It’s been four years since Sony turned its attention to the semi-pro sector of the camera market, but the unique technology and burgeoning feature-set that its latest creation boasts is testament to the hard work that’s been going on during that time.

Sony introduced its Alpha A700 in 2007: the company’s first foray into the semi-pro DSLR category. While the A700 attracted its fair share of followers, it failed to make much of an impact on the market shares of ‘big guns’ Nikon and Canon.

In response, it seems that Sony has decided to try a different tack: in an ambitious move, the manufacturer is now attempting to take on the powerful prosumer DSLRs that currently set the benchmark for semi-pro cameras, bringing its revolutionary TMT (Translucent Mirror Technology) to the advanced photographer.

Features

Scanning the new Sony Alpha A77′s specifications, it’s impossible to be unimpressed with what’s on offer. The camera is positively overflowing with up-to-the-minute technology that either matches or supersedes the competition.

Boasting a new 24.3MP APS-C format CMOS sensor, 19-point autofocus (AF) system, 12fps continuous shooting, Full HD (1080p) movie recording and the highest resolution electronic viewfinder we’ve seen to date – to name a select few – it’s clear that Sony isn’t taking any prisoners in its battle against the traditional DSLR.

While it may look similar to its rivals on the outside, internally the Sony Alpha A77 is an entirely different beast. Building on the SLT (Single Lens Translucent) technology that Sony brought to the digital camera market last year, the manufacturer is looking to capitalise on the main benefits that this design affords – namely fast full-time AF and continuous shooting.

For the uninitiated, the Sony Alpha A77′s mirror is semi-translucent and splits the light entering through the lens between the imaging sensor and separate phase detection AF sensor. This means that – unlike the mechanism inside a DSLR – the mirror doesn’t have to swing out of the way in order for a shot to be recorded, resulting in new breakthroughs in terms of operational speed and performance.

Although the technology itself isn’t new (Canon first featured a Pellicle mirror in its analogue Pellix in 1965) Sony’s implementation of it in a semi-pro digital camera is, so it should be applauded for what it’s achieved.

As we’ve already mentioned, due to the nature of the SLT design, the Sony Alpha A77 features an electronic viewfinder (EVF) in place of the traditional optical version you find on a DSLR. One of the main disadvantages of the SLT system is that less light makes it onto the sensor, resulting in a dimmer view of the scene through the lens (as well as potentially hampering low-light shooting performance).

EVFs have been met with their fair share of criticism over the years, but recent developments mean we’ve started to see fairly significant improvements in their level of sharpness and clarity. We’re pleased to report that the Sony Alpha A77′s offering is leaps and bounds ahead of anything we’ve experienced before, with a very impressive 1.3cm, 2,359,296-dot resolution OLED screen that provides the closest performance to an optical viewfinder that we’ve had the pleasure of using to date.

In addition to the headline features we’ve already mentioned, the Sony Alpha A77 provides automatic and scene, as well as a whole raft of manual exposure modes, Sony’s superb Sweep Panorama mode and 3D shooting capability.

Built-in GPS, a three-inch, high resolution, 921,000-dot three-way tilting LCD and SteadyShot INSIDE image stabilisation bolster this highly-specified camera’s feature set even further. Add an extensive range of customisable features available via the menu system, and the Sony Alpha A77 certainly looks like it’s well-equipped to take on its DSLR rivals.

Build quality and handling

Sporting a rugged plastic-clad outer shell wrapped around magnesium alloy chassis and with seals around important controls and dials to help guard against water and dust ingress, the Sony Alpha A77 looks and feels every inch the semi-pro camera.

In terms of design and build quality, it’s on a par with rival cameras such as the Canon EOS 7D, Nikon D300S and Sony A850.

The Sony Alpha A77 features a generous, ergonomically-shaped front grip, with neatly carved out grooves to comfortably accommodate your digits. A large rubberised area on the back panel also curves outward slightly to give your thumb somewhere to rest too, helping you to keep a firm grasp on the camera.

Although at 732g, fully-loaded, the Sony Alpha A77 isn’t what we’d call ‘lightweight’, it does weigh in at roughly 100g less than main rivals, without feeling any ‘cheaper’ or less robust as a result.

In terms of design, you’d be hard pushed to identify the Sony Alpha A77 as being any different to its DSLR counterparts. Roughly the same size and overall shape as a traditional SLR-based camera, the Sony Alpha A77 features all of the usual controls and dials that you’d expect to find on a camera of this calibre, benefitting from a more organic-looking design than its decidedly-utilitarian-looking predecessor.

The front panel hosts only a few components, namely a small focus-mode dial in the bottom right-hand corner, below the lens mount, along with a bright AF-assist lamp above and to the left (looking at the camera face-on). There’s an IR receiver for the optional remote that you can purchase separately, and a depth-of-field preview button below and to the left.

The undulating top panel houses a well-stocked mode dial to the left of the camera’s hotshoe. Chunky and clad in textured rubber, the dial is tactile and easy to grip and operate.

Exposure modes are clearly marked on top, with options comprising Auto, Auto+ (which analyses the frame and selects the appropriate settings to suit), eight scene modes, Sweep Panorama, 3D mode, high-speed Burst and HD movie modes, as well as Program, Aperture Priority, Shutter Priority and Manual modes.

Finally, there’s a user-customisable Memory Recall slot, which enables you to store your own settings ‘recipes’ for up to three different types of photographic situations.

The Sony Alpha A77′s business-like built-in pop-up flash sits flush to the top of the viewfinder hump, just forward of the camera’s stereo microphones and rapidly springing into life to sit high above the lens as soon as it’s activated.

To the right, there’s a useful secondary LCD display for keeping tabs on your settings at-a-glance, along with a button for toggling between the EVF and LCD screen, plus dedicated controls providing access to the camera’s drive, white balance, exposure compensation and ISO settings.

The responsive shutter release is encircled by a power switch, while a small button adjacent to the LCD enables you to illuminate it in dim lighting conditions.

The back panel is littered with an array of further controls, including a silver one-touch movie button that gives you direct access to the Sony Alpha A77′s HD movie mode.

Further dedicated buttons include an AF/MF control that also zooms into playback images for fast focus-checking, in addition to AEL, display, function, playback, Help/delete and Smart Teleconverter controls. Some of these buttons are customisable, should you wish to use them to access alternative settings: a handy feature that brings the Sony Alpha A77′s interface into line with its similarly-versatile rivals.

Speaking of versatility, we come to the Sony Alpha A77′s articulated LCD. The design is somewhat a novelty, with the screen first tilting forwards and down, then it can be swivelled left or right, as well as being pulled away from the body on a hinged arm-like mechanism that enables it to perform further acrobatics.

The screen itself is very clear, crisp and bright, with an effective anti-reflective coating and wide viewing angle, making it incredibly usable under all manner of lighting conditions and at a wide range of odd angles.

If you are faced with a situation where using the LCD is tricky or undesirable, the EVF provides a perfectly viable alternative. It’s cheerfully clear, detailed and bright, providing 100% coverage of the frame. An added bonus is the option to display an array of shooting information and/or a digital spirit level, live histogram and navigate the menu system through the EVF – tricks that no optical viewfinder can perform.

There are a few drawbacks to be noted, however: although the refresh rate is good enough in most situations, there is some evidence of ghosting when the ambient light changes in intensity, as well as when panning quickly, although these are minor issues.

We also found the lag between raising the EVF to your eye and it activating a little frustrating at times. You can set the EVF to remain on permanently, but this disables the screen, which isn’t ideal either.

The gap between the LCD turning off and the EVF on is minimal, but it’s still there, and as such highlights its limitations in comparison to an optical viewfinder. Nonetheless, it’s still streets ahead of any other EVF on the market. The notion of using an EVF might not be everyone’s preference, but we urge you to visit a store and try this one out: minor niggles aside, you’re unlikely to be disappointed.

The main menu system sticks with the tried-and-tested Sony format, with white text on black and orange highlighting the option you’ve selected. Options are split across tabs for easier navigation and – although there is quite an extensive range of options and settings to explore – the menus remain simple to navigate.

Performance

Featuring an upgraded 19-point phase detection AF sensor that betters its predecessor’s 11-point offering; the Sony Alpha A77′s new version incorporates 11 cross-type sensors and is designed to really flaunt the capabilities afforded by the SLT design.

Thanks to the latter, the camera’s real forte is speed. The AF system is unbelievably quick to establish a lock, with near-instant focusing under most lighting conditions. The bright AF-assist lamp on the front of the camera prevents it from becoming sluggish in low light too: a welcome feature that enhances this swift camera’s capabilities even further.

Continuing the theme, the Sony Alpha A77′s class-leading 12fps Burst mode is a joy to use, keeping up with fast-moving action with ease. The compromise you have to make here, however, is the loss of any manual control over settings.

If you want to maintain power over aspects such as your aperture and shutter speed, you’ll need to switch to the camera’s regular 8fps continuous shooting mode, which is on a par with its main rivals, such as the Canon EOS 7D, Nikon D300s and Sony A850.

Full-time AF with live view activated, as well as when shooting movies, is another benefit of the SLT system. This results in a slick performance with no screen blackout between frames (when shooting stills) – including when you’re using the camera’s excellent Subject Tracking feature.

The Sony Alpha A77′s beautifully detailed HD movies benefit from this feature too, as well as offering full manual control over settings if you switch to manual focus.

Overall, image quality from the Sony Alpha A77′s class-leading (in terms of resolution) 24.3MP sensor is impressive. The camera’s 1200-zone metering system performs admirably, producing consistently accurate exposures that rarely needed much in the way of manual correction.

Dynamic range is good by default, but can be expanded further using Sony’s proprietary D-Range Optimiser feature to pull additional detail from extreme highlights and shadows when shooting JPEGs.

Leaving the Sony Alpha set to Auto, white balance generally produced slightly warm – but nonetheless pleasing – images across a range of different lighting situations.

Sharpness and detail are both very good in JPEGs taken straight out of the camera, while raw files provide huge scope for manipulating everything from the tonal balance and dynamic range to the colours and level of sharpness, thanks to the volume of information they contain.

As is often the case when a sensor packs as many pixels as the Sony Alpha A77′s, there’s a price to be paid when it comes to noise performance at high ISOs. That’s not to say that this camera produces bad results – quite the contrary – but it just doesn’t quite manage to match its DSLR rivals when it comes to noise control, colour fidelity and detail retention at the top end of the sensitivity scale.

Viewed alone, the results from the Sony Alpha A77 still impress, with the camera producing perfectly usable images right up to around ISO 3200. Beyond this point, noise increases rapidly, and some overly aggressive noise reduction robs shots of fine detail. As a result, we’d only recommend pushing things up to ISO 12800 (or beyond) if it meant avoiding losing out on an unmissable shot.

Image quality and resolution

As part of our image quality testing fo the Sony Alpha 77, we’ve shot our resolution chart with a Sigma 50mm f/1.4 EX DG HSM lens mounted.

If you view our crops of the resolution chart’s central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Sony Alpha 77 is capable of resolving up to around 28 (line widths per picture height x100) in its highest quality JPEG files. Although the resolution lines are clearly distinguishable there is, however, some disruption from about 24 LW/PH x100 onwards.

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

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

ISO 50, score: 28 (see full image)

JPEG Images

ISO 100, score: 28 (see full image)

ISO 200, score: 28 (see full image)

ISO 400, score: 26 (see full image)

ISO 800, score: 26 (see full image)

ISO 1600, score: 24 (see full image)

ISO 3200, score: 24 (see full image)

ISO 6400, score: 22 (see full image)

ISO 12800, score: 20 (see full image)

ISO 16000, score: 20 (see full image)

Raw images

ISO 50, score: 28 (see full image)

ISO 100, score: 28 (see full image)

ISO 200, score: 28 (see full image)

ISO 400, score: 26 (see full image)

ISO 800, score: 24 (see full image)

ISO 1600, score: 24 (see full image)

ISO 3200, score: 24 (see full image)

ISO 6400, score: 22 (see full image)

ISO 12800, score: 20 (see full image)

ISO 16000, score: 20 (see full image)

Noise and dynamic range

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

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

JPEG Signal to noise ratio

JPEG images from the Sony Alpha 77 show signal to noise ratio results that are on par with the Canon EOS 7D and Pentax K-5. These results show that noise is well controlled up to a sensitivity of ISO 3200, above this sensitivity value noise starts to become more apparent, but images still have lots of detail.

Raw signal to noise ratio

Raw images (after conversion to TIFF) from the Sony Alpha 77 have a better signal to noise ratio than the Canon EOS 7D and Nikon D300s. Although the Pentax K-5 has a slightly better score, the difference is marginal.

JPEG dynamic range

This chart shows that the Sony Alpha 77′s JPEGs capture a wide tonal range up to a sensitivity of ISO 3200, at ISO 6400 the amount of tonal detail captured in the shadows and highlights deteriorates. This graph shows that from a sensitivity of ISO 100 to 1600 the Sony Alpha 77 JPEGS capture a greater tonal range than the Canon EOS 7D and the Nikon D300s, which is impressive given its higher pixel count.

Raw dynamic range

This chart shows that the Sony Alpha 77′s raw images (after conversion to TIFF) capture a wide tonal range up to a sensitivity of ISO 6400, beating the Canon EOS 7D and Nikon D300s by as much as 2Ev. At the higher end of the sensitivity range the Pentax K-5 just has the edge.

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

Sample images

PANORAMA: As ever, Sony’s Sweep Panorama mode proves itself to be excellent: easy to use and capable of producing some very pleasing results.

See full-res image

LOW LIGHT: Low-light performance from the Sony Alpha A77 is pretty good when images are reviewed alone, only falling a little short when comparing them to the competition.

See full-res image

SUNSET: The gorgeous colours in this sunset image demonstrate the Sony Alpha A77′s ability to record faithful hues with just enough saturation.

See full-res image

SHARP: Detail and sharpness in JPEGs taken straight out of the camera are both very pleasing.

See full-res image

MANUAL: The Sony Alpha A77′s manual controls allow plenty of scope for creativity.

See full-res image

Sensitivity and noise

Full ISO 50 image. See the cropped (zoomed to 100%) versions below.

ISO 50

See full res image

ISO 100

See full res image

ISO 200

See full res image

ISO 400

See full res image

ISO 800

See full res image

ISO 1600

See full res image

ISO 3200

See full res image

ISO 6400

See full res image

ISO 12800

See full res image

ISO 16,000

See full res image

Verdict

The top spots in the semi-pro DSLR sector of the camera market have long been occupied by industry giants Canon and Nikon. While we wouldn’t go so far as to say that Sony has produced a DSLR killer with the Sony Alpha A77, the manufacturer has succeeded in throwing something unique into the fray that certainly paves the way for future developments.

Aspects including the camera’s 12fps Burst mode, Sweep Panorama feature, 3D shooting capability and the inclusion of a built-in GPS unit in the Sony Alpha A77′s feature-set are what set it apart from rivals, albeit at the expense of battery life in the case of the latter.

In many respects the Sony Alpha A77 matches or betters its main rivals’ specifications, although some of these models – such as the Nikon D300s – are overdue an upgrade, so the balance may shift once again if/when this happens.

We liked

The AF system is blisteringly quick and accurate, with the excellent Subject Tracking and 12fps continuous shooting modes enhancing the Sony Alpha A77′s credentials when it comes to speed. Great build quality and handling, as well as superb image quality, are further aspects that score extra points.

We disliked

In spite of its speed of operation, the Sony Alpha A77 is a little slow to start up initially, plus there’s a bit of a lag when switching between shooting with the camera’s EVF and LCD. The impact of permanently shooting with one or the other activated also means that battery life is noticeably shorter than that of its rivals.

