm f/3.5-6.3 DC OS HSM

Tamron 18-200mm f/3.5-6.3 XR Di II Macro

Tamron 18-200mm f/3.5-6.3 XR Di II Macro - £170

A throwback to the days of non-stabilised superzoom lenses, the Tamron 18-200mm f/3.5-6.3 XR Di II Macro was one of the first superzooms to be designed exclusively for APS-C cameras, and was launched back in 2005. The build is only slightly larger than Sigma's extremely compact non-stabilised 18-200mm, and it's marginally lighter, at just 398g.

Build quality feels quite good and, like the Sigma 18-125mm f/3.8-5.6 DC OS HSM, there's no hint of zoom creep. In other areas, the Tamron lens is quite disappointing. Autofocus is quite shrill and noisy, along with a slow action that's also prone to AF hunting, where the system oscillates back and forth before locking on to its target.

Like the original Sigma 18-200mm, the lack of stabilisation coupled with a slow maximum aperture of f/6.3 at the telephoto end makes handheld shooting quite a hit-and-miss affair.

The Tamron's sharpness wasn't quite as good as other lenses on test, even when reducing the aperture to f/8. Despite having a 'Macro' badge, the maximum magnification factor of 0.27x is only about the same as most other lenses in the group, and is actually slightly less than with the Tamron 18-270mm f/3.5-6.3 Di II VC PZD.

18mm sample image from the Tamron 18-200mm f/3.5-6.3 XR Di II Macro

200mm sample image from the Tamron 18-200mm f/3.5-6.3 XR Di II Macro

Tamron 18-270mm f/3.5-6.3 Di II VC PZD

Tamron 18-270mm f/3.5-6.3 Di II VC PZD - £495

When we've previously used the Tamron 18-270mm VC, we liked it a lot, but had two reservations: the standard micro-motor autofocus system was noisy and the zoom ring felt jerky. Both of those issues have been resolved with the introduction of a PZD (Piezo Drive) autofocus motor and a smoother-acting zoom ring.

However, the new Tamron 18-270mm f/3.5-6.3 Di II VC PZD definitely isn't just the old model with a new AF system – it's a completely new lens. The 4-stop VC (Vibration Correction) system is significantly smaller, yet proved equally excellent in our tests.

The optics are also redesigned, the result being that the lens is much smaller and lighter than the old model, or the Sigma 18-250mm OS. Even the filter thread has shrunk, from 72mm to 62mm.

Contrast proved very impressive, and sharpness was well maintained into the corners of the frame. Colour fringing was minimal at the centre of the image, but quite noticeable towards the corners. The class-leading 15x zoom range is great to have, but comes with a fair bit of barrel distortion at the widest-angle zoom setting.

18mm sample image from the Tamron 18-270mm f/3.5-6.3 Di II VC PZD

270mm sample image from the Tamron 18-270mm f/3.5-6.3 Di II VC PZD

Superzooms for full-frame Canon cameras

The once large collection of superzoom lenses available for full-frame Canon DSLRs has been whittled down to just two.

By far the less expensive is the Tamron 28-300mm f/3.5-5.6 XR Di VC, which sells for about £500. It's remarkably compact and lightweight for a full-frame superzoom, measuring 78 x 99mm and weighing 555g. The overall performance of this lens is impressive, and it's now the only choice for budget-conscious full-frame shooters.

For those with big pockets – or at least fat wallets – the money-no-object option is the Canon EF-S 28-300mm f/3.5-5.6L IS USM, which sells for around £2,100. L-series hi-tech trimmings include faster apertures, rugged build quality, and a posh white paint job.

You also get advanced ring-type USM autofocus and 3-stop image stabilisation. It's a big, heavy beast, however, measuring 92x184mm and tipping the scales at 1.67kg.

While being designed for full-fame cameras, both of these lenses are compatible with Canon DSLRs that have smaller image sensors. However, you'll lose out at the wide-angle end but get a more generous telephoto reach, with an effective zoom range of 45-480mm.

Verdict: best superzoom for Canons

Non-stabilised superzoom lenses have really had their day. The combination of long telephoto focal lengths and fairly small maximum apertures of around f/6.3 runs the ever-present risk of camera-shake.

So while the ageing non-IS version of the Sigma 18-200mm and Tamron 18-200mm are quite cheap, they're not the best value.

On a tight budget, we'd forego extra telephoto reach and buy the Sigma 18-125mm DC OS HSM, which offers impressive optical quality and comes with 4-stop stabilisation and Hypersonic autofocus.

Both Canon lenses are good rather than great, with basic feature sets, considering their fairly high prices. Image quality is only average, but at least you get the advantage of in-camera corrections for peripheral illumination on most of Canon's latest cameras, plus the option of lens tuning in Digital Photo Professional.

