Nikon has revealed how many units of the new Nikon D800 semi-pro camera it intends to manufacture at its Sendai factory in Japan.

According to a report which appeared on Bernama, Malaysia's National News Agency, Nikon is aiming to produce 30,000 units of the D800 per month, while it also revealed that it is hoping to produce 5,000 Nikon D4 units every month.

Several Asian journalists visited the Sendai factory, with Nikon President Jiro Saito telling them that it had spent US$100 million repairing the factory after the devastating earthquake of March last year.

Camera every minute

Currently, the factory has around 1,600 workers, having the ability to produce one unit of camera per minute on a daytime shift. According to the report, a D800 can be produced in around four hours, while the D4 takes five.

Some components for camera production are sourced from overseas factories including Nikon China, with around 1600 component parts required to produce both the D800 and D4.

Both the new cameras were announced this year, with the D4 back at the beginning of January and the D800 just last week.

The D800 features a 36 million pixel sensor, making it the highest resolution full-frame camera in the world.

Originally slated for a mid-February release, recent reports have suggested that the D4 could be delayed until the middle of March. Meanwhile, pre-orders for the D800 were frozen in the US leading to speculation that there could also be a delay on those too.

Apple is seeking to sue Kodak over an alleged patent infringement relating to Kodak's printers, picture frames and cameras.

It's safe to say that 2012 hasn't been a good year for Kodak. After filing for bankruptcy protection in January, last week the company announced it would no longer be making cameras in a bid to restructure and save it from going under.

Over the past few years and months, Kodak has relied on selling off its extensive patent catalogue and launching law suits against a variety of companies for infringements on those patents.

However this time, Kodak is on the receiving end of a patent infringement lawsuit - and from the mighty Apple. Currently waiting for approval from a New York Court, Apple alleges that Kodak has infringed on technologies used in printers, digital cameras and digital picture frames.

Foes

Kodak and Apple are old enemies, having fought over patents previously. A ruling in June 2011 went against Kodak, with Apple claiming that it shared camera patents with the company.

If the US Bankruptcy court approves Apple's request to sue Kodak, the next stop is the International Trade Commission and the US District Court in New York.

From there, if Apple was to win its case, it could see core products from Kodak withdrawn from sale, which won't be good news after recent troubles.

Last week's announcement suggested that the company would be able to save $100million if it stopped producing cameras, with it even hinting that recently announced cameras at CES back in January will never come into being.

Canon has said that even though compact camera sales are experiencing a general downturn, people are investing more in individual cameras purchased.

According to industry analysis, 2011 saw a 30% drop in the number of compact cameras sold, with smartphones with ever better cameras being pinpointed as the cause.

However, Canon, which though probably best known for its DSLRs, also manufacturers a wide range of compact cameras says these figures aren't worrying.

Canon UK's David Parry told TechRadar, "People are looking for different things in cameras now, a different design, a different look.

"They're looking for big zoom lenses in small cameras, that's what we're seeing and that's what people are asking for - they want big specifications, but they want them in tiny bodies."

Long zoom

We've seen a speight of compact cameras recently announced with huge optical zoom ranges. Where once the megapixel was king, now it seems marketeers have a new high number to push.

Canon's own IXUS 510 slots into its "stylish" range of cameras, but still manages to pack an impressive 12x zoom into its slim body.

Parry believes it is cheaper compacts that are really suffering. "What we're seeing is that people are investing more in digital compact cameras, the quantities might be going down, but the quality of what people are buying, the higher end cameras, isn't."

"At the moment smartphones aren't the answer to a good quality compact camera. They don't have the low light capability, they just can't capture the motion and they don't have the added features that you get from a quality compact."

"Canon plays in the higher end of the market, and we're still producing what we think are market leading cameras. There is nothing else like an IXUS camera out there, and that's where we're seeing the growth and the interest in the market."

A spokesperson for Olympus has said that he believes the number of lenses available for its range of Micro Four Thirds cameras gives it the edge over competitors.

Olympus announced the Olympus OM-D EM-5 last week after weeks of speculation and rumour, bring the total number of mirrorless models currently in the Olympus range to four.

Last year, its PEN series of cameras updated to its present three models, which includes the Olympus PEN E-P3.

Speaking to TechRadar, Mark Thackara, UK marketing manager for Olympus said, "Now the OM-D is out, we've got the advantage. We give people a lot of choice and there's a lot of lenses to choose from."

Thackara believes that customers for the OM-D will be both existing Olympus users and those looking for a "serious" compact system camera.

"Up until now the serious lenses [in the Olympus range] hadn't really had a camera to go with them, it's fair to say," Thackara explained.

"While the E-P3 is a good partner for some of them, a lot of people who buy that don't want to buy extra lenses, but I think the new camera will do a lot better for us in terms of accessory sales."

