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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.

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.

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).

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.

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.

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.

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

Full ISO 100 image, see the cropped (100%) versions below.

ISO 100

ISO 200

ISO 250

ISO 320

ISO 400

ISO Auto 400

ISO 500

ISO 640

ISO 800

ISO Auto 800

ISO 1000

ISO 1250

ISO 1600

ISO Auto 1600

ISO 2000

See full res image

ISO 3200

ISO Auto 3200

ISO 4000

ISO 5000

ISO 6400

ISO 12800

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.

Review: Sony Cyber-Shot DSC-HX9V

Gavin Stoker — 2012-01-25T18:50:00Z

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

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.

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.

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.

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.

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.

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

Full ISO 100 Image, see the cropped (100%) versions below

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

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.

Review: Leica D-Lux 5 Titanium

Gavin Stoker — 2012-01-07T12:00:00Z

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

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.

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.

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.

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.

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.

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

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

ISO 80

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12800

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.

Review: Samsung EX1

Gary Wolstenholme — 2011-12-22T16:18:00Z

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

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

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

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

COLOUR: Colours are reproduced accurately using default settings.

COLOUR: Colours are reproduced accurately using default settings.

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

HDR: Dynamic range at lower ISO settings is excellent.

CLEAN: Noise is barely visible up to ISO 400

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

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

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

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.

Review: Nikon Coolpix S1200pj

Tech staff — 2011-12-12T16:22:00Z

Overview

Nikon released the world's first digital camera with a built-in projector in September 2009. The Coolpix S1000pj offered an easy, retro-tuned way to share photos and video clips with your nearest and dearest, although the tech came at a cost. Its original £399 price tag and uninspiring performance dulled its potential appeal.

Nikon has shown faith in this niche market though, and 2011 sees the launch of the Nikon Coolpix S1200pj, Nikon's third compact camera to feature an incorporated projector. The £399 price remains the same, but the tech has developed a little.

The headline improvements that this new Nikon compact brings to the Coolpix projector range are a brighter, higher contrast projected image and compatibility with iPhone, iPad and iPod touch. Using an additional dock connector cable, you can project pictures and movies stored on your Apple device or stream content from YouTube onto your living room wall - all in 640 x 480 VGA-o-vision.

On paper, a comparison between the Nikon Coolpix S1200pj and last year's Coolpix S1100pj projector camera upgrade throws up plenty of like-for-like specifications. As with its predecessor, the S1200pj offers a 14.1MP 1/2.3-inch CCD sensor, a 5-25mm 5x optical zoom lens (giving a 35mm equivalent focal length of 28-140mm) and 30fps 720p HD video shooting. Fairly standard stuff, then.

However, the Nikon Coolpix S1200pj projector gets a 6 lumens improvement in brightness, taking it up to a level of 20 lumens. To put that loosely in context, the iPhone 4's LED is estimated at around 10 lumens (close to the original Coolpix S1000pj's output). This brightness boost means that the projected image can be seen in conditions where there's some ambient light. Not a brightly lit room by any means, though.

You'll still need your lights turned down romantically low - preferably off - if you want to place the camera 3 metres from a surface and get a watchable top-end display size of 60 inches (the Nikon Coolpix S1100pj maxed out at 47 inches).

Other slight Coolpix S1200pj functionality enhancements include a nudge in internal memory (approximately 94MB, the equivalent to 14 shots) for those desperate moments when your card fills up - and a new pet portrait scene mode.

Build quality and handling

The most significant change you'll notice with the Nikon Coolpix S1200pj comes in the handling. It's a few grams heavier than the Nikon Coolpix S1100pj, and the classiest Coolpix projector camera so far, thanks to its metal front plate and clean-edged design.

This time round, the projector is easily accessed via a simple vertical sliding cover on the front of the camera.