The biggest hitters in the group are the Sigma 18-250mm DC OS HSM and the new, radically redesigned, Tamron 18-270mm Di II VC PZD.

For compactness, light weight, impressive image quality and class-leading 15x zoom range, the Tamron wins out.

Sony NEX lens line-up revealed

Amy Davies — Thu, 09 Feb 2012 11:20:00 GMT

Sony has revealed its plans for the development of eight new lenses for its E-mount NEX range of cameras, with several zooms coming in the next 12 months.

Unveiling the road-map at the CP+ photography show in Japan, few details were given about the new optics, but it will be encouraging news for current NEX users or those looking to invest into the system.

Currently, Sony's offering isn't as wide as rivals from Panasonic and Olympus, although of course Sony DSLR lenses are compatible with NEX cameras via a specialist adapter.

New zooms

According to a graphic shown by Sony at the show, users can expect a high magnification zoom, a standard zoom, a wide angle zoom, all in 2012. A fast standard prime lens is also expected this year.

2013 should see a mid-magnification zoom, a middle telephoto prime and a "snap" pancake lens. Interestingly, the map also shows a "high performance standard zoom" that will slot into the company's G series of premium lenses.

Rumours recently suggested that Sony will be announcing a full-frame NEX camera in 2012, and that it will feature both an A-mount (for DSLR lenses) and an E-mount in one, without need for an adapter.

The addition of a G-series lens in 2013 would lead credence to these rumours, as Sony would likely want to offer a higher quality lens for the new camera.

In Depth: Nikon Coolpix P510: 10 things you need to know

Marcus Hawkins — Wed, 08 Feb 2012 16:45:00 GMT

Bridge cameras typically offer DSLR-like functionality and generously long zooms at an affordable price point. But the Nikon Coolpix P500 replacement is taking this to the next level.

Here are 10 things you need to know about the Nikon Coolpix P510…

1. Nikon P510 superzoom

The P510's 42x Nikkor zoom offers the full-frame DSLR equivalent of 24-1000mm. Its predecessor, the Coolpix 500 offered an optical zoom range of 'just' 36x (22.5-810mm), so the 510 loses a bit on the wide end, but makes gains at the telephoto. As well as substantially increasing subject size, the incredible/insane magnification on offer at the 510's full zoom setting will also magnify any camera shake. But help is at hand…

2. It comes with lens-shift stabilisation

To combat the wobbles and help improve sharpness, the P510 features Nikon's second generation of lens-shift VR (Vibration Reduction), something the P500 lacked. That said, you'll still need a very steady hand – and plenty of light - to get sharp pictures from a 1000mm equivalent lens, as the maximum aperture at this setting is f/5.9.

3. It features a 16MP backlit sensor

The 1/2.3in CMOS sensor offers a resolution of 16 megapixels and is back-illuminated, which helps the P510 achieve faster processing times and should ensure improved performance in low light. The normal sensitivity range runs from ISO 100-3200, and is expandable to an equivalent of ISO 6400.

4. The LCD is articulated

The high-res 912k-dot LCD monitor can be tilted for shooting in awkward positions. This is particularly useful for low-level close-up photography and it makes shooting video a breeze. The scene also has an anti-reflective covering to improve visibility when using it in bright light.

5. Advanced movie functionality

Like any bridge camera worth its salt, the Coolpix P510 offers a direct movie recording button for quick recording of 1080p Full HD movies with stereo sound. You can use the optical zoom with autofocus while recording, though how much of the operational sound will be picked up by the on-board miss is unclear. The P510 can also shoot slow or fast motion at speeds of up to 120 fps (VGA) and in Apple-friendly iFrame format.

6. Nikon P510 GPS

A built-in Global Positioning System records the latitude and longitude of the location where a picture, saving it in the EXIF data.

7. It can hit 7 frames per second

The P510 lets you shoot a burst of up to five full-resolution pictures at 7fps or up to 30 full-res shots at 1fps.

8. Electronic viewfinder

To be honest, this is probably one of the most disappointing aspects of the P510. When shooting with a 1000mm-equivalent focal length, it pays to have the camera pressed close to your eye rather than looking at the rear LCD at arms length – if you want to improve your chances of bagging crisp shots, that is. However, the P510's small EVF only offers a resolution of 201k dots, which is no more than the P500's

9. Nikon P510 price

The P510 offers a 42x zoom that gives the equivalent reach of a 24-1000mm lens – all for £399.99.

10. Nikon P510 release date

The P500 replacement goes on sale from 22nd March.

Exclusive: Nikon: D800 36MP sensor is about 'choice'

Amy Davies — Wed, 08 Feb 2012 16:00:00 GMT

Nikon has affirmed that its decision to include a 36 million pixel sensor in its new D800 full-frame DSLR, comes down to offering consumers "choice" and people shouldn't be put off by the large number.

The large megapixel sensor was one of the most heavily rumoured features of the D800, with reactions ranging from disbelief to joy when it first emerged.