Sales figures

Thackara said that lens sales were generally good, but admitted they could do better. "We need to produce lenses at prices that are very attractively priced, and that will make a big difference."

Most of the major camera manufacturers have a compact system camera in the market now, with some providing more lens choice than others.

Nikon's 1 system has a fairly limited range to choose from, but it does allow (via an adapter) for Nikon DSLR lenses to be used with the camera. Sony's NEX range is in a similar position, although it did announce its NEX lens line-up for the next 12 months at the CP+ show in Japan last week.

The E-M5 is thought to be the first camera that Olympus will produce in an ongoing OM-D line up. "The biggest clue is the lens line-up," Thackara told us.

"Some of the other compact system cameras have a very limited range of dedicated lenses, whereas we have now offer a choice of around 20, it's a very good range of options and some of them are pretty serious."

As Olympus cameras come under the Micro Four Thirds banner that was developed in conjunction with Panasonic, OM-D and PEN cameras are also compatible with Panasonic's lenses.

The OM-D E-M5 was announced last week and will be available to buy from April, with a retail price of £1149.

New rumours are suggesting that the upcoming replacement for the EOS 5D Mark II will be split into two lines, with one featuring a 45 million pixel sensor.

It's another day, and so another Canon 5D Mark III rumour emerges. Disappointed from the lack of an upgrade at last week's CP+ show in Japan, the rumour mill is now suggesting that it will in fact be split into two cameras.

We've been waiting for a new 5D, ever since, well the 5D Mark II was unveiled. Canon's biggest rival, Nikon, unveiled the Nikon D800 last week which would be the most obvious competitor to any 5D upgrade.

The D800 features a 36 million pixel sensor, while most rumours up until now have suggested that a 5D Mark III (or 5DX) would only be around 22 million pixels.

Now there are suggestions that the line will be split in two with one variant featuring a whopping, Nikon-beating, 45 million pixel sensor.

It has also been said that the pixel size would be similar to that of the Canon G1 X, the company's recently announced premium compact.

Specifications

Other suspected 5D X specs include a 61 point AF, 3.4fps shooting, ISO 100-6400 (expandable to 50-12800) and both a Digic 5 processor and Digic 4 processor (as seen on the 1DX).

Meanwhile, the 5D Mark III is believed to have a 22 million pixel sensor, 61 autofocus points, 6.9 fps shooting and ISO expandable up to 51,200.

It seems likely from those specs that the 5D X would be aimed at studio and portrait photographers who are looking for the huge megapixel count, but aren't so bothered about fast shooting. In other words, the same people that would be looking to buy the new Nikon D800.

Only time will tell if either, or both, of these rumours turn out to be true, but one of the latest rumours suggests that a new DSLR will be unveiled at the end of the month.

Canon announced it was working on a new full-frame camera back when it announced the 1DX. With Canon appearing at Focus this March after last year's no-show, perhaps we will have something to look forward to.

Lensbaby has announced a new 80mm Edge 80 Optic to be added to its current line-up of Optics.

Compatible with the Lensbaby Composer Pro, Composer, Muse, Scout and Control Freak, the Edge 80 can transform existing lens bodies into a tilt lens which delivers a section of sharp focus through an image.

Like the Lensbaby Sweet 35 Optic, the Edge 80 has an internal 12-blade adjustable aperture - other optics use interchangeable aperture disks.

Sharp

The Edge 80 provides a flat field of focus and when the lens is pointed straight ahead it produces images which are sharp from edge to edge.

By tilting the optic, vertical, horizontal or diagonal slices of focus can be created through the image. The size of the slice of focus can be controlled by changing the aperture size.

Aperture can be altered from f/2.8 down to f/22 by using a rotating dial on the front of the optic.

Lensbaby expects the product to be popular with different types of photographers, including those specialising in food and portraits. It can also be used to give landscapes a "miniature" type appearance which is usually achieved via an expensive tilt shift lens.

Lensbaby Edge 80 specs:

• 80mm focal length
• 12 blade internal aperture
• f/2.8 - f/22
• Compatible with other Lensbaby lens bodies
• Minimum focusing distance approximately 17 inches
• 5 multi coated glass elements in four groups
• 46mm front threads

The Lensbaby Edge 80 UK price has not yet been confirmed, but it expected to retail for around $300 (c. £190) in the States.

Canon has explained the reasoning behind the decision to make the G1 X premium compact camera sensor almost APS-C sized, but not quite.

David Parry, from Canon UK, says it all comes down to the lens, which offers a 4x optical zoom.

"We wanted to give people the flexibility of a good zoom, the 4x optical zoom lens is technically a very hard thing to produce as well as keep the camera small," he told us.

