Overview

Always liked the idea of an all-in-one camera with a massive zoom capability, but hated the often all too-plastic feel? Fuji's X-S1 may, nay will, cause you to re-evaluate the humble bridge camera.

Whereas Fuji has previously applied an 'X' - its signifier of a premium camera - to the Leica-like FinePix X10, for the first time it gives a superzoom that same distinction.

This means that the new 26x optical zoom Fuji X-S1 figuratively sits above the existing Fuji HS20 and HS30 models, even though the latter boast 30x zoom (maximum 720mm equivalent telephoto setting in 35mm terms).

While the construction of all three Fuji HS models to date has for us been more solid than any competing bridge camera, the Fuji X-S1 takes build quality to a new level. It looks and even smells gorgeous, thanks to a rubberised coating adorning the entire DSLR-like body.

Despite the neck-straining weight of 945g fully loaded, photographers aren't likely to get butter-fingered with this camera, even when manually operating the similarly rubber-entombed zoom, here running from a wide 24mm to 624mm in 35mm terms.

Thankfully this is supported by optical image stabilisation, which is needed.

At a suggested price of £699 in the UK or $949 in the US, the camera is immediately competing directly with your actual DSLR, so once again it's worth weighing up whether a focal range this broad and an all-in-one solution is actually required. Or if a DSLR's lens-swapping flexibility - the X-S1's optic is resolutely fixed - would suit you better.

The 'X' in the name is not just a marketing ploy. The Fuji X-S1 features the same sensor as that of the X10; namely 12 megapixels and 2/3-inches in size, once again using Fuji EXR CMOS technology which, in slightly gimmicky fashion, can be deployed in a choice of three ways, as it can on Fuji's existing compacts.

We also get an EXR processor, delivering a blink-and-miss-it 0.01 second shutter lag. And the attendant features we'd expect on an enthusiast's camera are all present and correct: full manual control via P,A,S,M modes, manual focus and raw shooting option, Full HD video capture with dedicated record button snuggled just below the shooting mode dial, 10fps burst shooting at 6MP, Fuji's film simulation modes buried in the menus, 500 shot rechargeable battery, plus a panorama mode that can take in the full 360 degrees. Phew!

Build quality and handling

Gripped in the palm, the Fuji X-S1 feels seriously substantial - a good deal more rugged than most entry and mid-range DSLRs, in fact. There's sufficient space between lens barrel and meaty grip to comfortably squeeze the three or four fingers of your right hand, while the left hand naturally grips the lens barrel to provide a steadier aim at longer telephoto settings.

This may not be the cheapest bridge camera, but the construction lets you know you're getting what you've paid for. To zoom in and out, you simply twist the lens barrel.

While the camera is big and bulky, the knock-on effect is that - usefully - so are the controls.

Chief among them is an 11-option mode dial offering the usual creative quarter of Program, Aperture Priority, Shutter Priority and Manual settings, three custom settings, scene modes, Advanced mode - which is where we find the 360-degree panorama option - plus Auto mode and EXR sensor mode. The latter again features an Auto EXR option, or the aforementioned three user-selectable settings.

These are full resolution HR (High Resolution) mode, 6MP high sensitivity low noise images in 'SN' (Signal to Noise) mode, or 6MP high dynamic range 'DR' option to avoid a detail-devoid bright background or dark foreground.

As with Fuji's other EXR suffix cameras, the X-S1 achieves the latter by automatically capturing and combining two separate shots.

For setting up photos and videos, the Fuji X-S1 offers both a comparatively large (roughly half inch) and bright 1.44million dot electronic viewfinder (EVF) with a time-saving eye sensor to activate it.

Switching from the EVF to the 3-inch LCD screen below requires the pressing of a dedicated button. The EVF might win favour over the larger, 460k-dot resolution LCD display, were it not for the fact that the latter is angle-adjustable.

The Fuji X-S1's LCD screen can usefully be tilted up or angled down, as on Sony NEX cameras such as the Sony NEX-5N, but sadly not swung outwards from the body through 180-degrees as the screen on, say, the Canon G1 X.

While making low or high angle composition easier, the Fuji X-S1's LCD isn't one for composing self-portraits. We did find it very useful, however, and it encourages greater experimentation - which is exactly what you want.

Performance

A flick of the on/off switch encircling the shutter release button and the Fuji X-S1 powers up in just over two seconds - not exactly lightning-quick then, or comparable to a semi-pro DSLR, but swift enough.

More favourably, a half squeeze of the shutter release button and the determining of focus and exposure is pretty much instantaneous.

Take the shot and a full resolution JPEG file is committed to memory in just over two seconds. Shoot a raw file instead and although you'd expect the writing duration to lengthen, this isn't noticeably the case.

Usefully, the Fuji X-S1 also provides a dedicated raw button to the bottom-right of the back plate, so we didn't have to first fiddle with menu screens to find this option and implement it.

We remain unconvinced that there's a great deal of difference to the naked eye when viewing the images taken in disparate EXR modes, but the film simulation modes on the Fuji X-S1 are another matter.

'Provia' is the default setting, and for us renders colour a little weaker than is actually present in the scene. Selecting the saturation-boosting 'Velvia' mode instead produced a far greater impact, while remaining on the right side of realistic.

This option proved especially useful for primary colours in landscape scenes, making greens more verdant, although if someone in a red jacket appears in your frame, they'll leap out like a sore thumb.

Metering when left to the camera's auto default is competent, delivering even exposures and maintaining both foreground and background detail, even on the dullest of days. In this respect it outshone the Canon G1 X, which needed far more user control to make a decent fist of it.

In terms of natural and low light photography, there's an integral flash with manual activation button on the Fuji X-S1 that can be deployed for fill-in if required, although it's worth mentioning that above ISO 3200 the resolution drops, image size automatically set at Large Medium for JPEGs (rather than Large Fine), and Large Small if reaching the maximum light sensitivity setting.

At top whack ISO 12800, images are noisy and lose detail to the extent that it appears as if you're viewing them through a sheet of muslin.

There is, however, the range has 22 different ISO settings that includes four auto ISO modes, where the user can restrict the camera to going no higher than say ISO 400, ISO 800, ISO 1600 or ISO 3200 - in other words retaining full 12MP resolution captures.

Although there is image noise at ISO 3200, it's at a level we can live with, in that it didn't spoil the image too much.

Sample images

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SINGLE SHOT: This more than acceptable maximum telephoto shot shows what the Fuji X-S1 is capable of pulling out of the bag if the blurring effects of hand wobble can be avoided. This was taken handheld, and in Single Shot mode.

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SUPER MACRO: Conversely, the Fuji X-S1 also boasts a 1cm Super Macro option that enables you to get so close to your quarry that the lens is almost touching it, as here. This pleasingly enables you to fill the frame. Here we've also deployed Velvia film simulation mode to boost the yellows.

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PANORAMA: The Fuji X-S1 automatically stitches together a burst of sequential images produced when panning the camera from left to right in 360 degree panorama mode. Like anything, this requires a few goes, since moving too slow or fast confuses the camera, resulting in a truncated image. Eventually it's possible to achieve a result with real impact (if, inevitably, with the occasionally visible overlap).

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MAX WIDE ANGLE: As with any superzoom, it's important to scrutinise maximum wide-angle and tele settings. Here it's the former that has for us retained detail right into the corners while avoiding obviously prominent barrel distortion or a fish eye effect.

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MAX TELEPHOTO: A maximum zoom (tele) setting shot taken from exactly the same vantage point as our wide-angle image. Again this was taken handheld and required four or five attempts to get pin sharp, or close to it, as here.

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VELVIA: Another shot taken at near the maximum telephoto end of the Fuji X-S1's zoom, here using a fence post in lieu of a tripod for support. The Velvia setting has also been deployed to bring out the richness of colour on the horse.

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SHARP: It's all about image - and the image - with the Fuji X-S1, so this tightly framed subject appeared apt. Detail is sufficiently sharp at full resolution for the viewer to be able to make out the newspaper headlines and text.

Sensitivity and noise

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Verdict

A premium camera that is also a bridge camera, or vice versa, the Fuji X-S1 certainly feels like Fuji's best superzoom yet - even if its focal range doesn't quite match that of, say, the Fuji HS20.

The Fuji X-S1's build quality really makes the strongest impression, knocking spots off rivals such as the Canon PowerShot SX40 HS, Olympus UZ models, Panasonic DMC-FZ48 and FZ150, and even the Nikon Coolpix P500.

In other words, the Fuji X-S1 looks and almost handles like a professional camera, even if in truth its best bet in terms of finding an audience is probably the amateur photo enthusiast with deep pockets, who probably already owns a mid-range DSLR, a decent premium pocket camera, and is now looking for something with a longer lens for a bit more poke.

While just two short years ago Fuji was probably best known for its stack 'em high, sell 'em cheap point-and-shoots, the introduction of the 'HS' bridge models followed by the X series compacts, and now this jack-of-all-trades premium bridge model, shows that it is really raising its game.

Fuji has now got the cameras. Now all it needs is for the photographic community to get back behind it.

We liked

The Fuji X-S1 sports a design and finish nearly up there with the semi-pro DSLR that one could otherwise buy for the same price. If you enjoyed the previous Fuji HS series superzooms then this one, while not overly dissimilar, is a stonker.

We disliked

While the focal range offers a great range of framing opportunities and suggests itself as perfect for candid photography, it's almost impossible to avoid blur when shooting handheld towards maximum zoom, which somewhat defeats its usefulness for those who don't constantly pack a tripod. Also, you'll want to stick at ISO 3200 or below, despite the temptingly wide ISO range on offer.

Final verdict

The Fuji X-S1 is an ideal purchase for the photography nut looking for one camera that can do it all, and prepared to compromise on having image quality not quite on a par with a semi-pro DSLR that one could buy for a similar outlay.