Some maintained that Nikon would stick with a lower pixel count when the camera was finally revealed.

However, the rumours turned out to be true, and, for now at least, the Nikon D800 is the world's highest resolution full-frame DSLR camera.

But, for some, 36 million pixels is still too many. The huge file sizes produced by the camera has been cited as the key reason for complaint. D800 raw files are said to be approximately 76MB, while 16-bit TIFF files will take up a hefty 212MB on your hard drive.

Choice

Speaking to TechRadar at the launch of the new camera, James Banfield, Group Support and Training Manager for Nikon, explained the decision.

"It shouldn't be something that puts people off, it's about offering the photographer a choice," he said.

"You have got the option to choose a lower resolution if that's what you need, or if you want to produce smaller files.

"64 bit operating systems can handle these big files, so it doesn't really represent a problem.

"We think the timing is about right to release such a high resolution product into the market. If you can edit HD video on a mobile phone, imagine what you can do on a highly specced computer."

The Nikon D800 is expected to go on sale from March, with a UK price of £2399.99.

New Sony 500mm f/4 Alpha mount lens launched

Marcus Hawkins — Wed, 08 Feb 2012 15:01:00 GMT

Sony is releasing a built-to-order 500mm lens in April.

Weighing in at approximately 3460g, the SAL500F40G telephoto is a dust- and moisture-resistant professional-grade lens for Sony A-mount SLT and DSLR cameras.

Aimed at wildlife and sports pros, the lens delivers a 35mm equivalent of 750mm.

It's the longest fixed focal length G Lens from Sony so far, and it's no surprise to find a super-telephoto of this calibre being released in the year of the Olympics and UEFA Euro finals.

In-keeping with similar optics from the likes of Canon and Nikon, the new 500mm lens offers a maximum aperture of f/4. The lens has been constructed with 11 elements in 10 groups, including three ED (Extra-low Dispersion) glass elements. A new Nano AR Coating process has been used to reduce internal reflections.

These combined features are said to reduce ghosting and lens flare 'dramatically', the latter cut down further by the use of the carbon fibre lens hood which is lined with black velvet fibres.

Autofocus performance

Four focus hold buttons are spaced around the lens barrel to improve handling, while a two-way DMF (Direct Manual Focus) mode button and a focus range switch should speed up operation further.

The high-torque SSM (Super Sonic wave Motor) features a new drive circuit to improve the responsiveness of the autofocus and is said to offer 'significantly' faster subject tracking than conventional Sony lenses.

Like all other A-mount lenses, the SAL500F40G is compatible with the SteadyShot INSIDE image stabilisation system that's featured in every Sony Alpha Translucent Mirror and DSLR. This provides up to 4.5 stops of compensation, according to Sony tests.

Seals around the focusing ring and front/rear joints to protect against dust and moisture complete the picture.

The Sony 500mm f/4 is only available as a built to order option, with UK price to be confirmed. Sony Japan is listing the price of the lens as1,312,500 Yen, which is a whopping £10, 783... better get saving now.

Early View: Nikon D800 vs Canon EOS 5D Mark II

Rod Lawton — Wed, 08 Feb 2012 12:49:00 GMT

Nikon D800 vs Canon EOS 5D Mark II/III

With Nikon finally unleashing its D800 semi-pro full-frame DSLR on the market, Canon users are left wondering when an upgrade to the much loved 5D Mark II will be appearing.

In the meantime, could the impressive specs on board the Nikon D800 potentially be enough to kill off its biggest rival? Of course, the 5D Mark II is older, so you can expect some specs to be easily beatable, but there's plenty of rumours circulating about the 5D Mark III (or 5D X as it may also be called)... so how do they match up?

Have a look in our Nikon D800 vs Canon EOS 5D Mark II/III head to head.

Read our Hands on: Nikon D800 review

Resolution

The EOS 5D's 21 million pixel resolution was amazing when it was launched and was still pretty good right up until, let's see, round about February 7th. But the D800's 36 million pixels leave the Canon for dead, and unless the rumours about the 5D Mark III's unchanged 21 megapixel resolution are wrong, Canon's in trouble.

Video

On paper, there's not much in it since both shoot full HD video and a procession of firmware updates has kept the 5D ahead of the game. But the D800 steams in with multiple frame sizes for different focal length and depth of field effects, a 60p/50p 1280 x 720 slo-mo mode, clean, uncompressed HDMI output and the thing videographers have been screaming for in a D-SLR - an audio jack for monitoring sound while filming.

Autofocus

Once, the 5D Mark II's antediluvian 9-point AF system (plus 6 Assist AF points) must have seemed all right, but the D800's enhanced Multi-CAM FX3500 unit has 51 AF points, with 15 cross-type sensors. It can now focus down to a light level of -2EV and it still offers 11 AF points even with lenses with a maximum aperture of f8. Current EOS 5D Mark III rumours predict either 19 AF points, like the EOS 7D, or the EOS-1Dx's 61-point system, but even that can't match the D800's low-light/small aperture AF capabilities.