"If you think of a standard 18-55mm kit lens on the front of an SLR, that's very large in comparison to one of these. We managed to create a four times zoom in a very compact body, and really it has the biggest sensor that we could use and also get decent coverage from the lens.

"If you made the sensor any bigger, the lens would have to be a lot bigger and it would be much more difficult and expensive to produce."

Competition

Although Canon says that the G1 X doesn't really have any direct competitors, one of its biggest rivals could surely be considered to be the Fujifilm X100.

Announced back in 2010, Fuji has seen the camera do extremely well, with many attracted to its retro aesthetics. It features an APS-C sized sensor, but crucially it also has a fixed focal length lens.

David Parry says that smaller size of the G1 X sensor shouldn't have any impact on picture quality.

"You don't actually notice much difference in depth of field, and things like this, because it is so close to APS-C. It comes from the same stable as the EOS sensors, which means that as far as image quality is concerned it's going to be very close to the Canon EOS 600D," he said.

The G1 X sensor is 6.3x larger than that found in the G12, which is still being kept in the market.

Best compact system cameras 2012

The popularity of compact system cameras (CSCs) has exploded over the last year, due to the quality images and flexibility of use they deliver.

If you like to keep up with the latest advances in camera technology, you will have had your hands full for the past year, since the popularity of compact system cameras has resulted in even more new models being released and more manufacturers jumping on the bandwagon, including Nikon and Fuji.

Although choice is generally a good thing, the vast array of CSCs on the market today can make choosing the right one a daunting prospect.

The popularity of these cameras can be put down to a number of factors. Being able to change lenses increases creative possibilities, plus the large image sensor (when compared to compact cameras) in many helps to improve noise levels at high sensitivities and boost dynamic range.

Recent advances in sensor technology have also helped to close the gap in image quality between these cameras and bulkier DSLRs.

Above all else, the compact size means that compact system cameras are not left at home due to their bulk, which, for many, can bring the fun back into picture taking. Models range from those best suited to snap-shooters, right through to cameras with professional-level controls and features.

We've taken a good look through the CSC ranges each manufacturer has to offer and taken each model's strengths into account, to help you to find the camera best tailored to your particular requirements.

Prices listed are typical selling prices for standard packages with a basic zoom lens included, in the UK and US. We've grouped the best compact system cameras by brand and ranges, to help you to find your way around the best CSCs on offer now.

Panasonic and Olympus Micro Four Thirds range

Developed jointly by Olympus and Panasonic, the Micro Four Thirds system was the first true mirrorless interchangeable lens camera system available.

The imaging sensor has an aspect ratio of 4:3, unlike many other cameras that stick to the same 3:2 aspect ratio of 35mm film. There's also a crop factor of 2x, which means a 25mm lens is required to provide the same angle of view of a 50mm lens used on a 35mm camera.

Currently, Micro Four Thirds camera owners have the widest range of lenses to choose from, with lenses from both manufacturers being compatible with all Micro Four Thirds cameras. Due to the wide support this system enjoys, third-party lens and accessory manufacturers such as Sigma and Voigtlander also supply compatible products. Adaptors for a wide range of lenses are available to enable them to be mounted on Micro Four Thirds cameras.

Panasonic Lumix DMC-GX1

Price: £530/$950
Spec: 16MP, 1080p video, 3-inch LCD touchscreen, extensive manual control

Aimed at enthusiasts and experienced photographers, the Panasonic Lumix GX1 sports plenty of manual control options in a compact, rugged metal body. Adjustments can be made via the camera's physical controls or via the 3-inch touchscreen interface.

A resolution of 16MP enables large high-quality prints to be produced, and video can be recorded at 1080p in the popular AVCHD format. Support for SD, SDHC and SDXC cards is also included, providing plenty of storage options.

Although no optical viewfinder is included, an accessory port on the rear enables an electronic viewfinder to be attached with relative ease. Other stand-out features include a maximum continuous shooting speed of 5.5 frames per second (fps) and an electronic level, which will help to ensure your images don't suffer from wonky horizons and leaning buildings.

Read our full Pansonic Lumix DMC-GX1 review

Panasonic Lumix DMC-G3

Price: £480/$650
Spec: 16MP, 1080p video, 3-inch swivel LCD touchscreen, built-in EVF

The Panasonic Lumix G3 squeezes advanced controls, an electronic viewfinder (EVF) and a 3-inch swivel touchscreen interface into a svelte lightweight body with DSLR styling.

20fps continuous shooting is possible at a reduced resolution of 4MP, and a not too shabby rate of 4fps at full resolution, making this camera suitable for capturing fast-moving action.

Generally well received at its launch, the Panasonic Lumix G3 also produces high resolution 16MP images, suitable for reproduction at large sizes, and 1080p video recording in the popular AVCHD format.