As with any superzoom, it really is about whether you need that whopper of a lens on the front. If you do, then the Fuji X-S1 is presently about the best big zoom bridge camera that's out there.

Bear in mind, however, that while it looks like an SLR it has a compact camera sized sensor.

The SMDV Flash Wave III is a wireless system for triggering flashguns and studio lights, as well as for tripping a camera's shutter.

The system comprises a transmitter and receiver: for flash use the former sits on the camera's hotshoe, while the latter either connects to studio lights or accepts a flashgun inside its built-in hotshoe.

For remote shooting, the receiver simply plugs into a camera's remote port, leaving you free to operate the transmitter from wherever is necessary.

The system supports 16 channels, which are selectable via four small switches on the side of both units; these are painfully small and can only really be moved with the protrusion from the battery cover, as suggested. Both units have LEDs to indicate power and status, although once a flashgun is mounted on the receiver it obscures the power LCD.

The models promise a greater range than previous versions, and working on radio frequencies means that they don't require line of sight to communicate. Indeed, the two work just as well through a series of walls and on different floors as they do when right next to each other.

The SMDV Flash Wave III's receiver has a hotshoe on one side and a tripod thread on the other, meaning that it can be mounted securely when used in conjunction with a flash.

The size of the unit means that it can happily support a flashgun even without a tripod, although on some surfaces it can be easily knocked over - small rubber feet on the opposite side would be welcome for this reason.

While the pair work as well as expected, the one thing which may put some off is the lack of TTL metering support. For this, you would need an alternative set up such as some of the more recent PocketWizard models.

Verdict

Still, if you're on a budget and you don't require TTL compatibility, the SMDV Flash Wave III is a perfectly capable choice.

The fisheye camera lens was originally developed so that the whole sky could be captured in one single image to help meteorologists study cloud formations. However, the extravagant 180-degree angle of view soon found favour with photographers.

One thing that sets fisheye lenses apart from regular ultra-wide lenses is their curvilinear rather than rectilinear optics. This means that rather than aiming to keep straight lines straight, they exhibit extreme barrel distortion, bowing parallel lines – which you can use to creative effect. But what is it that makes the new Canon EF 8-15mm f/4L Fisheye USM so special?

Conventionally, you have to choose between two types of fisheye lens.

A circular fisheye produces a circular image that only covers the central portion of the sensor, leaving the remainder of the frame black.

The other option is a diagonal fisheye, which produces a larger image that covers the whole sensor, resulting in a more typical, full-sized rectangular picture. The unique thing about the Canon 8-15mm fisheye is that it produces a circular fisheye image at 8mm, stretching to a diagonal fisheye image at 15mm. Essentially, you get two lenses in one.

Canon EF 8-15mm f/4L Fisheye USM at 8mm - see full resolution image

Canon EF 8-15mm f/4L Fisheye USM at 15mm - see full resolution image

There's a catch, though – the EF 8-15mm is designed for full-frame cameras like the Canon EOS 5D Mark II, and you don't get the dual circular and diagonal fisheye options on cameras with smaller sensors. With Canon's APS-C cameras, such as the EOS 50D and 550D, you get full sensor coverage at 10-15mm focal lengths, and on APS-H cameras such as the EOS-1D Mark IV, which have slightly larger but not full-frame sensors, it's 12-15mm.

At 8mm focal lengths on APS-C D-SLRs, you'll merely get extreme vignetting (cropping of the corners) instead of a circular image. To help avoid this, there are C and H markings next to the zoom ring, as well as a zoom limit switch for APS-C cameras, locking the zoom range at 10-15mm. Another disappointment is that, at the 15mm end on APS-C cameras, the bowed fisheye distortion effect is rather minimised.

As an L-series (Luxury) lens, the EF 8-15mm boasts fully professional, robust build quality. Features include a constant f/4 maximum aperture that's available throughout the zoom range, environmental seals to guard against moisture and dust and fluorine coatings on the front and rear elements to enable easy cleaning.

That's a bonus, because the protruding, dome-shaped front element is very exposed to the weather. Plus, the supplied lens hood can only be used at 15mm, otherwise it cuts into the corners of the image.

Ring-type USM (Ultrasonic motor) autofocus is super-fast and practically silent, complete with full-time manual override. Measuring 78.5x83mm and weighing 540g, it's rather larger and heavier than Canon's now obsolete EF 15mm f/2.8 fisheye prime lens, but still smaller and lighter than the regular EF 16-35mm f/2.8L ultra-wide full-frame lens.

In our tests, sharpness proved very impressive, especially between f/5.6 and f/11. The lens is also remarkably resistant to ghosting and flare, helped by the use of Canon's Subwavelength structure coating (SWC). That's good news, because you often capture a vast expanse of bright sky when using a fisheye lens outdoors.

As with other circular fisheye lenses, we often got a blue edge around the circumference of the image in circular fisheye mode, but it's quite easy to apply a circular crop in Photoshop to fix this. Colour fringing around high-contrast edges was also quite noticeable, but you can shoot in RAW and tune these out in the Digital Photo Professional software supplied with your Canon camera.

Verdict

On a full-frame camera such as the EOS Canon 5D Mark II, the EF 8-15mm Fisheye is a wonderfully versatile lens that enables you to switch between circular and diagonal fisheye effects with a twist of the zoom ring. Image quality is very good in terms of sharpness, contrast and resistance to ghosting and flare, although colour fringing can be quite noticeable.

For APS-C cameras, the lens is relatively poor value. Image quality is retained but versatility is lost.

It merely becomes a diagonal fisheye lens with reduced zoom range, and the heavily distorted fisheye effect is largely lost at the long end of the zoom range on an APS-C camera.

Ultimately, if you're shooting with a camera such as the Canon EOS 1100D, Canon EOS 600D, Canon EOS 60D or Canon EOS 7D, you're better off with either the Sigma 4.5mm f/2.8 EX DC HSM circular fisheye or the Sigma 10mm f/2.8 EX DC HSM diagonal fisheye, both of which are designed specifically for APS-C cameras and only cost about half the price.

Overview

Looking for one compact 'travel zoom' camera that does it all? If you haven't had your head turned by the workmanlike reliability of Panasonic's TZ series, such as the Panasonic Lumix TZ20, nor sports car exterior and gimmicky triple-action sensor of the Fuji FinePix F600 EXR, then the chunkier Sony Cyber-Shot DSC-HX9V,at 34mm 'thick', is another to add to that checklist.

Part of Sony's high performance range of compact cameras, it shares or matches many of the core features of both rivals, while slipping readily into a pocket or bag.

For starters, there's a 16.2MP top stills resolution, this time from a 1/2.3-inch Exmor R CMOS sensor.

Sony extends its desirability as a travel companion by offering both a built-in GPS unit and a 16x optical zoom, with a usefully broad focal range equivalent to 24-384mm in 35mm terms. This enables wide-angle close ups and the ability to pull the faraway a fair amount closer at the telephoto end.

In addition, as on the Panasonic TZ20, this Cyber-Shot boasts software-based 3D capture.

Most effective is Sweep Panorama mode, which automatically generates a single elongated image as an MPO image file, viewable in its fullest tri-dimensional form only via a suitably equipped TV. The alternative is to shoot in Sweep Multi Angle mode, which offers a lenticular-like display when the user tilts the back LCD screen left or right, so aping a 3D effect.

While an f/3.3 maximum aperture is so-so, ticking the right boxes for the latest must-haves are 1920 x 1080 pixels video capture in AVCHD or MPEG4 format, accompanied by stereo sound, courtesy of prominent left and right microphones located dead centre of the top plate.

If you're not bothered about a camera with a degree of expandability, nor the interchangeable lenses found on CSCs, the Sony Cyber-shot HX9V on paper at least would seem to fit the bill as a jack of all trades. But how does it do in practice?

Build quality and handling

Boxy in design and thick set, with a depth of 34mm - though attempting to disguise the fact by showing plenty of reflective chrome - the Sony Cyber-Shot HX9V is actually conveniently lightweight when held in the palm or slipped into a pocket.

That's not to say that the camera feels insubstantial - on the contrary, rare details such as something approaching a proper rubber-padded handgrip lend it as much a degree of seriousness as any buttons or dials.

With the 16x zoom controlled via a lever encircling the shutter release, the other visible controls are equally straightforward.

We're pleased to see a traditional shooting mode dial on the top plate, here cramming 10 options onto a surface barely the size of a 5p coin. This dial possesses a degree of rigidity that ensures that it is tricky to accidentally slip from one setting to another when fetching the camera out of a pocket.

Here Program, Auto and Manual exposure mode are joined by memory recall mode, iSweep Panorama, a dedicated 3D mode that offers tri-dimensional stills, the aforementioned panoramas or Sweep Multi Angle option.

Joining these are scene selection mode, a DSLR-like background defocus option for some lovely shallow depth of field effects, plus intelligent auto and additional 'superior' auto mode, which will shoot more than one image in an attempt to come up with a shot free from blur and low in noise.

Both of the latter modes are reliable hand-holding tools for those who really do just want to point and shoot.

If we take issue with an aspect of the Sony Cyber-Shot HX9V's handling it's that, in contrast with its overall chunkiness, the backplate buttons - particularly the Playback, Menu and Delete buttons - are tiny and require fingertip precision.

Apart from that, there's a dedicated video record button that handily falls under the thumb to the top-right of the 3-inch LCD screen.

We also get a control pad encircled by the now ubiquitous scroll wheel, to enable users to power through and select on-screen function options.

Performance

A press of the top plate power button and the Sony Cyber-Shot HX9V powers up ready for the first shot in two seconds, which while not quite DSLR speed is respectable for this class of compact camera.

Half-squeeze the shutter release button and after a mere blink (officially 0.1 seconds) AF points appear illuminated on the screen to signal that you're free to press down fully to take the shot.