Metering

If you don't place much faith in pseudo-intelligent multi-pattern metering systems, you won't mind that the EOS 5D Mark II works from just 35 zones. Even so, the D800's brand new 91k-pixel metering sensor sounds impressive. It can even detect human faces when you're using the viewfinder, not live view, and it feeds into the D800's Advanced Scene Recognition System to make metering even more foolproof. Canon did usher in a new 100,000k-pixel sensor with the Canon EOS 1DX, though.

Memory card slots

The 5D Mark II takes a Compact Flash card. That's it. The D800 has two card slots, one for CF (UDMA 7 compatible) and one for SD/SDHC/SDXC, and you can use them for extra capacity, backups, one for JPEGs and one for RAW and so on. Two slots (and two formats) are better than one.

Medium-format quality

There's more to medium-format than pixels - the sensor size makes a major difference too. But the D800 takes a step closer with a variant called the D800e where the anti-aliasing filter is removed. It's standard practice for medium-format cameras and it makes ultra-fine detail even sharper, though you will need to use software filters to remove moire effects in shots with fine, regular patterns, like fabrics.

Pricing and availability

The D800 is £2,400 while the EOS 5D Mark II can be found for around £1,700, but that's because it's an older camera that's being discounted. What's significant is that the EOS 1D X costs more than the D4, so if that pattern is repeated, the EOS 5D Mark II replacement will cost more than the D800. And we still don't know when it's going to get here...

Rod Lawton is NPhoto's Technique Editor, so obviously he's biased towards Nikons. Except that he's spent the previous ten years reviewing every camera under the sun, and has always regarded the EOS 5D Mark II as a landmark camera, so maybe he's not biased after all...

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Olympus announces superzoom compacts

Amy Davies — Wed, 08 Feb 2012 12:15:00 GMT

Olympus has added two new large zoom compacts to its line-up, with the SZ-31MR offering 24x optical zoom.

The company also claims that the new SZ-31 MR has the lightest and smallest of any 20-plus optical zoom lens camera.

In 35mm terms, that zoom offers a 25-600mm focal length, while it is also fitted with new iHS technologies to help with shooting in low light conditions.

Featuring a 16 million pixel backlit CMOS sensor and two separate TruePic V image processers, Olympus claims that this combination offers enhanced low-light performance, speeds up camera response and improves scene and subject recognition.

Dual Image Stabilisation is available to help reduce motion blur, even when walking and shooting at the same time. IS is also useful when shooting macros or close-up subjects.

The SZ-31 MR's Multi Recording and Multi Framing functions enable the camera to carry out two operations at once. In the case of Multi Recording, this allows for stills to be shot while capturing full HD movie.

Meanwhile, Multi Framing allows for movies at different focal lengths to be captured at the same time. Both can be done via the touchscreen.

The 3-inch 920k dot touchscreen also offers touch shutter and touch AF.

Other features include Smart Panorama, HDR Backlight Adjustment, Handheld Starlight Mode and Face Detection.

The Olympus SZ-31 MR UK price is £299.99 and it will be available from late March.

SH-25 MR

The second superzoom announced by Olympus fits into the company's "Traveller" range and features a 12.5x zoom.

The SH-25 MR has also been equipped with new iHS technologies, including a backlit 16 million pixel backlit CMOS sensor.

Also included is Full HD 1080p video recording, Multi-motion Movie IS and Dual Image Stabilisation.

The SH-25MR also comes equipped with built-in GPS and an electronic compass with three sensor technology for accurate orientation.

The Olympus SH-25MR UK price is £229.99 and it will be available from April 2012.

Olympus SZ-31 key specs:

16 million pixel CMOS sensor
24x optical zoom
Full HD video recording
3 inch touchscreen
ISO 80-6400
SDHC & SDXC memory card compatible

Olympus SH-25MR key specs:

16 million pixel CMOS sensor
12.5x optical zoom
Full HD video recording
3 inch touchscreen
ISO 80-6500
SDHC & SDXC memory card compatible
GPS and electronic compass

Sigma SD1 'Merrill' announced

Marcus Hawkins — Wed, 08 Feb 2012 11:42:00 GMT

Sigma has confirmed that the company's flagship camera is to be rebadged and released at a much cheaper price – in the US at least.

The 46-megapixel SD1 DSLR will now be known as the SD1 Merrill, in honour of Richard "Dick" Merrill, the co-designer of the Foveon X3 Direct Imaging Sensor technology at the heart of the camera.