Read our full Panasonic Lumix DMC-G3 review

Panasonic Lumix DMC-GF3

Price: £390/ $450
Spec: 12.1MP, 1080p video, 3-inch touchscreen, built-in flash

Currently the smallest, lightest Micro Four Thirds camera with a built-in flash, the Panasonic Lumix GF3 packs a raft of user-friendly features into a slim, compact body with a 3-inch touchscreen interface. Those wishing to travel light will do well to look at pairing the camera with one of the Panasonic range of pancake lenses.

Although this camera is aimed at snap-shooters who like the creative flexibility a compact system camera can offer, manual controls are still available alongside the Intelligent Auto mode and a comprehensive range of pre-programmed scene modes.

12.1MP images provides ample resolution for high-quality prints sized up to around A3, and full 1080p HD video recording is also possible.

Read our full Panasonic Lumix DMC-GF3 review

Panasonic Lumix DMC-GH2

Price: £700/$970
Spec: 16.1MP, 1080p video, 3-inch swivel LCD touchscreen, EVF, 60fps continuous shooting

Although the Panasonic GH2 is an older model, largely superseded by the revamped Panasonic lineup, it is still available. The body is larger and chunkier than the G3, with a deep sculpted finger grip providing a firm hold over the camera. Continuous shooting speeds up to 60fps are possible at reduced resolutions, and 5fps is the maximum rate at the full 16.1MP resolution.

Video recording is the strong point of the GH2. It is possible to record Full HD 1080p video footage at an impressive 60fps. This provides smooth footage, and even opens possibilities for slow-motion replay.

An interesting 3D photo function is also included, enabling you to combine images taken from slightly different viewpoints for viewing back on a 3D-capable television.

Read our full Panasonic Lumix DMC-GH2 review

Olympus OM-D E-M5

Price: £1150 Spec: 16MP, 1080p Video, 3.0" OLED tilting screen, Dust and splash proof magnesium alloy body, Built in EVF

Harking back to the classic design of Olympus OM 35mm SLR cameras, the OM-D E-M5 mixes retro styling with modern sophistication. A 16 megapixel LiveMOS sensor, capable of recording images at sensitivities up to ISO 25600 and full HD video, is encased with a weather-sealed magnesium alloy body with a built-in electronic viewfinder and a tiltable three inch OLED screen.

Being aimed at serious photographers, the OM-D sports quick access to manual exposure functions. A newly developed five-axis sensor-shift image stabilisation system also promises to keep images sharp across the frame by compensations for body movement as well as vertical and horizontal camera movements. This new system also works during video recording.

Read our hands on Olympus OM-D E-M5 review

Olympus PEN E-P3

Price: £690/ $900
Spec: 12.3MP, 1080p video, 3-inch OLED touchscreen, dual control dials, built-in flash

Don't be fooled by the chunky retro styling, the Olympus PEN E-P3 is the most advanced CSC from Olympus to date. Housed in the robust metal frame is a 3-inch OLED capacitive touchscreen to aid quick menu navigation. Capacitive touchscreens tend to be more responsive than the resistive type found on most digital cameras, resulting in a slicker user experience, although it isn't possible to use a non-conductive stylus for greater accuracy.

Aimed at experienced photographers and enthusiasts, two control dials give direct access to shutter and aperture functions when shooting in manual exposure mode. Interchangeable finger grips are available too, to customise handling.

This is the first flagship Olympus PEN model to include a built-in flash, which is handy for fill-in and for illuminating dark scenes. As with all Olympus PEN models, image stabilisation is built into the body rather than the lens, so all lenses benefit from this technology. The 12.3MP Live-MOS sensor provides ample resolution for prints up to A3 in size, and Full 1080p HD videos can be recorded with stereo sound.

Read our full Olympus PEN E-P3 review

Olympus PEN Lite E-PL3

Price: £470/ $620
Spec: 12.3MP, 1080p video, 3-inch tiltable LCD screen, choice of four colours

Taking up the mid-range place in the Olympus PEN range, the E-PL3 combines a compact metal body with a 3-inch tilting LCD screen and is available in a range of different coloured finishes. 12.3MP images can be recorded, as can 1080p videos.

Being so compact, there's no room in the body for a pop-up flash, so a tiny separate flash unit comes included with the camera kit, which attaches to the accessory port on top. This can be left at home if not required, retaining the sleek, compact profile of the camera.

A comprehensive range of manual and automatic exposure programs are at your disposal, along with a range of 'art filters' that apply certain effects to images as they're taken, such as a toy camera effect, or one for dramatic contrast. With these features, this camera suits enthusiasts and casual snap-shooters alike.

