New Canon Ultracompact Camera Elph 330 HS with 10x optical zoom

New Canon Ultracompact Camera Elph 330 HS with 10x optical zoom

Canon's PowerShot Elph lineup continues to be in transition from 2012 to 2013 models, with the new Elph 330 HS being solely the second new model to seem.

The ultracompact Elph 330 HS options a 10x f3.0-6.9 24-240mm lens, one in all Canon's high-sensitivity 12-megapixel CMOS sensors, and a 3-inch 460K-dot-resolution liquid crystal display.

The camera additionally has constitutional Wi-Fi, holding you wirelessly transfer photos and flick clips on to automaton or iOS devices. you'll discuss photos uploaded to Facebook directly from the camera, too, tho' i am not entirely positive why you'd need to try and do that, particularly while not slightly screen.

The camera is otherwise a reasonably simple point-and-shoot with principally automatic shooting choices, as well as Canon's sensible car that picks settings supported fifty eight scene sorts. a brand new Hybrid car is enclosed, too, which mixes Canon's flick Digest feature and sensible car.

Every time you're taking taking} an image up to four seconds of HD video are captured before the shot. At the top of the day, all the clips ar combined into one video recapping your day of shooting.

The PowerShot Elph 330 HS hits stores in March for $229.99.

Also connection the 330 HS within the Elph lineup is that the $169.99 PowerShot Elph a hundred and fifteen IS. it is the same because the Elph a hundred thirty IS proclaimed at CES 2013, however while not the Wi-Fi. It options a 16-megapixel CCD, an 8x f3.2-6.9 28-224mm lens, and 3-inch liquid crystal display.

Lastly, Canon introduced the entry-level PowerShot A2500, that is that the same because the A2600 proclaimed at CES, however it's a two.7-inch liquid crystal display rather than the A2600's 3-inch liquid crystal display. The modification drops the value by $20 to $129.99.

The Elph a hundred and fifteen IS are get into March, whereas the A2500 arrives in Apr.

Canon EOS 6D Review

Canon EOS 6D

In some respects, it's onerous to inform WHO Canon's targeting with the Greek deity 6D, its "budget" full-frame camera. It's got some fairly consumer-y options and specifications. GPS? Check. intrinsic  Wi-Fi? Check. Single Mount Rushmore State card slot? Check. optical device with but 100% coverage? Check. weak optical device system? Check. On the opposite hand, it's missing things sort of a intrinsic  flash that you'd expect in a very nonpro camera.

It's not that the 6D is not a extremely nice camera -- I happen to love it lots. It's got nice ikon and sensible video quality, comparatively fluid operational style with a soft shutter action, and a solid (but not weatherproof) build. however ultimately I notice it a confusing obtain and simply a little little bit of a disappointment.

Image quality Canon EOS 6D
I'm extraordinarily affected with the Greek deity 6D's ikon quality; it delivers glorious JPEG process and noise reduction, nice dynamic vary and tonal quality, and correct colours if you alter the defaults. JPEG shots square measure comparatively clean through ISO 800 and still quite sensible through ISO 1600, even for big prints. And relying upon scene content and usage, you'll most likely escape with it all the far through ISO 12800. By ISO 1600 I see noticeable blessings to shooting raw over JPEG for noise processing; Canon favors noise suppression over detail preservation, and i am willing to just accept slightly grain. All of that is tweakable within the camera, of course, if you are bent on on JPEGs.

I'm going out on a limb: despite all the numbers I see on the web oral communication that the Nikon D600 contains a higher dynamic vary, in follow I notice the Greek deity 6D has a lot of redeemable highlight detail in apparently clipped areas than the D600. I will bounce back results overall on the D600's highlights victimisation Nikon's Capture NX2 software package than with either Adobe Lightroom or part One Capture professional, however even then i could not reclaim some detail in comparable things. I notice the 6D and D600 roughly comparable once it involves shadow detail.

The 6D's default image vogue setting (Auto) looks a lot of fine-tuned than I've seen in previous models, pull back on the distinction and saturation so it does not lose the maximum amount shadow detail or shift hues.

Video usually appearance sensible, although the Canon Greek deity 5D Mark III's continues to be higher (smoother musical notation and higher handling of distinction in high-contrast conditions), and you wish to use the All-I codec to forestall a number of the aliasing and moiré.

Performance Canon EOS 6D
The 6D performs as good as, however "pretty well," whereas creating it akin to the 5D Mark II, still puts it behind the Nikon 600D; its biggest issue is quite sluggish low-light optical device, a minimum of with the few lenses I shot with. (The work tests were performed with the 24-105mm f4L IS lens, however I shot with a range of lenses throughout my field tests. Note that whereas these numbers are not comparable those of most older cameras we have a tendency to tested, the 6D was tested victimisation identical methodology because the D600, thus those square measure comparable.) It powers on, focuses and shoots in roughly zero.6 second. beneath bright conditions, it focuses, exposes, and shoots in zero.4 second, however that rises to concerning one.3 seconds in dim lightweight.

Although sometimes a camera does not feel as sluggish in field testing because it will within the work, during this case it did; I may feel the assorted lenses looking before lockup focus. Even the Greek deity 7D feels a lot of responsive in low lightweight. that may be thanks to the meagerly single cross-type device within the AF array. It fares well in typical shooting, though, taking just below zero.3 second for 2 serial shots, either raw or JPEG.

For continuous shooting, the 6D maintains a solid rate of four.5 frames per second for either raw or JPEG. whereas the JPEG buffer is actually unlimited -- it maintained four.5fps for a minimum of thirty shots while not swiftness -- shooting raw slows when twenty shots to concerning 2fps. The buffer lasts for concerning eight full-quality raw+JPEG shots before stopping to method. although I did not have enough time for important burst-shooting testing, I wasn't excited with the AF system's speed once it came to to lockup on the topic and chase.

I conjointly notice the 6D's metering slightly inconsistent. I habitually had to shoot with +2/3 to +1 stop exposure compensation additionally to identify metering once victimisation lenses quicker than f4; the spot is large, about 3.5 % of the optical device (for comparison, the D600's is one.5 percent).

Design and options Canon EOS 6D
The 6D contains a fine, well-built, and comfortable-to-shoot-with body, although the buttons that on alternative Greek deity models run down the left aspect of the liquid crystal display on the 6D square measure scattered round the back, thus it are often disorienting  jumping between the 6D and alternative bodies. Of course, that modification is an element of why the 6D's body is smaller than the company's alternative full-frame models. and a few of the burden loss comes from the construction: Associate in Nursing Al chassis coated by strengthened polycarbonate, although it's as dust- and weather-resistant because the 7D.

In fact, in a very ton of the way in style and build the 6D is harking back to the 60D: same feel, single Mount Rushmore State card slot, and management dial with inset navigation switch and set button on the rear (as against the joystick on the higher-end models and also the 7D). like alternative Greek deity bodies, the mode dial sits on the left shoulder, and has the same old assortment of manual, semimanual, and automatic modes and bulb and 2 custom settings slots. it's Canon's now-typical center lock button, that I forever notice slightly awkward, however not Associate in Nursing interface deal-killer.

On the correct aspect you will find the adjustment dial, and standing liquid crystal display with optical device, drive, ISO, metering, and illumination buttons on the highest. On the rear right high sit the AF-ON, exposure lock, and AF purpose buttons, with a Live View/Movie mode switch and record button by the optical device. The management layout feels comfy, and acquainted enough if you are wont to Canon bodies.

I'm somewhat defeated by the optical device. It's huge and bright, however solely covers ninety seven % of the scene, and lacks a grid overlay option; the 7D's optical device contains a lower effective magnification issue (0.63x) however i prefer it higher.

The Wi-Fi implementation fares as good as, as long as you bypass all the things that needs a Canon Image entryway membership, like direct uploads to alternative internet sites. The camera remote app enables you to modification shutter speed and aperture, ISO sensitivity, and exposure compensation, that could be a ton quite another apps. As is common, the GPS operation was inconsistent here in New York; I may get a symptom whereas shooting in Union sq., however much obscurity else, and if I forgot to show it off it drained the battery by ceaselessly looking for a symptom.