In a letter to its customers, Sigma's new CEO, Kazuto Yamaki confirms that the specifications of the camera will remain the same as the SD1:

"This product has the same features, performance, and specifications as the Sigma SD1, however, the price is substantially revised. We are gearing up for its release in March 2012, and the market price is expected to be approximately $3,300 MSRP."

This is a substantial price drop – the original launch price of the SD1 was $9,700 MSRP (£6,199.99 in the UK). The reduced price is attributed to a reduction in the production costs of the sensor.

In a bid to appease SD1 users who spent serious cash on the original camera, Sigma is launching a 'support program' that is expected to run from the launch of the SD1 Merrill to the end of 2012. Existing customers will receive points which can then be exchanged for Sigma products. There is no confirmation of how and when this program will launch in the UK.

The Sigma SD1 Merrill UK price is to be confirmed, but the camera will be available from mid March.

Sigma SD1 Merrill key specifications:

46 megapixel 24×16mm APS-C sensor
Dual 'TRUE II' image processing engines
11 Point Twin Cross AF Sensor
Magnesium alloy body
Weather-resistant O-ring seals

Olympus reveals new tough compact cameras

Amy Davies — Wed, 08 Feb 2012 11:25:00 GMT

Olympus has unveiled two new tough compacts to sit in its TG range, with the company claiming that the new cameras offer DSLR image quality.

According to Olympus, this can be delivered by the new iHS (Intelligence, High Sensitivity and High Speed) technologies that can be found in the TG-620 and TG-820.

The cameras both feature a 12 million pixel backlit CMOS sensor and TruePic VI image processor which was originally developed for DSLR cameras. Olympus claims this helps to improve low-light performance, speed up camera response and enhance scene recognition.

Being tough compacts, the TG-620 and TG-820 are waterproof, shockproof and freezeproof. The TG-820 is the toughest of the duo, waterproof down to 10 metres, shockproof from 2 metres and freezeproof to -10 degrees. It can also withstand force up to 100kg.

Meanwhile, the TG-620 is waterproof down to 5 metres, shockproof from 1.5 metres and is also freezeproof down to -10 degrees.

Outdoor

TAP Control mode is available for photographers wearing gloves, with key functions being able to be changed by simply tapping the casing or tilting the camera.

Both cameras are equipped with a 5x wide optical zoom, which offer 28-140mm focal lengths (35mm equivalent). Super-resolution for digitally extending the range of the optical zoom is also available.

The cameras are capable of recording video at 1080p Full HD, while sensitivity ranges from ISO 100 to 6400.

Other features include Face Detection, Advanced Intelligent Auto Mode and AF tracking for quick and easy focussing.

Of course, it wouldn't be an Olympus camera without a range of art filters. The TG-820 and TG-620 feature Punk, Pop Art, Pin Hole, Soft Focus among others.

A 3 inch 1.3 million dot HyperCrystal III LCD can be found on the TG-820, while on the 620, a 460k dot screen is included.

The Olympus TG-820 UK price is £269.99, with the Olympus TG-620 UK price coming in at £229.99. Both will be available from mid-February.

Olympus TG-820 key specifications:

12 million pixel CMOS sensor
5x optical zoom lens
TruePic VI processor
Full 1080p video recording
Waterproof down to 10 metres
Shockproof from 2 metres
Freezeproof to -10 degrees
Crushproof up to 100kg

Olympus TG-620 key specifications:

12 million pixel sensor
5x optical zoom lens
TruePic VI sensor
Full 1080p video recording
Waterproof down to 5 metres
Shockproof from 1.5 metres
Freezeproof down to -10 degrees

Sigma unleashes 46 megapixel compact updates

Amy Davies — Wed, 08 Feb 2012 09:52:00 GMT

Sigma has announced updates of two compact digital compact cameras, both featuring a 46 million pixel APS-C size image sensor.

The new Sigma DP1 Merrill and Sigma DP2 Merrill feature a Foveon X3 direct image sensor that was originally developed by the late Dick Merrill. The cameras are named after him in his honour.

Foveon X3 sensors are actually constricted using three layers of 15.3 million pixels. The technology is shared across Sigma's camera line, including its flagship DSLR, the SD1 and the SD15.

Able to capture each of the primary RGB colours at the same pixel location within the three layers, the company says that this enables full and complete colour capture.

Furthermore, because colour moiré noise is not generated, the use of a low-pass filter is not required. It is said that this gives both light and colour captured a three dimensional feel. Our camera tests show that the Foveon X3 is capable of producing images with a quality unlike any other sensor.

The cameras in Sigma's DP Merrill series will incorporate a dual "TRUE" (Three layer Responsive Ultimate Engine) processor which will work directly with the sensor to improve processing speed and overall quality of the final image.

Sigma says that the company's unique image-processing algorithm provides high resolution power and reproduces high definition images with rich tones.

Two versions

The two cameras feature different lenses, both developed to maximise the sensor performance. The Sigma DP1M includes a 19mm f/2.8 lens (equivalent to 28mm on a 35mm camera), while the DP2M features a 30mm f/2.8 lens (45mm equivalent).