Verdict

Overall, there are only a few minor niggles to comment on with the Sony Alpha A77 – namely a bit of a sluggish start-up time, slight delay when switching between using the EVF and LCD for shooting and high ISO noise performance that, while still very good, doesn’t quite match that of its major rivals.

That said, when weighing these up against a superb level of image quality when shooting in most conditions, great handling, good build quality, industry-leading EVF, quick full-time phase detection AF system and a comprehensive set of exposure modes, we have little trouble with recommending this excellent camera.

TechRadar: All latest Cameras reviews feeds

In addition, it is equipped with a very versatile 15x optical zoom lens with an equivalent foal length range of 24mm-360mm in the 35mm format; giving it plenty of appeal.

Furthermore, the F300EXR’s Super CCD EXR sensor is the first sensor enabled for both contrast and phase detection auto focus.

First impressions of the FinePix F300EXR are good, its attractive curved black metal chassis has a solid feel and there are several surfaces with rubber pads to give a confident grip.

Camera controls are well thought-out and fall easily to hand. A particularly nice touch is the main command dial being angled at 45 degrees, facing the user, which comes easily to the right thumb. While the dial arrangement is great, it needs a little more resistance as it has a habit of turning when the camera is slipped in or out of a pocket – the F300EXR is perfectly sized for carrying in a pocket.

The only other issue I had with the handling relates to the small flash which pops up as soon as the camera is switched on. It gets in the way of the fingers of your left hand, and there is no way of retracting it when not required. In it’s favour, it does give wonderful fill-in results.

This new FinePix model comes with an array of useful features. The 3-inch, 460,000-dot LCD screen provides a clear view of images at quite wide angles even when shooting (or reviewing) in bright sunlight.

There is improved ‘Face Recognition’ and the new ‘Auto Release Mode’ fires the shutter as soon as it detects a face, making it perfect for restless small children. The F300EXR can track the kids and release the shutter when they look to the camera.

The new ‘Hybrid Auto Focus System’ analyses both light and contrast and chooses whether to use the ‘Phase Detection Auto Focus’ (bright, high contrast conditions) or ‘Contrast Auto Focus’ (low-light scenarios). I found it makes its choice quickly and reliably, so focus is generally swift.

In fact, the ‘Phase Detection Auto Focusing’ lives up to Fujifilm’s claim for making focusing and release as quick as the blink of an eye. The only focusing situation found to be disappointing was the ‘Tracking’ mode. It tracked town traffic head-on fairly well, but shutter lag was evident, and relatively simple shots. Here missed as a result.

Also new to the FinePix F300EXR is ’360 degree Motion Panorama Mode’ allows you create an all around you image in one sweep. It’s a feature that is popping up in a few places now.

As well as the usual plentiful scene modes this FinePix, like its predecessors has an ‘EXR’ mode with Auto, Resolution priority, High ISO & Low noise priority and Dynamic range priority options. The principal behind ‘EXR’ is that it gives the camera the ability optimise for detail resolution or to open up shadows and preserve the highlights. I suspect that many users of this camera, if they use the ‘EXR’ mode, will leave it on ‘Auto’. This proves a good choice for the majority of situations.

Fujifilm has given users the choice to customise their style of capture, but having to scroll through up to 3 pages and their respective sub-menus can become a chore. SLR users know that most of these are easily changed using buttons or dials, a far quicker method. Some may feel the camera’s ability to ‘Rate’ images, separate detected faces and create photo books in review mode is unnecessary.

A handy feature that Fujifilm have incorporated is the ‘F’ button; allowing the operator to quickly access three pre-programmed menus for ISO, image size & film simulation, and change their settings accordingly. It would be even better if the user was able to choose their own three settings and personalise this menu.

I found it especially useful that it is possible to make the camera silent and cancel its flash simultaneously by pressing and holding the ‘Review’ button. Nice and discrete. Another function that is very useful is ‘Pro Focus Mode’; it lives up to its expectations, using three consecutive images to create a shallower depth of field.

Fujifilm’s photographic film heritage gives us a choice of three colour modes; based on Fuji’s E6 Chrome’s. They are Velvia; saturation and contrast, Provia; overall neutral feel and Astia; less saturated and lower contrast. Dedicated black & white and sepia modes bring the total five, enough to cover all situations. My personal preference is the ‘Velvia’ setting; images have evenly balanced, saturated colours, with increased contrast.

Not surprisingly with a camera that is designed to appeal to less experienced photographers (as well as more advanced users), the F300EXR’s in camera Auto White Balance systemis extremely good. In fact, it often gives results that are better than the White Balance pre-sets.

The FinePix F300EXR has three metering modes: ‘Multi’, ‘Spot’ and ‘Average’. Multi generally renders the image lighter overall than I would have liked and as a result of this I used ‘Average’ the majority of the time. ‘Spot’ metering works well in conjunction with the easily adjustable exposure compensation, provided you understand the principals of spot metering. This was very useful for heavily backlit situations where the ‘EXR’ could be caught out.

Video on ‘stills’ cameras is now becoming normal and the FinePix F300EXR is no exception, offering ‘HD’ or ’640′ quality, available at the press of a dedicated button too. Cancelling video recording is as instantaneous, taking you back to the last mode.

The FinePix F300EXR is equipped with a 15x optical zoom lens – equivalent to 24mm-360mm in the 35mm format; giving a very useful range from wide-angle to long telephoto.

Long telephoto lenses can make camera shake a serious issue, but fortunately Fujifilm has included its new ‘Gyro-Sensor’ image stabilisation in the F300EXR. With care it is possible to shoot hand-held at 1/4 second at the widest focal length and 1/25 at its longest reach without camera shake – impressive! The lens delivers sharp, crisp images (up to ISO 400), with only minimal flare, even when shooting into a low sun.

Noise is handled well, up to and including ISO 800. Anything above this I would only use for essential shots as ‘smearing’ of details becomes evident and the first real traces of noise appear. At ISO 3200 the camera automatically sizes files at 4.5-5.9 million pixels and at ISO 6400 & 12,800 are restricted to 2.8 -3.1 million pixels. This variation in file size is dependant on the aspect ratio you have chosen. Image quality at these last two sensitivities is deterrent enough to avoid them.

At the lower sensitivity settings the F300EXR produces high quality images , but some photographers will be disappointed that Fujifilm has not added ‘RAW’ file capability as it gives them much greater flexibility in post-processing and enable them to draw more out of the files.

Fujifilm’s menu and control layout is also a little fussy and some users may become frustrated with the unnecessary complexity of changing settings.

Score 
Features: 4/5
Build quality: 4/5
Image Quality: 3/5
Value: 3/5

Panasonic Lumix GH2 has spent the last two and a half years pushing its Micro Four Thirds series as a credible alternative to the DSLR, and its models seem to have won over novices and hardened enthusiasts alike. Now, in its second generation of mirrorless cameras, the company claims to have improved on its original concept, with the benefit of user feedback from its debut offerings.

The latest GH2 picks up where its GH1 predecessor left off. The GH1 was a significant model in that it was the first in the G-series to offer video recording, and it went beyond simply including the function as an aside to stills functionality.

With full-HD resolution, a sound-dampened kit lens, continuous autofocusing and stereo recording as standard, it was clear that Panasonic’s intentions were on the GH1 being as much about video recording as it was about still images.

Yet, with Samsung, Ricoh and Sony all having launched competitors in the meantime, the company has sensibly not rested on its achievements but updated the GH1 with a handful of improvements to create a successor.

The most immediate difference between the Lumix GH2 and the model it replaces is the articulated LCD screen, a feature inherited from the G2. While still at 3-inches in size and 460,000dot in resolution, the user is free to pivot the screen around a joint on its left hand side, turning it forward for self-portrait shots or against the camera to protect it while not in use.

By incorporating touch-screen functionality, many options may be accessed through the screen, which include setting the focus point and releasing the shutter, as well as magnifying directly into an area of the user’s choosing while manually focusing. This technology proves to be particularly helpful when shooting portraits, and is far more preferable to selecting a focus point manually, although if Face Detection is activated the camera generally has no trouble locking onto the subject anyway.

The Lumix GH2 system only falters once a captured image has been magnified, as the screen’s responsiveness tends to wane when zooming in and around the frame. Furthermore, some of the touch-sensitive controls are small and clearly designed to be operated with the supplied stylus than a larger finger, which isn’t likely to please everyone.

Direct access to key controls is something many photographers appreciate, and thankfully the Lumix GH2 squeezes in an awful lot on the back and top-plate of the Lumix GH2. Between these controls and the Q. Menu option there’s little reason to venture into the main menus while shooting, although the downside of having so much functionality on such a small body is that it will necessarily result in small and fairly cramped controls.

This is particularly noticeable if you’re used to the greater breathing space afforded to the controls on a DSLR; with the possible exception of the mode dial it’d be hard to make any controls smaller without operation verging on awkward.

Even turning the mode dial any way but cautiously can easily mean knocking the drive mode switch out of position. At this price, some may also expect a slightly sturdier construction than the GH2′s plastic shell, although this does help to keep the weight down to just 392g without a lens mounted.

The changes Panasonic has made since the GH1 was released are, on the whole, positive. With the command dial now on the rear of the body, the movie recording button has replaced the Q. menu button conveniently beneath the shutter release, and a customisable Fn button replacess the previous Film Mode option.

This Fn button is in addition to the two other function buttons which can be assigned to one of 18 options, and complements three Custom Settings on the mode dial and a My Menu option. Together with an assortment of custom functions in the menu system, this level of personalisation comfortably equals that of the average mid-range DSLR.

Arguably the most significant upgrades that Panasonic has made concern the GH2′s sensor and processor, particularly as many of the company’s claims for the new model concern these.

The 18.3MP Live MOS multi-aspect chip has more than 4 million more pixels than the GH1′s sensor, which results in an effective resolution of 16.05MP over the same 17.3mm x 13mm area. As with the GH1, the ‘multi-aspect’ moniker refers to the camera maintaining the same angle of view with any chosen focal length, as different aspect ratios are selected.

Given the increase in pixel count, the expansion of the camera’s sensitivity range – now from ISO 160 to 12,800 – may concern some, although Panasonic claims that revisions to both the sensor and processing technology mean that the camera can nevertheless turn out images with less noise than the GH1.

Specifically, changes to the architecture of the sensor are said to improve signal to noise ratio, while separate applications of noise reduction to chrominance and luminance noise allow for more effective noise reduction for different areas. Also, with three CPU’s handling processing, Panasonic claims that its Venus Engine FHD boosts speed and performance in general.

In good light the Lumix GH2 LCD screen displays its feed with clarity and plenty of detail, and maintains good stability even when longer focal lengths are used. The same is also true of the upgraded live-view finder, now a little wider and at 1.533million dots, which does an excellent job of displaying detail right up to the corners and edges, and with no unsightly artefacts common to many other electronic viewfinders.

Understandably, as lighting conditions drop so does the performance of the two, but it’s impressive how quickly the feed stabilises itself as the camera moves around a scene. Not only that, but even in darker shooting conditions the amount of noise visible on either device is surprisingly minimal.

Next to the same images presented on a calibrated monitor, however, the LCD can be a little cold in its reproduction of colour; quite how significant this is is debatable, although it’s perhaps worth remembering when selecting white balance options in camera.

Panasonic has also made some noise about the Lumix GH2′s focusing capabilities, and put to the test it’s hard not to be impressed. With the Lumix G Vario 14-140mm f/4.0-5.8 optic fitted, the camera is able to swing from one end of its focusing scale to the other in a similar time to that of a comparable DSLR and optic.

AF tracking is also available in conjunction with continuous focusing, and as on previous Lumix models it does an excellent job, staying with the target as it travels around until it moves towards the peripheries of the frame.

During the test the only time the system was thrown off course was when shooting a white duck in a pond, as it became confused by the similar intensity and movement of surrounding reflections, but even here the system did brilliantly to keep track on most occasions.

Thanks to its far-reaching AF-assist light, the system continues to shine in poor lighting conditions, although it’s here where it shows its shortcomings too. If the focusing point has been selected the camera generally can get it right, and get it right fairly quickly too, although when left to its auto setting it either struggles to work out where it should focus, or alternatively, claims to be in focus when it clearly isn’t.

Whether it outclasses the performance of a DSLR in this area – as Panasonic claims – is debatable, but it can certainly hold its own in good light, and it does pretty well the rest of the time. Just that it can manage to compete with its DSLR peers is praiseworthy in itself, when you consider the physical disadvantage of its contrast-detect AF system.

Movie recording is arguably what the GH2 is all about, and the system makes a positive impression. The GH2 records full HD footage at 1920×1080 at 60i/50i for NTSC and PAL systems respectively, while 720p footage is recorded and output at 60p/50p.

For cinematic results straight out of the camera, a new Cinema Mode captures at 24fps, while stereo sound is recorded the camera’s internal microphone as standard. A port for attaching external microphones is included, as is a HDMI output for transferring images and videos out of the camera.

Viewing video footage on the camera’s LCD screen – both while recording and in playback – is a pleasure, thanks in part to the clarity and contrast of the screen itself, but also to the smoothness of the video. Moving subjects, or the camera moving in relation to some subjects, does introduce a touch of smearing, but otherwise subjects are captured well and with plenty of detail.

Just how smoothly the camera captures video is only apparent when the footage is viewed on a larger display, where the quality of sound recording can likewise be appreciated. With the 14-140mm optic there’s with no distracting whirring from the lens’s focusing motor, although certain situations do benefit from changes to the sensitivity of the camera’s microphone and the wind cut filter, to cut down on ambient noise.

How the camera brings subjects into focus is likely to be a contentious issue. The priority is placed on speed rather than a gradual fluidity between focus on different areas, in contrast to Sony’s SLT system, for example, whose cameras attempt to bring subjects into focus with a little more discretion.

Of course, this is only really relevant when the camera is left to its own devices, and it’s less of a problem if the subjects all fall within a certain range of distances. Videographers using the camera in any professional capacity are also more likely to give greater consideration to the right lens choice for their requirements, manual focusing and so on, which again makes this less of a concern.

The relatively small sensor and comparatively poor availability of wide-aperture lenses does make it harder to isolate subjects in the way a full-frame camera can manage, although with a plethora of adapters now available for mounting many older objectives, this latter point too is surmountable.

Finally, although three guide line options are selectable from the menu system, the omission of an electronic levelling function is a disappointment, particularly as the articulated LCD means that the camera is likely to be held in unorthodox positions. This is fast becoming a standard feature on DSLRs and high-end compacts, so hopefully it’ll make an appearance on future Micro Four Thirds models too.

In averagely-lit conditions, raw images display no visible noise up until around ISO 800 where slight coloured patches begins to develop in shadow areas. Noise levels continue to rise steadily until ISO 6400 where dense chrominance noise begins to obscure details, and this becomes particularly heavy at the maximum sensitivity of 12,800.

Despite this cast, images details are still visible, just obstructed rather than destructed. For such a densely populated sensor, it’s remarkable that images are able to maintain such quality at these settings, although, predictably, any attempts at processing away this noise require that some detail be taken with it.

In-camera JPEG processing does an excellent job of removing virtually all chroma noise from high-sensitivity images, though images lose a little of their bite because of this. Even so, the overall standard of JPEGs is above average, with fine details compromised to a lesser degree than perhaps expected.

We found JPEGs also show pleasing and accurate colour, with the Standard Film mode providing a welcome boost in contrast over Raw files. The choice of black and white modes is also sure to please monochrome enthusiasts, particularly the Dynamic Black and White option which produces high-contrast, atmospheric images straight out of the camera.