Beyond that, it's a reasonably customary feature set, with many notable capabilities. You get a set of the Servo optical device settings from the higher-end models. HDR junkies can appreciate its ability to bracket up to seven shots at +/- three stops. you'll came upon to four optical device warnings -- monochrome mode, white-balance correction, ISO enlargement Associate in Nursingd spot metering -- that seem as an punctuation mark on the screen. On the draw back, there is not any intrinsic  flash; though i do not advocate victimisation on-camera flash if it's in the least doable, it's very nice to own it in a very pinch. I miss twin card slots. a minimum of for my desires, a 3rd custom-setting slot would be lots a lot of helpful than either Wi-Fi or GPS. Your mileage could vary. For video shooters, it is a potpourri. The camera supports time codes, however not clean HDMI output, and lacks a earpiece jack.

Conclusion Canon EOS 6D
What's most frustrating is that the 6D ought to be a clearly higher obtain than the older, cheaper 7D, however it isn't. whereas the 6D perceptibly outshines its APS-C-based relative in full-frame ikon quality and it's a way broader feature set in theory, the 7D contains a higher optical device and quicker optical device, a a lot of sturdy shutter mechanism, and an additional custom setting slot, simply to say some of things.

If you are thinking of moving up from one among Canon's shopper APS-C-based models, just like the 60D, it's undoubtedly worthwhile for the ikon and video quality; if you are considering the 6D rather than one among the costlier full-frame models, it is a fine various if you do not mind the ninety seven % coverage optical device, single Mount Rushmore State card slot, less sturdy shutter, lack of a earpiece jack, fewer customizations, and every one those alternative very little ways in which during which you may ought to compromise.

As for the Canon Greek deity 6D versus Nikon D600 call for those who haven't committed to a system nevertheless or square measure thinking of shift, overall i believe I ultimately like the D600. i believe the highlight recovery issue is repairable -- at the terribly least, simply by looking at however you piece your exposure settings -- and also the superior performance and a lot of shooter-friendly feature set weigh in its favor. That said, either camera can deliver the standard edges of a full-frame model at a less painful value than the higher-end siblings on either side of the aisle.

Sony Alpha NEX-3N - Small, Powerfull Camera

Sony Alpha NEX-3N - Small, Powerfull Camera

As unhappy because it sounds, the foremost notable factor concerning Sony's new Alpha NEX-3N is that the price: list of $500 for the kit with an influence optical lens. that is concerning $100 but the asking price of the camera it's exchange, the NEX-F3, and whereas it is not as low as i would like for a model designed to charm to potential point-and-shoot upgraders, it's actually a step within the right direction in an exceedingly usually expensive field. And hopefully it suggests that the road worth can hit $399, that is that the most that plenty of that focus on audience can need to pay, despite feature set.

For that money, the 3N could be a probably nice camera. It uses identical sensing element because the F3 with the same old another-generation algorithmic  tweaks to enhance noise reduction. That said, I did not see an understandable improvement within the quality at ISO four hundred or higher, however cannot state that definitively till i purchase substantial testing time with the camera.

The 3N additionally shaves concerning zero.2 in. off the F3's body all told dimensions, while not losing any important controls; in reality, it gains a zoom lever on the body, that works in conjunction with the 16-50mm power zoom kit lens for a additional point-and-shoot-like expertise. which extremely appears like the foremost natural thanks to use an influence optical lens. I actually have mixed feelings concerning the changes in style. i like that the smaller battery compartment necessitated moving the South Dakota card slot to the left facet of the camera, however detest that it makes the grip smaller. I felt like i used to be scrunching my hand to carry the camera, and therefore the grip feels a trifle cheaply created. And cutting corners on the liquid crystal display means it will flip up for shooting from below the waist and for self-portraits, however it cannot tilt down for overhead shooting. The screen is additionally lower resolution than the F3 and it's pretty coarse.

Like the different models during this generation, it gains the new machine Object Framing mode, a additional generalized version of the machine Portrait Framing mode that debuted within the F3.

I hope once i purchase to try and do additional intensive testing it'll prove that the noise reduction (and JPEG processing) improve over those of the F3, as that camera's photos displayed noticeable degradation jumping from ISO two hundred to ISO four hundred. plenty of the camera's attractiveness can depend on the road price; although i am not an enormous fan of the camera generally, you'll be able to get the Nikon one J1 with 2 lenses for fewer than $500, that makes it a formidable competitor if you are simply craving for one thing with higher size and speed than a snap camera.

Canon D5200 - Refinement D5100

The Nikon D5100 may be a solid camera with wonderful photograph and video quality, however comparatively sluggish performance tarnishes its attract on behalf of me. Nikon fixes that within the D5200 with identical new optical device and metering systems that debuted within the D600, and Associate in Nursing updated higher-end optical device, and therefore the result's a perceptibly higher shooting expertise that produces it a wonderful selection for all-round family and vacation photography.

Image quality
As with the D5100, still and motion image quality remains excellent; however despite a replacement sensing element and updated image-processing engine, it isn't perceptibly higher. The camera will an excellent job optimizing its JPEGs -- whereas raw still offers you a lot of adjustment latitude than JPEG, there does not appear to be any profit for sharpness or noise reduction till you hit regarding ISO 1600. pictures look pack up through ISO 800, sensible through ISO 1600, and stay usable through ISO 6400 relying upon subject material and output size.

Exposure and dynamic vary look sensible, although the camera tends to supply darker exposures than I expect underneath a given set of circumstances. redeemable highlight and shadow detail square measure in line with what I expect from a camera in its category. It reproduces colours with solid accuracy, and therefore the default color settings do not push distinction or saturation overmuch; the most important distinction between the quality and neutral settings appears to be sharpness.

Video appearance sensible similarly, with suprisingly few artifacts. Even low-light video, that on several cameras tends to point out plenty of sparkling and moiré on edges as noise will increase, displayed nice solidity. The tonal vary will decrease because the setting gets darker, with a lot of blown-out highlights and crushed blacks -- that is common -- however otherwise it's wonderful.

Performance
The performance of the Nikon D5200 has improved quite an bit over the D5100, due to Associate in Nursing updated optical device system, however that is not while not qualification. (Note: I've left the D5100's performance times within the chart, they don't seem to be directly comparable attributable to our amendment in testing MEthodology; I enclosed them as a result of they strike me as roughly representative. The T4i was tested victimization our current system.)

Because our shot lag tests incorporate a major distance refocus Associate in Nursingd exposure adjustment -- we start with the lens adjusted for an object near the camera, out of the vary of the lights before specializing in the a lot of distant, otherwise lit scene -- how briskly the lens drives to the new location well affects lag time. Since the D5200 has no inbuilt AF motor, that performance are heavily determined by the motor within the lens, and during this case, the 18-55mm kit lens drives comparatively slowly. However, our shot-to-shot times, that do not need any signficant lens movement or exposure adjustment, do mirror the speed boost.

The camera powers on and shoots quickly, in about 0.3 second. Time to focus, expose and shoot in sensible lighting takes regarding zero.5 second and in poor lighting regarding zero.8 second. 2 sequential shots run a wonderful zero.2 second for either JPEG or raw, and therefore the flash will increase that to one.2 seconds, although the latter is tough to live as a result of the camera does not answer a shutter press (i.e., you cannot prefocus) till the flash has completed usage.

It has wonderful continuous-shooting performance for its category, 5.1fps JPEG for Associate in Nursing effectively unlimited variety of frames (more than 40) while not fastness, a minimum of once equipped with a quick 95MB/sec SD card. For raw, it maintains five.5fps for eight frames, then slows -- unpredictably -- to regarding a pair of.2fps.

The updated optical device system is quick and correct, and as was common its continuous focus following system appears to figure practically. (I did not have the chance to check it extensively, however.) That aforementioned, the auto-area AF choice is as comparatively retarded as most of its peers, tending to pick out the closest or brightest space within the scene. though I did not formally take a look at the Live read (contrast) optical device speed, in observe it felt astonishingly responsive most of the time, each for stills and video. whereas it uses Nikon's full-time  AF for video, it isn't as quick or quiet as Canon's memory contrast-AF implementation; on the opposite hand, it's most likely quick and quiet enough for many uses (though it depends upon the lens), and it does not need an entire new set of pricey lenses.

Unfortunately, I still realize the show slightly too contrasty, oftentimes deceptive ME into thinking my exposures square measure off.