There's been a significant upgrade to the control set on the back of the Nikon Coolpix S1200pj, too. The S1100pj's fiddly touchscreen has been ditched, and instead you get a familiar four-way controller for changing common settings such as flash and exposure compensation, plus dedicated movie recording, scene mode and menu buttons.

The 5x zoom is still enclosed within the camera body, and although the maximum 140mm telephoto might leave you wanting occasionally, it offers a decent everyday reach. The maximum aperture of f/5.8 at full zoom is a little underwhelming, though. Despite Nikon's four "anti blur" measures built into the Coolpix S1200pj - Hybrid VR (lens-shift and electronic stabilisation), Best Shot Selector, and High ISO - we'd take a 1-stop increase in aperture any day.

Performance

As promised, the enhanced Digital Light Processing (DLP) projector makes stills and video clips more vibrant on the Nikon Coolpix S1200pj than on previous versions. The built-in speaker is predictably tinny, and the battery's only rated for up to one hour in projector mode - typical for a battery-powered pocket projector - so don't expect to kick back and enjoy Avatar any time soon.

However, once the lamp warms up, images are bright, colours are decent and contrast levels are well maintained. The projected image starts to appear dull and 'thin' once you move five or so feet from the surface you're projecting onto, but the picture's much livelier close-up.

How does it fare as a camera? Operationally, it's fine when treated as a point-and-shoot. The move away from a touchscreen is a welcome one - we've yet to see this implemented effectively in a Nikon compact - but there's still little in the way of manual controls. Changing ISO, white balance, flash settings and adding exposure compensation is about the sum of it. Even then, only the latter is available in all auto modes. There's also relatively little shooting information presented during playback as well, which can be problematic when trying to judge exposures.

The options are equally as limited when shooting movies with the Nikon Coolpix S1200pj. That's not necessarily a bad thing, though, because the results are pretty good without the need for manual intervention.

Full-time autofocus (AF) is offered, and in decent light there are only slight dropouts in focus as you zoom. Single AF is recommended for quieter filming locations, since the stereo microphones can pick up clicking and whirring sounds from the S1200pj's autofocus system and capture them on video (the focus motor is noisy, even when shooting stills).

The zoom is smooth, but tends to drift beyond the point where you stop adjusting the zoom ring - you'll need to bear this in mind when you're framing start and stop points.

Sensitivity runs from ISO 80-6400. There's also an Auto ISO setting and a two-tier Fixed Range Auto option, where you can restrict the camera to choosing from either ISO 80-200 or ISO 80-400. The reason that ISO 200 tops out the former setting becomes clear when you start analysing results at 100%. As you'd expect, ISO 80 and 100 offer sharply defined images. At even ISO 200, noise and softening is noticeable, and at ISO 400 edges deteriorate, textures start to look processed and fine detail becomes lost.

Image quality and resolution

The Nikon Coolpix S1200pj shows average results for signal to noise ratio across the sensitivity scale, comparable to other compact cameras that include a similar 14 megapixel 1/2.3-in sensor. Dynamic range results also show that the S1200pj is capable of capturing a good amount of shadow and highlight detail up to ISO 1600.

Both signal to noise ratio and dynamic range results show that while the Nikon Coolpix S1200pj compares well with other compact cameras with a similar specification you are paying a hefty premium for the addition of the projector.

Resolution charts

As part of our image quality testing for the Nikon Coolpix S1200pj, 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 Nikon Coolpix S1200pj 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:

ISO 80, score: 22 (see full image)

ISO 100, score: 22 (see full image)

ISO 200, score: 20 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 16 (see full image)

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

ISO 6400, score: n/a (see full image)

Noise and dynamic range

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

Signal to noise ratio

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

JPEG images from the Nikon Coolpix S1200pj are a little below those from the Nikon Coolpix S4150, Samsung ST95, up to around ISO 400 where it takes a step up and is slightly better than the Canon PowerShot A3200.