Exposures are balanced and consistent in a range of situations, and even when challenged with tricky scenarios the metering system can only be persuaded to slightly underexpose. The camera’s auto white balance system can also be relied upon to provide consistent results in natural lighting, although some may find the more faithful results lacking a little of the punch of other cameras, where images are optimised a little to be more pleasing to the eye.

Under tungsten lighting the camera does impressively well and records the scene as it appears, and even under a mixture of different sources the camera makes good judgements as to an agreeable balance. Only certain fluorescent sources seem to lead the camera’s auto white balance astray, although in this respect the GH2 is hardly alone.

The camera is available with the Lumix G Vario 14-140mm f/4.0-5.8 lens as part of a kit option, and not only does it offer a capable focal range but it proves its worth as an all-purpose lens. Its detail resolution is excellent, particularly at the centre of the frame, and sharpness is maintained at slower shutter speeds thanks to the lens-based MEGA OIS image stabilisation system.

At its telephoto extreme, the system produces sharp images at up to 1/25sec with ease, and even manages a few reasonably sharp results at 1/13sec. When the focal length conversion of the Micro Four Thirds system is taken into account, the represents an advantage of between three to four stops of usable shutter speed past the usual limits, which is on a par with comparable systems.

As part of our review process we’ve implemented a new testing procedure. To test the Panasonic GH2 image quality, we shot our resolution chart, each with the Panasonic Lumix G Vario 14-140mm f/4-5.8 lens.

If you view our crops of the resolution chart’s central section at 100% (or Actual Pixels) you will see that, for example, at ISO 160 the GH2 is capable of resolving up to 26/27 (line widths per picture height x100) in its highest quality JPEG files.

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

As with the GH1, the Panasonic GH2 price will no doubt discourage a few. Current  prices are a penny shy of £1100 with the 14-140mm lens, but a significant portion of that cost is accounted for by flexibility and video-optimisation of the optic.

Becuase of this, the GH2 can be considered better value if both the video and stills functionality are required, rather than just the latter. A separate kit option with the 14-42mm lens can be found at £799.99, which makes it a little more attainable.

That the Lumix GH2 can manage such image quality is impressive in itself, but combined with stellar video output and an excellent focusing system really elevates it to a different level. There seems to be little reason not to recommend it for high-quality macro and still-life work. Indeed, it could even be argued that the articulated LCD and the breadth of focusing functionality on offer even make it preferable to some DSLRs.

Of course, DSLRs will continue to evolve alongside hybrid systems such as these, but if the Panasonic GH2 is a sign of things to come then we should all be looking forward to whatever happens next. With an abundance of functionality and superb image quality, the GH2 is one of the finest hybrid cameras that’s we’ve seen yet.

Lumix GH2

Now interchangeable lens compacts are so well established that the challenge is to appeal to specific market segments – or just to stand out by doing something different. Samsung’s response to this challenge is the NX100, the sister camera to the Samsung NX10.

The Samsung NX100 has a new feature called iFunction, which enables you to make camera adjustments via a new button on compatible lenses. Basically, iFunction sets up an extra layer of communication between camera and lens – so you get to use the Samsung NX100 lens’ focusing ring to adjust aperture, exposure compensation, and other key settings.

Samsung claims this makes life easier for beginners, while at the same time making it faster for more experienced users to adjust exposure settings without moving their hands from the shooting position.

We wouldn’t describe iFunction as a massive leap forward in camera usability that will change the market overnight, but still, Samsung deserves plaudits for trying something new.

As well as iFunction, other key selling Samsung NX100 specs include a 14.6-megapixel, APS-C-size sensor, high-tech rear screen and full 1080p HD video.

Despite being closely related to the NX10, the Samsung NX100 camera looks quite different. Rather than trying to look like a mini SLR, the Samsung NX100 camera’s styling recalls the rangefinder looks of the Olympus Pen EP2 (although the dial and button layout is simpler).

The top of the NX100 camera is refreshingly uncluttered, with just a PASM dial, discreet thumbwheel, shutter button and hot shoe for a range of accessories (as with the Olympus PEN EP-2, you don’t get flash as standard). The NX100 camera feels comparatively heavy with the 20-50mm kit lens attached, and while it can be retracted, it only retracts to 40mm.

So the NX100 is hardly a pocket or handbag camera. Still, the Samsung NX100 handles well and its relative bulk makes it easier to hold firmly and avoid camera shake.

Controls and features

Now, let’s look in more detail at the iFunction feature. Does it make the NX100 camera easier to use?

Yes and no. It’s certainly true that using the focus ring to adjust exposure settings does become second nature after a while, and you do wonder why, apart from on a couple of compact cameras, nobody’s introduced a similar feature before. So somebody coming straight to the NX100 from a point and click compact will probably get used to iFunction as quickly as they would to a more conventional camera system.

But unlike the Nikon D3000 or D3100 SLR, the Samsung NX100 doesn’t go the extra mile for beginners by explaining what aperture or exposure compensation adjustment, for example, actually DO.

iFunction lenses arguably come in more handy when you’ve figured out the basics; once your fingers learn where the button and focusing ring are, you can quickly adjust the aperture, for example, without moving your hands from the ‘shoot’ position.

What is really impressive, however, is how great the iFunction menus look on the high-quality rear-LCD. This is a three-inch AMOLED screen that borrows technology from Samsung’s lusted-after LCD TVs, and it just looks fantastic. The screen is bright and pin-sharp without constantly draining the battery, and it puts most current Micro Four Thirds camera screens to shame.

The function menu is very well designed too. Hit the Fn button on the back of the Samsung NX100 camera and you can quickly tweak AF, metering and picture size. You can also access a handy Picture Wizard for adjusting colour, saturation, sharpness and contrast.

Of course, iFunction lenses and fancy rear LCDs won’t be able to salvage the Samsung NX100′s reputation if photo quality isn’t up to scratch. Fortunately it delivers.

Straight from the box, the NX100 camera takes really punchy vibrant images, with bags of resolution and detail – a real testament to the quality of the APS-C size sensor. Colours are rich but natural looking, and noise is well controlled under ISO 1000.

We did notice a slight tendency to overexposure in Auto everything mode, but this can be adjusted easily enough with the handily placed exposure compensation button or via the iFunction control.

When it comes to AF, you need to remember that the NX100 camera uses contrast detection AF, so it’s not as fast as a conventional DSLR in normal stills mode, rather than Live View mode. Lower light in particular challenges the AF, but it stills feels quicker off the mark than the AF on the Olympus PEN series.

It’s a shame that Samsung NX100 iFunction lenses aren’t stabilised (neither is the NX100 camera body) so a firm grip, and tripod, are essential. And unlike a typical DSLR kit lens, the 20-50mm Samsung NX100 lens is hamstrung at the wide-angle end (we’re talking 30-75mm equivalent range).

The f/3.5-5.6 aperture mode is a bit restrictive, too; if you want a faster lens, go for the f/2.8 20mm pancake instead. Despite its drawbacks, the 20-50mm lens is a reasonable performer: nice and sharp, with acceptable distortion and chromatic aberration levels.

HD video recording is right up there, too. Full 1080p performance is a real bonus, and you can shoot in either Program or Aperture Priority mode.

As with stills performance, HD video shooting is rather limited by the limitations of the 20-50mm lens, but the Samsung NX100 still delivers a solid performance when it comes to movies. HD implementation isn’t quite as slick or detailed as the similarly priced Panasonic Lumix GF-1, however.

There’s a lot to like about the Samsung NX100 camera, from its curvy rangefinder looks to innovative iFunction lenses. The NX100 is not quite the revolution that Samsung is promising, but it will further bolster the company’s reputation as a serious player in the photography market.

This is a tough, sturdy camera, and the Samsung NX100 lens is quality. What’s more, being able to control camera functions via the zoom ring on iFunction lenses is a genuine innovation. The rear screen is simply great too.

That said, the 20-50mm NX100 lens isn’t particularly fast, and is limited for wide-angle work. There’s no image stabilisation and the lack of flash as standard is off-putting on a £500 camera.

With the NX100 selling for just under £500 at the time of writing, it’s no impulse buy. While it’s innovative in many ways, you have to ask yourself whether the limited lenses (both in terms of focal length and choice) make it a wiser buy than a similarly priced DSLR like the Nikon D3100 – or a top Micro Four Thirds hybrid like the Panasonic Lumix GF1. We’d still go for the latter.

Pentax is by no means the most prolific DSLR manufacturer, and quite how it plays its hand is not always predictable. Nevertheless, following the announcement of the mid-range K-r and confirmation of the long-awaited 645D medium format model, it seemed clear that it would soon turn its attention to something between the two, either as a replacement for or a sibling to the warmly-received Pentax K-7.

The K-5 is just that, positioned above the K-7, and when you compare the Pentax K-5 vs K-7 there are a number of revisions to to the K-5′s feature set to justify its arrival. Pentax has devoted equal measure of attention to both major and minor improvements, with a new sensor and focusing system among the headlines, and a multitude of smaller customisations and refinements previously bestowed upon its other recent models.

The model comes at a time when a number of other manufacturers are updating their own lines with likely competitors, notably Olympus with its E-5 (read our Olympus E5 Review: first impressions), Canon with the EOS 60D (read our Canon 60D Review) and Nikon with the D7000 (read our Nikon D7000 Review).

When you look at the K-5 vs D7000, K-5 vs 60D and K-5 vs E5, all three offer something different, but the Pentax K-5 can comfortably list a number of features which arguably make it the most intriguing of the group.

One area in which Pentax has largely left things as they were is with design: the Pentax K-5 body externally remains very similar to the existing Pentax K-7 body. You have to look closely for any changes, although the K-5 exposure mode dial is noticeably taller which helps in its turning.

The body is constructed from a durable magnesium alloy, and has been sealed against dust and water incursion around all vulnerable points. It’s perhaps lighter and smaller than its specifications may suggest, but the benefit of this is that it presents no problem when carried around for prolonged periods of time, even with the moderate heft of a wide-aperture zoom lens.

The handling areas around the grip and thumb-rest do away with some of the more intricate contouring seen on other models, and instead focus on simply providing enough room for users with any size of hand to get enough purchase.

Although there’s plenty of space around the back for the thumb to sit comfortably, this hasn’t come to the detriment of button and control spacing. In fact, it’s hard to imagine how better the controls could be either arranged or labeled, although the menu button sitting towards the bottom isn’t something that will please everyone.

The functions within the menu system itself are sensibly organised in order of importance, and Pentax has opted for a scrolling display of longer-named functions in place of any mysterious abbreviations.

All of this is assisted by three different displays which alternate upon presses of the Info button, namely a status screen which consists of all major settings in use; a control panel where changes may be made to these settings; and an airplane-style electronic level display which offers indicators for both roll and tilt.

Sadly, a handful of quirks do stand in the way of quick and easy access to certain settings. The collar underneath the mode dial, for example, which is used for switching between metering modes, is conveniently placed for quick manual adjustment, although its stiffness together with the shallow lever by which it is operated make such a simple task a touch trickier than it should be.

Similarly, it’s puzzling as to why the microphone port is covered with an integrated rubber plug, while the screw-in cover on the flash-sync socket is not just separate from the camera, but so small and awkward to remove that it makes it very easy to lose.

The Pentax K-5 improves upon the K-7′s burst speed, increasing the latter camera’s 5.2fps rate to 7fps, although there was some concern upon the model’s announcement that the raw burst depth was limited to a disappointing eight frames at this pace. Thankfully this is no longer an issue, following a recent firmware update which boosts this figure to 20 frames at the maximum speed.

While the K-7 has slightly unusual and non-standard video specifications, the Pentax K-5 refreshes the line up with full-HD 1920×1080 pixel recording at 25fps, and the other more standard 720p and VGA options. Audio recording is limited to mono via the on-board microphone, although a socket has been provided around the camera’s side for external stereo recording.

Where there’s movie recording there’s also live view, which allows for autofocus in three ways, either through face-detection or the more standard phase- and contrast-detect options.

Using the contrast detection AF system during live view, and for focus prior to movie recording, the camera immediately zooms into the centre of the frame whenever the shutter release button is half-depressed, before quickly focusing and zooming back out again.

While the speed at which this happens increases the live view system’s usability in different situations, occasional mis-focuses and problems with finding focus mean it can’t always be relied upon when lighting conditions aren’t optimum.

Nevertheless, in good light the system is accurate, speedy and more than convenient, and provides a preferable alternative to manually adjusting yourself (which, of course, is still possible).

The vibrant green light which illuminates the top-plate LCD makes all exposure information contained within it easy to read, while the equally powerful AF assist light springs readily into action wherever the camera senses it could help achieve focus.

The new SAFOX IX+ autofocus system inherits the eleven points of previous SAFOX modules, but these are spread over a wider area, and the most central nine are cross-type which makes them sensitive to both vertical and horizontal details.

In comparison with SDM-equipped optics such as the DA* 16-50mm f/2.8, the 18-55mm kit lens with which the Pentax K-5 is available delivers a reasonable performance overall, focusing only marginally slower in good light and takes just a little more time to confirm focus, once it has reached a rough approximation. As may be expected, this is done with considerably more noise from the lens’s motor, and there’s decidedly less fluidity in its movement, too.

Composition Adjustment Explained

The K-5 is one of a recent number of cameras to incorporate an electronic level for keeping horizons straight, but it also retains another one of the K-7′s more interesting features, whereby the position of the sensor may be shifted to help with composition.

The sensor may be moved up, down, left or right up, and even rotated slightly to fit with a straight line – such as a horizon – within a scene. For most situations the electronic level function should provide sufficient guidance here, although the Composition Adjustment feature is the preferable choice when using the camera in conjunction with a tripod, where particularly fine adjustments may be awkward to perform using a tripod head.

For even speedier access it is also possible to assign the Composition Adjustment function to the Raw/Fx button. This feature is an extra benefit of the K-5′s sensor-shifting Shake Reduction (SR) system which automatically moves the sensor to compensate for accidental camera movement that can blur images. Conveniently, the SR system works with any mountable lens.

By increasing the Pentax K-5 pixel count over the K-7, users are likely to be interested in the performance of the new sensor. At lower sensitivities images are detailed and clean, and only require a touch of sharpening to get them to their best.

Though JPEG output from the camera is satisfactory, but it’s clear that images with more intricate details are better handled by more careful noise reduction and sharpening using raw files as a starting point.

Predictably, noise rises and image quality drops as sensitivity increases, but this happens at a steady pace with no obvious ‘cut-off’ point in terms of quality. The maximum ISO 51,200 setting is certainly ambitious, but even with the kind of noise it produces its results could potentially be fine for smaller prints, particularly after noise reduction.

The only time its results surpass this level is when there’s plenty of light, although realistically there’s little reason why a sensitivity setting of ISO 51,200 would ever be called upon in such conditions.

An interesting feature on the K-5 is that each separate sensitivity setting may be assigned a different level of noise reduction. One option is simply to increase this in line with sensitivity, which deals with the worst noise patterning, but tests performed using the three different levels of correction available suggest that this is perhaps better tailored specifically to the scene being shot rather than the to the sensitivity itself.

It’s clear that the effects of the Pentax K-5 noise reduction are dependent on the subject details and how well they have been lit, and better-illuminated scenes will tolerate a greater level of noise reduction before too much detail is compromised. In any case, it’s more likely that for such critical work this option is likely to be bypassed in favour of raw post-production where more care and time may be taken.