Read our full Olympus PEN Lite E-PL3 review

Olympus PEN Mini E-PM1

Price: £370/ $460
Spec: 12.3MP, 1080p video, 3-inch LCD screen, choice of six colours

Currently the most compact of the Olympus PEN range, the E-PM1 sports a slim body, available in one of six colours. The same 12.3MP Live-MOS sensor found in other current Olympus PEN CSCs takes care of image and HD video recording, which means there have been no compromises made in image quality.

A simplified control layout, designed with snap-shooters in mind, makes the camera very simple and straightforward to get to grips with. Easy access to common features such as automatic exposure programs and art filters is provided through the menu.

A Live Guide feature takes you through each setting and how it will affect your images. This can be especially useful for inexperienced snappers, and especially those who would rather not be delving into the instruction manual.

Read our full Olympus PEN Mini E-PM1 review

Sony NEX range

Although Sony NEX cameras aren't the most compact on offer here, they sport a large APS-C sensor with a crop factor of 1.5x. This means a 30mm lens is required to provide the same angle of view as a standard 45mm lens on a 35mm camera.

Larger sensors have a greater surface area available for reacting with light, which should improve performance at high sensitivities and dynamic range in high contrast situations. Having more surface area available also enables higher pixel counts to be achieved.

A decent number of additional lenses are available for the NEX system, with third-party lens manufacturers such as Tamron beginning to support the E-mount. Owners of Sony Alpha cameras can purchase an adaptor to enable A-mount lenses to be used with the cameras too.

Sony NEX-7

Price: £1,125/ $1,350
Spec: 24.3MP, 1080p video, 3-inch tiltable LCD screen, EVF, direct manual control

A compact system camera with professional ambition. The Sony NEX-7 is the flagship model in the Sony CSC range, sporting a 24.3MP CMOS sensor, Full HD video recording and direct manual controls. The high pixel count should enable really large prints to be produced.

A 3-inch tiltable LCD screen provides extra flexibility when shooting, and the lightweight magnesium body feels reassuringly rugged.

A high-resolution OLED electronic viewfinder is included, enabling you to choose your preferred method for composing images. ISO sensitivities up to ISO 16000 are available, enabling images to be taken in very dark conditions.

Read our full Sony NEX 7 review

Sony NEX-5N

Price: £510/ $860
Spec: 16.1MP, 1080p video, 3-inch tiltable LCD touchscreen, 10fps continuous shooting

With a more modest pixel count than its bigger brother, the NEX 5N sits in the middle of the Sony CSC range. Customisable controls on the rear enable the way the camera behaves to be set just how you prefer, and a tiltable 3-inch touchscreen makes navigating menus and shooting from awkward angles a breeze.

An improved Bionz processing engine has enabled Sony to raise the maximum ISO setting to an impressive ISO 25600, which will be ideal for taking images without flash in dimly-lit conditions. Full HD video at 30fps can be recorded at up to 50fps, which should produce smoother footage than standard 25fps footage.

The slim, compact body has a deep finger grip to provide a secure hold over the camera, which is dwarfed by the 18-55mm kit lens. Packages with a 16mm f/2.8 pancake lens are also available, making a more pocket-friendly kit for travel and nights out on the town.

Read our full Sony NEX 5N review

Sony NEX-C3

Price: £420/ $550
Spec: 16.2MP, 720p video, 3-inch tiltable LCD screen, 5.5fps continuous shooting

Although this is the most compact and basic of these Sony NEX cameras, customisable buttons on the rear enable the control interface to be tailored as you prefer. Whether you're a casual snapper or a more experienced photographer, your favourite controls can be made more accessible.

A 16.2MP CMOS sensor paired with the Sony Bionz image processing engine produces clear images, even at high ISO sensitivities. HD video can also be recorded, although 720p video is lower resolution than many cameras at this level offer today. Continuous shooting of still images is possible at an impressive rate of 5.5fps.

3D sweep panorama and automatic HDR features expand creative possibilities, and artistic picture effects can be applied to images as they are taken.

Read our full Sony NEX-C3 review

Nikon 1 Series

Nikon was late to the compact system camera party with the 1 Series, and the announcement was quite a surprise for many, due to the small sensor size and other new technologies included as standard.

The CX format sensor, at 13.2 x 8.8mm, is much smaller than the APS-C sensor in the Sony NEX series and the Micro Four Thirds sensor in Olympus and Panasonic CSCs. This results in a crop factor of 2.7x, which means an 18.5mm lens would provide an angle of view equivalent to a 50mm lens used on a 35mm camera.

Having such a small sensor may cause issues for Nikon producing wide-angle lenses for the system, due to the short focal lengths required. Currently only a few lenses are available for the system, but an adaptor is available to enable Nikon F Mount lenses to be used.

Nikon is the only manufacturer currently to employ a hybrid focusing system, which combines the benefits of phase and contrast detection autofocus. To reduce shutter lag, the 1 series also begins taking images before the shutter is fully pressed.