Both lenses feature F Low Dispersion and moulded glass aspherical lenses to correct aberrations. They also include Super Multi-Layer Coating to help combat flare and ghosting.

Shooting in raw, along with JPEG, is available on the DP series, allowing for maximum flexibility for creative photographers. The supplied image processing software "Sigma Photo Pro" can convert raw data.

A focusing ring can be found around the lens of both cameras and can be used to alter manual focus. Magnifying the display while focusing is also available.

Custom quick set menus and a metallic command dial have been incorporated in a bid to improve usability. Shutter speed and menu options can be changed quickly using the dial.

On the back of the camera is a 3.0 inch TFT colour monitor featuring 920k pixel resolution, while a hot shoe allows for external accessories such as flashguns to be used. An optional lens hood for the DP1 & DP2 can also be purchased to block out light.

Video recording is available in VGA at 30fps. The cameras take SD (and SDHC) cards.

The Sigma DP1M and DP2M UK prices are not yet confirmed, nor is availability.

Hands on: Olympus OM-D E-M5 review

Ali Jennings & Amy Davies — Wed, 08 Feb 2012 06:00:00 GMT

Introduction

The launch of the OM-D E-M5 doesn't really come as a surprise with hints coming directly from Olympus through their recent less than subtle advertising campaign.

The first of the OM-D range of cameras is now here and brings with it a new product range for Olympus, sitting between the PEN and E series DSLR cameras.

First in a new range, the E-M5 is part of the new OM-D line-up which takes its design directly from the traditional OM camera. The design is a reflection of Olympus cameras past, and unlike the retro-esque styling of the PEN (such as the most recent Olympus PEN E-P3) and many other compact system cameras, mixing traditional with modern, the E-M5 is a straightforward kickback to the 70s.

At its heart is the new 16 million pixel Live MOS Sensor and TruePic VI image processor, which Olympus claims will give better low light performance and a higher dynamic range.

With the camera being a step-up from the PEN range you'd expect to see features that will appeal to more serious photographers, and in this respect Olympus does seem to have crammed a good amount of impressive specs into the compact frame.

A number of features have been reworked for the E-M5, including the image stabilization system, which now has a 5 axis system that combats body shake for vertical, horizontal, pitch, rolling and yaw.

This new system is said to help keep the image sharp across the frame rather than just in the centre as many IS systems are capable of at the moment. We'll have to wait for the review samples to test this new system fully.

A feature that will appeal to serious photographer is the new dust and splash proof magnesium alloy body that Olympus has built to have the same all weather proofing as its top of the range E-5. This dust and splash proofing is also carried over to the detachable flash that is bundled with the camera as well as the new 12-50mm (announced in 2011), 75mm and 60mm lenses and the new battery grip.

At launch there will also be a few additional accessories. First up, the power battery holder HLD-6 that fits to the bottom of the camera creates a larger grip and includes a shutter button and dials. Next, a clip on Flash FL-600R with a guide number of 50@ISO 200 and includes a wireless control function, and finally a Four Thirds adapter called the MMF-3.

Build quality and handling

As with the old OM-4 film camera, the E-M5 features a small compact body, and is actually marginally smaller at 121 x 84 x 50mm and weighing in at just 373g. Despite its small size and weight its build quality is solid, with Olympus really paying attention to detail and the long lasting quality of the build.

Handling the camera it does feel small, but its angular body makes it easy to hold and manoeuvre. The dial and button layout is also well thought out and switching between modes and settings is quick and easy, and as with other Olympus cameras there are a good selection of function buttons that can be set to give you quick access to common features.

Despite its 70s design and feel, the addition of a tilting LCD touch screen on the back is a welcome addition, managing to merge new technology with old design well.

In use it does actually feel like a good old traditional film camera, but with all the convenience of digital. Even the viewfinder despite being electronic does little to destroy this nostalgic feeling, and is actually a pretty decent effort by the company to produce something that will actually be commonly used.

During our time with the camera, we also got to see the new range of M.Zuiko Digital ED lenses, which feature metallic casings to really finish off the look and feel of the new OM-D.

Reinforcing the retro styling is the Viewfinder, which for the E-M5 is all new. Being a micro four thirds release it has an EVF rather than optical viewfinder, with a high resolution LCD of 1.44 million dots. Our time with the camera showed this to be clear and bright, with an impressive 100% field of view and a good -4 to +2 dioptre adjustment.

The EVF also has a creative control feature that takes a bit of getting used to but in principle works exceptionally well. This enables you to make adjustments with the main and sub dials mounted on top of the camera. Adjustments can be made to exposure compensation, shadow and highlight control, and white balance, along with applying Olympus's extensive set of Art filters.