Although some Pentax DSLRs in the past had a tendency for slight underexposure in certain conditions, that doesn’t appear to be the case with Pentax K-5 images. Even when faced with harsh backlighting, the 77-segment metering system is not swayed into underexposing the main subject, choosing instead to give a more even balance, even if it comes at the expense of highlight detail.

Pentax’s in-camera Lateral Chromatic Aberration Adjustment option removes the most obvious coloured fringes (but without completely eliminating them), while the Distortion Correction option available from the same menu is also effective, though the strength of its correction – which cannot be adjusted – proves to be a little overzealous at times, resulting in some unfortunate pincushion distortion. Both options add around two seconds of processing time per image, and so are perhaps best left deactivated until needed.

One particular headache for any digital camera is the accuracy of its auto white balance system under artificial light, mainly due to the wealth of different lighting sources, each with their own characteristics. Yet, even in this troubled area the Pentax K-5 exceeds expectations, with an impressive level of accuracy under a range of artificial lighting, even under combinations of tungsten and fluorescent sources.

The system does have an overall tendency to lean slightly towards the neutral rather than the faithful, which can be problematic if the warmth of a scene is to be retained, but a Colour Temperature Enhancement option is on hand to remedy this. The system also sometimes struggles under a mixture of natural and artificial light to produce a rather over-compensatory bluish cast, but realistically we should expect the odd error when there are so many combinations of lights under which it may ever be used.

In daylight and other more typical conditions there’s little to complain about, and with the default Bright colour option colours are generally pleasing and life- like.

ISO Test

1/15sec at f/11, ISO 100 (Click to view full size image)

ISO 80 (Click to view full size image)

ISO 100 (Click to view full size image)

ISO 200 (Click to view full size image)

ISO 400 (Click to view full size image)

ISO 800 (Click to view full size image)

ISO 1600 (Click to view full size image)

ISO 3200 (Click to view full size image)

ISO 12,800 (Click to view full size image)

ISO 25,600 (Click to view full size image)

ISO 52,100 (Click to view full size image)

12mm, f/8, ISO 200 (Click to view full size image)

50mm, f/4, ISO 800 (Click to view full size image)

85mm, f/4, ISO 200 (Click to view full size image)

200mm, f/5.6, ISO 400 (Click to view full size image)

1. Canon EOS 60D

Price – £899
Our Score – 4/5

Canon’s latest EOS model has the advantage of an 18MP sensor and a 1,040,000dot articulating
LCD screen

2. Nikon D7000

Price – £1089
Our Score – 3/5

Nikon’s newest DX-format body combines a 16.2MP CMOS sensor with a 39-point AF system and full-HD movie recording

3. Olympus E-5

Price – £1500
Our Score – Currently being tested

The E-system’s latest addition boasts a dust- and splash-proof body, as well an articulating LCD screen and built-in wireless flash functionality

The Pentax K-5 is a highly-specified and immensely enjoyable camera to use, and one which can easily withstand an array of photographic challenges.

It is hard to imagine how its menu system and the controls round its body could be presented any better, but perhaps its finest quality is its willingness to help the photographer out through the numerous and often unexpected interventions, particularly when finding correct focus, or appropriate colour and white balance settings.

Though its body handles well and offers many direct functions for immediate access, improvements could nevertheless be made to make some of these less awkward. It’s also unavoidable that the Pentax K-7′s similar proposition can be had for around £300 less than the current Pentax K-5 price, but after the usual price drop following a camera’s release this may become less of an issue.

Either way, by not entirely changing a winning formula but simply making it a little better, Pentax has delivered a competent contender when you compare the K-5 vs D7000 and K-5 vs Canon 60D.

Overall, the Pentax K-5 marries a well-rounded specification list with a stellar performance, and stands as an ideal upgrade to Pentax’s previous DSLRs.

Features: 4/5
Build quality: 4/5
Image Quality: 4/5
Value: 3/5
Overall: 4/5

Related Links

• TechRadar Reviews Guarantee
• Read more DSLR reviews

TechRadar: All Cameras feeds

A new 16.2 million pixel sensor plus novel AF and metering systems, mean it’s all change with the Nikon D7000 – the new Nikon DSLR that some believe is the Nikon D90 replacement. Angela Nicholson takes a closer look at the Nikon newcomer and also compares the D7000 vs D90.

As it has 16.2 million pixels on its CMOS sensor the Nikon D7000 has a higher resolution than all other Nikon APS-C (DX) format DSLRs. In fact it is only trumped in this respect by the top-end Nikon D3X, which has 24.5 million pixels on its full-frame (FX) sensor. However, the D7000 is aimed at enthusiast photographers and sits between the 12.3-million-pixel Nikon D300S and D90 in the DSLR line-up, with a list price of £1099.99.

Though it has quite a bit in common with the Nikon D90, the control layout is very similar, the D7000′s construction is closer to the Nikon D300S’s as both cameras have a magnesium alloy body shell rather than the polycarbonate version of the D90.

In some ways the Nikon D7000′s specification surpasses that of the D300S, not least in pixel count. In addition, the Nikon D7000 is only the second Nikon DSLR to feature Full-HD video technology, the D31000 was the first, and it has a more advanced metering system than any other Nikon DSLR as it uses a 2,016 pixel sensor. There’s also a new 39-point AF system that sits comfortably between the 11-point and 51-point systems found in the Nikon D90 and D300S respectively.

Nikon has also taken a look at how some of the features we now expect from a DSLR are integrated into the camera and there are a few control changes that are designed to make the Nikon D7000 more straightforward to use. It all adds up to a pretty interesting offering for enthusiasts, but has Nikon taken a step too far out of its comfort zone with a 16.2 million pixel sensor?

Although the D90 isn’t a flimsy camera, the D7000 feels a little tougher in the hand, perhaps courtesy of its magnesium alloy body shell and the heftier textured rubber at its key grip points. With the index finger on the shutter release button, the main grip is just tall enough to accommodate the remaining three right-hand fingers of those with fairly small hands. Photographers with more shovel-like mitts will find that their little finger slips naturally under the camera body.

While the control arrangement on the D7000 is at first glance very similar to the D90′s, there are a few subtle changes that make quite a difference to the handling. One of the most significant is the change in the way that the AF and AF point selection modes are selected. This has been brought about by the introduction of the AF mode button at the centre of the focus mode selector switch, which sits at approximately the 4 o’clock point by the lens mount (as you look at the front of the camera).

Instead of using a switch like on the D300S to set the AF mode (Single point, Dynamic are or Auto Area) and dipping into the menu to set the number of AF points to use in continuous AF mode or to choose 3D-tracking mode, these options can now be selected by pressing the AF mode button while rotating the sub-command dial beneath the shutter release button on the front of the camera.

Though this is a two-handed operation, it can be carried out with the camera held to the eye as the various options are displayed in the viewfinder as well as the top LCD screen. It’s a much slicker integration of the AF modes than with other Nikon DSLRs and we expect to it appear in future models.

Like the D3100, the D7000 has a dedicated live view switch around a video activation button to the left of the natural thumb resting place. The live view control is especially useful as it speeds up the process of composing images on screen and is more intuitive to use than the drive mode dial option found on earlier Nikon D-SLRs.

Photographers upgrading from a D3100 or a D90 will find the handling changes of the D7000 a fairly logical progression. Those considering buying a D7000 as a second body to accompany their D300 or D300S, however, may find that it takes a little bit more getting used to with the loss of the AF and metering mode switches.

While we like the new AF system operation, we prefer having a switch to set the metering mode rather than top-plate mounted button that must be used in conjunction with the main command dial.

It is more than likely that the 16.2 million pixel sensor inside the D7000 is the same as, or very similar to the one in Sony’s Alpha 55. This pixel count marks a significant departure for Nikon as previously the company was adamant that 12 million pixels are enough for any DX format camera.

Though increasing the pixel count can boost detail capture, smaller photodiodes usually generate a weaker signal that requires greater amplification both of which can result in more image noise. It will be interesting to examine the D7000′s images.

Switching from 51-AF points in the D300S to the 39-points of the D7000 is less significant than the 12 point difference might suggest. As with other Nikon DSLRs, there are four AF point selection modes; Single-point, Auto-area, Dynamic-area and Dynamic-area (3D-tracking). In Single-servo AF the Single-point mode is preferable as the user is in able to specify which AF is used.

On most occasions when outdoors in daylight and with the AF-S DX Nikkor 18-105mm f/3.5-5.6G ED VR (included in the single lens kit) mounted, the Nikon D7000 snaps the subject into sharp focus quickly. It starts to struggle when light levels drop a little or the subject lacks contrast though – especially if the peripheral AF points are selected.

Things improve considerably, however, if a faster optic such as the AF-S Nikkor 24-70mm f2.8G ED is mounted. With this lens in place the D7000 is able to focus on the subject even in very low light. But, there is a difference in price of almost £1,000 between the two optics.

One of the most interesting features of the Nikon D7000 is its full-time autofocus (AF-F) mode that operates when images are composed on the LCD screen or during video shooting. In this mode the camera attempts to focus the lens continuously without any button pressing.

As this relies on the camera’s contrast detection system, which operates when the mirror is lifted to expose the sensor, it becomes quite hesitant and indecisive in low light. However, in decent light, especially outdoors, it is impressive how quickly the camera pulls the subject under the AF selection box into focus as it moves around. It’s not much good for shooting sport, but it could be very useful when videoing family days out and the like. The focus adjustment is generally smooth, but as light levels fall backwards and forwards adjustment becomes evident.

In Continuous-servo mode, the Nikon D7000 user selects the initial AF point and as the subject moves, the cameras adjusts the focus and, if necessary, selects different AF points to follow the target and keep it sharp.

The D7000′s Multi-CAM 4800DX focus module allows the user to set the number of AF points that are used in the Dynamic Area tracking process to 9, 21 or 39. It can be helpful to restrict the number of points when the subject is moving within a small section of the image frame, but a greater number of points may be helpful with more mobile subjects, especially if they are isolated. If the subject is a distinctly different colour from its surroundings, the Nikon D7000′s 3D tracking option, which uses the camera’s Scene Recognition System and colour information is often a good choice.

One disappointment with the Nikon D7000 is that its LCD screen is fixed rather than articulated. As things stand the Nikon D5000 is the only Nikon DSLR to feature a flip-out monitor and is surprising this feature has not appeared higher up the company’s DSLR line-up. On a more positive note, the screen image is made up from 921,000 dots and there’s enough detail visible to allow very precise manual focusing when the magnified views are employed.

When shooting with the camera to the eye, it’s nice to know that the images won’t have too many surprises around the edges as the viewfinder provides a 100% field of view. Helpfully, the digital level, which can be activated via the function button (set via custom function F3) remains visible in the viewfinder even as the shutter release button is depressed. It can also be displayed on the LCD screen, so there’s no excuse for wonky horizons.

Having two SD card slots is also handy as in addition to expending the camera’s capacity, it allows different file types to be saved to a different card if desired.

Existing Nikon DSLR users may be disappointed to learn that the D7000 uses the new EN-EL15 battery. Although this has improved life, it has a new shape and is not interchangeable with older batteries.

It is apparent from the images we shot during this test that the D7000′s matrix metering system isn’t easily fooled into under exposure by bright areas in the scene. In fact, with the Active D-Lighting (AD-L) in its default, Normal, setting, there is an occasional tendency towards slight over exposure. This isn’t usually at the expense of the highlights, but the midtones can sometime benefit from a little darkening post capture. Generally though, the 2,016 pixel matrix metering system does a pretty good job.

As we might expect, images taken at the highest (Extra High) AD-L setting have more visible detail in the shadows than those taken with in the lowest (Low) setting (it is also possible to turn AD-L off). This is despite the fact that our tests reveal the camera sets a one stop longer exposure when the Low option is selected than when Extra High is used.

The exposure difference may vary with the scene, but we found using the higher AD-L values generally reduces the shutter speed – rather counter intuitive. This means that using AD-L has an impact on the D7000′s raw files as well as the JPEGs.

In the past Nikon’s auto white balance system has been accused of being too efficient and rendering warm light too neutral. Nikon has countered this some extent with the Nikon D7000 by giving it two AWB modes, one of which is specifically designed to retain some of the colour in warmer lighting.

It does a reasonably good job, but the best results are still obtained by shooting raw images to ensure the maximum amount of data is captured for post capture adjustment. For the majority of shooting situations the Standard Picture Control option is a good choice, but it can make Caucasian skins tones a bit too peachy/pink and contrasty and we found it’s better to use the Neutral option with portrait shoots.

Nikon’s D3S currently leads the field for high sensitivity noise control, managing to produce impressively detailed images even in very low light. The Nikon D7000 has a smaller, more densely packed sensor so we can’t expect quite the same standard, but the results at the highest sensitivity settings are still impressive.

There is very little chroma noise in images taken at the highest native sensitivity setting (ISO 6400) when the noise reduction in its default ‘Normal’ setting. This has a slight softening effect on the images and better results are obtained at more every day sensitivity settings (ISO 400-800) if the noise reduction is turned off.

Nikon supplies View NX2 with the D7000 and this doesn’t afford any control over the noise reduction that is applied to raw files. Users who want to take control over this post capture have a choice of waiting for third part software manufacturers to update their raw processing software, or investing in Nikon Capture NX2 for around £170. It’s worth bearing that in mind when deciding your budget and which camera to buy.

Larger images, better auto focusing, improved video technology with full-time AF, an electronic level, a viewfinder that provides a 100% field of view and revised handling makes the Nikon D7000 a compelling proposition for the D90 user, especially those who want to shoot more movies.

Keen sports photographers will also appreciate the jump to 6fps maximum continuous shooting rate. So how does the Nikon D7000 measure up against the Nikon D90?

Exposure Accuracy

Nikon D7000 = 0.12ev
Nikon D90 = 0.27
Canon EOS 60D = 0.18 ev

Colour Accuracy

Nikon D7000= 111%
Nikon D90 = 112.2%
Canon EOS 60D = 110.8%

Dynamic Range

Nikon D7000= 6.13ev
Nikon D90 = 5.38 ev
Canon EOS 60D = 6.02 ev

Noise

Nikon D7000 = 0.58
Nikon D90 = 0.54
Canon EOS 60D = 0.79

The figures here reveal the impact of the developments that have taken place during the two years between the Nikon D90 and D7000 coming to market. The new camera beats its forebear on every count apart from noise, but even then it’s only marginal and it does have a higher pixel count.

The increase in the dynamic range is especially noteworthy and it means that images from the Nikon D7000 have a greater range of tones and smooth gradations.

The noise figures here show the results with raw files at ISO 200, but the Nikon D7000 also performs well at higher sensitivity levels and is a good performer in low light. This combined with the excellent AF system makes it a great camera for enthusiasts.

My best shot with the Nikon D7000: 1/40sec at f/11, ISO 100 (Click to view full size image)

Active D-Lighting (ADL) Test

ADL Off (Click to view full size image)

ADLNormal (Click to view full size image)

ADLLow (Click to view full size image)

ADLHigh (Click to view full size image)

ADLExtraHigh (Click to view full size image)

Raw vs JPEG Test

Jpeg: ‘normal’ high ISO noise reduction, 1/200sec at f/2.8, ISO 6400 (Click to view full size image)

Raw: adjusted for best noise & detail ratio, 1/200sec at f/2.8, ISO 6400 (Click to view full size image)

ISO Test

1/60sec at f/4, ISO 100 (Click to view full size image)

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12,800

ISO 25,600

Our tests reveal that the Nikon D7000 is an excellent camera that is capable of capturing a high level of detail across the full sensitivity range. However, getting the best from it requires a little bit more than is provided in the AF-S DX Nikkor 18-105mm f/3.5-5.6G ED VR kit box.