Design and options
Like several in its value category, the D5200 feels plasticky, however solid and comparatively light-weight. On the top-right shoulder of the camera sits the cluttered-looking mode dial with the same old set of manual, semimanual, and automatic modes and a Live read switch extending from it. The show record button, information button, and exposure compensation buttons square measure behind the jazz band shutter button and power switch, with a drive mode button on the center right. the rear controls square measure organized in an exceedingly typical fashion. info|the knowledge|the data} edit button -- to not be confused with the data button on the highest -- brings up the interactive information show wherever you modify most of your shooting settings. whereas there is still no thanks to lock the navigation switch to forestall accidental AF-point changes, I did not have the maximum amount bother with it now around. I like a thumb-operated record button and realize the drive-mode button a trifle degree|somewhat|slightly|alittle} small and exhausting to feel, however overall the camera delivers a efficient shooting expertise.

Though the optical device has similar specs thereto of the D5100's, and it's still slightly dim, it currently has massive, visible AF space markers Associate in Nursingd an optional  grid overlay; as i actually hate the small AF dots of its forerunner and Canon's Rebel series, to ME this is often an enormous improvement.

Like the body style, the feature set hasn't modified a lot of, however it's fairly all-round for its category -- as long as you do not yearn for on-board wireless file transfer or geotagging. The few tight effects choices embrace the clever visual modality mode, a awfully helpful thanks to profit of the sensor's capability of skyrocketing gain up to ISO 102,400. In color, the results would be useless. however by changing the results to black and white, you get the flexibility to shoot in close to darkness and procure usable -- although not optimum for high-resolution printing -- results. All operate in show capture similarly as still.

The two-shot HDR autocombine implementation remains annoying -- you've got to travel into the menus and re-enable it when each shot unless you assign it to Fn. however there square measure different things i need to assign to Fn. In either case, Nikon clearly views it as a one-shot override feature instead of a setting you'll have to use repeatedly for a brief time. moreover, 2 shots do not extremely give a "high" dynamic vary, simply a rather extended one. It works OK for gap up some shadow detail, however will very little to bring down the highlights. If you wish to try to to HDR the old style manner, you'll not be excited with the D5200's choices. It offers three-shot bracketing up to 2 stops.

On the opposite hand, Nikon's perpetually been there for time-lapse shooters, and therefore the inbuilt intervalometer remains a key advantage. There are 9 custom image vogue settings slots, and you'll outline up to ninety nine in software system and share them among multiple cameras. like the T4i, though, there is not any thanks to save and recall custom settings.

Like Nikon's different client dSLR bodies, the dearth of Associate in Nursing AF motor within the body implies that the D5200 needs the company's AF-S lenses if you intend to use optical device. that is not a major disadvantage for the everyday client WHO does not purchase plenty of lenses, however it's unsatisfactory if you wish a reasonable body to combine with more-expensive lenses.

Conclusion

While on paper the D5200 does not extremely stand out from the specialised competition -- Canon has its video-optimized AF system, Pentax has its weather-resistant bodies, and Sony has its speedy models with inbuilt geotagging -- it quite succeeds as a general model for family and vacation photography.

Canon Powershot SX500 IS Specifications

Canon Powershot SX500 IS Specifications

 

IMAGE SENSOR

Type	1/2.3 type CCD
Effective Pixels	Approx. 16.0M
Colour Filter Type	Primary Colour

IMAGE PROCESSOR

Type	DIGIC 4 with iSAPS technology

LENS

Focal Length	4.3 – 129.0 mm (35 mm equivalent: 24 – 720 mm)
Zoom	Optical 30x ZoomPlus 60x Digital Approx. 4x (with Digital Tele-Converter Approx. 1.6x or 2.0x and Safety Zoom¹). Combined Approx. 120x
Maximum f/number	f/3.4 – f/5.8
Construction	13 elements in 10 groups (1 UD lens, 1 double-sided aspherical lens)
Image Stabilisation	Yes (lens shift-type), 3.5-stop. Intelligent IS

FOCUSING

Type	TTL
AF System/ Points	Face Detection, 1-point AF (fixed to centre)
AF Modes	Continuous, Servo AF/AE¹, Tracking AF
AF Point Selection	Size (Normal, Small)
AF Lock	On/Off Selectable
AF Assist Beam	Yes
Manual Focus	Yes
Closest Focusing Distance	0 cm (W) from front of lens in macro

EXPOSURE CONTROL

Metering modes	Evaluative (linked to Face Detection AF frame), Centre-weighted average, Spot (Centre)
AE Lock	On/Off Selectable
Exposure Compensation	+/- 2 EV in 1/3 stop increments. Enhanced i-Contrast for automatic dynamic range correction
ISO sensitivity*	AUTO, 100, 200, 400, 800, 1600

SHUTTER

Speed	1 – 1/1600 sec. (factory default) 15 – 1/1600 sec. (total range – varies by shooting mode)

WHITE BALANCE

Type	TTL
Settings	Auto (including Face Detection WB), Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, Custom

LCD MONITOR

Monitor	7.5 cm (3.0”) TFT, Approx. 461,000 dots
Coverage	Approx. 100%
Brightness	Adjustable to one of five levels. Quick-bright LCD

FLASH

Modes	Auto, Manual Flash On / Off, Slow Synchro
Slow Sync Speed	Fastest speed 1/1600 sec.
Red-Eye Reduction	Yes
Flash Exposure Compensation	+/- 2 EV in 1/3 stop increments. Face Detection FE. Safety FE
Flash Exposure Lock	Yes
Manual Power Adjustment	3 levels with internal flash
Built-in Flash Range	50 cm – 5.0 m (W) / 1.4 m – 3.0 m (T)
External Flash	Canon High Power Flash HF-DC2

SHOOTING

Modes	Smart Auto (32 scenes detected), Program AE, Shutter priority AE, Aperture priority AE, Manual, Live View Control, SCN (Portrait, FaceSelf-Timer, Low Light (4.0MP), Snow, Fireworks), Creative Filters (Fish-eye Effect, Miniature Effect, Toy Camera Effect, Monochrome, Super Vivid, Poster Effect), Discreet, Movie
Modes in Movie	Smart Auto (21 scenes detected), Standard, iFrame Movie, Program AE, Portrait, Snow, Fireworks, Miniature Effect, Monochrome, Super Vivid, Poster Effect
Photo Effects	My Colors (My Colors Off, Vivid, Neutral, Sepia, Black & White, Positive Film, Lighter Skin Tone, Darker Skin Tone, Vivid Blue, Vivid Green, Vivid Red, Custom Color)
Drive modes	Single, Continuous, Continuous with AF, Self-Timer
Continuous Shooting	Approx. 0.8 shots/sec. with AF: Approx. 0.5 shots/sec. LV: Approx. 0.6 shots/sec.(until memory card becomes full)¹²

RECORDING PIXELS / COMPRESSION

Image Size	4:3 - (L) 4608 x 3456, (M1) 3264 x 2448, (M2) 1600 x 1200, (S) 640 x 480 16:9 - (L) 4608 x 2592, (M1) 3264 x 1832, (M2) 1920 x 1080, (S) 640 x 360 3:2 - (L) 4608 x 3072, (M1) 3264 x 2176, (M2) 1600 x 1064, (S) 640 x 424 1:1 - (L) 3456 x 3456, (M1) 2448 x 2448, (M2) 1200 x 1200, (S) 480 x 480 Resize in playback (M2, S, XS)¹
Compression	Superfine, Fine
Movies	(HD) 1280 x 720, 25 fps, (L) 640 x 480, 30 fps Miniature Effect (HD, L) 5fps, 2.5fps, 1.25 fps iFrame Movie (HD)
Movie Length	(HD) Up to 4 GB or 29 min. 59 sec.¹ (L ) Up to 4 GB or 1 hour²

FILE TYPES

Still Image Type	JPEG compression, (Exif 2.3 [Exif Print] compliant) / Design rule for Camera File system, Digital Print Order Format [DPOF] Version 1.1 compliant
Movies	MOV [H.264 + Linear PCM (stereo)] iFrame

DIRECT PRINT

Canon Printers	Canon SELPHY Compact Photo Printers and Canon Inkjet Printers supporting PictBridge (ID Photo Print, Fixed Size Print and Movie Print supported on SELPHY CP & ES printers only)
PictBridge	Yes

OTHER FEATURES

Red-Eye Correction	Yes, during shooting and playback
My Camera / My Menu	Start-up image and camera sounds customisation
My Category	Image tagging feature
Intelligent Orientation Sensor	Yes
Histogram	Yes
Playback zoom	Approx. 2x – 10x
Self Timer	Approx. 2 or 10 sec., Custom
Menu Languages	English, German, French, Dutch, Danish, Finnish, Italian, Greek, Norwegian, Portuguese, Russian, Swedish, Spanish, Ukrainian, Polish, Czech, Hungarian, Turkish, Simplified Chinese, Chinese (traditional), Japanese, Korean, Thai, Arabic, Romanian, Farsi, Hindi, Malay, Indonesian, Vietnamese