With no obvious shutter delay to speak of, a highest resolution JPEG is committed to memory in two seconds, the clear 921,600 dot LCD screen briefly freezing and operation paused to display the picture as it's committed to memory.

Images are generally sharp and impressive when there's plenty of light available, and video looks life-like, with auto focus adjusting seamlessly between lens transitions.

But the Sony Cyber-Shot HX9V suffers from some quite obvious barrel distortion when shooting at the maximum 24mm equivalent wide-angle setting. For example, buildings appear to lean inwards and bodies become elongated in the shape of the alien visitors at the climax of /Close Encounters/.

The zoom is quick to respond to your touch, however, and is capable of whirring from maximum wide-angle to extreme telephoto setting in all of three seconds.

Unless you've chosen to switch the flash off, the flash pops up as and when the camera feels it's required. There's no manual activation button like there is on the Leica D-Lux 5, for example.

We found colours a little flat straight out of the camera, particularly on duller days. But there is the ability to tweak these manually in-camera at the point of capture, by making a selection from the toolbar that runs down the left-hand side of the screen, as well as exerting control over shutter speed and aperture.

It's also here that we can access light sensitivity settings, the Sony Cyber-Shot HX9V running from ISO 100 to a modest-sounding ISO 3200 at full 16MP resolution.

However, it's worth bearing in mind that those rival premium snapshot cameras that offer up to ISO 12800 usually lower resolution above ISO 3200 anyway, to limit noise.

Although this top setting appears ever so slightly grainy in appearance in our test shots, at least it's a setting that we would still feel happy using.

Sample images

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MACRO: The Sony Cyber-Shot HX9V offers a macro facility as close as 5cm at the maximum wide-angle setting. Natural subjects better disguise a fish eye type effect at this setting, along with some fall off of focus towards corners of frame.

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DETAIL: Early morning daylight displays an attractive natural hue, along with plenty of detail evidenced in the brickwork. Although there is some pixel fringing, this is only visible on very close inspection.

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LIFELIKE: On a dull winter's day the Sony Cyber-Shot HX9V has managed a commendably even exposure with this wide-angle shot that maintains detail in the sky while keeping the foreground sharply in focus and delivering a result that's closer to what the eye saw at the time.

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CLOSE UP: A handheld maximum zoom telephoto image from the same vantage position. A little soft around the edges perhaps, and we've lost highlight detail in the swan's feathers, but otherwise it's not a bad result, given the 16x reach.

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UNDEREXPOSED: The Sony Cyber-Shot HX9V has erred on the side of underexposure to preserve plenty of detail in this full resolution image, and again deliver realistic natural colours.

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MAXIMUM TELEPHOTO: Looking to shoot the moon from your upstairs window? The Sony Cyber-Shot HX9V's 384mm maximum telephoto setting will let you get that much closer.

Sensitivity and noise

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Verdict

With the Sony Cyber-Shot HX9V boasting an asking price of £269 in the UK and $329.99 in the US, it falls between the likes of a Canon PowerShot S100 and a regular point and shoot compact such as the Nikon Coolpix S6200 in cost. And it feels like fair value for what it is.

In general terms, the Sony Cyber-Shot HX9V comes across more as a point and shoot camera on steroids than a DSLR that's been compacted, so in that respect it's closer to the feel and operation of the Fuji FinePix F600 EXR or Leica D-Lux 5 than say the Canon PowerShot G12 or Nikon Coolpix P7100.

The compact camera packs in most of the latest must-haves to offer a decent degree of future-proofing, including 3D and integral GPS, a usefully broad optical zoom range, plus Full HD video and HDMI output, leading us to wonder what more we could ask for from a camera on which the lens cannot be swapped.

In many ways, therefore, although it's not expandable to the same degree as fellow non-interchangeable lens compact cameras offering accessory ports and vacant hotshoes, the Sony Cyber-Shot HX9V travel zoom comes across as a 'best of' where we are now in terms of camera tech.

We liked

The broad 'travel zoom' type focal range is certainly appealing, as is customisable settings and full manual control for those who want it, or reliable auto capture for those who don't.

3D image generation alongside regular 2D and stereo sound supporting Full HD video capture ensure that the Sony Cyber-Shot HX9V feels like a future-proof compact camera.

We disliked

The Sony Cyber-Shot HX9V requires a 3D telly to make the most of some core 3D features.

The camera body itself has a boxy design and is very deep, while there's some obvious barrel distortion and a fish-eye effect in images taken at the maximum 24mm equivalent wide-angle setting.

Final verdict

Sony has packed a lot into this high-performance travel zoom that poses very serious competition for the likes of the Panasonic Lumix DMC-TZ20, Fuji FinePix F600 EXR, plus a host of rival compact cameras that similarly incorporate a broad focal range with built-in GPS and pocket sized proportions.

Though not 100% perfect in each and every regard, the Sony Cyber-Shot HX9V nonetheless comes very close in most.

Overview

The Panasonic Lumix DMC-LX5 is one of our favourite premium grade compact cameras, which means our hopes for the nigh identical 10.1MP, 3.8x optical zoom Leica D-Lux 5 Titanium are as high as the price tag. Yes, owning a Leica camera with its famous little red dot logo costs a lot, with little concession made to market competitiveness.

The silver-grey metal Leica D-Lux 5 Titanium is, however, still one of the least expensive cameras to bear the brand's hallmark, costing £855 in the UK and $1,195 in the US, compared to the £1,400 or $2,000 Leica X1. Leica also throws in a luxurious matching leather carry case.

If the Leica D-Lux 5 Titanium still sounds prohibitively pricey, the regular Leica D-Lux 5 is a comparative bargain, at £650 or $800. Cheaper competitors include the Canon PowerShot S100, Canon PowerShot G12, Nikon Coolpix P7100 and Fuji FinePix X10.

Like the Panasonic Lumix LX5, the Leica D-Lux 5 Titanium features an 11.3MP, 1/1.63-inch CCD sensor at its core, plus a bright f/2.0 maximum aperture that, along with an ISO range topping out at ISO 12800, suggests this is an able tool for low-light photography.

The compact camera also captures 1280 x 720 pixels video at 30 frames per second (fps) in a choice of AVCHD or Motion JPEG formats, with a dedicated red record button above and to the right of the top plate.

Both still images and videos are composed with the aid of the 3-inch LCD screen at the back, which offers a clear 460k dot resolution. A vacant accessory port just above the display enables an optional electronic viewfinder to be attached.

A pop-up flash is sunk within the camera's top plate and manually activated by a thumb switch. As with the Panasonic Lumix DMC-LX5, we also get a vacant hotshoe on the Leica D-Lux 5 Titanium for an extra accessory flash.

Build quality and handling

As one would expect, the Leica D-Lux 5 Titanium looks very clean and minimalist from the front, feels substantial when held in the palm thanks to that metal exterior, yet is also lightweight enough to be carried in a jacket pocket.

The camera's dimensions are 110 x 66 x 43mm and the Leica weighs 270g with a rechargeable battery and SD card inserted. But what we miss here is anything approaching a proper handgrip. It's around 10mm wider than comparable compact cameras, such as Canon's PowerShot S100, by virtue of the fact that, like the Canon with its narrower lens ring, some functionality has been packed into the lens surround.

There are two lens-encircling switches on the Leica D-Lux 5 Titanium. One is for altering image aspect ratios with a thumb flick, from regular 4:3 aspect ratio to 3:2, 16:9 or - more unusually - 1:1, without having to drill down into the menu screens. The other is for swapping focus modes from Auto to Macro (up to 1cm from a subject) and on to Manual shooting mode.

A further time saver comes via the Panasonic-originated Q.Menu button on the back of the camera. A press of this calls up a toolbar of essential options along the top of the screen, which can quickly be tabbed through and its drop down options selected.

If we've an issue with the Leica D-Lux 5 Titanium's altogether luxurious build it's that the backplate buttons appear as if they were derived from the humble £199 Panasonic Lumix camera they undoubtedly are. Although this feels like nit picking, these are tiny and so require fingernail precision to operate.

Performance

The Leica D-Lux 5 Titanium powers up in two seconds. That's not quite as swift as a DSLR, but it is quick to focus and determine exposure in a mere blink of an eye following a half-press of the shutter release button. This control is itself encircled by a lever for operating the zoom, which, when given a nudge, moves through the entire optical focal range in two seconds, sound tracked by a low if unobtrusive buzz.

With the ability to shoot both JPG and raw stills separately or in tandem, the latter combination is committed to memory in an impressively swift 2-3 seconds.

During our test period there were occasional if minor issues in white balance varying slightly from shot to shot among our daylight test images. This was most clearly witnessed on our ISO sequence, photographed indoors with the flash disabled, using a tripod.

Generally colours err on the warm side while remaining naturalistic, although disappointingly familiar point and shoot camera bugbears such as purple pixel fringing between areas of high contrast rear their head in outdoor images.

Tricky exterior scenarios such as a bright background and dark foreground throwing the metering off, so it's better to underexpose in such circumstances to preserve detail.

When the Leica D-Lux 5 Titanium does get it right, it excels. Detail is impressively sharp, although of course again it's not quite a match for a DSLR with dedicated glass.

The Leica D-Lux 5 Titanium puts in one of the best performances we've seen from a pocket camera with a fixed lens that isn't trying outright to merely ape an existing DSLR.

Full manual control is offered via Program, Aperture priority, Shutter priority and Manual settings on the shooting mode dial. This is backed up by film simulation modes and My Colour modes, including the saturation-boosting Expressive, as bequeathed to the Leica from Panasonic. This ensures that images can be tweaked in-camera as much as you want.

Thankfully, when shooting up to ISO 1600, images are clean and relatively noise-free, with a resolution drop and painterly effect above ISO 3200. The top whack ISO 12800 should only be reached for if it's a choice of that or not getting the shot at all.