While this lens offers a versatile effective focal length range of 27-157.5mm it hampers the camera’s AF system in less than ideal lighting conditions. With a professional-level lens mounted the D7000 proves itself to have an excellent AF system capable of accurate results in very difficult situations.

An ever expanding feature set makes greater demands on a cameras menu and control systems. Nikon has obviously spent some time thinking about this and the D7000 is easy to use. With the right lens the revised AF system is superb, and the way its more advanced features have been integrated into it mean they are far more likely to be used by the photographer. It’s a shame the LCD screen isn’t articulated though.

While View NX2 is an improvement on Nikon’s earlier software options it doesn’t really offer the enthusiast enough control and many will be eagerly awaiting Adobe’s Camera Raw update to allow greater control over noise reduction, especially at the lower sensitivity settings.

Features: 3/5
Build quality: 3/4
Image Quality: 4/5
Value: 3/5
Overall: 3/5

Related Links

• TechRadar Reviews Guarantee
• Read more DSLR reviews

TechRadar: All Cameras feeds

The revamped Coolpix line of Nikon compact cameras certainly has the look of quality. With the new Nikon P7000′s classic black body and a range of manual dials, it seems on the surface perfect for photographers who know what they’re doing and want a little more control over and quality from their digital compact camera.

But with Nikon P7000 prices around £450, are you better off getting another DSLR to serve as your backup camera?

With Nikon well in the ascendency in the DSLR market, the company is attempting to make hay while the sun shines. The Canon G-series has long been the choice of anyone looking for a (almost) pocketable compact to accompany their DSLR, but with Nikon DSLRs stealing more and more of the limelight, the 10.1MP, all-metal Nikon P7000 could be just the camera to sway Canon users away.

With fancy features thin on the ground – 720p video is all you get – and enough manual controls to keep the most experienced photographers happy, the P7000 makes a huge first impression. But how is it in use?

The Nikon P7000 looks the business. Clad in dull, gunmetal black and following the G12′s approach of scattering the toplate with dials and buttons, it is, like its Canon cousin, an intimidating camera at first, particularly if you’re not familiar with terminology such as “BKT”, “QUAL” or “WB” might mean.

But if you are, the Nikon P7000 is a snap to set up. The menu system is excellent, as is the 3-inch, 921,000-pixel monitor, but you won’t have to poke it into action much.

On the left-hand side a dial allows you to choose from Quality, ISO, white balance and bracketing. Select one and push the button in the centre and the current settings are displayed on the screen for you to change with a spin of the rear-mounted click wheel. You also get a dedicated PASM dial, as well as an exposure compensation dial that allows you to dial in plus or minus three stops.

The back of the camera is similarly busy. The flash is manually-activated, while the four-way direction pad acts as a shortcut to flash settings, the self-timer and has two buttons dedicated to the focus mode. The first allows you choose from normal, macro, infinity and a manual mode.

The latter blows up the centre of the frame – pushing the D-pad up or down moves focus backwards and forwards. It works well, although it’s not exactly fast enough for moving subjects. The other focus button allows you to choose your focus zone. You can select it yourself, or have it track a subject, or prioritise faces.

In use the Nikon P7000 works extremely well, give or take a few instances of lag when accessing the menu system. It certainly feels like it’ll take the odd knock and thwack.

The only weak spot is the hopeless optical viewfinder, which is incredibly cramped and doesn’t impart focus information – only focal length. The LCD monitor is a much more reliable choice.

Image quality is superb – it’s that simple. Test shots from the 28-200mm f/2.8-5.6 lens were crisp and sharp, and showed none of the chromatic aberration that afflicted Nikon’s cheaper S8000 superzoom.

The wide range of available apertures is useful as well – although if you can we’d urge shooting at wider apertures. Comparing images, shots taken at f/2.8 were considerably sharper than those taken at f/8.

The P7000′s ISO sensitivity can be pushed as high as 6400, and Nikon’s recent strength when it comes to low-light photography shines through. A few years ago you’d have been laughed at for suggesting that compact cameras would eventually produce usable images at ISO 1600, but the Nikon P7000 just about manages it.

Indeed, the images it produced at ISO 3200 were printable as well, although some decent noise-reduction software is going to be desirable. As ever, only the topmost setting produced fatally flawed images. ISO 6400 might be tempting for photographers looking to make the most of ambient light, but you’ll have to deal with severe grain and pronounced colour shifts to be able to use it.

It’s an enormously capable performer as well. The Coolpix P7000 is ready to shoot in under a second and a half, and offers a decently-specced continuous drive mode, at least for a compact. In 28.1 seconds it shot at a rate of 1.4fps, which is more than reasonable for most purposes.

The only drawback was the processing time afterwards – the camera sat with a “Please wait for the camera to finish recording” message for around another half minute. Shooting in the P7000′s RAW mode produced more finger-drumming and reduced the continuous buffer to a measly five shots, but speed was un-impacted.

Nikon Coolpix P7000 ISO Test

ISO 800

ISO 1600

ISO 3200

ISO 6400

The Coolpix P7000′s video is as well-specced as you might expect for a top end stills camera, but Nikon has resisted the urge to really push the boat out.

So, for instance, you get 720p, 24fps recording rather than AVCHD recording, or a 1080p mode. It’s a clear restriction, and seems rather a shame when the lens and sensor are clearly up to the task of delivering top-notch quality.

As it is, the Nikon P7000′s EXPEED C2 processor handles motion well, and the wind-cutting feature works well. Crucially, the image stabilisation is also excellent, which means using the full 200mm length of the lens is a real option.

Usefully, you can even use the optical zoom while recording without the sound of the motor being picked up by the internal microphone. For more serious jobs, a 3.5mm mic-in port is supplied on the left hand edge of the camera.

1/160sec at f/8, ISO 100 (Click image to view full size)

1/680sec at f/2.8, ISO 100 (Click image to view full size)

1/60sec at f/8, ISO 100 (Click image to view full size)

1/2000sec at f/4, ISO 100 (Click image to view full size)

1/150sec at f/8, ISO 100 (Click image to view full size)

There’s a huge amount to love about the P7000. It’s small, it’s tough, the lens is cracking and it takes great pictures. The video mode might not be too much to write home about but at least it’s HD.

The manual dials all over the camera are definite plus points, and for photographers who know what they’re doing it’s fast to use, making none of the compromises that normally afflict compacts.

There is, however, a huge but. You won’t pick up the P7000 for under £450, which is extremely expensive for a compact. For a mere fifty quid more you could get the Nikon D3100, which offers Full HD video recording, a faster burst mode (3fps to the P7000′s 1.5fps), and of course, compatibility with Nikon’s superb and voluminous range of professional lenses. It’s actually only around twenty quid cheaper than the D5000, which remains a superb DSLR despite its age.

If you already have a DSLR and want a backup without investing in another interchangeable lens camera, the P7000 is a great choice. We love its performance and image quality. But by the same stroke, users looking for a backup body should seriously consider getting themselves another DSLR.

It’ll relieve you of roughly the same amount of cash, and your backup camera will be compatible with the lenses and accessories you already own. Consider the P7000 if you’re absolutely desperate to save space.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds

Pentax has long been the bridesmaid of the DSLR market. As professionals almost exclusively opt for Nikon and Canon bodies to get access to top-end lenses and accessories, that apathy towards Pentax trickles down to consumers.

That hasn’t stopped Pentax putting out some cracking consumer DSLRs, though. The Pentax K-x has long held a place in our hearts for its excellent image quality and top-notch kit lens, and the Pentax K-r is effectively its bigger brother.

Like the K-x, the K-r sensor is APS-C at 12.4 megapixels, and, also like the K-x, boasts a 720p Motion-JPEG video mode. It also has the same image processor as the K-x: the Pentax PRIME II.

There are improvements and changes elsewhere. The screen on the smaller, cheaper K-x has long felt a little tight at 2.7in; the Pentax K-r wisely upgrades to an industry-standard 3-inch LCD, and the resolution has increased sharply as well. The Pentax K-r also takes a unique approach to the K-x’s double-edged sword of only accepting AA batteries, allowing you to fit either the included rechargeable Lithium-ion battery, or AAs depending on what you have to hand.

Pentax is playing a dangerous game, though. The K-x remains hugely desirable at just £400, while the circling sharks of Canon and Nikon’s mid-range DSLRs are never far away. Can Pentax convince us it’s worth the cash?

The Pentax K-r body has grown a little compared to the Pentax K-x – it’s slightly larger in every respect, but it’s still a fantastically easy camera to hold. The grip at the front is covered in chunky, textured rubber, and the left-hand edge gets the same treatment.

In truth, we’d prefer the contorted grip on the back where your right thumb grips the camera to be textured instead, but even so the K-r is very comfortable to handhold.

The control layout is traditional: there’s nothing above and beyond the normal body-mounted buttons to be found on most entry-level DSLRs. The back of the Pentax K-r body has a directional pad whose compass points act as shortcuts to the self-timer, ISO, white balance and flash modes, while a solitary button on right-hand shoulder acts as either AE or AF lock depending how you define it in the menu.

Unfortunately, when the option to select the AF manually is selected the navigation buttons loose their shortcut functions. As there’s no other way to set the white balance, self-timer, sensitivity or flash options, this is likely to be a pretty serious issue for enthusiast photographers looking for a budget DSLR.

It means that the flash options, for example, must be set before the K-r is set to manual AF point selection mode and the AF point set. Alternatively, users can set the Pentax K-r to use the central AF point only and then use the focus and recompose technique.

The top of the Pentax K-r body features a rather busy mode dial, which has dedicated notches to scene modes such as sports and panoramas, as well as the aperture priority, shutter priority and manual modes favored by more experienced photographers.

As with other Pentax DSLRs, the manufacturer has supplemented the usual PASM exposure mode options with a sensitivity priority (SV) mode. In this mode the user sets the desired sensitivity setting while the camera selects what it calculates are appropriate aperture and shutter speed settings.

There Pentax K-r body also features a customisable “green button”, which can be set to perform one of seven functions (revert to default settings, set custom image settings, display the optical preview, display the digital preview, set a digital filter effect, set the cross processing effect or change the file format).

Next to the green button is an exposure compensation button, also used in manual mode to switch between controlling the shutter speed or aperture size – essential as the K-r only has one dial on the back. An extra on the front would make controlling it in manual mode simpler.

Although the Pentax K-r body seems well built and nicely constructed, the buttons on the rear of the Pentax K-r are hard to distinguish by feel alone when it is held to the eye. This makes selecting the desired AF point more fiddly than it should be.

The Pentax K-r AF system has been upgraded compared to the Pentax K-x, and the new SAFOX IX system didn’t steer us wrong in testing. You still get 11 autofocus points overall, including nine cross-type sensors clustered in the middle of the frame.

This compares favourably, say, to the Nikon D5000 or Canon EOS 550D‘s single central cross-type points – though opting to manually select the AF point with these cameras isn’t at the expense of the ability to select the white balance setting.

As with virtually all live view enabled DSLRs (with a few notable exceptions from Sony), framing shots on the LCD switches to contrast detection AF unless the feed is interrupted. Our experience was broadly positive, though, with lens acquiring a subject reasonably quickly even in contrast detect mode and low lighting conditions.

The monitor itself is what we’d have dubbed large 18 months ago, but is now merely par for the course. The 3-inch diagonal means there’s plenty of space for checking focus, while the 921,000-dot resolution means there’s more detail visible and the menus look more defined than they do on the Pentax K-x.

That said, the menu system still lacks a little sophistication compared to that of Canon and Nikon competitors. It all makes sense and can be navigated with reasonable speed, but it’s a tad basic in terms of its design.

Of more importance – and disappointment – is the Pentax K-r HD video mode. Full HD video mode is becoming more commonplace in DSLRs and it is rather a shame that Pentax isn’t keeping pace with the frontrunners.

Canon has offered 1080p on the EOS 550D since it was announced in February this 2010, and Nikon is in the process of updating its range to include H.264, 1080p recording with the likes of the D3100 and D7000. Either is a notch ahead of the Pentax K-r, which offers the less competent, Motion-JPEG format, while its resolution is capped at 720p.

You maintain a reasonable level of control while recording, with the aperture value available, and two stops of exposure compensation either side of normal. The ability to record up to 25 minutes or 4GB of footage makes time lapse possible, and quality is generally good, but the jump to H.264 would be welcome. Another indication that Pentax intends the K-r body only as a stills camera first and foremost is the omission of a separate microphone jack.

One significant change compared to the Pentax K-x is the newly expanded K-r ISO range. With a slight adjustment to the custom settings menu you can set the ISO as high as 25,600. That’s twice as sensitive as the Pentax K-x and Canon 550D, and four times that of the Nikon D5000.

So what can you do with it? We’re pleased to report that below ISO 1600 you won’t really need to worry about your images – our tests came back virtually indistinguishable from each other. You can even set up the Pentax K-r to prevent it reaching for undesirable ISOs: set the maximum at ISO 1600 and we doubt you’ll ever have a serious problem with noise.

The higher you go the softer images become. At ISO 3200 noise is still fairly well controlled, and the Pentax K-r samples we took provided commandingly accurate colours – sharpness appeared to be the only casualty.

Go a stop further and you’ll begin to hit problems, though. ISO 3200 provided us with an image in which smooth textures had been replaced by mottled JPEG compression, and sharpness was all but gone. Go further still and colours begin to shift badly – the final two stops are best avoided unless you’re presented with a once in a lifetime opportunity.

The SMC DAL 18-55mm f/3.5-5.6 AL Pentax K-r kit lens is another treat: it’s light weight and, while its specifications are run of the mill, like the kit lens on the Pentax K-x, it’s pretty sharp and chromatic aberration is kept to the barest of minimums. Our only complaint is the audible noise: the Pentax K-r’s in-body focus motor sounds decidedly old-school and will definitely prick up the ears of any quietly grazing wildlife.

Our review unit came as a package with an SMC DA 50mm-200mm F4-5.6 ED lens as well, with which we were less impressed. When it was mounted the K-r had a little trouble picking out fine details in our test shots, and although the Pentax K-r image sensor shifting Shake Reduction (SR) is built-in, we struggled to get sharp images at 1/60sec when using the 50-200mm lens at its longest point, our video tests were particularly badly affected by shake. Take a tripod!

1/160sec at f/8, ISO 400 (Click to view full size)

1/30sec at f/5.6, ISO 800 (Click to view full size)

Retro effect: 1/4000sec at f/5.6, ISO 12,800 (Click to view full size)

Toy camera effect: 1/60sec at f/5.6, ISO 800 (Click to view full size)

ISO100 (Click to view full size)

ISO200 (Click to view full size)

ISO400 (Click to view full size)

ISO800 (Click to view full size)

ISO1600 (Click to view full size)

ISO3200 (Click to view full size)

ISO6400 (Click to view full size)

ISO12800 (Click to view full size)

ISO25600 (Click to view full size)

The Pentax K-r, like the K-x before it, is a superb camera for keen photographers who either don’t want, or can’t stretch to the likes of the Nikon D300 or the Canon 550D. Certainly you lose nothing in terms of image quality – we were delighted with the high ISO performance of the K-r, and the kit lens is pretty impressive.

Video quality is more mixed – for our money those looking for a low-end DSLR that shoots decent video files will do better with the Nikon D3100, which feels a little cheaper in the hand but shoots 1080p, H.264 video rather than 720p Motion-JPEG.

Although the K-r is a good choice, the current Pentax system simply can’t contend with the breadth and quality of lenses, flashes and accessories supplied by Canon and Nikon – a point well worth considering. It’s worth bearing in mind that there a many compatible second-hand optics available though.