INTERFACE

Computer	Hi-Speed USB (MTP, PTP) dedicated connector (Mini-B compatible)
Other	HDMI Mini Connector (HDMI-CEC compatible) A/V output (PAL/NTSC)

MEMORY CARD

Type	SD, SDHC, SDXC

SUPPORTED OPERATING SYSTEM

PC & Macintosh	Windows 7 SP1 / Vista SP2 / XP SP3 Mac OS X v10.6 – 10.7

SOFTWARE

Browsing & Printing	ImageBrowser EX
Other	PhotoStitch

POWER SOURCE

Batteries	Rechargeable Li-ion Battery NB-6L (battery and charger supplied)
Battery life	Approx. 195 shots¹ Approx. 540 min. playback Approx. 240 min. playback
A/C Power Supply	Optional, AC Adapter Kit ACK-DC40

ACCESSORIES

Cases / Straps	Soft Case DCC-950
Flash	Canon High Power Flash HF-DC2
Power Supply & Battery Chargers	AC Adapter Kit ACK-DC40, Battery Charger CB-2LYE

PHYSICAL SPECIFICATIONS

Operating Environment	0 – 40 °C, 10 – 90% humidity
Dimensions (WxHxD)	104.0 x 69.5 x 80.2 mm
Weight	Approx. 341 g (including battery/batteries and memory card)

Zoom	¹ Depending on the image size selected.
AF Modes	¹ Some settings limit availability.
Continuous Shooting	¹ Depending on memory card speed / capacity / compression setting. ² Using the batteries and memory card format supplied with the camera (where included), except where indicated.
Image Size	¹ XS is half the length and width of S
Movie Length	¹ The following Speed Class memory cards are required for maximum record time: (HD) 1280 x 720 Speed Class 4 or above. (Full HD) 1920 x 1080 Speed Class 6 or above. (iFrame) 1280 x 720 Speed Class 6 or above. ² Depending on memory card speed / capacity / compression setting.
Battery life	¹ Using the batteries and memory card format supplied with the camera (where included), except where indicated.

• *Standard Output Sensitivity / Recommended Exposure Index.
• According to ISO 12232:2006 (20th April 2006) which specifies the method for assigning and reporting ISO speed ratings for digital still cameras.
• All data is based on Canon standard testing methods (according to CIPA Standards) except where indicated.
• Subject to change without notice.

Nikon Coolpix A Review

Nikon Coolpix A Review

The latest manufacturer to deliver is Nikon, with its new Coolpix A, a fixed-focal-length lens model with AN APS-C sensing element on the lines of Fujifilm's well-liked X100 and X100s. At $1,099, however, this camera is not for everybody, and initially look has a minimum of a handful of competitive weaknesses.

The trend toward larger sensing element sizes is very important, as a result of all things being equal, larger sensors tend to deliver higher quality, and makers tend to surround them with higher quality elements. however the cameras also are essentially larger and equipped with fixed-focal length, instead of zoom lenses (for higher optics). At their higher costs, though, many folks realize that a camera with a medium-size sensing element cost accounting a whole bunch less is sweet enough.

During my temporary likelihood to handle the Coolpix A, it actually felt solid and well-designed. The manual specialise in the lens ring is servoelectronic, that some folks don't love, however optical device appeared zippy enough. I would like it had a true grip rather than the only ridge on the front, though.

On the and aspect, it's comparatively compact, simply slightly larger than the RX100 and considerably smaller than the X100s. It conjointly encompasses a larger, denser liquid crystal {display|LCD|digital display|alphanumeric display} display compared with the rather "meh" version on the X100s. i feel the X100s' 35mm-equivalent lens could be a very little a lot of sensible than the Nikon's 28mm, although that is a private preference; the Fujifilm's could be a stop quicker, though.

But there is quite an little bit of a draw back. i think the road value of the Coolpix A are going to be concerning $999 and therefore the X100s concerning $1,099 (based on the value history of the X100), which might be pretty competitive -- if the Coolpix A had a constitutional optical device. Nikon are going to be charging $450 for a comparatively normal Reverse Galilean with ninety % coverage. The X100s not solely has one inbuilt, however it is a cool hybrid one. Fujifilm's model conjointly uses the company's OLPF-free X-Trans CMOS II and encompasses a 9-bladed aperture for rounder, power tool out-of-focus areas, compared to the Nikon's seven blades -- the minimum you'll escape with for good results. whereas the Nikon's sensing element ought to be pretty smart -- i feel it is the same or like the one within the D5200 with some tweaks to optimize the sunshine gathering during this style -- plenty of parents should wish to envision considerably higher image quality for the additional few hundred greenbacks over a camera with a smaller sensing element just like the RX100 or the Canon G1 X. And battery life? i assumed 330 shots was unhealthy for a $1,200 camera, however Nikon's rating of 230 shots is abysmal.

Samsung Android Galaxy Camera Review

It’s time to take your food and party Instagram photos to the next level. The Samsung Galaxy Camera is the world’s first camera with a mobile operating system and full mobile connectivity. It runs on Android and uses a SIM card for mobile service. For this review, Samsung provided a camera that works on AT&T’s 4G network. Mobile connectivity means you can upload photos no matter where you are – no Wi-Fi necessary. As long as you’ve got a mobile signal, you can share photos and videos, just like you would with your Smart Phone.

What makes the Samsung Galaxy Camera different from a Smart Phone is its larger 1/2.3-inch point-and-shoot sensor and a 21x optical zoom lens with optical image stabilization. Basically – Samsung put an Android operating system into a camera, instead of putting a camera into a Smart Phone. The Samsung Galaxy Camera also has a pop-up flash and a custom camera app that offers full manual controls as well as a suite of scene modes. And of course, since it’s an Android device, you can install whatever apps you want for social networking, photo editing – even music or games. The only thing the Galaxy Camera can’t do is make phone calls – although if you install the Skype app and use a headset, it can do that, too.

Samsung Galaxy Camera Camera Pros
• 1/2.3-inch backlit CMOS point-and-shoot camera sensor
• 21x 23-483mm optical zoom lens with optical image stabilization
• Android OS with apps
• Full 4G mobile connectivity
• Cool custom camera app with P,A,S,M manual controls
• Beautiful Super AMOLED touchscreen display
  
Samsung Galaxy Camera Cons

• Image quality is disappointing
• No mobile phone functionality
• Big compared to comparable point-and-shoot cameras
• Slow startup
• Touchscreen controls aren’t as quick as dedicated buttons
• Saving images to the MicroSD card is confusing
• Flash is harsh

Samsung Galaxy Camera Key Features and Specs:

16-megapixel 1/2.3-inch backlit CMOS sensor

1920 x 1080 full HD video

21x 23-483mm (equivalent) f/2.8-5.9 optical zoom lens

2.35 x 4.16-inch HD touchscreen display

Android 4.1 Jelly Bean OS

Pop-up flash

Full maunal exposure controls via Samsung’s built-in camera app

For the most part, I’ve been using it in place of both a regular point-and-shoot camera and my Smart Phone since then. I’ve even taken skiing a few times. But for the most part, I used it so I could have more control with my Instagram photos. Having that 21x image-stabilized optical zoom lens and manual exposure controls means I can take way better food photos than I can with my camera phone. And having the Android OS, apps and 4G connectivity built right into the camera means I can post photos right from the bar or the ski resort. As much as I love my Eye-Fi wireless SD card, not having to transfer images from my camera to my phone is really nice. I really love being able to zoom to whatever focal length I want, choose the exposure settings myself, process my photos (mostly with Snapseed) and then upload to the Web – all from one device. That’s the perfect workflow!

Other than it not being a phone, the Samsung Galaxy Camera is an awesome mobile device. As a mobile device, that’s actually my biggest issue – that it’s not a phone. If you’re going to make the effort to design a camera with an Android OS and 4G connectivity, why not just make it a phone, too? The Samsung Galaxy Camera currently costs $499 with a two year mobile contract (AT&T). That’s over twice as much of an initial investment as an iPhone or a Samsung Galaxy S III. For that kind of scratch you shouldn’t have to pay for and carry two mobile devices.