Sample images

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DETAIL: Even on default camera settings, the Leica D-Lux 5 Titanium manages to deliver rich colour that shows its Panasonic heritage, along with bags of detail that revels in Leica's own expertise.

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NIGHT: Among the 23 scene modes the Leica offers is a setting for night photography. As this image demonstrates, with the aid of a steady surface and the self-timer, detail-rich results can be captured.

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RANGE: The Leica D-Lux 5 Titanium provides the ability to shoot up to 1cm close ups, while the bright aperture allows for some lovely attention grabbing shallow depth of field effects.

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WIDE ANGLE:Although the wide-angle lens setting here is 24mm equivalent, the Leica manages to maintain edge-to-edge detail, but doesn't suffer from the obvious barrel distortion that plagues lesser models offering a similar focal range.

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ZOOM: Although results are softer at maximum telephoto setting by contrast, the fact that this camera offers only a modest 3.8x optical reach means it holds on to detail reasonably well when shooting handheld.

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FOCUS: Faced with dull winter skies, the photographer's refuge is to focus on still life and detail. Again the Leica lens and sensor combo comes up trumps, keeping the feathered edges of the wreath sharply in focus.

Sensitivity and noise

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Full ISO 80 image. See the cropped (zoomed to 100%) versions below.

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ISO 80

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ISO 100

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ISO 200

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ISO 400

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ISO 800

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ISO 1600

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ISO 3200

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ISO 6400

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ISO 12800

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Auto ISO

Verdict

Nobody would look at the Leica D-Lux 5 Titanium and imagine it offered excellent value for money. But then, those it's being marketed to are unlikely to be particularly aggrieved that it doesn't.

The value option is to go for the excellent Panasonic Lumix DMC-LX5 instead, which is the same camera but without the Leica badge, and was retailing from £300 at the time of writing (through some of the retailers listed in the side bar of the Panasonic Lumix DMC-LX5 review).

But while it's not great value, that doesn't stop the Leica D-Lux 5 Titanium from being a very capable compact camera - if you're basically happy to point and shoot for the most part.

Although it doesn't offer Full HD video, the Leica D-Lux 5 Titanium's on-board digital filters and colour options can be accessed when shooting video, via a dedicated video option on the shooting dial mode in conjunction with the dedicated record button.

So while it may not be an option for anyone looking for a best buy, if you can live without Full HD and the latest gimmicks such as integral GPS or 3D mode, then the Leica D-Lux 5 Titanium may be the only premium point and shoot pocket camera you'll ever need.

We liked

Unlike most lens-swappable compact system cameras (CSCs), the Leica D-Lux 5 Titanium is a truly pocket camera that offers plenty of control over images if you want it, or not if you don't. It has substantial build quality that befits the Leica branding (albeit borrowed heavily from a Panasonic).

We disliked

The nigh identical yet non-titanium Panasonic version of this camera, the Panasonic Lumix LX5, is miles cheaper. Also the Leica D-Lux 5 Titanium misses a proper hand grip, which makes it a bit slippery in the palm. Image quality is good but not quite as stunning as other cameras at this price point.

Final verdict

Yes, brand loyalty aside, the Leica D-Lux 5 Titanium is incredibly expensive for what could be classed as a glorified snapshot camera. And for all its metal-bodied luxury it really is that at its core - it fits in your pocket and the lens on the front cannot be changed. But at least it is a well above average one.

Overview

Whereas it used to be the number of pixels by which digital cameras were judged, the emphasis has shifted to how well cameras cope in low light conditions. The Samsung EX1 - known as the TL500 in the US - costs around £300 or US $430 and includes a bright f/1.8-2.4 Schneider lens that covers a 3x zoom range equivalent to 24-72mm on a 35mm camera. It also has a larger than normal 1/1.7-inch CCD sensor.

Having a bright maximum aperture makes more light available to the sensor for imaging, which in turn should reduce the ISO sensitivity required for a certain scene.

The maximum resolution of 10MP is quite modest by today's standards, coming in much lower than the 16MP on Samsung's own MV800, the 14MP on the Nikon Coolpix S3100 and even the 12MP on the Fuji FinePix X10. But the larger surface area per pixel should help the Samsung EX1 to maintain decent image quality at high sensitivities.

Other stand-out features on this compact camera include the 3-inch rotating AMOLED screen with a resolution of 921,000 dots, and 720p high definition video recording with HDMI connectivity.

Enthusiasts will be glad to hear that raw image recording is supported, along with full manual exposure control.

Casual photographers, meanwhile, are catered for with a comprehensive range of scene modes and Smart Auto 2.0, which aims to automatically choose the correct scene program for the conditions.

Build quality and handling

A combination of high quality plastics and metal parts make up much of the Samsung EX1's construction. A brushed metal finish has been applied to the compact camera's front panel, which helps to give an overall impression of high quality with the finish. A sculpted rubber grip provides a comfortable hold, although the same finish on the rear on the thumb rest would be more comfortable to hold.

Full manual control is available and direct controls are provided, giving easy access to exposure controls.

A narrow dial located around the buttons on the rear adjusts aperture values, and the small click wheel inset into the rubber grip provides control of the shutter. Pressing the click wheel allows exposure compensation to be adjusted, without having to dive into menus. The dial on the rear can be a little awkward to operate, due to its narrow width, resulting in accidental button presses if not used with care.

A maximum shutter speed of half a second in aperture priority mode may be a little limiting for some photographers, but longer exposures up to 16 seconds can be selected in shutter priority and in full manual mode.

Two mode dials on the top of the camera provide quick access to the range of exposure programs and drive modes.

Continuous shooting (at a fairly pedestrian rate of just over 1.6fps), along with single shot and self timer modes can be selected via the drive mode dial. When continuous shooting is selected, the camera defaults back to superfine JPEG quality, because raw files can't be recorded in this mode.

On the rear of the camera the controls are well laid out, with a one-touch button for quick access to video recording.

The articulated 3-inch AMOLED screen is very clear and easy to compose images with, even in bright conditions. Having a resolution of 921,000 dots, pictures look sharp, with plenty of contrast.

Menus are clear and easy to read and logically laid out, which makes most settings on the Samsung EX1 easy to find.

The screen can be rotated through 270 degrees when flipped out to the side of the camera body, and can be closed away to protect the screen from damage.

A small flash unit is revealed by sliding a catch on top of the Samsung EX1. This low-powered unit is useful for fill in at close distances, and is raised up around 1cm above the camera when activated.

A standard ISO flash hotshoe with connections for TTL operation with a dedicated Samsung flash unit is provided. Although the hotshoe is a standard fitting, we couldn't get any of our manual flash units to fire during testing.

Autofocus is reasonably quick, and the bright maximum aperture of the lens aids fast focusing in low light conditions. An orange AF assistance lamp illuminates your subject in very dark conditions, and although this is very useful, the high intensity of the light can lead your subject squinting when taking portraits in dark conditions.

The Samsung EX1 is quite a responsive camera in use. Even though it can take around five seconds to write a raw plus superfine JPEG image to a Class 10 SD card, the camera is ready to take another shot almost instantly.

Delays are only encountered if you attempt to switch the camera off straight after taking an image.

Performance

A combination of high quality optics and a sensor with larger pixels enables the Samsung EX1 to produce high quality images across a wide range of sensitivity (ISO) settings. Images are virtually noise-free and very sharp up to IS0 400.

As confirmed in our lab tests, dynamic range is excellent within this ISO range, producing higher figures in testing than similar cameras equipped with backlit CMOS sensors. This will be especially useful for shooting high contrast subjects at lower sensitivities, such as landscapes.

As sensitivity is increased, noise levels start to go up too, especially in the shadows. Noise appears more prevalent in the red channel than any other, and shadows start to show red speckling from ISO 800 onwards, along with a loss of detail due to noise reduction.

Images taken at ISO 800 should still make reasonable A4 prints, and care may need to be taken at higher sensitivities. The noise that is present has a blotchy appearance as the camera's noise reduction system struggles to keep speckling from being too intrusive.

Although noise is quite prevalent and images are noticeably softer at ISO 3200 than ones taken at lower sensitivities, they are still suitable for postcard-sized prints and sharing at low resolutions on the web.

The density of blacks is reduced at ISO 3200 and ISO 1600 due to noise, so a quick contrast adjustment in image editing software such as Photoshop Elements afterwards can greatly improve the appearance of images taken at these settings.

Colours are reproduced accurately with default settings selected and a comprehensive range of preset pictures styles are included to enhance colours, or to create certain effects, including one for vivid colours, neutral colours and to emphasise greens in forest foliage.

The auto white balance system performs well in a wide range of conditions, leaving enough of a colour cast in images so that the original atmosphere isn't lost.

A quick access button on the rear of the compact camera provides immediate access to the Samsung EX1's three metering options of Multi-Segment, Centre Weighted and Spot. Multi-Segment metering performs well in evenly lit situations, but struggles in higher contrast conditions.

Scenes with large areas of brightness or darkness in them can cause the camera to over or underexpose wildly. At least exposure compensation is easily accessible when using any of the creative manual exposure modes.

Resolution

As part of our image quality testing for the Samsung EX1, we've shot our resolution chart.

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

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

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

JPEG images

ISO 80, score: 20 (see full image)

ISO 100, score: 20 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 16 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 12 (see full image)

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

Raw images

ISO 80, score: 20 (see full image)

ISO 100, score: 20 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 18 (see full image)

ISO 1600, score: 14 (see full image)

ISO 3200, score: 14 (see full image)

Noise and dynamic range

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

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

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

Signal to noise ratio

JPEG images

JPEG from the Samsung EX1 put in a better performance than the Fujifilm X10, Nikon Coolpix P7100 and the Canon PowerShot G12 across the entire sensitivity range for signal to noise ratio.