Nikon 1 J1

Price: £430/ $650
Spec: 10.1MP, 1080p video, 3-inch LCD screen, 60fps continuous shooting

Aimed at those ready for a step up from conventional compact digital cameras, the Nikon1 J1 is designed to be compact and, above all, easy to use. The modest 10.1MP resolution is among the lowest found on current CSCs, but since each pixel should have a larger area to react to light, this should help the camera's performance at high ISO sensitivities. A built-in flash is available for extra illumination.

The sleek, compact body is available in a range of five colours, enabling you to choose the one that suits you best. In addition to the HD video feature, which can record 1080p resolution footage, full resolution still images can be taken during recording, which is quite a handy feature. Fast action can be captured at a blazingly fast 60fps at full resolution too.

The Smart Photo Selector feature shoots images before and after the shutter button is pressed, saving the 'best' five to the memory card for whittling down later. This feature is unique to the Nikon 1 series, and should increase your chances of getting the shot you're after.

Read our full Nikon 1 J1 review

Nikon 1 V1

Price: £660/ $900
Spec: 10.1MP, 1080p video, 3-inch LCD screen, EVF, 60fps continuous shooting

The Nikon V1 is very similar to the J1, except that it has a higher resolution 3-inch LCD screen and an electronic viewfinder, but lacks a built-in flash. A hotshoe is provided for attaching the new Speedlight SB-N5, which is an optional extra.

The same Smart Photo Selector feature and still image taking during movie recording are present, as is the ability to take shots continuously at 60fps.

Slow motion video at 400fps complements the HD video feature, which records 1080p video at 60fps.

Read our full Nikon 1 V1 review

Samsung NX System

Samsung is often overlooked when considering cameras, but its NX Series of compact system cameras is well worth investigating.

Based around an APS-C sized sensor, similar to the Sony NEX series, this results in a crop factor of 1.5x. A reasonable selection of lenses is available to choose from, with most popular focal lengths covered.

The latest iFunction lenses enable common functions such as ISO, aperture and exposure compensation to be adjusted via the manual focus ring on the lens, providing an intuitive method for manual control.

Samsung NX200

Price: £540/ $900
Spec: 20.3MP, 1080p video, 3-inch AMOLED screen, 7fps continuous shooting

Samsung's flagship compact system camera sports an APS-C sized sensor with a whopping 20.3MP squeezed onto it, enabling very high resolution images to be taken, which are suitable for producing large prints. If shooting fast action, these huge images can be captured at a rate of 7fps, so it may be worth investing in a very large memory card to accompany this camera.

Sensitivities from ISO 100 to ISO 12800 can be selected, making the Samsung NX200 suitable for shooting in a wide range of lighting conditions. Full HD video footage can also be recorded.

The sleek metal body is rugged, reasonably lightweight and contains a bright 3-inch AMOLED screen. There's no built-in flash unit, but a hotshoe connection for an external flash is provided.

Read our full Samsung NX200 review

Samsung NX11

Price: £430/ Not sold in the US
Spec: 14.6MP, 720p video, 3-inch AMOLED screen, EVF

Samsung's NX11 has more conventional DSLR styling and is the only current NX series camera to sport a electronic viewfinder. The same 3-inch AMOLED screen found on other NX cameras is also fitted to the NX11.

A 14.6MP CMOS sensor should provide ample resolution for most users, and HD videos can be recorded at 720p resolution.

A lens priority mode provides optimised exposure settings for the attached lens and scene. Pressing the iFunction button on the lens enables the correct parameters to be entered quickly and simply.

Read our full Samsung NX11 review

Pentax, Ricoh, Leica and Fuji

Pentax K-01

Price: £679 Spec: 16MP, 1080p Video, ISO 100-25600, Compatible with all Pentax K-mount lenses

Pentax is never one to follow the flock, especially if the design of its compact system cameras is anything to go by. Rather than develop a new lens mount with a shorter back focus distance, the K-01 uses the existing Pentax K-mount as a basis for a new system.

This design should appeal to those with existing Pentax K-mount lenses, as every lens right back to those made in the 1970s is compatible. On the negative side, the K-01 is more bulky than other compact system cameras to allow for the extra distance between the lens and the sensor.

Industrial designer, Marc Newson, was drafted in to add a touch of style to the design of the camera body, which sports a 16 million pixel APS-C CMOS format sensor capable of taking images at ISO 25600. Eighty-one AF points are selectable by the user and a sensor-shift image stabilisation system, as found in Pentax DSLRS, should help to tame camera shake. Full HD video can be recorded and output to a television or BluRay recorder via the built in HDMI interface.

The K-01 is Pentax's second CSC. The first was the Q (see below), which is much more compact because it uses a considerably smaller sensor.