On the back of the camera, combining the touchscreen of the E-P3 with the tilting action of the E-PL3, is a 3-inch OLED screen, which again shows a clear bright image.

Performance

Obviously it is difficult to completely evaluate the performance of a camera without being able to take real world pictures with it, but the performance indicated by the specifications of the E-M5, along with our time with it are very promising.

As already stated, images are captured on the new 16 million pixel Live CMOS sensor and processed through the TruePic VI image processor. This combination, alongside the new M.Zuiko Digital Lenses is said to give better low light performance than its predecessors in the PEN series, with a maximum sensitivity of ISO 25600, improved dynamic range, rich graduation and better colour reproduction.

The image stabilization system has also been reworked with a 5 axis system that combats body shake for vertical, horizontal, pitch, rolling and yaw. This new system is designed to help keep the image sharp across the frame rather than just in the centre as many IS systems do at the moment. We'll have to wait for the review samples to test this new system fully, but it sounds like an intriguing prospect.

The AF system from the PEN E-P3 has been redeveloped for E-M5 and improves on the already impressive speed and accuracy, increasing from 120fps to 240fps. Using continuous AF this means that you can shoot at 4.2fps burst to capture fast moving subjects in focus and this increases to 9fps with sequential shooting.

Olympus has also announced two new lenses along with the OM-D, to sit alongside the new 12-50mm standard zoom that was introduced at the end of 2011.

The M.Zuiko Digital ED 75mm f/1.8 which is still in development, features a large aperture and has been designed for studio, portrait and indoor sports photography. This lens also features a round bokeh with less vignette, and metallic exterior.

Also announced is an M.Zuiko Digital ED 60mm f/2.8 Macro with inner focusing, designed primarily for Macro work, it should be equally useful for landscapes and portraits and it will be interesting to see how well these lenses work in conjunction with the OM-D.

Verdict

On the surface the new E-M5 is a nice looking camera and the salute to the old OM cameras will appeal to the retro photographers amongst us.

The features of the camera do make it an interesting proposition, but for us it was the build quality that really stood out. Despite being built in the digital era, it feels robust enough to stand up to a good amount of abuse.

It's one of the most expensive compact system cameras currently on the market, competing against recent launches which include the Fujifilm X Pro1 and the Panasonic GX1.

Time will tell if an expensive camera such as this will be able to find a place in the marketplace, especially when you consider that Olympus already has another highly specced camera in the shape of the PEN E-P3.

2012 looks set to be the year of the retro compact system camera, so it will be interesting to see who wins the battle between the major manufacturers who are all keen to get a slice of the pie.

Stay tuned for a full Olympus OM-D E-M5 review in due course.

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New Olympus lenses in 2012

Marcus Hawkins — Wed, 08 Feb 2012 02:00:00 GMT

Olympus is launching two new fast lenses for its compact system cameras. The announcement of this pair of specialist lenses coincides with the unveiling of the Olympus OM-D.

The M.ZUIKO DIGITAL ED 75mm 1:1.8 lens is designed to appeal to portrait photographers, while the M.ZUIKO DIGITAL ED 60mm 1:2.8 Macro lens targets nature photographers.

The 75mm f/1.8 lens offers robust, metal build quality that's said to match the standard set by the existing 12mm f/2 M.ZUIKO lens.

The combination of moderate telephoto focal length and fast aperture lends this lens to portrait photography. Olympus is keen to promote its suitability for indoor sports photography, too – quite a niche area, really.

New macro

Suggested as a first lens upgrade for OM-D users. the 60mm f/2.8 macro lens offers a minimum focus distance of 19cm.

It gives a life-size 1:1 magnification in the Micro Four Thirds format (a 35mm equivalent of 2:1). This close-up lens features a dust- and splash-proof housing that should provide some protection when shooting in rough conditions outdoors.

The two new Olympus lenses will be released in 2012, although the prices have yet to be confirmed.

Early View: Olympus OM-D vs Olympus PEN E-P3

Amy Davies — Wed, 08 Feb 2012 02:00:00 GMT

Olympus OM-D E-M5 vs Olympus PEN E-P3

With the much leaked OM-D E-M5 camera finally on the marketplace, Olympus now has two highly specced Micro Four Thirds cameras in its offering. The Olympus PEN E-P3 was only announced in June 2011, and is currently on sale for around £450-£500 less than the anticipated RRP of the OM-D.

So, is the OM-D worth the extra investment? If you're already an existing PEN user are you better of sticking with your current camera or is it time to jack it in and get the new model? Here we take a look at some of the headline specs of the new camera to see how it stacks up against the E-P3.

Sensor

Although both cameras feature a Micro Four Thirds sensor, the OM-D boasts a 16.1 million pixel sensor, compared with the E-P3's 12.3 million pixel offering.

Olympus claims that noise reduction on this camera is significantly better than on existing PEN models, so it will be interesting to see how well the camera copes with low-light shooting conditions, especially with those extra pixels to play with.