Raw images

Raw images from the Samsung EX1 have a better signal to noise ratio than the Canon PowerShot 12, but results lag behind those of the Fujifilm X10 and Nikon Coolpix P7100.

Dynamic range

JPEG images

The Samsung EX1's JPEGs contain a wide tonal range at all sensitivities, beating all but the Canon PowerShot G12 at the higher end of the sensitivity range.

Raw images

This chart indicates that the Samsung EX1's raw files have a greater dynamic range at the lower end of the sensitivity range than the comparison cameras, and whilst overtaken by the Fujifilm X10 at ISO 200 and the Nikon Coolpix P7100 at ISO 800 the EX1 still captures a good amount of tonal detail in the shadows and highlights.

Sample images

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DETAIL: There is a respectable level of detail in this shot

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MACRO: The Samsung EX1's Macro mode only allows focusing as close as 30cm from your subject.

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BLUR: Pleasing background blur can be achieved at close quarters due to the wide aperture of the lens.

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COLOUR: Colours are reproduced accurately using default settings.

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COLOUR: Colours are reproduced accurately using default settings.

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EXPOSURE: The bright sky hasn't overly confused the metering system here

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HDR: Dynamic range at lower ISO settings is excellent.

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CLEAN: Noise is barely visible up to ISO 400

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WIDE ANGLE: The 24mm equivalent wide-angle is perfect for capturing a wider view.

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SHARP: The high quality Schneider lens produces sharp, detailed images.

Sensitivity and noise

Full ISO 80 image. See the cropped (zoomed to 100%) versions below.

ISO 80

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ISO 100

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ISO 200

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ISO 400

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ISO 800

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ISO 1600

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ISO 3200

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Verdict

Its comparatively low price and large range of features make the Samsung EX1 an interesting prospect for anyone looking for a low-light capable compact camera with manual controls. And used with care, it can deliver excellent results, especially when it comes to dynamic range at low ISO sensitivities.

Unfortunately the 10MP CCD sensor on the Samsung EX1 doesn't deliver the same kind of quality at high sensitivities that some of the latest backlit CMOS sensors do, with noise in shadow areas becoming an issue from ISO 800 onwards.

However, low light performance is still pretty good, thanks to the bright f/1.8 lens.

We liked

Good build quality, an excellent 3-inch screen, raw image recording, manual exposure control and excellent dynamic range at lower sensitivities are among the strongest features of the Samsung EX1.

Given its competitive price, if these features appeal to you, then it could be an excellent value purchase.

We disliked

Noise performance at high sensitivities isn't up to the level set by the latest backlit CMOS technology, so the Samsung EX1 may not be as suitable as other compact cameras for handheld shooting in low light.

The camera's fiddly rear control dial and slow continuous shooting speed may also be offputting for some.

Final verdict

If you're after a well-built camera with decent enough low light performance, with manual control, raw image recording, an excellent rotating screen and a wide angle zoom lens, then at £260, the Samsung EX1 may represent an excellent value choice.

With its main area of strength being the dynamic range it delivers at low ISO sensitivities, this could possibly be one of the best value pocket cameras for those who shoot landscapes regularly in good light, or at low ISO settings with a camera support.

Overview

The Canon EOS 7D is Canon's top of the range APS-C camera. Below it sit the compact forms of the EOS 1100D, EOS 600D and EOS 60D and above it the full-frame glory of the £200 more expensive EOS 5D MKII.

The big difference between the 5D MKII and the 7D is inside. The 5D MKII is the cheapest of Canon's line-up to offer a full-frame sensor – the 7D has approximately the same size image sensor as cameras such as the 600D, Nikon D5100 or Sony Alpha 77.

There's also a slight difference in resolution - the 5D MKII has the edge with its 21.1MP sensor, versus the 7D's 18MP APS-C CMOS.

• Read: Best DSLR: top cameras by price and brand

Build quality is basically indistinguishable from the 5D MKII. The body – with the exception of the memory card and battery doors – is made from tough-feeling magnesium alloy. Every point of contact is coated in thick, tactile rubber, making the 7D easy to hold on to through a pair of gloves.

And, unlike Canon's smaller consumer range – the EOS 1100D, or EOS 600D for instance – the grip is practically sized for grown up hands, and feels like the body will be perfectly balanced paired with one of Canon's L-series telephoto lenses.

It's been weather and dust-proofed as well. The battery and memory card doors have a thin layer of rubber where the door meets the body to prevent contaminants getting in.

Features

The body is festooned with buttons, which while initially intimidating for beginners, will be unbridled joy for anyone upgrading from a consumer body.

Focus area, drive mode and sensitivity (ISO) are controlled from a row of buttons next to the shutter release. Each of these buttons controls two functions – one button manages white balance and focus zones, for instance – and you choose which setting you want to change by using either the click wheel on the back or the command wheel on the right hand shoulder.

Learning which wheel does what means the 7D has a relatively steep learning curve, but after a while making important changes to shooting modes takes a few seconds, and you'll only need to refer to the onscreen menu system when reaching for more obscure functions.

All this is helped by the presence of a secondary LCD screen on the top-plate which shows shooting information. A final button on the top shoulder controls a handy backlight for making changes in the dark.

For those who like checking settings via an onscreen display, the Q button on the camera back gives you a big-screen glance at the camera's settings. The inclusion of a raw/JPEG button is useful for one-off RAW shooting – when faced with a scene with particularly wide dynamic range, for instance.

Canon makes a few concessions to those still learning the ropes. Switch the shooting mode to CA and you can make changes with reference to the main screen. Settings such as aperture and exposure are broken down into layman's terms such as Blurred<->Sharp and Darker<->Brighter.

And for when all else fails there's always the green square mode for letting the camera handle everything.

Unlike the 5D MKII, the 7D has an integrated pop-up flash. A potential weak spot in the otherwise rock-solid body, the flash feels secure and activates via a reliable-sounding motor release. It is of mixed value - attach a hood to most lenses and the flash will be obscured. However, the 7D was the first Canon to come with an integrated Speedlite transmitter

This is immensely valuable for creative flash techniques. If you have a standalone flash you can set it to fire remotely without needing to spend money on a flash transmitter or PocketWizard setup.

Canon states the maximum continuous shooting rate of the 5D MKII is 4fps (four frames per second). In our tests, the 7D was little short of unbelievable. Canon claims it will hit 8fps when a UDMA card is used.

That makes it an incredibly good wildlife camera. There is no shutter lag making it very responsive. It's so responsive, in fact, that there's a second continuous mode that shoots at a more manageable 3.5fps.

The smaller sensor hides another plus for sports and nature photographers – the 1.6x focal length magnification factor means every lens you attach gains a little distance. A 400mm lens on a 5D MKII, for instance, will be a 640mm lens on the 7D, getting you closer to your subjects.

Responsiveness is helped by the 7D's excellent focusing system. It has 19 cross-type focus sensors and in our tests it was only limited only by the speed of the lens' focus motor. It tracks superbly. Interestingly, the 7D's autofocus system is superior to the Canon 5D MKII's. The 5D MKII has nine autofocus points, but only one is the more accurate cross-type sensor, against the 7D's 19.

In total the 7D has five ways of selecting the AF point, but there are 3 in the default setting: Single-point AF, Zone AF and Auto-select 19-point AF.

The first and last of these are standard options similar to those found on most other SLRs. The first enabled the photographer to select the AF point, while Auto-select 19-point AF leaves the decision to the camera. The downside of Auto-select 19-point AF is that it tends to target the nearest object.

In Zone AF mode, the 19 AF points are divided into five zones and the photographer chooses which of these to use. This is a good choice with moving subjects that are tricky to follow with a single AF point.

When AI Servo focus mode is in use with Auto-select 19-point AF mode selected the photographer can select the starting AF point, but the camera tracks the subject as it moves.

Helpfully, when Custom Function III-10 is enabled and one of these automatic AF selection modes selected, the active AF point(s) illuminate. This makes it easier to see if the camera is tracking the correct subject or not.

Two further AF point selection modes can be added to the default list via Custom Function III-6 enables to additional AF selection modes: Spot AF and AF point expansion.

Spot AF mode is the same as single-point AF, but the points are smaller and this allows the photographer to be more precise about the area for focusing.

In AF point expansion mode the photographer selects the AF point manually, but when tracking moving subjects the 7D may also use the surrounding AF points to achieve focus. However, unlike the Auto-select 19-point AF option in AI Servo mode, the surrounding AF points do not illuminate when they are active.

The EOS 7D also has more advanced AF customisation options that allow the photographer to specify how quickly the system adjusts to changes in subject distance. These options are found in the custom menu, AI Servo tracking sensitivity (C.Fn III-1) and AI Servo AF tracking method (C.Fn III-3) and they are designed to avoid things such as the camera focusing on a post or spectators when panning around a stadium following athletes etc.

These options are also found in the EOS-1D Mark IV and EOS-1Ds Mark III, but they are not available in the EOS 5D mark II. Canon has put similar functionality into its new EOS-1DX, but the revised menu system makes it much clearer what each option controls.

Image quality

The one area build quality is a little off the mark is the lens that you can get bundled with the 7D. The Canon EF-S 18-135 lens was announced at the same time as 7D, but doesn't feel like it matches the body for build-quality

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It's made from all plastic, for a start, and unlike more expensive lenses doesn't have full-time manual focusing, so you can't simply grab the focus ring if you don't like what it's trying to do by itself

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Its specifications are nothing exciting, with a maximum aperture of f/3.5 at wide angle and f/5.6 zoomed in. On the plus side, it's a good starter lens if you're getting the 7D for video – it has image stabilisation, which greatly reduces frame shake when you're zoomed in

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Unfortunately its good video credentials are sullied by the fact that it isn't a USM (Ultra Sonic Motor) lens, and so makes all kinds of whining noises while hunting for focus. You only save £160 if you opt for the 7D without the lens, but once you start spending more money on more advanced lenses you're unlikely to look back.