Dynamic range

This chart indicates that the Nikon Coolpix S1200pj's JPEGs just have the edge over the Samsung ST95 from ISO 200 and show a good, but not outstanding dynamic range performance throughout the sensitivity range. Its performance is consistently better than that of the Nikon Coolpix S4150.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

Sample images

DETAIL: The Nikon Coolpix S1200pj's 5-20mm lens is capable of resolving a respectable level of detail, but to make the most of it you need to stick to the two lowest ISO settings of 80 and 100. Even a moderate increase to ISO 200 brings a noticeable drop in definition.

FILTER: As well as choosing one of the six different effects that can be applied in Special Effects shooting mode, the Nikon Coolpix S1200pj enables you to apply a digital filter or creative effect to pictures you've already taken. Here's an example of the Soft filter.

RETOUCH: The Quick Retouch option enables you to create copies of pictures in which contrast and saturation are automatically adjusted. In the original shot, taken at ISO 400, the car was oversaturated. Quick Retouch has brought it down to a more acceptable level, as well as opening up detail in the tyres and road.

D-LIGHTING: There is some occasional purple fringing along high-contrast edges, but for the most part it's well controlled. To rectify some underexposure in this shot, we applied in-camera D-Lighting to open up the shadows a little.

COLOUR: Macro mode enables you to focus on subjects that are only 3cm from the front of the lens, enabling you to achieve frame-filling results with small details. Colour is accurate, even at higher ISO settings, with Auto White Balance proving reliable.

LANDSCAPE: The wider end of the Nikkor zoom captures a 28mm equivalent view, which is useful for landscapes and group portraits. The lens rapidly zips through its full range with a tweak of the zoom ring, although achieving precise and subtle adjustments is more frustrating.

WELL EXPOSED: The Nikon Coolpix S1200pj's dynamic range is good up to ISO 1600. Pictures are generally well exposed, and compensation can be applied from -2 to +2 in 1/3 stop increments. The rear monitor changes brightness to give you real time feedback as you do so.

WIDE ANGLE: Nikon Coolpix S1200pj at 5mm (28mm equivalent).

TELEPHOTO: Nikon Coolpix S1200pj at 25mm (140mm equivalent).

Sensitivity and noise

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

ISO 80

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400

Verdict

The Nikon Coolpix S1200pj takes the practicality of a projector camera a step further, and the usefulness and entertainment value that comes with the built-in projector shouldn't be underestimated. Kids love it, as do the big kids in the TechRadar office.

However, it's an expensive compact camera for the level of underlying specification you're getting. Similar features and performance can be found for less - even in Nikon's own range. Take the Nikon Coolpix S4150, for instance. This 14MP compact camera also boasts a 5x zoom and 720p movie shooting, but will only set you back around £140. Our bench tests show that, while the pictures it produces don't have the same level of dynamic range as those from the Nikon Coolpix S1200pj, the overall quality of the images is on a par.

We liked

The projector is fun, and the camera's easy to use. Nikon's automatic shooting modes, including Smart Portrait, make it a simple process to take generally pleasing pictures.

We disliked

Although focus is sprightly, shot-to-shot times are lacklustre. The short battery life (220 shots) and five hour battery charging time means you'll probably want to factor in the cost of an additional battery, too.

Final verdict

If you want a posh point-and-shoot and projector package, your options are somewhat limited. The Nikon Coolpix S1200pj's launch price is £349-£399, and you're paying a premium for its all-in-one convenience. Alternatively, you could spend in the region of £150 for a 20 lumens pico projector and shop around for a well-specced, sub-£200 compact instead.

Review: Nikon Coolpix S6200

Tech staff — 2011-12-12T16:04:00Z

Overview

The Nikon Coolpix S6200 sits near the top of the brand's Style range of digital cameras - between the Coolpix S6150 and the Coolpix S8100 - that aims to combine ease of use with compact, stylish designs.