As a camera, there’s no doubt the Samsung Galaxy Camera is better than a Smart Phone. It’s got a large 16-megapixel (for a mobile device) 1/2.3-inch sensor that has almost twice the surface area of the sensor in the iPhone 5 and Samsung Galaxy S III Smart Phones. And more sensor surface area almost always means better image quality – especially in low light. So you can see for yourself, I’ve included Galaxy Camera and Samsung Galaxy S III Smart Phone comparison images in the Image Quality section of this review. The Galaxy Camera also has a 21x optical zoom lens with optical image stabilization, a pop-up flash and a really nice custom camera app with excellent manual controls as well as scene modes like Landscape, Night, Sunset, Panorama, Action Freeze and Macro. I’m a manual exposure guy so I really like the P,A,S,M manual shooting modes.

I think the biggest benefit of the Galaxy Camera compared to a Smart Phone is the lens. The 21x (35mm equivalent) 23-483mm zoom offers an incredible range allowing you shoot everything from wide group photos of people to wildlife photos. The two photos below show the huge difference between shooting all the way wide and zoomed all the way in with the 21x zoom lens. Both photos were shot from the same spot at the same time. You’ll have to click on the first photo and zoom all the way in to locate the people in the photo on the right.

The 21x zoom lens also allows you to take advantage of the optical affects you get from using different focal lengths. It’s true you could just crop your fixed lens Smart Phone images to match different zoom lengths. There are two problems with that, though. First, you lose resolution and that degrades image quality. If all you’re doing is posting to Facebook or Instagram, the loss of resolution probably doesn’t matter much. But the different optical affects you get from changing focal length are very important. Taking a picture at 200mm and cropping to frame your subject the same way do not give you the same picture. Using a telephoto lens (or zooming in) flattens the space and makes the background appear closer to your subject as well as dramatically changing the depth-of-field. Experienced photographers use telephoto focal lengths to pull the background in closer and isolate their subject against a soft, out-of-focus background. You just can’t do the same thing with a fixed lens Smart Phone. Check out the three photos below to see what I mean. The photo on the left was taken zoomed to about 170mm. The photo in the middle was taken at about 35mm – comparable to a Smart Phone camera lens – and then cropped. For the photo on the right I “zoomed with my feet” and walked up to the house to try to frame it the same way I did in the first photo. You’ll notice each of the photos is very different. This is why I think having a zoom lens is so important.

Everyone knows that size really does matter. And the Galaxy Camera is too big. At about 5 x 2.75 inches, the back of the camera – the touchscreen – is about the same size as a Smart Phone (see photo below of my Samsung Galaxy S III phone next to the Samsung Galaxy Camera). That doesn’t take into account how thick the Galaxy Camera is with the grip and lens, though. Plus, all the big camera companies now make pocket superzoom cameras with smaller bodies and a comparable zoom range. For reference, take a look at the second photo below of the Galaxy Camera with a Canon PowerShot SX230 HS. The current version of that camera, the PowerShot SX260 HS, is the same size, has a 20x optical zoom lens and better external controls than the Galaxy Camera. What it doesn’t have is an Android operating system, Android apps, or 4G mobile connectivity. On the other hand, put an Eye-Fi card in the Canon and you can wirelessly transfer photos and videos from the camera to your Smart Phone and have all the functionality you’d have with the Samsung, but with a smaller, better camera. And any of the current pocket superzooms from Panasonic, Nikon, Canon, Sony, Olympus and Fujifilm will easily fit in a pants pocket. You actually don’t even need the Eye-Fi card anymore. Most of the camera companies now make a pocket superzoom camera with built-in Wi-Fi. But the Samsung Galaxy Camera is the only option with a SIM card and real 4G mobile connectivity built right into the camera.

Sony SLT - A99 dSLR Review

The Sony Alpha SLT-A99 is that the world's 1st full-frame clear mirror DSLR, providing glorious image quality all told lighting conditions and also the same AF performance for video as for stills. it's a 24-megapixel full-frame detector, a high-resolution electronic view finder (EVF), full HD video at sixty frames-per-second, new “Dual AF” machine focus system, a 3-inch tilting show|LCD|digital display|alphanumeric display} display and it will shoot as quick as ten FPS in Tele-zoom high speed shooting mode (6.6 FPS in manual modes).

Strengths:    Electronic read finder, in body image stabilization, quick and low light-weight focus, focus peaking, a lot of improved dynamic vary and extremely low noise up to 6400 iso,

Weaknesses:    No pop up flash. No mill equipped screen shielder

Bottom Line:  
Well let ME begin out by locution i do not shoot video therefore i am unable to base any of this review on the a99s video capability. however right out of the box I detected simply however the a99 appears like the a77. they're nearly a similar size however the a99 simply ever slightly larger. Most of the controls ar a similar. One distinction could be a programmable dial on the front of the camera to assist with silent operation once shooting video.

It conjointly handles pretty much similar to the a77. The menu is sort of identical. All the controls one wants and in smart spots to use them. they're currently 2 Coyote State card slots and that they will be programmed in an exceedingly variety of how. One for video the opposite stills shock therapy. there's conjointly currently a feature known as focus vary. I will set the a99 to focus in an exceedingly sure vary close to and much that keeps the camera from looking the maximum amount. I real smart feature if you recognize concerning however way your target goes to be and also the cameras focus system can solely hunt focus in this vary creating focus faster.

Sony has conjointly modified it's hot shoe from the Sony style to a standard hot shoe. this may please several as I even have detected complaints concerning this issue for a protracted time.
But the most important improvement is in image quality. initial the noise. this can be one in every of the primary things that's critiqued once a replacement camera comes out. however do the images look once shooting high ISO? i'm undecided why this has continually been such a problem. i assume it's one thing you'll be able to see initial hand by staring at shots on the net. however additional necessary to ME is dynamic vary and color depth. however pictures ar terribly pack up to 6400 ISO. more than that and also the a99 starts to fall off. however it's nearly nearly as good|pretty much as good} if not as good because the D800. i might suppose the Nikon might need a position however at that i am unable to see why with the a99 you would not be proud of the noise levels. it's an honest stop and a 0.5 to 2 stops higher than the a77 or a850.

The dynamic vary to ME is that the biggest improvement over the a850. I had to use ND grads and Lightroom to induce my landscape shots prosperous with the a850. I even have closely-held many DSLRs over the years and have continually had to figure at protective the highlights and citing the shadows in post get the detail I wished. it's as those days ar over. I even have shot with a 2 stop grad and have gotten out of camera exposures with none would like for post process. I even have even have shoot a couple of ultimately into the sun wherever associate degree ND grad wasn't necessary the least bit. thereupon i have to say the a99 and Carl Zeiss 24-70mm would possibly simply be the most effective landscape lense jazz band on the market.

As way as color depth I even have to mention there's nothing wrong with the a850 in this space. however the colour depth of the a99 is actually nice. Deep made correct colours for sure.
I browse some of negative comments relating to the electronic read noticeer however I find it nothing however nice. although i have not shot lots of burst to examine out write time to the cardboard or the buffer size i might expect it to be concerning a similar because the a77. Shooting a large amount of images like at a football game game will get annoying with the finder blanking out because the camera writes to the cardboard. If I shot sports lots or was a professional i could not just like the electronic read finder the maximum amount.

Focus peaking is that the best invention that has came out since mud removal or image stabilization. What am i able to say? As a landscape creative person the lean out screen and focus peaking is pretty much as good because it gets. Setting the camera near the bottom and having the ability to compose the shot and focus with exactitude. and since the mirror does not flop up, it's associate degree SLT, there's no would like for mirror lock up. pictures ar super sharp and that i am less probably to induce associate degree out of focus image. and the shutter is incredibly quite. this can be necessary if you shoot life. conjointly I will use the amount on the liquid crystal display and take the guess compute of obtaining grade horizon. With the a99 I even have taken a couple of footage that have completely required no post process work, none.

Nikon Coolpix P330 Review

Nikon is a relative newcomer to the small, high-quality compact camera market. Although for the past couple of years the Coolpix P300 and P310 offered excellent build quality and a similar user experience to competitive models like the Canon PowerShot S110, neither featured a raw capture mode, and both used comparatively small 1/2.3" sensor rather than the 1/1.7" sensors commonly found in their high-end peers.