Read our hands on Pentax K-01 review

Pentax Q

Price: £360/ $700
Spec: 12.4MP, 1080p video, 3-inch LCD screen, smallest CSC currently available

Unlike most other manufacturers, that opted for larger sensors in their compact system cameras, Pentax has chosen to use a sensor no bigger than can be found in many mid-to-high-end compact cameras for the Q. This has enabled Pentax to create the smallest camera with interchangeable lenses currently available.

The 1/2.3'-inch sized sensor produces 12.4MP images, and 1080p HD video can be recorded. Despite the small sensor size, sensitivities up to ISO 6400 are available.

The range of lenses available is currently very limited, bolstered by the addition of a couple of low-cost 'toy' lenses, so it'll be interesting to see whether Pentax releases more optics in the near future. A built-in flash is provided, and a hotshoe will accept an external flashgun.

Read our full Pentax Q review

Ricoh GXR

Price: £419/ $350 (body only)
Spec: Various sensors available, lens and sensor come as one complete unit

Ricoh's GXR is truly unique. Instead of just changing the lens, each lens comes with its own sensor tailored to the job. Although this novel idea makes sense as far as future-proofing the camera is concerned, it means each lens costs almost as much as a camera itself. It also means each lens unit can be a different resolution, to suit your different needs.

Ricoh continues to release new lens units and accessories for the system, the most exciting being a Leica M-series unit, which can accept a wide range of M-series-compatible lenses. Within this unit is a 12MP APS-C sensor, with a crop factor of 1.5x.

This certainly isn't a mainstream system, but if it ticks certain boxes for you, it may be worth a closer look.

Read our full Ricoh GXR review

Leica M9

Price: £4,950/$7,000 (body only)
Spec: Various sensors available, lens and sensor come as one complete unit

The Leica M system has existed longer before digital cameras and CSCs were conceived, but the M-series cameras are mirrorless rangefinders. Hence, the M9 deserves a place in this buying guide.

Leica has a reputation for quality that precedes each camera it releases, and these cameras come at a price. Those with a taste for the exotic may consider the Leica M9, the only camera in this list to use a sensor which is equal in size to 35mm film.

The M9's die cast brass construction is incredibly rugged and controls are kept simple. The body also houses an 18MP Kodak CCD sensor specifically designed for the M9. A micro-lens arrangement on the sensor surface is designed to reduce darkening towards the corners, especially with wide-angle lenses. The highest ISO sensitivity available is ISO 2500.

Unlike other mirrorless cameras, there's no video mode or autofocus - focusing is manual, using the rangefinder in the optical viewfinder for reference. Although not for everyone, the Leica M9 is still a compelling choice for photography enthusiasts, collectors and those who require a good digital rangefinder camera.

Read our full Leica M9 review

Fuji X-Pro1

Price: TBC
Spec: 16.3MP, 1080p video, 3-inch RGBW LCD screen, hybrid viewfinder

Fujifilm created quite a stir with its announcement of the X-Pro1 mirrorless interchangeable lens camera at CES 2012. It uses the same hybrid viewfinder technology as the Fuji FinePix X100 compact camera. The viewfinder can be switched between an optical or a digital view instantly, with vital exposure information overlaid when using the optical viewfinder.

Fuji has developed a new lens mount for the system, which has a wide opening, enabling lenses to be mounted closer to the image sensor. This should help with lens quality, especially with wide-angles, because the short distance to the sensor can result in simpler optical design. The CSC's Leica M mount adaptor will open up a range of high-quality optics from Leica and Voigtlander.

A newly developed 16.3MP APS-C sized X-Trans CMOS sensor lies at the heart of the Fuji X-Pro1. This sensor is unique, since the individual RGB photosites are arranged more randomly than conventional Bayer pattern sensors. This is claimed to reduce Moiré patterning, so the sensor doesn't require an anti-aliasing filter, which should greatly improve sharpness of images.

Fuji claims the image quality from the sensor is at least equal to that produced by current full-frame DSLRs - we'll let you know once we've tested a full-production model.

Read our hands on Fujifilm FinePix X-Pro1 review

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

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

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

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

Coming soon

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

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

Week in camera news

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

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

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

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

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

Nikon news

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

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

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

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

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

Olympus news

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

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

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

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

Sigma news

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

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

Canon news

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

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

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

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

Also this week...

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

Is this the end of Olympus DSLRs?