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The lack of a full-frame sensor naturally means that the 5D MKII beats the 7D in a straight image quality comparison – but only just. Compared with shots taken by an original 5D, the 7D's 3200 ISO images were noisier, but not to the point of destruction.

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The difference between the 5D MKII and the 7D comes when you compare the maximum ISO – the 7D will go as high as 12,800 if you tinker with the custom settings. The 5D MKII goes twice as far, to 25,600

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Otherwise it almost goes without saying – the 7D's image quality is almost beyond reproach, and its chief limiting factor will be your abilities as a photographer and the lens you partner with the body.

Video quality

EOS 5D MKII users had to wait for a firmware upgrade before they had manual control over their cameras' video mode; the 7D provides an incredibly powerful manual mode out of the box. Fully automatic modes are still there for those who want to point and shoot, but flick the mode wheel to manual and you can set your own aperture, shutter and ISO speeds.

There are four video modes. You can opt for 25fps 1080, 24fps 1080, or 50fps 720 or 640 x 480.

Quality is unbelievable – sharp, with rich colours that, with the frame frozen, may as well have been still images. Sensor wobble (also known as the 'jello' effect) is less in evidence in our test videos as it is with some other cameras, most recently the Pentax K-x, although we noticed problems with vertical objects when the camera panned quickly.

Trees, for instance would lean towards one side of the frame depending on which way we panned the camera, and while this is a simple enough problem to correct (pan slower), it means the 7D isn't without the odd chink in its armour.

However, there's much more to like than dislike. The manual mode provides a massive amount of flexibility and power, besides being easy to use. Your changes are reflected in real time on the screen and you can change the aperture and shutter speed while video is recording.

Shooting for a day is instructive. You can forget about telephoto work unless you have a reliable stabilised lens and ideally a tripod. You can focus during recording, as long as you're happy to live with relatively slow contrast detection focusing, which is less accurate and takes longer. The 7D's integrated microphone also picks up a fair amount of handling noise, although you get an external microphone socket on the side. A headphone socket is the only obvious missing detail.

We also had huge problems with our 4GB Crucial memory cards. Having never showed signs of slowness before, the very longest video we captured in the 7D's 24p 1080 mode was 50 seconds long, and that was the exception. Our videos averaged between eight and 10 seconds each before the camera ran out of buffer and stopped recording. To call it frustrating is a masterpiece of understatement.

Canon says you'll need a UDMA Compact Flash card that can write at least 8MB/sec to shoot HD video reliably.

You'll also need plenty of space. The smallest still image the 7D produced was 3.29MB, but the average was a sturdy 7MB. And, with HD video taking around 60MB for a 10 second file, a Compact Flash card with a capacity of 32GB goes from being a luxury to a fairly strict necessity.

A battery grip will come in handy as well – at the end of a day's shooting, in which we captured 8GB of stills and video, the 7D's battery was half-depleted, meaning you'll need to take spares if you're going somewhere with limited access to electrical outlets.

The 7D's battery (part code LP-E6) is the same as the 5D MKII's, and will set you back around £30 for a replacement. An alternative is the BG-E7 battery grip, which takes two batteries or, usefully for those heading for the wilds of Siberia, universally-available AA batteries.

Resolution

As part of our image quality testing for the Canon EOS 7D, we've shot our resolution chart with the Sigma f/1.4 50mm lens mounted.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Canon EOS 7D is capable of resolving up to around 24 (line widths per picture height x100) in its highest quality JPEG files.

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

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

JPEG images

ISO 100, score: 24 (see full image)

ISO 200, score: 24 (see full image)

ISO 400, score: 24 (see full image)

ISO 800, score: 22 (see full image)

ISO 1600, score: 22 (see full image)

ISO 3200, score: 22 (see full image)

ISO 6400, score: 20 (see full image)

Raw images

ISO 100, score: 28 (see full image)

ISO 200, score: 28 (see full image)

ISO 400, score: 26 (see full image)

ISO 800, score: 26 (see full image)

ISO 1600, score: 24 (see full image)

ISO 3200, score: 24 (see full image)

ISO 6400, score: 24 (see full image)

Noise and dynamic range

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

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

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

JPEG images from the Canon EOS 7D compare reasonably well against the newer 24.3 million pixel Sony Alpha 77, and whilst at the lower end of the sensitivity scale the 12.3 million pixel Nikon D300s has the edge, at sensitivities above ISO 800 the Canon EOS 7D shows better low light performance.

Raw images

TIFF images (after conversion for raw) from the Canon EOS 7D have better signal to noise ratio results than those from the Nikon D300s, but it is out performed by the Sony Alpha 77 and Pentax K-5.

Dynamic range

This chart indicates that the Canon EOS 7D's JPEGs capture a good amount of tonal detail across the sensitivity range, beating the Nikon D300s at all sensitivities except ISO 800. However, it is out performed by the Sony Alpha 77 and Pentax K-5.

Raw images

TIFF images (after conversion from raw) show a similar trend to the JPEG files with results showing a higher dynamic range than the Nikon D300s at all sensitivities except ISO 800. Again, it is out performed by the Sony Alpha 77 and Pentax K-5 though.

Verdict

The excellent Nikon D300S looms large over the 7D and matches it in virtually every way. The Nikon's build quality is superlative, its continuous mode performance is just about the same, and usability, while significantly different from the 7D's, is great.

The D300S is just as fast to use, easy to adjust, and easy to control as the 7D. And, its autofocus system is about the same thanks to its 15 cross-type sensors, making it just about as good for sports and wildlife.

Just about the only area in which the 7D is significantly better than the D300S is its video mode. The D300S' is seriously hampered – only five minutes of recording time per clip, a maximum of 720p resolution and the generally less impressive overall quality of Motion-JPEG compared to the 7D's silky-smooth H.264 all make the 7D better for aspiring videographers.

That means, naturally, that the 5D MKII beats the 7D in a straight image quality comparison – but only just. Compared with shots taken by an original 5D, the 7D's 3200 ISO images were noisier, but not to the point of destruction. The difference between the 5D MKII and the 7D comes when you compare the maximum ISO – the 7D will go as high as 12,800 if you tinker with the custom settings. The 5D MKII goes twice as far, to 25,600.

There's also a slight difference in resolution - the 5D MKII has the edge with its 21.1MP sensor, versus the 7D's 18MP APS-C CMOS.

We liked:

The 7D's high-ISO performance is hardly bad, and compared to the 5D MKII it's £200 cheaper, offers twice the maximum frame rate and a significantly more advanced auto-focus system.

The 1.6x crop factor of the 7D's smaller sensor is also a potential advantage. It's also built incredibly well and the video mode, while not perfect, is better than any other HD-DSLR we've seen, thanks to its excellent quality, full manual control and 24p frame rate.

We disliked:

That kit lens isn't the greatest and with 18 million pixels you can fill up your memory cards pretty quickly if you shoot continuously.

Final verdict

The obvious decision for anyone looking to buy a Canon is whether to go for the 7D or splash out on the 5D MKII. With the 5D MKII costing around £450 extra, it's not an easy choice.

For the most fine-grained image quality, and particularly for professional photographers who cover tricky events such as weddings, the 5D MKII is the one to go for. The full frame sensor and massive pixel give you control over your pictures that the 7D doesn't quite match - although it's not far behind.

Wildlife and sports photographers, however, will find that the EOS 7D gives better results once they have learned how to set up its rather complex AF system to suit them and the subject.

If you haven't already taken the plunge with Nikon or Canon and stocked up on lenses, the D300S is is also worth considering and the best way to make a decision will be to actually pick each camera up and decide which feels best.

If you want to shoot video, the decision swings towards the 7D. The 7D is undeniably excellent camera, but for once, that doesn't make the decision any easier.

Overview

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

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

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

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

Build quality and handling

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

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

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

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

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

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

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

Controls and features

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

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

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

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

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

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

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

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

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

One disappointment with the Nikon D7000 is that its LCD screen is fixed rather than articulated. As things stand the Nikon D5100 is the only current Nikon DSLR to feature a flip-out monitor and is surprising this feature has not appeared higher up the company's DSLR line-up. On a more positive note, the screen image is made up from 921,000 dots and there's enough detail visible to allow very precise manual focusing when the magnified views are employed.

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

Having two SD card slots is also handy as in addition to expending the camera's capacity, it allows different file types to be saved to a different card if desired. However, given the relatively low price of high capacity memory cards, this isn't quite the killer feature it once might have been

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

Image quality

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

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

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

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

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

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

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

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

Resolution

As part of our image quality testing for the Nikon D7000, we've shot our resolution chart with the Sigma f/1.4 50mm lens mounted.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the 24 is capable of resolving up to around 18 (line widths per picture height x100) in its highest quality JPEG files.

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

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

JPEG images

ISO 100, score: 18 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 16 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 16 (see full image)

ISO 6400, score: 16 (see full image)

ISO 12800, score: 14 (see full image)

ISO 25600, score:14 (see full image)

Raw images

ISO 100, score: 20 (see full image)

ISO 200, score: 20 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 18 (see full image)

ISO 1600, score: 18 (see full image)

ISO 3200, score: 18 (see full image)

ISO 6400, score: 18 (see full image)

ISO 12800, score: 16 (see full image)

ISO 25600, score: 16 (see full image)

Noise and dynamic range

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

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

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

JPEG images from the Nikon D7000 closely relate to those from the Sony Alpha 580, Pentax K-5 and Canon EOS 60D. But from ISO 200 the Nikon D7000 just has the edge over the other cameras.