With current systems in mind, you should consider the excellent Nikon D5000 before spending money on the Pentax K-r. Nikon’s camera currently costs around £100 less, has the same resolution sensor, and has an almost identical video mode to the K-r.

You also get a Vari-angle monitor and, as mentioned, compatibility with Nikon’s vast range of DSLR accessories. The Pentax K-r is a great little camera that’s easy to fall in love with, but the Nikon D5000 should be higher on your list.

Pentax K-r Ratings

Features: 4

Build quality: 5

Image quality: 4

Value: 3

Related Links

• TechRadar’s Reviews Guarantee
• Read more Digital SLR reviews

TechRadar: All Cameras feeds

The Ricoh CX4 was released only a few months after its predecessor, the CX3. With many serious competitors in the high-end compact market, have Ricoh updated the camera enough to warrant shelling out more money for the latest version?

The CX4 certainly has plenty in common with the CX4 (albeit with slightly more rounded edges for better grip) including the same 10.7x optical zoom (4.9-52.5mm – 28-300mm equivalent), 3 inch 920,000 dot transparent LCD and a 1/2.3 inch, 0 megapixel CMOS sensor. The CX4 is not equipped with a viewfinder, so you’ll need to use the rear LCD to compose your shots.

You can still pick up the CX3 at a cheaper price, so what are you paying extra for in the newer model? Image stabilisation has been improved, along with redesigned AF tracking and “night landscape multi shot mode” for low noise, low light images and a range of new creative filters including soft focus and toy camera effects.

At first glance, the Ricoh CX4 looks like it should belong in the same class as premium compacts like the Panasonic Lumix LX5 and the Canon Powershot S95. Indeed it has the same sleek black styling found on these cameras, and appears to be a high quality product.

It’s also reassuringly weighty and sits well in the hand, the finger naturally resting on the shutter button ready for action. The body feels robust, if a little plasticky, but those new curved edges lend it in air of class.

DSLR photographers will welcome the scroll wheel at the top of the camera, along with the joystick on the rear, giving the appearance of seriousness for what is essentially a point and shoot model. The mode dial itself is a little awkward to use when shooting one-handed, but this is something you could get used to over time.

The joystick, which unfortunately feels a little flimsy, also proved annoying when used with the menu. Head to a menu option and find the setting you want to change, press down on the joystick to activate this change? Wrong, frustratingly this takes you out of the menu – you need to remember to press right if you want to activate something.

Again, this is a nuance that you get used to with time. It could also be said that using the tiny joystick may prove awkward to bigger hands that might prefer dedicated arrow buttons instead.

Unlike premium compacts such as the S95 et al, shooting in manual exposure mode is not an option with the CX4. The closest thing you’ll get to this is by using the “MY settings mode” on the top dial, where you can preset a number of different options such as ISO, aperture, image size and white balance.

This might prove handy if you want to always make sure you shot in a low ISO, or at a particular white balance and don’t want to rely on the auto settings. You can’t adjust aperture or shutter speed though, as you would be able to on the (admittedly more expensive) premium compacts on the market.

Another frustrating feature of the CX4′s My Settings mode is its inability to remember the settings you were just using, in any mode. So, for instance, if you change the ISO to 100, switch off the camera and pick it up again, it will have reverted to whichever preset you have saved. If you want it to remember what you have been using before you switch it off, you will need to dive into the Setup menu and select Reg. My Settings – hardly a quick operation.

A large zoom range (10x) is one of the most impressive and saleable features of the CX4, and a great bonus for travel photographers. Those who like to have the greatest level of control may find it frustrating that you can only zoom in steps (i.e. 28mm, 35mm, 50mm and so on), but at least zooming is a fairly quick operation.

The zoom ring around the shutter release is a little plasticky and doesn’t feel particularly well built. The noise emitted from the camera as the lens is fully extended sounds rather worrying, until you hear the noise it makes while attempting to focus, not the most discreet of sounds.

The rear 3 inch 920,000 dot LCD screen is one of the best features of the CX4. It’s bright, can be seen well in bright sunlight and is sharp. A handy electronic spirit level appears when shooting with the camera in both vertical and horizontal orientations, helping you to capture straight horizons, but it’s worth noting that it won’t work when pointing the camera straight down towards the ground.

As with many compact cameras, a key concern is start-up time. Shooting in Auto mode, it takes around 3 seconds to boot up and another second or two to focus and take, most of the time. Although shutter lag is thankfully virtually non-existent, in certain situations, it struggles to find a focus point and will hunt around for a few seconds before locking on. This isn’t a super quick camera, but it will do for most situations.

Despite several shortcomings in the usability of the camera, the Ricoh CX4 actually delivers pretty good results. The colours are bright, punchy and sharp although the auto white balance can provide some odd results at times, so you might need to watch that, especially as you can’t shoot RAW files and correct later.

You have the option to shoot in 4 different formats, 4:3, 3:2, 16:9 and 1:1 which is good for creative photographers, and the filters (miniaturisation, dynamic range, high contrast black and white, soft focus, cross process and toy camera) are quite fun and work reasonably well. Miniature mode does a decent job of recreating a tilt-shift lens effect, while cross process will gives the lomo look that is trendy right now.

Sensitivity can be altered on “My Settings” mode in one-stop increments ranging from ISO 100-3200. Noise is minimal up to ISO 400, but as with most compact cameras after this the images become increasingly noisy from 800. In fact they are virtually unusable at the highest end of 3200, unless prints are to be kept very small. Overall, it’s a solid performance from a compact of this price range.

Ricoh CX4 ISO Comparison test

Ricoh CX4 – ISO 100 (Click to view full size image)

Ricoh CX4 – ISO 100 – 100% crop (Click to view full size image)

Ricoh CX4 – ISO 200 – 100% crop (Click to view full size image)

Ricoh CX4 – ISO 400 – 100% crop (Click to view full size image)

Ricoh CX4 – ISO 800 – 100% crop (Click to view full size image)

Ricoh CX4 – ISO 1600 – 100% crop (Click to view full size image)

Ricoh CX4 – ISO 3200 – 100% crop (Click to view full size image)

Miniature mode, ISO 100, f/3.5 – the Ricoh CX4 does a decent job of recreating an expensive tilt-shift lens. (Click to view full size image)

Cross process mode, ISO 100, f/7.0 – the trendy Lomo style can be acheived with the cross-process filter. (Click to view full size image)

Soft focus mode, ISO 100, f/7.0 – acheive a dreamy look with the soft focus filter. (Click to view full size image)

Toy camera mode, ISO 100, f/7.0 – the CX4 applies a vignette to recreate the toy camera effect. (Click to view full size image)

High contrast B&W, ISO 100, f/3.5 (Click to view full size image)

Auto mode, ISO 100, f/4.1 – Use the electronic level to make sure horizons always appear straight. (Click to view full size image)

Macro auto mode, ISO 100, f/3.5 – The CX4 can get close to subjects, providing sharp results, but sometimes it hunts around for a focus point for a few seconds. (Click to view full size image)

Auto mode, ISO 100, f/3.4 – the Ricoh CX4 features an impressive 10x zoom, compare this wide-angle shot with the next at fully zoomed. (Click to view full size image)

Auto mode, ISO 100, f/5.7 – At full 10.7x zoom, the results are pretty sharp – but watch out for camera-shake when shooting. (Click to view full size image)

The Ricoh CX4 is basically a high-end point and shoot camera, and for both ordinary everyday shooting and fun photography, it performs well. Travel photographers on a budget looking for a neat package that will fit in a pocket will be impressed by its sleek looks and large zoom range, but serious photographers could be left disappointed by a lack of manual control.

It’s worth considering however that the RRP for the CX4 is around £100 less than the premium compacts (such as the Canon S95) that it so closely resembles, so it is perhaps unfair to expect it to deliver the same results.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds

Well, yes. We’ve become real fans of Samsung cameras, and this model has only bolstered that feeling.

It looks beautiful, it’s slim and well-built, and, most important of all it takes terrific photos. It also shoots beautiful video.

It’s only in the last year that compact cameras’ video abilities have been anything more than a product marketing check-box, but how far we have come! The WB2000 shoots full HD (1080p) video, which is stunning.

Even better, you can shoot a full-res still even in the middle of recording video. There are a few high-speed video options too, which, when played back, show the action in slowmo, but you’d do well not to get too excited about them; even at the fastest, 240FPS option, video size and quality drop dramatically.

The ability to shoot in raw as well as JPEG is welcome, and makes the WB2000 handy for SLR-toting photographers who might not want to lug their full kit around. However, iPhoto, Aperture and Lightroom currently don’t support the WB2000 raw.

Handling is generally good, and we like Samsung’s menu system. But we struggled to remember there was a separate ‘shutter’ for video, plus the shooting mode button is confusing.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds

The Canon Powershot S95 was released a little over a year after its predecessor, the Canon S90, was announced.

Building on a legacy of quality premium compact cameras, and with more and more entering the market, Canon have a lot to compete with nowadays, so does the Canon S95 still hold muster?

Improvements on the Canon S95 include the addition of the HS system, a combination of a high-sensitivity 10.0 megapixel CCD sensor and DIGIC 4 processor, promising optimised low-light shooting. Manual control has also been upgraded, while HD movie recording has been added.

For the first time in a compact, Canon’s Hybrid IS technology which provides image stabilisation has also been incorporated. It’s brought over the ability to shoot in RAW, the useful ring-control system and the same 6-22.5mm (35mm equivalent: 28-105mm) f/2.0 lens. In short, you’re getting a fair old bang for your buck.

Bearing in mind that physically the Canon S95 is more or less the same as the PowerShot S90 (it’s a touch smaller than the S90 and now uses the same coating as found on the Canon 7D semi-pro DSLR in a bid to improve grip), first impressions of the camera are good.

The sleek body and metal finish lend it air of class, while its miniature size belies its impressive stats. The little brother of the Canon G12, this is probably one of the only high-end compacts on the market that is truly pocketable. As well as adding to the sleek design, it’s nice not to have a fiddly lenscap to keep track of such as on the likes of the Panasonic LX5.

Photographers familiar with Canon’s IXUS range will be at home with the buttons and layout on the back of the camera, while the scroll wheel and mode dial are more reminiscent of their DSLR range. The buttons are fairly well laid out and easy to use on the back of the camera, however the closeness of the ‘ring function’ and ‘on/off’ button on top of the camera was sometimes frustrating.

The mode dial itself is a little stiff, but some may like this as it means it won’t slip out of your favoured mode as it glides in and out of a pocket. Although it’s obviously streamlined, the shutter button could do with being a little bit more beefy and less delicate, as it is it seems to get a little lost on the top of the camera and isn’t very satisfying to push.

The Canon S95 brings over the ring function from the PowerShot S90, a turnable ring around the base of the lens which you can use to change a variety of functions including aperture, ISO, exposure, white balance and zoom. In practice, I found it most useful to use this for ISO as there is, annoyingly, no dedicated ISO button elsewhere on the camera (although you can set the shortcut button to this if you wish).

It’s odd that there’s no dedicated movie record button either, as the Canon S95 boasts 720p HD video recording. Not only does this mean that you can’t film in creative modes (with the exception of miniature mode), but it’s a little fiddly having to flick the mode dial around when you’re in a hurry.

The flash is a little clunky, and relies on electronic operation by pressing a button on the scroll wheel, which again can slow things down if you want illumination in a hurry. It also feels a little cheap as you try to force it back into its slot you’re met with resistance.

The 3in PureColour II G LCD screen is large and bright, and performed well when we used it on a sunny day. You can bring up a histogram for on-the-fly levels checking as you shoot, albeit meaning you have to put up with grid guides too.

One of the key concerns with any compact is start-up and write times. In other words, how quickly can you go from switched off to picture taking. With the camera set in AV mode, it took around a second to boot up, with another couple to focus and take. Not exactly lightning speed, but it should do for most situations.

Write time when set on RAW+L is pretty quick, and if you wanted to speed it even further you could always switch off the preview.

One of the big plus points of the Canon S95 is the ability to shoot in Canon’s raw .CR2 format. This is a great feature, and one that will be appreciated by all serious photographers.

Another high point is the lens. It’s nice and bright at f/2.0 and thanks to the inbuilt image stabiliser, even shooting handheld at ISO 80/100 in a dimly-lit church provided usable and mostly steady results.

The Canon S95 doesn’t have as many creative options as something like the Panasonic LX5, but the couple that it does have are quite fun. Fish-eye mode does a reasonable job of recreating an ultra wide angle lens, while miniature mode blurs the top and bottom of the frame for a tilt-shift type effect.

‘Nostalgia’ on the other hand desaturates the image on a sliding scale from slightly to completely greyscale and ups the grain to recreate a filmic look. Unfortunately, you can’t shoot in RAW when using the creative modes, which is a shame as you might want to go back and use a normal version of the image at a later date.

It would have been nice to be able to change the autofocus point from the centre, rather than relying on half-press and reframe. This is something you should expect from a camera of this price, and is offered on similar high-end compacts from other manufacturers, such as the Panasonic LX5 and the Sigma DP2, so it’s disappointing not to see it here.

Overall image quality is good. Colours are punchy and sharp. The auto white-balance can struggle a little in some conditions, another good reason to shoot in RAW. Distortion at the wide-angle end of the zoom range appears to be at a minimum and we also saw little evidence of fringing.

ISO can be increased in increments ranging from 80-3200. Noise only started to creep in from ISO 640 and was only distractingly noticeable from ISO 800 onwards – a solid performance from a compact.

Canon PowerShot S95: ISO 200

Canon PowerShot S95: ISO 400 – 100% crop

Canon PowerShot S95: ISO 640 – 100% crop

Canon PowerShot S95: ISO 1000 – 100% crop

Canon PowerShot S95: ISO 1250 – 100% crop

Canon PowerShot S95: ISO 1600 – 100% crop

Canon PowerShot S9: ISO 2000 – 100% crop

Canon PowerShot S95: ISO 2500 – 100% crop

Canon PowerShot S95: ISO 3200 – 100% crop

For £100 more you could pick up the Canon Powershot G12, released at around the same time. For your extra money you’d get a larger zoom range (5x with the Canon G12 vs 3.8x with the Canon S95′s 28-105mm equivalent), an optical viewfinder, a vari-angle LCD screen and better battery life.

In our Canon G12 review, but to compare the specs on paper, it would seem as if the smart money would be on the Canon G12. £100 for all those extra features does seem like quite a good deal, but bear in mind this effectively takes you from a discreet pocket-friendly camera to a bulkier and heavier design perhaps slightly more suited to compact upgraders than as a handy DSLR backup.

It’s also worth considering that the Canon S95 uses exactly the same sensor and ISO range as the Canon G12 while also offering a larger aperture on its lens (f/2.0 compared with f/2.8).

Aperture priority, ISO 80, 1/250 sec at f2.0, pattern metering (click to see full-res image)

Shutter priority, ISO 200, 1/60 sec at f2.0, pattern metering (click to see full-res image)

Aperture priority, ISO 250, 1/200 sec at f8.0, pattern metering (click to see full-res image)

Macro mode, ISO 800, 1/50 sec at f2.5, pattern metering (click to see full-res image)

Aperture priority at fully wide, ISO 80, 1/160 sec at f8, pattern metering (click to see full-res image)

Aperture priority at fully zoomed, ISO 100, 1/250 sec at f8, pattern metering (click to see full-res image)

Miniature mode, ISO 80, 1/1000 sec at f2.2, pattern metering (click to see full-res image)

Nostalgia mode, ISO 80, 1/1000 sec at f3.2, pattern metering (click to see full-res image)

Fisheye mode, ISO 1600, 1/50 SEC at f2.0, pattern metering (click to see full-res image)

The Canon S95 is a great little camera that enthusiasts will love. It’s small, fits in the pocket and is classily designed as well as shooting good quality images.