Headline features include the 10x zoom lens, which has been squeezed into a body just 25.4mm deep, weighing just 160g. Behind this lens lies a 16MP CCD sensor, which feeds image information into a Nikon Expeed C2 image processing chip. This chip promises responsive handling, low noise at high ISO sensitivities and smoother 720p video recording than previous versions.

For low-light picture taking and action stopping high shutter speeds, the ISO can be raised as high as ISO 3200, although at this setting, there will be a loss of detail and colour saturation due to noise reduction.

Being aimed at consumers who prefer ease of use to manual operation, this camera comes equipped with a vast array of automatic scene modes. If choosing the appropriate scene mode sounds like a burden, then an automatic scene mode selector will take care of the hard work for you.

Additional modes for creating selective colour, high key and sepia effect photos are also included.

A smart portrait system aims to take the hassle out of shooting portrait images with blink detection, smile detection and skin softening features.

With such a large zoom range - equivalent to 25-250mm on a 35mm camera - on offer in a compact body, Vibration Reduction (VR) is an obligatory feature. The lens shift VR system is backed up by the high ISO and two additional modes for low-light shooting. The Best Shot Selector and Night Landscape modes both promise to aid achieving sharp shots in low lighting conditions.

Build quality and handling

As far as the design is concerned, there's nothing really groundbreaking on the Nikon Coolpix S6200. Tried and tested control methods result in a familiar user experience. A jog dial on the rear makes navigating menus a little quicker than via push-button methods, and although the buttons are small, they are well enough spaced to operate easily.

The slim body is constructed mostly from high-quality plastics. The white version we reviewed has a lacquered finish to the white front section, which can be quite slippery. Despite the light weight, this camera feels relatively durable. Even so, a protective case may be a sound investment, because the glossy finish will mark easily if placed in a pocket with keys or loose change.

Because there's no finger grip on the front to help secure a hold over the camera, handling can take a little time to get used to, especially if you prefer to use the camera with one hand. A small area to rest your thumb is provided between the screen and video recording button. This Record button is raised slightly, which effectively prevents it being pressed accidentally during use.

The speed of operation is good as far as the controls and menus are concerned. Menus are quick to load and easy to navigate, especially those for scene program modes, which are very clearly laid out.

However, picture-taking and autofocus leave plenty of room for improvement. Autofocus is slow at best, even in relatively good light, and especially at the telephoto end of the zoom. Many of the shots we took during lacked sharpness, with the camera confirming focus incorrectly. Although this happens with both stationary and moving subjects, it hampers the camera's ability to take sharp shots of anything that isn't static.

At 230,000 dots, the 2.7-inch screen isn't the highest resolution or largest on the market at the moment. Still, the screen is clear and reasonably easy to see in bright conditions.

Performance

By using a CCD sensor instead of the latest backlit CMOS sensors found in many of the latest compact digital cameras, the Nikon Coolpix S6200 isn't a trailblazer when it comes to producing quality images at high sensitivities.

Images at low sensitivities are chock full of detail, and although a little noise can be seen in the shadows, the image quality is still very good. Raising the sensitivity to ISO400 results in slight softening of fine details, but this is only noticeable on close examination, and images taken at this setting will still produce decent prints.

Increasing the sensitivity further results in increases softening due to noise reduction, but the noise doesn't begin to become intrusive until ISO1600, where colour saturation takes a noticeable drop, and the noise present becomes more granular.

Images taken at the highest setting of ISO3200 are really quite noisy and are probably best kept for sharing at small sizes on the web, or for those times when there is no alternative but to use such a high sensitivity.

Colours could be described more as vibrant than accurate, using default settings. Reds especially are very strong, whereas blues and green appear more subdued. There are different colour setting available for those who like their colours more or less vibrant than the default settings produce.

The 720p videos recorded by the Nikon Coolpix S6200 are clear, sharp and smooth. A mini HDMI port connection is provided, so footage can be watched on a high definition television (HD TV) straight from the camera.