The Nikon Coolpix P330 changes this dynamic, offering both raw mode and a larger, lower-resolution sensor (almost certainly the same 12MP one found in the Coolpix P7700), without sacrificing what was good about its predecessors - a compact form factor, relatively fast lens, good build quality, and a useful zoom range. As such it represents Nikon's most serious attempt to offer a real competitor to the Canon PowerShot S110 and its popular predecessors the S100 and S95. At an MSRP of $379, the P330 is competitive on price, too.
Nikon Coolpix P330: Key Specifications

    12.2MP BSI-CMOS sensor
    Raw Mode (.NRW)
    24-120mm (equivalent) F1.8-5.6 optically-stabilized zoom lens
    ISO 80-3200 (up to ISO 12,800 in manual mode)
    Maximum 10fps shooting (for 10 frames)
    Full HD, 1080/60i/30p movie recording
    3" 921k-dot rear LCD screen
    23 Scene modes including 3D
    Built-in GPS
    Approx 200 shots per charge (CIPA)

The Coolpix P330's lens is the fastest in the current Coolpix lineup, offering a maximum aperture of F1.8 at the wide end, just like its predecessor the P310. Don't get too excited though, because like Canon's PowerShot S110, the P330's lens gets pretty slow, pretty quickly as you zoom in. At the 120mm telephoto setting, its maximum aperture is F5.6. Not bad, and wide enough to give a hint of subject/background separation for portraiture, but not exactly 'fast'. Unfortunately, if you want a camera with a big sensor that still fits into your shirt pocket, this is the sacrifice that you have to make. Users of rivals such as Sony's Cyber-shot RX100 will be all too familiar with the compromise.

The P330 might look like an iterative upgrade to the P310, but the new camera has a larger 1/1.7" sensor, inherited from the P7700, and offers a raw capture mode. Both features should make the new camera more attractive to enthusiasts, and bring it into line with what now seems its most obvious competitor, the Canon PowerShot S110.

Here's how the P330's sensor compares to other cameras in terms of size (illustration to scale, but not actual size).
As you can see, 1/1.7" is a meaningful size increase over 1/2.3", but both are still considerable smaller than the CX-format that Sony uses in its Cyber-shot RX100, not to mention Micro Four Thirds and APS-C.

This graph (click for a larger version) shows the P330's aperture range expressed in terms of equivalent aperture for depth-of-field purposes. Because of the size of its sensor, the P330's aperture range of F1.8-5.6 is roughly equivalent to F8-22 when it comes to ability to offer background blur. This might not sound impressive, but it a fraction better than Canon PowerShot S110's lens in this respect.
In other regards, the P330 is basically what we'd expect of a camera in this class, at this point in time. Full manual exposure control is available, and PASM modes can be accessed from the exposure mode dial on the camera's top plate. The P330 has two command dials - one on the top, for operation with the thumb of the right hand, and one on the rear, comprising the 4-way controller.

As well as PASM modes, the P330 also offers a range of Scene modes for JPEG capture, and in common with most of its peers, GPS is built-in, too. The camera is also compatible with Nikon's WU-1a Wi-Fi adapter.

Body & Design 

Like most compact cameras, the P330 lacks an optical viewfinder but its 3-inch, 921,000 dot LCD serves for image composition and review. The P330 differs from its big brother the P7700 in many ways, but significantly, it lacks a hotshoe, and its built-in flash cannot be used as a controller for external flashguns. This also distinguishes it from larger peers like the Fujifilm X20, Olympus XZ-2 and Panasonic LX7, all of which feature faster lenses, hotshoes, and in the case of the X20, a built-in optical viewfinder, too. The P330, like Canon's S110, sacrifices some of this versatility for reduced size and weight.

The P330's control logic is the same as that of the P310, with two control dials located on the top plate and rear of the camera for adjusting key exposure parameters. Unlike its main competitor the Canon PowerShot S110, the P330 does not offer a front-mounted control dial. This is a shame, since we've found that performing some actions - particularly aperture and exposure compensation - feel very natural using a control point in this position.

The P330's tiny built-in flash is activated with a mechanical catch and springs up from the camera's top-plate, providing enough power for relatively close-range portraits and 'fill in' when shooting outdoors.

On the front of the P330 you'll find a tiny Fn button, positioned within easy reach of your forefinger to the lower right of the lens. The button can be programmed to provide access to one of a number of options including image quality, Picture Control, white balance, metering, and ISO, among others.

A traditional exposure mode dial on the P330's top plate provides access to PASM exposure mode, as well as a user-configurable 'U' setting, full auto (shown as a green camera icon) Scene modes and Night Landscape mode.

This view shows the P330's integrated zoom control and shutter button. Behind it and to the right you'll see one of the P330's two command dials, used for setting exposure parameters.

And here's the second one, positioned on the rear of the camera.

Both dials are controlled with the thumb of your right hand, and by default, the rear dial controls aperture in the PASM modes and the upper dial controls shutter speed, but their functions can be swapped if you desire.

The P330 doesn't have much of a hand-grip, but this rubber accent on the upper-right of the camera's rear helps keep a firm hold when the camera is used one-handed. To its left you can see a flash confirmation light and the movie record button. The five vertical holes conceal the P330's tiny speaker, for audio alerts and video playback.

The P330's EN-EL12 battery and memory card share a compartment on the bottom of the camera, hidden behind a lockable door next to the tripod socket.

Sony Cyber-shot DSC-TX30 - slimmest waterproof compact camera

Sony Cyber-shot DSC-TX30 - slimmest waterproof compact camera

The new Sony TX30 is built for photographers who want to document their active lifestyles, whether it's windsurfing, snowboarding or just hanging out at the pool with the family. Sony claims the TX30 is the world's slimmest waterproof compact camera -- measuring at just 3 7/8" wide x 2 3/8" tall x 5/8" deep (96.4 x 59.3 x 15.4mm) -- and it features a sleek, slick style that stands out from the rugged digicam crowd.

Serious upgrades
The Sony TX30 gets a significant bump up in a number of performance areas over last year's model, including resolution where the camera sports an 18.2-megapixel (effective) 1/2.3-inch Exmor CMOS sensor, as well as an extended optical zoom range of its Carl Zeiss Vario-Tessar lens to 5x (26mm to 130mm equivalent) and a max apertures of f/3.5 (wide) and f/4.8 (telephoto). Additionally, the TX30's waterproof capabilities have (literally) been deepened to 33 ft. (10m), while it remains shockproof from a fall of up to 5 ft. (1.5m) and freezeproof down to 14-degrees Fahrenheit (-10°C).

The upgraded, top-of-the-line waterproof Cyber-shot also gets a touchpanel OLED monitor that's bigger than the TX20's LCD, now measuring 3.3" diagonally and giving a bigger viewing for composing and capturing underwater and terrestrial shots alike. For macro shooting, the Sony TX30 also features a new up to 15x Magnifying Glass Plus mode and a built-in LED light that Sony says can help you focus on subjects as close as 1 cm.

Improved modes
Like the other Cyber-shots announced in February 2013, the TX30 also gets Sony's new, improved Superior Auto Mode that helps photographers get the right shot by automatically adjusting the camera's settings for composition and lighting, as well as by adding Picture Effects ranging from Toy Camera to Partial Color. For the TX30, Beauty Effect mode allows you to re-touch your portraits and remove blemishes, whiten teeth and open squinting eyes.

Since the camera is designed to capture on-the-go action, the Sony TX30 records video in Full HD 1080p, and also shoots 10 frames per second at full resolution in burst still mode. Intelligent Sweep Panorama mode allows for full 360-degree shots, as well as Underwater Sweep Panorama.

Availability
 The Sony Cyber-shot TX30 will start shipping in the U.S. in March for US$350, and will be available in black, orange, blue or pink.

Canon Powershot G15 Review

A few years ago Canon's G-series was the place to look if you were in the market for a 'serious' compact, but more recently there has been a lot of development in this sector of the market. These days there is an entire range of cameras to choose from - all with slightly different strengths and weaknesses. As a consumer this is fantastic, but it does mean that your buying decision is harder now than it was. You need to honestly assess what's most important to you in your photography and then make the appropriate choice.

If you are looking for a pocketable 'enthusiast' camera the Sony RX100 with its large 1" sensor provides the greatest pixel count, the Panasonic LX7 comes with the fastest lens, and Fujifilm's X10 and XF1 offer the innovative EXR sensor with its impressive dynamic range and high ISO performance options (in 6MP mode). However, if an abundance of external controls, responsive operation, bomb-proof build quality and pocketability are high up on your list of priorities the G15 is definitely worth looking at.