Raw images

TIFF images (after conversion for raw) from the D7000 are on par with those from the Sony Alpha 580, Pentax K-5 and Canon EOS 60D. At the lower end of the sensitivity scale up to ISO 1600 the Nikon D7000 shows a better signal to noise ratio result than the other cameras.

Dynamic range

This chart indicates that the JPEG dynamic range results from the Nikon D7000 and Sony Alpha 580 relate closely across the sensitivity range, beating both the Pentax K-5 and Canon EOS 60D.

TIFF images (after conversion from raw) from the Nikon D7000 capture a wide tonal range at sensitivities upto ISO 1600, beating the Sony Alpha 580, Pentax K-5 and Canon EOS 60D. However as the sensitivity increases the dynamic range results drop dramatically from ISO 3200.

Nikon D7000 V D90 and Canon EOS 60D

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

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


Exposure Error

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

In this lab test the D7000 delivered the most accurate results.

Colour Accuracy

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

Closest to 100% is best, so the D7000 beats the D90 for colour accuracy, but is itself beaten by the Canon EOS 60D.

The figures here reveal the impact of the developments that took place during the two years between the Nikon D90 and D7000 coming to market. The newer camera beats its forebear on both counts.

Sample Images

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

Active D-Lighting (ADL) Test

ADL Off (Click to view full size image)

ADLNormal (Click to view full size image)

ADLLow (Click to view full size image)

ADLHigh (Click to view full size image)

ADLExtraHigh (Click to view full size image)

Raw vs JPEG Test

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

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

ISO Test

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

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12,800

ISO 25,600

Verdict

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

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

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

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

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

Overview and features

After a year of marketing the popular NX100, Samsung has released its feature-packed replacement, the NX200. The new compact system camera (CSC) goes up against the likes of the Panasonic Lumix DMC-GX1, the Sony NEX-5N and others in Sony's mighty NEX series and Olympus's latest-generation of PENs, particularly the Olympus PEN E-P3.

The latest digital camera to join the Samsung NX lineup owes its heritage to the NX10 - the first mirrorless CSC to feature an APS-C sized CMOS sensor. After a brief flirtation with the miniaturised DSLR-type styling seen with the NX10 and subsequent NX11, Samsung chose to alter the formula when developing the more compact-like NX100: a trend that looks set to continue, judging by the design of the manufacturer's latest innovation.

Sporting a sleek new all-metal design and whole host of improvements over its predecessor, the feature-packed Samsung NX200 comes with a price tag doubling that of the year-old NX100, with two different kit lens packages available for £699.

Last year's Samsung NX100 represented a decent everyday camera with its compact body and APS-C sized CMOS sensor, but it wasn't without its issues. Speed - both in terms of operation and autofocus performance - as well as noise in shots taken at high ISOs were two of the most prevalent problems. Thankfully, Samsung has clearly taken these criticisms on board and it seems that the developers of the Samsung NX200 have really gone all-out when compiling their list of 'must-have' features.

Receiving top billing is the Samsung NX200's DSLR-sized 20.3MP sensor, which is only beaten by the marginally better-endowed 24.3MP Sony NEX-7. It seems that the 'megapixel race' we've witnessed in the DSLR sector of the market has finally filtered down into the CSC arena too. The Samsung NX200's APS-C sensor eclipses other rival's Micro Four Thirds offerings in terms of both size and resolution, so we'd expect to see better image quality and low light performance from this camera over that of its peers.

Also of note is the new AF system. Designed with speed and precision in mind, the Samsung NX200's autofocus puts in a performance that eclipses that of its predecessor, with an AF speed of 100ms according to Samsung.

Continuing the theme of responsiveness, the Samsung NX200's DRIM III processing engine has been incorporated to aid the camera in delivering an impressive high-speed performance, with a maximum continuous burst rate of 7fps at full resolution, plus the ability to shoot Full HD 1080p movies in MP4 format.

The camera also boasts an expanded ISO sensitivity range spanning ISO100-12800 and so should - in theory - be pretty versatile when it comes to low-light photography. The fact that it offers such a comprehensive range of settings goes some way to making up for the lack of built-in flash on the camera body (a small unit is bundled in the box that can be attached via the hotshoe).

It's also worth acknowledging that there's no built-in viewfinder, nor is there currently an external one available for separate purchase: a point that's likely to spark some degree of contention, particularly seeing as some of the Samsung NX200's cheaper competitors provide both flash and viewfinder options.

On a more positive note, the Samsung NX200 presents a range of automatic and manual exposure modes, as well as a Magic Mode. The latter offers users the chance to get creative with their shots in-camera, with 10 different Smart Filters and 12 Magic Frames: features that - along with one-touch, 3D and action panorama capture - enhance the level of versatility offered by this smart little camera.

Build quality and handling

Comparing the Samsung NX200 to the older model it replaces, the external differences are notable. The Samsung NX200 is more compact than its forebear and has managed to shed just over 60g of weight through its re-design. For the new model Samsung has chosen to stick with the retro rangefinder-esque styling that the NX100 sported - and has proven to be popular in the CSC category - but taken steps to hone the new model into something with greater aesthetic appeal than its ancestor.

Dispensing with the plastic finish that we saw on the NX100, the sleek new replacement benefits from a stylish, curvaceous all-metal body that lends a robust feel to the camera. The smooth lines and somewhat slippery finish of the Samsung NX100 have been replaced by a chunkier textured front grip and rear thumb pad that improves the ergonomics of the latest NX model by comparison and provides a much more secure hold on the slim body.

The Samsung NX200 possesses slightly chunkier dimensions than many of its rivals, a move that Samsung states was a conscious decision in order to offer a hint of the larger-than-average sensor that the camera sports. While you might not be able to slip the Samsung NX200 into a pocket, its slightly more generous proportions mean that there's plenty of space for useful dedicated controls on the body.

The curvy front panel is clean and stylish, with just a lens release button and a smattering of silver and red logos punctuating the matt black finish. The camera is relatively thin at one end, with the other widening into the previously mentioned grip in a sweeping curve.

The top panel is similarly uncluttered, with a well-stocked mode dial on the right-hand edge offering access to the camera's Smart Auto mode, plus its HD movie, Scene, Panorama, and Magic modes.

There's also a Lens Priority mode that makes good use of Samsung's revamped i-Function lenses, which feature a button mounted on the lens barrel that lets you select from a bank of scene modes and zoom in using the control dial or the focus ring on the lens. It's a way of working that takes a little getting used to, but once you're acquainted with how it all works it does offer a novel - and speedy - alternative method of operating the camera.

The scene modes on offer cover a wide range of photographic scenarios, including a skin-softening Beauty Shot option, plus Night, Landscape, Sports and Children, to name a few. There's also a 3D setting for generating three-dimensional images for viewing on a compatible monitor or TV.

For more advanced photographers there's the full set of Program AE, Aperture-priority, Shutter-priority and Manual (PSAM) exposure modes, offering a greater level of control over camera settings.

The silver shutter button is encircled by a small power switch and there's a control dial that doubles as a zoom control in playback. Otherwise, there's just a metal hotshoe, speaker and stereo microphones, with the remainder of the controls being situated on the back of the camera.

The back panel is largely dominated by the Samsung NX200's 3-inch, 614,000-dot AMOLED screen - the same as we saw on its ancestor. The display is clear, bright and offers a wide viewing angle, compensating for the fact that it's fixed, rather than offering an articulated version as seen on some of its rivals.

The display's anti-reflective coating, however, could do with some improvement: trying to shoot with the screen on a bright day left us really missing the option of a viewfinder.

There's a handy one-touch button for fast access to the camera's HD movie mode, a dedicated exposure compensation button, plus Menu, Playback and Delete buttons.

There's a further Fn (Function) button, which calls up a graphical display on the screen with a range of options for you to tweak. The interactive icons relate to functions such as the drive mode, shutter speed, aperture and metering, for example, with the number available expanding or contracting according to the complexity of the exposure mode you have selected at the time.

The four-way navigation pad incorporates a scrolling outer edge for quick scrolling through options and settings, plus the directional keys provide softkey access to the camera's display options (including a live histogram and either a full or restricted array of shooting information), AF mode, ISO and Drive mode. The central OK button also enables you to manually position the focus point, making it easier to perfect off-centre compositions.

Overall, the Samsung NX200 handles very nicely indeed. The user-friendly range of controls on offer is pretty comprehensive, and the camera offers several ways of accessing and operating various features, so you can develop your own way of working according to your personal preferences.

Performance

Shooting still images is a slick process, with the Samsung NX200 starting up and being ready to shoot in under a second and fast shot-to-shot times in single shot mode.

The camera can capture up to ten full resolution JPEGs at a rate of 7fps; a feature that's complemented by the CSC's similarly impressive new, speedier AF system. Once the buffer's full this rate slows, but you're not locked out of the camera's controls, enabling you to continue shooting. Once you hit the playback button, you'll have to wait a few seconds for the camera to finish writing to the memory card, but on the whole everything's pretty quick.

Switch to shooting raw + JPEGs, however, and things start to slow down, with processing time after firing off three shots taken in succession - during which you're locked out of the camera's controls - taking roughly five seconds on average, and sometimes longer.

The Samsung NX200's newly-added Full HD movie mode will please budding movie directors in terms of the level of detail and the smoothness of the footage captured. However, the built-in stereo microphones pick up the sound of the AF system, which also slows down a little when recording moving images.

Low-light shooting is another area where the Samsung NX200 doesn't quite match up to some of its rivals. Its contrast-detect AF system can struggle to find a lock once the light levels drop; a common problem shared by other CSCs employing this type of AF system. Its built-in AF assist lamp helps to some degree, but fails to stabilise the situation with any amount of real consistency.

At its default settings, the Samsung NX200 produces JPEGs that are generally a little on the cool side, and has a tendency to overexpose. Both of these aspects are easily tweaked using the on-body controls, however, and there's a Smart Range feature to help improve the dynamic range captured too.