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

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

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

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

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

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

Micro Four Thirds future

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

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

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

Olympus DSLRs

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

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

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

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

Compact system camera advantages

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

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

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

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

Flashguns explained

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

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

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

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

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

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

Directing flash

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

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

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

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

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

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

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

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

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

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

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

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

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

Key flashgun features

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

Wide-angle diffuser

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

Master/slave modes

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

AF illuminator

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

Bounce and swivel head

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

LCD panel

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

Onboard controls

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

Flash stand

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

Sunpak PF30X

Sunpak PF30X - £82/ $128

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

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

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

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

Performance

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

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

Flash output

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

Aperture reading at 1m
Theoretical: 30
Measured: 22

i-TTL exposure accuracy

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

iTTL exposure accuracy
Measured: -0.3EV

Colour accuracy

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

Colour accuracy
Measured: 18

Image quality verdict

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

Nikon SB-400 Speedlight

Nikon SB-400 Speedlight - £125/ $195

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

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

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

Performance

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

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

Flash output

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

Aperture reading at 1m
Theoretical: 21
Measured: 32

i-TTL exposure accuracy

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

i-TTL exposure accuracy
Measured: -0.2EV

Colour accuracy

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

Colour accuracy
Measured: 11

Image quality verdict

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

Polaroid 160 Dua Flash

Polaroid 160 Dua Flash - £160/ $249

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

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

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

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

Performance

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

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

Flash output

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

Aperture reading at 1m
Theoretical: 45
Measured: 22

i-TTL exposure accuracy

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

i-TTL exposure accuracy
Measured: +0.3EV

Colour accuracy

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

Colour accuracy
Measured: -2

Image quality verdict

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

Metz 50 AF-1 Digital

Metz 50 AF-1 Digital - £180/ $280

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

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

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

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

Performance

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

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

Flash output

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

Aperture reading at 1m
Theoretical: 50
Measured: 32

i-TTL exposure accuracy

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

i-TTL exposure accuracy
Measured: -1.0EV

Colour accuracy

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

Colour accuracy
Measured: 16

Image quality verdict

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

Nissin Di866 MkII Speedlite Pro

Nissin Di866 MkII Speedlite Pro - £230/ $358

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

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

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

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

Performance

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

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

Flash output

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

Aperture reading at 1m
Theoretical: 60
Measured: 32

i-TTL exposure accuracy

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

i-TTL exposure accuracy
Measured: -1.0EV

Colour accuracy

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

Colour accuracy
Measured: 20

Image quality verdict

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

Sigma EF-610 DG Super

Sigma EF-610 DG Super - £230/ $358

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

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

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

Performance

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

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

Flash output

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

Aperture reading at 1m
Theoretical: 61
Measured: 32

i-TTL exposure accuracy

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

i-TTL exposure accuracy
Measured: -0.7EV

Colour accuracy

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

Colour accuracy
Measured: 23

Image quality verdict

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

Nikon SB-700 Speedlight

Nikon SB-700 Speedlight - £250/ $390

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

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

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

Performance

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

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

Flash output

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

Aperture reading at 1m
Theoretical: 28
Measured: 22

i-TTL exposure accuracy

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

i-TTL exposure accuracy
Measured: -0.2EV

Colour accuracy

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

Colour accuracy
Measured: 9

Image quality verdict

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

Nikon SB-900 Speedlight

Nikon SB-900 Speedlight - £325/ $506

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

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

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

Performance

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

Flash output

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

Aperture reading at 1m
Theoretical: 34
Measured: 32

i-TTL exposure accuracy

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

i-TTL exposure accuracy
Measured: -0.2EV

Colour accuracy

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

Colour accuracy
Measured: 18

Image quality verdict

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

Verdict: best flashgun for Nikon cameras

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

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

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

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

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

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

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

Verdict

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

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

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

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

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

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

Other models

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

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

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

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

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

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

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

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

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

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

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

No retro

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

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

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

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

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

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

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

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

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

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

Accessories

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

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

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

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

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

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

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

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

D4 also delayed

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

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

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

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

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

New cameras

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

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

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

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

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

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

Photographer's vests and jackets explained

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

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

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

Fit

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

Weatherproof features

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

Insulation

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

Ventilation

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

Storage

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

Paramo Aspira Smock

Paramo Aspira Smock - £290

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

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

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

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

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

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

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

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

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

Billingham PhotoVest

Billingham PhotoVest - £195/$299

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

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

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

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

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

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

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

Stealth Gear Extreme Photographers Jacket2

Stealth Gear Extreme Photographers Jacket2 - £259.99/$411

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

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

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

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

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

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

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

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

Matin Photographers Shooting Vest

Matin Photographers Shooting Vest - £65

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

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

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

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

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

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

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

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

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

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

Country Innovation Rover Jacket

Country Innovation Rover Jacket - £325

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

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

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

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

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

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

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

Domke Photogs Jacket/Vest

Domke Photogs Jacket/Vest - £154/$150

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

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

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

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

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

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

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

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

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

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

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

Phased out

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

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

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

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

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

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

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

Demand

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

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

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

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

Watch this space.