Processor

Both the OM-D and the E-P3 use the same processor, the TruePic VI. However Olympus does claim that it has been refined and enhanced for the OM-D, presumably to produce those low-noise images and to provide the increased shooting speed.

Viewfinder

For photographers who like to use a viewfinder, the OM-D is likely to appeal straightaway because it has one built in, unlike the E-P3 which requires the purchase of an additional accessory. The OM-D's finder is a 1.44 million dot EVF, which offers 100% frame coverage and also gives the option to make key changes to major settings.

Body / Ergonomics

Of course the original idea of compact system cameras such as the OM-D is that you get DSLR style image quality in a much smaller body. As time has gone on and this type of camera has evolved, some manufacturers have gone the way of producing cameras that are almost DSLR sized, such as the recent Pentax K-01 for instance.

Here, we have a magnesium alloy body for the Olympus OM-D E-M5, which has been styled in a retro, or "classic" way, and is ruggedised. The E-P3 on the other hand is constructed from metal and plastic, and while it does also have a retro look to it, it's not really any match for the new camera.

So, it's a question here of style over size. If you want the full retro experience, the E-M5 wins out, while for ease of portability, the E-P3 takes the crown.

Autofocus

Both the PEN and OM-D claim world-leading quick autofocus, courtesy of the Olympus FAST (Frequency Acceleration Sensor Technology) system. At the time of the PEN's launch, it was claimed to be the quickest in the world (for CSC cameras).

The same FAST AF system is used in the OM-D, but it's said to have been enhanced for even quicker operation. It is now so rapid that Olympus claims that it is now faster than all other autofocus systems, including those in DSLRs.

This is something we'll be extremely keen to test out once we get our hands on one during a full review.

Sensitivity

The E-P3 has the capability to record images up to ISO 6400, but its low-light performance isn't particularly impressive. On the OM-D however, the sensitivity has been boosted up to 25,600. Time will tell if the extra sensitivity will actually be of any use, but Olympus does claim that noise levels are 75% lower than on the PEN series.

Screen

The E-P3's OLED screen is one of the slickest we've used in recent months, probably down to the fact that it uses a capacitive type touchscreen (the same as used by the iPhone). It's quick and responsive and easy to use.

Sticking with touchscreens, the OM-D goes even further by providing a tilting screen, which will prove handy for composing from awkward angles and is also likely to be appreciated by those shooting video. Though it's a shame it's not fully articulated, it's nice to have some flexibility all the same.

Image Stabilisation

The new 5-axis image stabilisation is one of the key features that Olympus is keen to push with the OM-D. It allows for blur to be combated by tackling five different kinds of motion, which the company says is especially useful when shooting macro subjects.

By comparison, the E-P3 can only combat for two different types of motion blur, along the vertical and horizontal axis. This means that the OM-D has the potential for sharper and clearer images at lower shutter speeds, and again is something we'll be extremely keen to test out when we get a full sample in to review.

Video

Both the cameras feature the ability to shoot video in Full HD 1080p, however the tweaked processor should mean that operation is smoother. A new creative function, Live Echo, is available on the OM-D, but this is potentially something that could be added to the E-P3 (and other PEN models) via a firmware upgrade.

Art filters

Olympus is well known for including art filters on its cameras, with the E-P3 boasting an impressive ten, including Cross Process and Pinhole effect. Some of these can be mixed together for extra creative effects, but this is something that has been expanded on the OM-D.

Another filter has been added to the OM-D, the Key Line filter, but again, this is something that could potentially be added via a firmware upgrade to older models.

Conclusion

At £1149.99 (including kit lens), the Olympus OM-D E-M5 is one of the more expensive compact system cameras on the market, but it does offer some seriously impressive specifications.

Although the E-P3 is still a fantastic camera for the price, for the extra £500 you do get some significant upgrades with the OM-D, including an EVF, tilting screen, more megapixels, greater sensitivity and the promise of reduced noise.

It's also worth remembering that £1149 is the recommended retail price, which will likely be cheaper once the OM-D E-M5 actually hits the shops, making that price difference even smaller.

We're not sure if we'd go far as to recommend existing E-P3 users ditch their camera in favour of the new OM-D, but we can certainly see that they would be tempted.

For those sitting on the fence between the two, it will likely be a difficult decision and may ultimately come down the intended use for the camera.

Street photographers who are mostly working in daylight will probably do better to stick with the smaller form factor of the E-P3, as will many casual or holiday users.

However, for those looking for a more serious back-up camera to a DSLR for instance, the E-M5 looks like it will be an impressive package, squaring up against the likes of the recently announced Fujifilm X Pro1, and the Panasonic GX1.

Look out for a full review of the OM-D in due course, and in the meantime, check out our Hands on: Olympus OM-D E-M5 hands on review.

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