Sharpness and the level of detail, on the other hand, are superb. The 20.3MP sensor does a marvellous job of picking up fine textures and details in scenes, and the colours recorded are commonly accurate and pleasingly saturated - so long as you stick to the lower end of the ISO sensitivity range.

Image quality and resolution

Our results from the lab have been compared against the Olympus E-PL3, Sony NEX-5N and Nikon V1, all available with kit lenses of a similar price.

Our analysis shows that the mix of different sensors in these compact system cameras produces quite different results. While you'd expect the resolution results from the Samsung NX200 to be better than those from the Sony NEX-5N, which also features and APC sized sensor but has fewer pixels, the we found disapointing values from the NX200, for both signal to noise ratio and dynamic range.

Resolution charts

As part of our image quality testing for the Samsung NX200 review, we've shot our resolution chart with the Samsung 18-55mm f/3.5-5.6 ED OIS II lens mounted.

If you view our crops of the resolution chart's central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the 26 is capable of resolving up to around 28 (line widths per picture height x100) in its highest quality JPEG files.

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

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

JPEG images

ISO 100, score: 26 (see full image)

ISO 200, score: 26 (see full image)

ISO 400, score: 24 (see full image)

ISO 800, score: 24 (see full image)

ISO 1600, score: 24 (see full image)

ISO 3200, score: 18 (see full image)

ISO 6400, score: 14 (see full image)

ISO 12800, score: 12 (see full image)

Raw images

ISO 100, score: 26 (see full image)

ISO 200, score: 26 (see full image)

ISO 400, score: 26 (see full image)

ISO 800, score: 24 (see full image)

ISO 1600, score: 24 (see full image)

ISO 3200, score: 22 (see full image)

ISO 6400, score: 18 (see full image)

ISO 12800, score: 14 (see full image)

Noise and dynamic range

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

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

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

While JPEG images from the Samsung NX200 produce better results than those produced by the smaller sensor of the Nikon V1, up to a sensitivity of ISO 3200 it is out performed by both the Olympus E-PL3 and Sony NEX-5N.

Raw images

TIFF images (after conversion from raw) from the Samsung NX200 have signal to noise ratio results that are consistently lower than both the Olympus E-PL3 and Sony NEX-5.

Dynamic range

This chart indicates that the Samsung NX200's JPEGs have a lower dynamic range than the Sony NEX-5n and Olympus E-PL3 and only beats the Nikon V1 at a sensitivity of ISO 400.

Raw images

This chart indicates that the Samsung NX200's JPEGs have a consistantly lower dynamic range than the Sony NEX-5n, Olympus E-PL3 and Nikon V1.

Sample images

See full res image

CLEAN: At ISO 100 images are clean, sharp and detailed, displaying natural looking colours with just enough punch to give them a lift.

See full res image

DETAIL: The Samsung NX200's 20.3MP sensor is capable of capturing intricate textures in glorious detail.

See full res image

DETAIL: There's no shortage of detail in this shot and the larger sensor allows depth of field to be restricted.

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NOISE: At ISO 1600 there's discernible noise and some softening of detail, but the colours in this shot have remained faithful.

See full res image

PANORAMIC: The Samsung NX200's easy-to-use panorama modes are quick to execute and produce excellent results.

See full res image

WARM: Another high ISO shot (ISO 1600) that, again, exhibits some noise, but is still perfectly usable. The Auto White Balance (WB) has produced an overly warm image, but in this case, the colour cast enhances the atmosphere of the scene.

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AF: The focusing system is fast enough to cope with moving subjects

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METERING: The Samsung NX200's has coped well with this high contrast scene

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COLOUR: Colours are natural and accurate here

Sensitivity and noise

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ISO 100

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ISO 200

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ISO 400

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ISO 800

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ISO 1600

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ISO 3200

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ISO 6400

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ISO 12800

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Verdict

Available in two different kit lens combinations - either with a 20-50mm or 18.55mm zoom lens - the price at the time of the Samsung NX200's launch seems reasonable, at £699 in the UK, and $899 in the US.

While by no means cheap, the cost is on a par with one of the camera's main rivals - the 12MP Olympus PEN E-P3. Meanwhile the 16MP Panasonic Lumix DMC-GX1 comes in over £100 cheaper, and Sony's 16MP NEX-5N and 24MP NEX-7 cost £529 and £1,128 respectively.

With the Samsung sitting pretty much in the middle of the current price range for these other compact system cameras, it's well situated to attract a wide variety of photographers and offers some features - such as its 20.3MP sensor - that trump those offered by the similarly-priced competition.

Where it falls short, however, is when it comes to the level of customisation available to users. Whereas many of the Samsung NX200's rivals offer the opportunity to assign their frequently-used functions to a range of different controls, this camera only lets you repurpose the Delete button.

This point aside, the range of controls, customisable i-Function feature on the kit lens and the new, curvaceous body shape makes shooting with the Samsung NX200 a very pleasurable experience.

We liked

The user-friendly Samsung NX200 offers some significant improvements over its predecessor, with its high resolution APS-C sensor recording bags of fine detail at low ISOs and revamped AF system offering a much slicker performance.

We disliked

The battery life isn't brilliant, lasting for around 300 shots if you minimise flash usage. There's no built-in viewfinder or option to add an external one, and overall performance becomes less impressive once the light levels start to drop.

Final verdict

We're impressed with the significantly improved AF performance of the Samsung NX200 in comparison to its predecessor. Shot-to-shot times are also noticeably quicker, and there's a discernible reduction in shutter lag too. HD movies and stills shot at full resolution are particularly impressive, boasting a superb level of sharp detail, and the revised interface means the camera handles beautifully.

It's not without its niggles, but there's plenty to like about this feature-packed camera, making the Samsung NX200 undoubtedly worth a look if you're shopping for a user-friendly CSC.

Overview

Wouldn't it be great to get some serious telephoto zoom reach without filling up most of your gadget bag with a big clunky lens? The Nikon Nikkor AF-S DX VR 55-200mm f/4-5.6G IF-ED fits the bill with a remarkably compact design, and it's less than half the weight of its big brother, the Nikon 70-300mm VR. A major factor in its downsizing is that, unlike the 70-300mm, this is a 'DX' lens, designed specifically for Nikon DSLRs based on APS-C (rather than full-frame) sensors.

It's quite a basic zoom lens, a kind of telephoto version of the 18-55mm VR kit lens supplied with Nikon's budget DSLRs, such as the D3100 and D5100. With Nikon's 1.5x crop factor, the equivalent zoom range works out to 82.5-300mm.

By way of comparison, Canon's closest equivalent is the EF-S 55-250mm IS, which is a little larger and heavier. The Canon's extra telephoto reach and 1.6x crop factor give you a maximum effective range of 400mm, putting the Nikon in the shade a bit, but the little Nikon still has some smart features to offer.

Design is based on 15 elements in 11 groups, including one ED (Extra-low Dispersion) element to improve resolution and contrast while reducing chromatic aberrations. The maximum aperture drops from f/4 to f/5.6 as you extend the focal length through the zoom range, and can be reduced to f/22-32 via the 7-blade diaphragm.

Autofocus is based on a Nikon AF-S (Silent Wave) ultrasonic motor, which is quiet and reasonably rapid, although not as fast or as near-silent as the more advanced ring-type AF-S fitted to lenses like the Nikon 70-300mm VR. The closest focus distance is 110cm, at which point the lens gives a maximum magnification factor of 0.23x at its longest zoom setting.

Vibration Reduction is of Nikon's now outdated first-generation design and offers a 3-stop benefit in avoiding camera shake, whereas the VR II system featured in newer lenses gives a 4-stop advantage.

In keeping with the small build, the filter thread is a mere 52mm. Featuring internal focusing, the front element neither extends nor rotates during focusing, which is a bonus when using rotation-specific filters such as a circular polariser. Extras include a lens hood and soft pouch.

Build quality, handling and performance

Build quality and handling

Shoehorned into a compact package, the Nikon Nikkor AF-S DX VR 55-200mm f/4-5.6G IF-ED's diameter and minimum length are just 73 x 100mm, extending to a maximum length of 175mm complete with hood, at the longest telephoto zoom setting.

Weighing a mere 335g, the lens certainly isn't cumbersome, but build quality isn't particularly inspiring either.

Unusually in this class of lens, the mount for fixing it to a camera is made of plastic rather than metal, but it should still be quite durable. The rubberised and nicely textured zoom ring runs almost the full length of the body and operates quite smoothly, yet without any hint of zoom creep.

There's no focus distance scale and the manual focus ring itself is tiny and quite fiddly. At least it's placed at the forward end of the lens, so doesn't tend to get fouled by your fingers while rotating in autofocus mode.

Performance

At the Nikon Nikkor AF-S DX VR 55-200mm f/4-5.6G IF-ED's largest aperture settings of f/4-5.6, sharpness is merely adequate at short and medium focal lengths but it's impressive at the maximum telephoto length of 200mm.

This is quite unusual for a telephoto zoom lens, since sharpness normally drops off at the long end of the zoom range.

Vignetting is well controlled at all focal lengths, while autofocus is pretty rapid and very accurate. Like the larger Nikon 55-300mm VR, resistance to ghosting and flare is impressive.

Sample image:

Taken at 200mm, f/5.6

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Verdict

The main attraction of the Nikon Nikkor AF-S DX VR 55-200mm f/4-5.6G IF-ED is that it's very compact and lightweight, while still offering a decent zoom range, equivalent to 82.5-300mm.

We liked

It's sharp at 200mm, even at the maximum available aperture of f/5.6.

We disliked

Older generation 3-stop Vibration Reduction and the lens mount is made of plastic instead of metal.

Final verdict

Optical quality proved best at longer telephoto settings and, overall, it's a good buy at the price.