In reality the choice for many buyers will be between the G15 and the Nikon P7700, which with its 28-200mm lens is the only other camera in this class to offer a lens longer than 120mm. That said, at F4 its lens is a stop slower than the G15 at the tele end. The Nikon comes with an articulated screen and a similar level of external control as the G15, but its body is larger than the Canon and lacks an optical finder. We're looking forward to putting the Nikon through our review process and see how the two cameras perform head-to-head, but for now, you can use our image noise and studio scene widgets to compare the cameras' image quality.

Ultimately the competition is fierce in the enthusiast compact sector and no matter what camera you choose you'll have to compromise in some area or another. That said, with its combination of very decent image quality, responsive operation, quick AF, excellent build quality and its versatile and fast lens, the Canon Powershot G15 is a safe bet for most photographers looking for a 'serious' compact.
Image Quality

The Canon Powershot G15 produces very good image detail at lower sensitivities and shows a good balance between noise reduction and detail retention as you go up the ISO scale. Focus and metering are consistently reliable, even in difficult lighting situations.

However, the Canon G15 has a relatively small 1/1.7" CMOS sensor that comes with the limitations we are used to seeing on many small-sensor cameras. Dynamic range in highlights isn't fantastic, and the camera tends to deliver relatively bright midtones, and what this means is that in high-contrast scenes you'll often have to deal with overblown skies and other burnt out image areas. Some of this lost highlight detail can be pulled back in raw conversion, though.

High-ISO noise is well-controlled by the JPEG engine but a lot of fine detail is blurred by noise reduction from ISO 400 upwards, at default NR settings. That said, even the highest ISO settings 6400 and 12800 are usable at modest output sizes. The G15's fast lens also means you can keep the ISO sensitivity lower than on cameras with smaller maximum apertures, which means better image quality, or alternatively use faster shutter speeds - great news if you're shooting moving subjects.

Ultimately the G15 offers very good image quality for the size of its sensor, but if you are in the market for a compact camera and image quality is your highest priority cameras such as the Sony RX100, Canon's own G1 X or slightly larger mirrorless models such as the Panasonic GX1 or Olympus E-PL5 might be a better option. Of course none of these models offer the same combination of a fast and versatile lens, compactness and manual control as the G15.
Handling and Operation

In our review of the Canon Powershot G12 we found the G15's predecessor to be one of the best-handling compact cameras on the market. The new model, with its two customizable control dials, dedicated exposure compensation dial and sensible ergonomics throughout follows right in those footsteps. However, there are a few differences you should be aware of.

In terms of operation and handling the main differences between the G12 and G15 are the increased AF speed and the lack of a swivel-screen and dedicated ISO dial. The AF speed on the G15 is noticeably and measurably snappier than on previous G-series models which, in combination with the responsive overall operation, makes the camera very pleasant to use. While the loss of the ISO dial is a shame, it's compensated by the much better positioning of the exposure compensation control which is very easy to use with your thumb. ISO can still be accessed quite easily via a dedicated hard-button on the multi-controller.

The loss of articulated screen will annoy some people but it's not all bad as it means you get a slimmer camera with a larger screen. The G15 feels indeed more pocketable and compact than its predecessor but there's no doubt that a swivel screen offers more flexibility when shooting from high or low angles.

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Canon's PowerShot G-series is one of the most iconic lines of digital compact cameras, with the original G1 having debuted right back in September 2000. The original models sported fast lenses, articulated LCDs, optical viewfinders, Raw data recording and lots of external control, and were aimed at tempting enthusiasts who usually shot with 35mm SLRs to dip a toe into the brave new waters of digital photography.

The line took a hiatus for a couple of years between 2004-6 when affordable APS-C SLRs started to appear, before being reinvented with the smaller, slimmer G7 - redesigned as a compact camera for SLR-owning enthusiasts. To the dismay of many G-series fans, the G7had a slower lens, fixed screen and didn't record Raw. Since then the G7's design has provided the basis for a number of subsequent models, adding back Raw and the swivel screen along the way, right up to the G12 that's been on the market for two years. In the meantime Canon created the G1 X - a variant on the same basic design with a much-larger sensor, and at a correspondingly higher price-point.

Now, with the launch of the G15, Canon has added back one of the original selling points of the G-series; a genuinely fast zoom lens. This covers the same 28-140mm equivalent focal length range as the G12's, but is a stop and a third faster, at F1.8-2.8 rather than F2.8-4.5. This gives the G15 a distinct advantage over its predecessor not only in low light, but also in the ability to blur backgrounds a bit more when shooting at the long end of the zoom.

But while Canon gives with one hand, it takes away with the other. The G15's rear screen is fixed, rather than articulated, a move that Canon says was necessary to make the camera smaller and more pocketable. The G15 is indeed significantly slimmer than its predecessor - by about 15% with the lens retracted - but we can't help but feel that as many potential buyers will be dismayed by the loss of this useful feature as there will be enthusiasts who are delighted by the camera's portability. The G15's screen itself is a large, high-resolution 3" 920k dot unit with a tempered glass cover and a wide viewing angle.
Canon PowerShot G15 key features

    12MP 1/1.7" Canon CMOS sensor
    28-140mm equivalent F1.8-2.8 lens, 4-stop 'Intelligent IS'.
    DIGIC 5 processor
    ISO 80-12800
    Fixed 3" 920k dot PureColor II G screen
    Optical viewfinder
    Raw format recording
    Dual-axis electronic level

The G15 uses a Canon-made 12.1MP 1/1.7"-type CMOS sensor, the same as that found in the co-announced S110 (and similar to the one used on the S100), which offers an ISO range from 80 to 12,800 in concert with the DIGIC 5 processor. As we'd expect, Full HD movie recording is available, at a framerate of 24 fps and stereo sound from the built-in microphones. The G15 also (finally) gains a dedicated movie record button, for the first time on a small-sensor G, and the lens can zoom and focus during recording.

One notable improvement from the G12 is distinctly quicker autofocus - 53% faster, according to Canon - which if true, would make the G15 the fastest-focusing compact the company has made. The G15's CMOS sensor also enables rapid continuous shooting at 10 frames per seconds, although only in the somewhat-restrictive High Speed burst HQ mode. In other modes the G15 will shoot at 2.1 fps.

Body & Design

The G15 sports an angular, minimalist design that takes many of its cues from the G1 X, although it's not quite so sharp-edged. Aside from the fixed screen the body layout is almost identical to its larger-sensored cousin, which means the loss of the ISO dial compared to the G12, with this function now accessed via the 4-way controller. The flash is now of the pop-up type, released by a sliding switch on the top plate.

The G15 sports a huge array of external controls for such a small body, including twin control dials front and rear to go with the top-plate mode and exposure compensation dials. The G15 is also one of those increasingly rare cameras that still has an optical viewfinder, and the side views above show how the fixed LCD has allowed Canon to create a distinctly more-slender body than the G12, as well as fitting in a slightly larger screen.

Operation & Performance
The G15's top-plate is home to the pop-up flash on the left and power button, shutter button/zoom rocker, mode dial and exposure compensation dial to the right of the viewfinder hump. The layout is very similar to the G1 X, but the repositioning of the exposure compensation dial means it's easier to operate using your thumb without loosening your grip of the camera.

The hand grip is slightly less protruding than on the G1 X, but thanks to its soft rubber material and the G15's lower weight and smaller dimensions, it works well and ensures a stable hold of the camera. Like on the G1 X the pop-up flash on the left is operated with the adjacent slider ( the G12 had a fixed unit at the front of the camera).

The G15 is very similar to both the G12 and G1 X in terms of operation. For a compact camera it has an unusually large number of external controls, including a dedicated video button. This allows you to change many crucial shooting settings at the press of a button or, in the case of exposure compensation, the turn of a dial. The new model is only marginally smaller than its predecessor, but without the protruding swivel-screen the G15 feels noticeably less chunky than the G12 and is an easier fit for many coat pockets.

The build-quality is as good as it gets. The camera feels like a mini-EOS 1D, extremely solid with soft and comfortable rubberized hand grip and thumb rest. The magnesium alloy surfaces have been very slightly roughened, giving them a quality feel. It'll be hard to find another compact camera that feels this well put together. That said, the new G15's metal body is a touch more matt than the G12's, and while this gives the camera a very attractive appearance the surface is more prone to scratches and abrasion.

The camera rear features exactly the same control layout as the the G15's large-sensor cousin, the G1 X. Most buttons are located to the right of the screen. There's also a combined control dial/multi-controller that lets you access ISO, focus mode, flash settings and display mode. A press of the center button opens the FUNC-menu that lets you adjust further shooting parameters. The function of both the front and rear dials is customizable.