DSLR users looking for an everyday camera to shoot with the on the fly will appreciate the high image quality this offers in a neat package.

That said, it’s pricing is, at the moment, a little expensive for what you get, and a couple of niggles (like the lack of selectable autofocus points, no ISO button, no movie button) begin to make other premium compacts, such as the Panasonic LX5 which answers many of these problems well, seem more attractive for serious users.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds

Wow, was it really a decade since Canon rolled out the first IXUS? To celebrate 10 years of this stylish compact, Canon has released the IXUS 1000 HS. Compared to the first models, which offered a couple of megapixels and feeble zoom, the IXUS 1000 HS sounds cutting-edge. Its main selling features include a 10 megapixel sensor and 10x optical zoom lens.

Canon claims the 10-megapixel IXUS 1000 HS is the slimmest 10x optical zoom compact. The Canon IXUS 1000 HS also offers full 1080p HD video for stereo sound recording, something of a coup in a camera in this price range, as well as a 6.3–63mm (35 mm equivalent: 36 – 360 mm) f/3.4 – 5.6 lens.

What’s more, Canon has made this a high-sensitivity model as ISO can be pushed as far as 6400, 3200 in full resolution. Last but not least, the IXUS 1000 HS has a 3in, widescreen-ratio (16:9) rear LCD.

However impressive the IXUS 1000 HS sounds on paper, compacts have moved on massively since the first IXUS appeared, and it’s facing some tough competition from the Panasonic Lumix DMC-TZ8, the TZ10 and the Sony Cyber-shot DSC-TX5. Read on to see if this £280 camera (street price) lives up to the anniversary hype.

The IXUS 1000 HS is quite slim considering it packs a 10x optical zoom lens, but you’re very aware of it setting in a jacket or trouser pocket. You’ll either find it reassuringly bulky or a bit lardy, depending on your point of view.

We originally thought the Canon IXUS 1000 HS was made from metal, but it’s mainly plastic. Its chassis does feel sturdy and built to last though, and the buttons and dials are of Canon’s usual quality.

Considering the original IXUS compacts were such style icons, the IXUS 1000 HS is a bit of a let-down. The smoothed-off angular edges are stylish, but the buttons and dials look a bit dated. There aren’t enough of them either; to delete shots you have to go into the main camera menu, which is a pain.

The rear controller dial feels imprecise too, which can get annoying when clicking through pictures in review mode. On the positive side the shutter button is nice and big, so you won’t hit another button by mistake, the zoom ring is neatly located around it.

Despite coming in at nearly 300 quid, the Canon IXUS 1000 HS is predominantly a point of click camera. There’s no PASM dial (a switch near the power button lets you toggle between Video, Program and Auto mode) and again, you have to dig into the menus to adjust ISO and white balance.

Despite its power and high sensitivity, the IXUS 1000 HS can never pass as an SLR replacement compact or back-up. Apart from the limited manual controls, the design is sometimes seriously compromised. The camera manages to feel crude and also fussy at the same time.

Having accidentally activated Stitch Assist, for example, it took ages to work out how to deactivate it (it’s classed a creative effect). And more experienced users will soon tire of having to keep delving into the menus or manipulating the rear wheel just to adjust basic exposure settings. It’s just grating on a camera costing this much.

If the design and ergonomics are a let-down, the actual camera performance is much better. The lens is great, and even at full 10x zoom, Canon’s Image Stabilization technology does a great job of keeping everything sharp. You certainly need IS, as there’s no proper hand grip and the camera’s shiny surface makes it feel quite slippery.

The IXUS 1000 HS is reasonably fast, too. Start-up is 2 seconds max, and it can fire off 3.7 frames per second. HD video, meanwhile, is recorded at 24 frames per second. Indeed, HD is the saving grace of this otherwise rather unremarkable Canon compact camera, as we’ll see later.

Canon compact cameras have a long history, and the company knows its market well. So JPEGs from the IXUS 1000 HS tick all the boxes; the smart metering system copes well with a range of exposure conditions, and colours are rich and well-saturated without being garish.

As mentioned, the quality lens and well-executed optical zoom ensure impressive image quality too. The biggest niggle we found was white balance, which can be eccentric on Auto mode. It struggled with indoor lighting too, but this is also a quirk of Canon SLRs. It’s reliable enough outdoors though.

ISO performance is reasonable for a £300 compact without being earth-shattering; sure you can kick it up over a thousand but noise and smeary colours are very noticeable. Despite its ‘high sensitivity’ claims, the Canon IXUS 1000 HS’s ISO performance isn’t noticeably better than its peers.

We were impressed by the Auto mode, however, which is smarter than most, and knows when to change to portrait or macro settings, for example.

Canon IXUS 1000 HS: ISO 125 test (click to view full size)

Canon IXUS 1000 HS: ISO 200 test (click to view full size)

Canon IXUS 1000 HS: ISO 400 test (click to view full size)

Canon IXUS 1000 HS: ISO 800 test (click to view full size)

Canon IXUS 1000 HS: ISO 1600 test (click to view full size)

Canon IXUS 1000 HS: ISO 3200 test (click to view full size)

Colours are rich, punchy and generally well exposed in Auto mode (click to view full size)

Edge definition is good from the quality 10x zoom lens (click to view full size)

The smart metering system copes well with challenging light conditions, as with this misty morning scene (click to view full size)

Take control of white balance rather than relying an Auto, and it’s much more reliable (click to view full size)

Even at full 10x zoom the lens delivers good results (click to view full size)

The Canon IXUS 1000 HS has many virtues, but for an anniversary edition it’s a damp squib. While it delivers solid stills performance, includes a great lens, and makes it easy to record high-quality HD footage, the design and ergonomics spoil the party. We expect more manual controls for creative photographers on a camera at this price, too.

We liked

Ten megapixels is plenty for everyday photography, and the camera delivers well exposed, punchy, high-resolution images. The lens is of high quality, as is HD video recording, and the extra ISO capacity comes in handy in low light

We disliked

The IXUS was a style icon in its day, but this is more mutton-dressed-as-lamb than supermodel. There aren’t enough exposure controls on the camera body, and the onscreen options can be confusing. Oh, and battery life is disappointing too – we’re talking 150 shots before you run out of juice.

Verdict

If you just want a point and clicker with quality HD video, the IXUS 1000 HS is worth a look. But anyone who’s interested in developing their camera skills will soon outgrow this camera.

Furthermore, another £50 or so will buy an entry-level DSLR, which is infinitely more flexible and expandable, while still being easy to use. We’re reluctant to give most Canons back; not this one.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds

The latest in its G-series range of high-flying compact cameras, Canon’s PowerShot G12 replaces the flagship PowerShot G11 just a little over a year after the latter was released.

The G11 received rave reviews on its launch, and the Canon G12 offers some interesting new features over its predecessor. In our in-depth Canon G12 review we test the articulated screen, ISO range, image quality and more in this latest Canon compact camera.

The king among Canon compact cameras, the top-range PowerShot G series has long been the Holy Grail for those who wanted the manual features of a DSLR but couldn’t afford to commit to the larger, more expensive format.

However with prices plunging and basic DSLRs available for around £350, the PowerShot G12 has its work cut out for it.

Bristling with dials and buttons, the Canon G12 is clearly built for photographers who know what they’re doing, and its maximum ISO 3200 sensitivity and articulated screen give it an edge over DSLRs. But can its image quality convince?

Differences to the outgoing G11 are rather thin on the ground. Externally, the Canon G12 body is about the same as it’s ever been, although you won’t find us complaining. It’s still well-adorned with dials and switches, and while that’s intimidating to beginners, for those comfortable using a manual mode it’s an absolute godsend.

For instance, on lesser compacts – and even many low-end DSLRs – changing the ISO requires that you give the menu system half a dozen prods. The Canon G12 has a manual ISO dial right on the top, with the mode dial sitting on top of that in a kind of wedding-cake arrangement.

On the left-hand shoulder there’s a dial for adjusting exposure compensation, while the back of the G12 features a secure, solid-feeling jogwheel for scrolling through the menu system.

One addition to the Canon G12 is a dial on the front of the camera, which is designed to be used by your shutter finger to dial in shutter speeds or aperture settings. It’s arguably quicker to find and use than the solitary wheel on the back of the G11, as it requires you to move your shooting hand less, and is very useful in manual mode, with the front dial operating shutter speed and the rear wheel changing the aperture.

Like the G11, the Canon G12 has a 3in, 461,000-pixel screen, and it remains one of the best examples you could wish to see. It’s bright and extremely sharp, which is makes it superb for checking focus and making adjustments to your settings.

It’s so good, in fact, that the presence of a tiny, cramped optical viewfinder above the monitor is a mystery. It’s too small to be even moderately helpful: use the LCD instead.

Buy a Canon G12 and you’ll have spent well over £400, so it’s only fair to expect superlative image quality. Like the G11, the PowerShot G12 has a 28-140mm f/2.8-f/8 lens and offers exactly the same ISO range – from 100 to a sky-scraping 3200.

Between ISO 100 and 800 there’s precious little difference in our test images. While the Canon G12 is never going to trouble even the cheapest of DSLRs, it’s streets ahead of lesser compacts and is roughly on-par with more expensive cameras, such as the micro Four-Thirds Olympus E-PL1.

After ISO 800, our test images begin to soften noticeably, but while our test images taken at ISO 3200 are demonstrably softer and noisier than shots taken at lower settings, there’s no argument from us that the Canon G12 is a superb low-light camera.

And, in the event that you find a situation in which high ISOs are undesirable, those with Canon accessories will be pleased to note the hotshoe on top of the camera, which is compatible with all manner of Canon Speedlite and wireless flash transmitters.

Adding to the Canon G12′s suitability for low-light performance is the fast lens – f/2.8 not only means you can take pictures in severely reduced light, but it also lends the PowerShot G12 well to nature and macro photography, offering the ability to make use of greatly reduced depth of field.

Our outdoor shots bear out the conclusion that the Canon G12 is capable of some excellent results. It’s arguably better at handling chromatic aberration than the G11, with leaves against a high-contrast sky resisting purple fringing extremely well. We also found that the PowerShot G12′s lens was sharp throughout the range of available apertures. It’s a hugely competent performer.

ISO Test

ISO 800

ISO 1600

ISO 3200

Test images

See full-res image

The Canon PowerShot G12 does well in macro mode, offering the ability to make use of greatly reduced depth of field: 1/100sec at f/2.8, ISO 100

See full-res image

The Canon G12 is better at handling chromatic aberration than the Canon PowerShot G11: 1/30sec at f/8, ISO 100

See full-res image

The Canon G12 boasts a versatile zoom range with the same 28-140mm f/2.8-f/8 lens as its predecessor, the Canon PowerShot G11, which you can see evidenced in this close-up of the building obscured by trees in the centre of the image above: 1/20sec at f/8, ISO 100

The list of differences between the Canon G12 and the older G11 is a short one, but a crucial change has been made in how the PowerShot G12 records video. Where the Canon G11 offered only an anachronistic 640 x 480 mode, the Canon G12 gets with the times. You get 1,280 x 720p, 24fps recording, which is a significant step up.

It isn’t perfect, though. The Canon PowerShot G12′s H.264 recording is good, but video enthusiasts will prefer AVCHD, as offered by Panasonic’s high-end compacts. There’s also no way to access the Canon G12′s formidable manual modes, which is frustrating.

You can’t even access the optical zoom while recording – presumably on the grounds that the camera would pick up the noise of the motors. On the plus side, the PowerShot G12′s optical image stabilisation works fantastically well, even at the lens’s full 140mm zoom.

If you’re in the market for a new camera and don’t want the bulk of a proper DSLR – or even a smaller mirrorless camera such as the Sony NEX-3 – the G12 fits the bill extremely well. The manual modes and dials on offer, while daunting to beginners, will be hugely appreciated by anyone who’s grown frustrated by the mistakes their compact makes in manual mode.

However, although the Canon G12′s image quality is as good as it can be for a camera with a 1/1.7in sensor, it still can’t match the quality from a DSLR, which is a major problem for photographers.

The difference between the Canon PowerShot G12 and something like the Canon EOS 1000D might not be hugely apparent when images are viewed zoomed out, but start cropping – particularly at higher ISOs – and you’ll soon appreciate the benefits of a larger sensor.

And with the likes of the Canon 1000D, around £100 less than the G12, the choice is made muddier still. The 1000D doesn’t offer HD video recording and takes longer to configure thanks to fewer body-mounted dials, but it does record better images up to its maximum ISO 1600 sensitivity. The fact that it’s compatible with the formidable range of Canon EF and EF-S lenses is another major plus.

If you’re rigidly set on buying a compact, the Canon G12 is just about the best you can buy – but keen photographers should carefully consider whether they shouldn’t just bag a DSLR instead.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds

Make no mistake, the Nikon D3000 was a seriously good entry-level camera, fully justifying its position as Europe’s top-selling DSLR for the first half of this year.

But all good things come to an end and, more recently, the D3000 was showing its age with a complete lack of Live View, video capture facilities and a comparatively low-res 10.2MP CCD sensor.

The D3100 is a radical upgrade, based on a brand-new 14.2MP CMOS sensor that, in resolution terms, outstrips most of Nikon’s current semi-pro and fully professional cameras, including the D300s, D700 and D3s.

The Nikon D3100 has a smarter brain than its predecessor, in the shape of a revamped EXPEED 2 image processor, which promises enhanced image quality and a greater sensitivity range. Indeed, while the D3000 offered ISO 100-1600 in its standard range, the Nikon D3100 boosts this to ISO 100-3200, with two extended modes that raise the bar to ISO 6400 and 12800 respectively.

Other new features include Live View, which comes complete with a Scene Auto Selector function that automatically selects the optimum picture mode for the subject being photographed, as well as offering normal-area, wide-area, face-priority and continuous subject-tracking autofocus. More impressively, continuous autofocus is also available in movie capture mode, the D3100 boasting full 1080p high-def at 24fps and 720p at 24,25 or 30fps.

You can also apply basic in-camera edits to movie clips, for example cutting scenes or saving individual frames as still images.

Getting back to the main job of shooting stills, there’s a veritable feast of in-camera retouching features, including after-shot D-Lighting adjustments for controlling dynamic range, red-eye reduction, trimming, straightening, distortion correction (also available while shooting), perspective control, colour balance and a range of filter effects.

Also at the shooting stage, the Nikon D3100 also inherits chromatic aberration correction from other recent Nikon cameras, which is highly effective at flattering the performance of lenses where colour fringing is often a problem, like with the Nikon 18-200mm VR.

You wouldn’t expect a camera at this price, with a plastic shell, to feel as solid as Nikon’s semi-pro bodies like the D300s but, even so, it feels reassuringly robust and rugged. There’s no hint of any creaking or flexing when you’re using the camera, and all the buttons, switches and dials feel precise and tactile. The same goes for the covers and catches that make up the flaps for the battery bay, memory card slot and external connections panel.

As for what lies behind the flaps, a new EN-EL14 Li-Ion battery pack has enough juice for about 550 shots between recharging, the memory slot is compatible with SD, SDHC, SDXC and Eye-Fi cards, and external connections include USB 2.0, GPS, HDMI (Type C) and A/V out.

Notable exceptions are a PC sync socket for firing studio flash and an input socket for using an external mic, which is a major letdown when it comes to high-quality movie recording.

On the plus side, the newly designed shutter mechanism should be good for at least 100,000 cycles, and comes with a novel ‘quiet’ shooting mode, which we’ll come to later. Another neat novelty is the Airflow Control System, which teams up with the usual vibrating sensor cleaning function to direct dust away from the low-pass filter.

At 124 x 96 x 75mm, and weighing in at just 505g (including battery and memory card), the D3100 is refreshingly compact and lightweight. The flipside is that the camera feels a little cramped for the big-handed in life but, even so, the chunky rubberized hand grip makes for handling that feels more natural than with some similarly sized cameras, like the Canon 550D.

One of the few corners cut in the D3100′s design is around the back of the camera. While build quality in practically every other respect is very impressive at the price, the 3.0-inch LCD retains the relatively low 230,000-pixel resolution of the older D3000, whereas most new cameras feature LCDs that have four times this, at around 920,000 pixels. Even so, the LCD looks fairly accurate in terms of brightness, contrast and colour balance, and that’s what is most important.

The most noticeable difference in layout between the Nikon D3000 and D3100 is the addition of the Live View lever and video capture button on the back of the camera. As with the other controls, these make for intuitive handling, as the Live View lever flips across to activate both Live View and video shooting. You then either press the regular shutter release button to take a still image, or press the red button to start a video sequence.

Typical of a smallish DSLR, direct-access controls are kept to a space-saving minimum, but the usual suspects for exposure compensation, drive mode, menu, play, delete, and a 4-way thumb pad are all present and correct.

The main mode dial features the ubiquitous full Auto mode, as well as PASM and various scene modes including Portrait, Landscape, Child, Sports, Close-up and Night Portrait. You also get a Guide mode, which builds on the innovative system incorporated into the original Nikon D3000.

The Guide interface is split into three main areas of Shoot, View/delete and Set-up. In Shoot, for example, you can opt for Easy or Advanced operation for help with setting up shooting modes for softening backgrounds, freezing the motion of people or vehicles and more besides, and there’s also information about timer and shutter settings, each accompanied by on-screen thumbnail photos for illustrating the salient points.

Drive modes include the usual single or continuous (3fps) options, as well as a self-timer delay of two or 10 seconds, switched via the main Setup menu. There’s also a neat Quiet drive mode, which cancels the autofocus beep and reduces shutter release noise to a minimum.

What’s lacking is direct access to some of the not-so-minor shooting parameters that advanced photographers like to adjust on a regular basis, including ISO, white balance and image quality/size.

As the next best thing, you can assign the Function button, which falls naturally under your left thumb, to any of these parameters via the main menu. Alternatively, you can set the Function button to control Active D-Lighting (see following page) even though you can only set this imaging function to on or off, instead of being able to choose between varying intensities, as featured in some of Nikon’s more up-market cameras.

That said, if you shoot in RAW, you can freely adjust Active D-Lighting levels between off, low, normal, high and extra-high at the editing stage, if you’re willing to fork out a further £130 for Nikon’s Capture NX 2 software.

Another popular way of extending the reach of a limited set of control buttons is to make use of the LCD screen, and Canon in particular does a fine job of this with its Quick Control menu, as featured on cameras like the EOS 550D, EOS 60D and EOS 7D.

The D3100′s so-called Information Display works in a similar way and, while it’s not quite as elegant, it still offers quick access to image quality and size, white balance, ISO, focus mode, AF-area, metering mode, Active D-Lighting, movie frame size, flash mode, flash exposure compensation and regular exposure compensation.

That covers pretty much all the essentials but it’s a shame you can’t quickly access Picture Control settings without resorting to the main menu system, because these work extremely well, as we’ll come to next.

Let’s cut to the chase and see how the new image sensor, EXPEED 2 image processor and the Nikon D3100′s other technical finery, translate into image quality. The short answer is that, in the vast majority of cases, pictures look fabulous straight off the camera, with barely any need for enhancement at the editing stage.

Even in tricky, high-contrast scenes the Nikon 3D Colour Matrix II metering system nails the correct exposure – although, unlike high-end Nikons such as the D300s, it errs on the side of slightly brighter rather than slightly darker pictures.

Good exposure for high-contrast scenes is further aided by Nikon’s supreme Active D-Lighting system for reigning in highlights while boosting lowlight detail for increasing dynamic range. In our tests, the results were much more consistent and convincing than with Canon’s similar Auto Lighting Optimizer, which is fitted to most of its current range of DSLRs. Apart from when you want to exaggerate contrast for dramatic effect, you can really switch Active D-Lighting on and forget about it.

Another rather fine trait of recent Nikons that’s carried forward to the D3100 is its Picture Control options. These tailor imaging parameters to the subject at hand and include options for Standard, Neutral, Vivid, Monochrome, Portrait and Landscape. Colour rendition and contrast are refreshingly natural in Standard mode and really punchy at the Vivid setting, as you’ll see from some of our test shots.

One of the drawbacks to increased sensor resolution (even though the Nikon D3100 hardly breaks any boundaries in this respect) is the danger of extra digital image noise, especially at high ISO ratings. In this Nikon D3100 review, the newcomer proved very impressive right up to the highest setting of ISO 3200 in its standard range. Images are still pretty smooth at the Hi 1 setting (ISO 6400) in the extended range, and it’s only at H2 (ISO 12800) that images start to look nastily noisy.

By way of comparison, the Nikon D3100 proved rather less noisy than the Canon 550D at high ISO settings, and more in line with the Canon 60D and Nikon D300. One additional point that’s worthy of note is that our high ISO test images were actually more noise-free when shooting in JPEG mode than when shooting in RAW and converting images to top-quality JPEGs afterwards using Nikon Capture NX 2.

All the test shots featured were taken with the Nikon 18-55mm VR that’s supplied as the kit lens with the camera. The optical quality and effectiveness of the Vibration Reduction system proved extremely good for a budget lens and, what with the Nikon D3100′s built-in corrections for distortion and chromatic aberrations, both of which work at the shooting stage, the camera and lens make an ideal pairing.

ISO100 (See full-res image)

ISO200 (See full-res image)

ISO400 (See full-res image)

ISO800 (See full-res image)

ISO1600 (See full-res image)

ISO3200 (See full-res image)

ISO6400 (See full-res image)

ISO12800 (See full-res image)

ISO 100, f/11, 1/60th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/11, 1/125th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/11, 1/160th sec, Evaluative metering, 0EV exposure compensation, Vivid (See full-res image)

ISO 100, f5.6/, 1/125th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/5.6, 1/125th sec, Evaluative metering, 0EV exposure compensation, Vivid (See full-res image)

ISO 100, f/6.3, 1/160th sec, Evaluative metering, 0EV exposure compensation, Vivid (See full-res image)

ISO 100, f/8, 1/250th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/8, 1/250th sec, Evaluative metering, 0EV exposure compensation, Vivid (See full-res image)

ISO 100, f7.1/, 1/200th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/7.1, 1/200th sec, Evaluative metering, 0EV exposure compensation, Vivid (See full-res image)

ISO 100, f/4, 1/60th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/4.5, 1/80th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/9, 1/320th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/8, 1/250th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/5, 1/100th sec, Evaluative metering, 0EV exposure compensation, Standard (See full-res image)

ISO 100, f/9, 1/320th sec, Evaluative metering, 0EV exposure compensation (See full-res image)

Taking the first step into DSLR photography can sometimes seem more like a daunting leap into the unknown, but beginner-oriented cameras don’t come any friendlier than the Nikon D3100. Along with wide-ranging scene modes, the Guide mode really does take you by the hand and lead you into the finer points of technique, complete with on-screen thumbnail photos for illustration. It’s like having your own tutor living inside the camera.

As beginner-friendly as it is, there’s plenty here to satisfy the most advanced photographer, even if the simplified set of control buttons and dials makes it a bit long-winded to get at some important shooting parameters like ISO, white balance and metering modes. At least the Information Display makes most functions readily available via the LCD and the 4-way thumb pad. Our only real complaint is that there’s no stereo mic input socket to complement the built-in mono microphone.

Naturally, it all comes down to image quality in the end and this is where the D3100 is at its most impressive. Great metering and autofocus accuracy, coupled with excellent performance in the sensor and image processor ensure that photos look stunning almost every time, straight off the camera.

Features

The introduction of Live View and high-definition video capture are key upgrades, compared with the D3000, and the new D3100 implements these seamlessly and to great effect. The new 14.2Mp CMOS sensor and EXPEED 2 image processor make a great team.

Build Quality

You’re never going to get professional-standard build quality at this price but the Nikon D3100 feels reassuringly solid and robust, despite its compact size, and all the buttons, switches and dials have a pleasantly precise feel to them.

Value

So soon after launch, the D3100 is only just shy of £500 with its 18-55mm VR lens. Even so, taking its feature set, build quality and performance into account, it still represents very good value for money and, if the price drops a bit more, it’ll be an absolute steal.

Performance

With rock-solid metering performance, pinpoint accuracy in autofocus, excellent Active D-Lighting and superb colour rendition tailored through a variety of Picture Control options, the Nikon D3100 delivers spectacular results in even the trickiest conditions.

Overall

It’s all very well having a posh specifications list and a barrow-load of features, but it’s how they translate into photographic quality that’s key. With great handling for such a small SLR and impeccable image quality in practically every shot, the Nikon D3100 is both highly impressive and utterly dependable.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds

The latest in its G-series range of high-flying compact cameras, Canon’s PowerShot G12 replaces the flagship PowerShot G11 just a little over a year after the latter was released.

The G11 received rave reviews on its launch, and the Canon G12 offers some interesting new features over its predecessor. In our in-depth Canon G12 review we test the articulated screen, ISO range, image quality and more in this latest Canon compact camera.

The king among Canon compact cameras, the top-range PowerShot G series has long been the Holy Grail for those who wanted the manual features of a DSLR but couldn’t afford to commit to the larger, more expensive format.

However with prices plunging and basic DSLRs available for around £350, the PowerShot G12 has its work cut out for it.

Bristling with dials and buttons, the Canon G12 is clearly built for photographers who know what they’re doing, and its maximum ISO 3200 sensitivity and articulated screen give it an edge over DSLRs. But can its image quality convince?

Differences to the outgoing G11 are rather thin on the ground. Externally, the Canon G12 body is about the same as it’s ever been, although you won’t find us complaining. It’s still well-adorned with dials and switches, and while that’s intimidating to beginners, for those comfortable using a manual mode it’s an absolute godsend.

For instance, on lesser compacts – and even many low-end DSLRs – changing the ISO requires that you give the menu system half a dozen prods. The Canon G12 has a manual ISO dial right on the top, with the mode dial sitting on top of that in a kind of wedding-cake arrangement.

On the left-hand shoulder there’s a dial for adjusting exposure compensation, while the back of the G12 features a secure, solid-feeling jogwheel for scrolling through the menu system.

One addition to the Canon G12 is a dial on the front of the camera, which is designed to be used by your shutter finger to dial in shutter speeds or aperture settings. It’s arguably quicker to find and use than the solitary wheel on the back of the G11, as it requires you to move your shooting hand less, and is very useful in manual mode, with the front dial operating shutter speed and the rear wheel changing the aperture.

Like the G11, the Canon G12 has a 3in, 461,000-pixel screen, and it remains one of the best examples you could wish to see. It’s bright and extremely sharp, which is makes it superb for checking focus and making adjustments to your settings.

It’s so good, in fact, that the presence of a tiny, cramped optical viewfinder above the monitor is a mystery. It’s too small to be even moderately helpful: use the LCD instead.

Buy a Canon G12 and you’ll have spent well over £400, so it’s only fair to expect superlative image quality. Like the G11, the PowerShot G12 has a 28-140mm f/2.8-f/8 lens and offers exactly the same ISO range – from 100 to a sky-scraping 3200.

Between ISO 100 and 800 there’s precious little difference in our test images. While the Canon G12 is never going to trouble even the cheapest of DSLRs, it’s streets ahead of lesser compacts and is roughly on-par with more expensive cameras, such as the micro Four-Thirds Olympus E-PL1.

After ISO 800, our test images begin to soften noticeably, but while our test images taken at ISO 3200 are demonstrably softer and noisier than shots taken at lower settings, there’s no argument from us that the Canon G12 is a superb low-light camera.

And, in the event that you find a situation in which high ISOs are undesirable, those with Canon accessories will be pleased to note the hotshoe on top of the camera, which is compatible with all manner of Canon Speedlite and wireless flash transmitters.

Adding to the Canon G12′s suitability for low-light performance is the fast lens – f/2.8 not only means you can take pictures in severely reduced light, but it also lends the PowerShot G12 well to nature and macro photography, offering the ability to make use of greatly reduced depth of field.

Our outdoor shots bear out the conclusion that the Canon G12 is capable of some excellent results. It’s arguably better at handling chromatic aberration than the G11, with leaves against a high-contrast sky resisting purple fringing extremely well. We also found that the PowerShot G12′s lens was sharp throughout the range of available apertures. It’s a hugely competent performer.

ISO Test

ISO 800

ISO 1600

ISO 3200

Test images

See full-res image

The Canon PowerShot G12 does well in macro mode, offering the ability to make use of greatly reduced depth of field: 1/100sec at f/2.8, ISO 100

See full-res image

The Canon G12 is better at handling chromatic aberration than the Canon PowerShot G11: 1/30sec at f/8, ISO 100

See full-res image

The Canon G12 boasts a versatile zoom range with the same 28-140mm f/2.8-f/8 lens as its predecessor, the Canon PowerShot G11, which you can see evidenced in this close-up of the building obscured by trees in the centre of the image above: 1/20sec at f/8, ISO 100

The list of differences between the Canon G12 and the older G11 is a short one, but a crucial change has been made in how the PowerShot G12 records video. Where the Canon G11 offered only an anachronistic 640 x 480 mode, the Canon G12 gets with the times. You get 1,280 x 720p, 24fps recording, which is a significant step up.

It isn’t perfect, though. The Canon PowerShot G12′s H.264 recording is good, but video enthusiasts will prefer AVCHD, as offered by Panasonic’s high-end compacts. There’s also no way to access the Canon G12′s formidable manual modes, which is frustrating.

You can’t even access the optical zoom while recording – presumably on the grounds that the camera would pick up the noise of the motors. On the plus side, the PowerShot G12′s optical image stabilisation works fantastically well, even at the lens’s full 140mm zoom.

If you’re in the market for a new camera and don’t want the bulk of a proper DSLR – or even a smaller mirrorless camera such as the Sony NEX-3 – the G12 fits the bill extremely well. The manual modes and dials on offer, while daunting to beginners, will be hugely appreciated by anyone who’s grown frustrated by the mistakes their compact makes in manual mode.

However, although the Canon G12′s image quality is as good as it can be for a camera with a 1/1.7in sensor, it still can’t match the quality from a DSLR, which is a major problem for photographers.

The difference between the Canon PowerShot G12 and something like the Canon EOS 1000D might not be hugely apparent when images are viewed zoomed out, but start cropping – particularly at higher ISOs – and you’ll soon appreciate the benefits of a larger sensor.

And with the likes of the Canon 1000D, around £100 less than the G12, the choice is made muddier still. The 1000D doesn’t offer HD video recording and takes longer to configure thanks to fewer body-mounted dials, but it does record better images up to its maximum ISO 1600 sensitivity. The fact that it’s compatible with the formidable range of Canon EF and EF-S lenses is another major plus.

If you’re rigidly set on buying a compact, the Canon G12 is just about the best you can buy – but keen photographers should carefully consider whether they shouldn’t just bag a DSLR instead.

Related Links

• TechRadar Reviews Guarantee
• Read more digital camera reviews

TechRadar: All Cameras feeds