Above and below the multi-controller you find another four buttons - AF area selection, AE-lock, metering mode and the Menu button. The top right corner of the camera rear is the location of the video button, the play button is just to the right of the viewfinder and the only button on the left side is the customizable Shortcut-button. It can be programmed to have one of the following functions:

Overall handling and performance

The G15 is an evolutionary update from the G12, and on the whole the changes Canon has made look sensible and well-considered. In terms of operation and handling the main differences are the increased AF speed and the lack of a swivel-screen and ISO-dial.

Canon says the G15's AF is 53% faster than the (already quite snappy) G12 at wide-angle (CIPA-standard) and while we have no way of precisely measuring the differences we have tried both cameras side by side in varying conditions and can confirm that the G15 is noticeably quicker and one of the fastest focusing compact cameras we have tested. In real-life conditions we would estimate the G15 to be between 20 and 30% faster than its predecessor. The AF also works reliably down to fairly low light levels, although it slows down a little in dimmer conditions.

In terms of continuous shooting the G15 has been improved over its predecessor as well. That said, at 2.1 frames per second it is still not blisteringly fast. The table below shows you our measured frame rates for JPEG and Raw. The good news is that you can shoot at these rates until your card runs full, the bad news is that you only achieve these rates at the long end of the zoom and at certain settings. The JPEG rate goes down to approximately 1.8 fps at wide-angle and slows down a little further at higher ISOs and with noise reduction set to 'High'.

If you need more speed you can switch to the High-speed Burst HQ mode. However, this being a scene mode you have no control over shutter speed, ISO or indeed any other shooting parameter, although you can apply exposure compensation. In this mode the camera will take exactly 10 frames in one second. You'll then have to wait for the buffer to clear, which takes approximately five seconds, before you can press the shutter button again to shoot the next burst.

While the loss of the ISO dial is a shame, it's compensated by the much better positioning of the exposure compensation control which is very easy to use with your thumb. ISO can still be accessed quite easily via a dedicated hard-button on the multi-controller.

What's bound to be contentious, though, is the reversion to a fixed, rather than articulated, screen. This means you get a slimmer camera with a larger screen - something Canon is at pains to point out - and the 920k dot unit used is one of the best on any compact. But there's no doubt that a swivel screen offers more flexibility while shooting.

Despite the removal of the ISO dial the G15 offers one of the most extensive sets of external controls on any compact camera. Like its predecessor the G15 has both rear and front control dials which pretty much means you can operate the G15 like a mini DSLR. The rear dial is fine, but like most dials on a multi-controller is a little tricky to operate with cold or gloved fingers. By default, the front control dial changes aperture and shutter speed in Av and Tv modes, and shutter speed in manual exposure mode, but the behaviour of both dials can be customized if desired.

Overall the Canon Powershot G15 is one of the best-handling compact cameras we have seen for a while. It turns on very quickly and is generally very responsive, all important shooting settings are accessible via a dial or button, and with its high quality materials it simply feels nice in your hands.

Features

The G15's feature set, design and operation is very close to its predecessor G12 but there are some key differences. The G15 has a faster lens, a higher resolution movie mode and offers ISO 6400 and 12800 at full resolution. On this page we will concentrate on examining these new features but we have also included some features that were available on the G12, such as Raw shooting, in-camera HDR and digital filters.
Fast lens

With the launch of the G15, Canon has added-back one of the original characteristics of the G-series; a fast zoom lens. It covers the same 28-140mm equivalent focal length range as the G12's, but is a stop and a third faster, at F1.8-2.8 rather than F2.8-4.5. As we mentioned in the introduction to this review, this should give the G15 a distinct advantage over its predecessor in poor light since the G15's faster lens means that at any given light level you can keep the ISO at a lower setting, capturing better image quality with more detail.

The different sensor sizes of the cameras in this class make it difficult to directly compare their lenses. The graph below shows the equivalent apertures* of each camera available at each equivalent focal length. This makes it easy to visualize the lens ranges of the cameras and also means you can see which camera will offer shallowest depth-of-field at any given focal length.

RAW shooting

The Canon Powershot G15's ability to record Raw files allows you to modify many shooting and image parameters such as white balance, sharpening, noise reduction, and to a degree even exposure in post-processing. As you can see if you look at the full-size version of the sample shot below converting your Raw files in Adobe ACR 7.3. only gets you a minimal amount of additional detail, the G15's JPEGs simply show very good detail already.

However, Raw processing can still be very useful to recover highlight detail that has been lost in the out-of-camera JPEG. In our JPEG sample the sky has been 'blown out' and shows no detail at all. By pulling the Highlights slider in Adobe ACR 7.3 Beta all the way back we have been able to recover much of the blue sky and clouds, greatly improving the image.

 Resolution Chart Comparison (JPEG and RAW)

Images on this page are of our standard resolution chart which provides for measurement of resolution up to 4000 LPH (Lines Per Picture Height). A value of 20 equates to 2000 lines per picture height. The chart is shot at a full range of apertures and the sharpest image selected. Studio light, cameras set to aperture priority (optimum aperture selected), image parameters default. Exposure compensation set to deliver approximately 80% luminance in the white areas.

What we want to show here is how well the camera is able to resolve the detail in our standard test chart compared to the theoretical maximum resolution of the sensor, which for the charts we shoot is easy to work out - it's simply the number of vertical pixels (the chart shows the number of single lines per picture height, the theoretical limit is 1 line per pixel). Beyond this limit (which when talking about line pairs is usually referred to as the Nyquist frequency) the sensor cannot faithfully record image detail and aliasing occurs.

This limit is rarely attained, because the majority of sensors are fitted with anti-aliasing filters. Anti-aliasing filters are designed to reduce unpleasant moiré effects, but in doing so, they also reduce resolution (the relative strength and quality of these filters varies from camera to camera). In theory though, a sensor without an AA filter, when coupled with a 'perfect' lens, will deliver resolution equal to its Nyquist limit. Therefore, even though it may be effectively unattainable with normal equipment in normal shooting situations, an understanding of a sensor's theoretical limit provides a useful benchmark for best possible performance. Nyquist is indicated in these crops with a red line.

On this page we're looking at both JPEG and Raw resolution. For a (more) level playing field we convert the latter using Adobe Camera Raw. Because Adobe Camera Raw applies different levels of sharpening to different cameras (this confirmed) we use the following workflow for these conversions:

1.     Load RAW file into Adobe Camera RAW (Auto mode disabled)
2.     Set Sharpness to 0 (all other settings default)
3.     Open file to Photoshop
4.     Apply a Unsharp mask tuned to the camera, usually 100%, Radius 0.6, Threshold 0
5.     Save as a TIFF (for cropping) and as a JPEG quality 11 for download

The Canon Powershot G15 does well in our resolution tests, resolving all nine lines accurately up to around 2250 LPH in the camera's JPEG mode. Converting your RAW files gives you some additional detail, resolving the chart up to around 2400 LPH with some 'false detail' beyond that. This is getting pretty close to the Nyquist limit, which is equal to the G15's vertical output pixel count - i.e. 3000 pixels/LPH.

Conclusion - Pros

•     Good low-ISO image detail and reliable metering
•     Versatile, sharp and fast 28-140mm F1.8-2.8 lens
•     Good balance between noise reduction and detail retention at higher ISOs
•     Fast and responsive operation
•     Very pocketable format
•     Fast and reliable AF system
•     Very effective Image Stabilization system
•     Excellent 920k dot screen
•     Optical viewfinder useful in very bright light (but is relatively inaccurate, and has no shooting info)
•     Lots of external controls including two control dials and an exposure compensation dial
•     Customizable control dials and Shortcut-button
•     Excellent build quality and body materials
•     Decent battery life

Conclusion - Cons

•     Exposure compensation dial does not work in video mode (but you can set exposure compensation using the AEL button when the mode dial is set to movie)
•     No swivel screen (vs predecessor and some competitors)
•     No automated panorama mode (only stitch-assist)
•     HDR mode only works well with the camera on a tripod
•     Auto ISO only uses up to ISO 1600
•     Matt surface a little prone to scratches

Overall, despite the removal of the ISO dial the G15, like its predecessor, offers one of the most extensive sets of external controls on any compact camera. It has customizable rear and front control dials and can therefore be operated in an almost DSLR-like fashion. Its compact size in combination with the snappy operation and well thought-out user interface make the G15 a great camera to shoot with.