Options for recording are limited, with controls for resolution, autofocus and wind noise reduction being the only options provided. Moving the camera from light to dark and dark to light areas shows up a lag in exposure adjustment, and the continuous autofocus setting struggles to keep up with the slowest moving subjects, especially if using the zoom while recording.

Sensitivity images

ISO 80

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

Image quality and resolution

The Nikon Coolpix S6200 showed good results for signal to noise ratio at the lower end of the sensitivity scale. However, at ISO 800 and above this performance drops steeply, making noise an issue.

Dynamic range, while on par with the Samsung WB700, is lower than both the Canon IXUS 220 HS and Nikon Coolpix S8200. However, the results upto ISO 400 still show that it can capture shadow and highlight detail well.

Resolution charts

As part of our image quality testing for the Nikon Coolpix S6200, 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 Nikon Coolpix S6200 is capable of resolving up to around 22 (line widths per picture height x100) in its highest quality JPEG files.

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

ISO 80, score: 22 (see full image)

ISO 100, score: 22 (see full image)

ISO 200, score: 22 (see full image)

ISO 400, score: 20 (see full image)

ISO 800, score: 18 (see full image)

ISO 1600, score: 18 (see full image)

ISO 3200, score: 16 (see full image)

Noise and dynamic range

We used to Nikon Coolpix S6200 to shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using the DXO software to generate the date to produce the graphs below.

Signal to noise ratio

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

JPEG images from the Nikon Coolpix S6200 show that the camera handles noise well at lower sensitivities. At sensitivitis of ISO 800 and above the performance drops, with both the Nikon Coolpix S8200 and Canon Powershot 220 HSshowing better results from this value for signal to noise ratio.

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

Dynamic range

This chart indicates that the Nikon Coolpix S6200's JPEGs compare well with the Samsung WB700, but are at least 1ev lower than the Canon Powershot 220 HS and Nikon Coolpix S8200.

For a full explanation of our noise and dynamic range tests, please click here to read the full article.

Sample images

The Selective Colour mode creates a popular effect in-camera

The Selective Colour mode works well on close-ups as well as landscape scenes

The Selective Colour mode can be as subtle or bold as you like, depending on your shot

Exposures are generally well-balanced

Exposures are generally well-balanced

The 250mm equivalent telephoto setting is useful for picking out distant details

The 25mm equivalent wide angle is great for capturing wider scenes

Macro performance is reasonably good, and the results are sharp

The 10x zoom lens produces images that are sharp from edge to edge

When the lens is pre-focused, shutter lag is minimal

Colours are vibrant with the default settings

Verdict

The Nikon Coolpix S6200 is a pleasant little compact camera with a broad range of features. The ease with which it can be operated will suit those looking for a convenient pocket camera that requires little setting up to take well-exposed, detailed pictures.

We liked

The 10x zoom lens covers a very useful range, equivalent to 25-250mm on a 35mm camera. This is wrapped up in a smart, compact shell that feels surprisingly robust and is easy to use.

We disliked

Slow autofocus hampers our overall impression of the camera, as does the lack of a finger grip, which can make it difficult to hold the 10x zoom steady.

Final verdict

There are a few weak points, such as the slow and unreliable autofocus, that bring the overall impression of this stylish little camera down. But with a little patience and care to ensure the Nikon Coolpix S6200 is focusing properly, you'll be rewarded with colourful, detailed, well-exposed shots, much of the time.

Review: Fuji FinePix F600 EXR

Gavin Stoker — 2011-12-09T09:18:00Z

Overview

For the past couple of years, cameras offering a broad focal range shoehorned into a pocket-sized chassis have helped prevent point-and-shoot models from being totally killed off by smartphones. Enter the Fuji FinePix F600 EXR, upgrading the FinePix F550 EXR.

It may not offer the longest reach of its rival cameras, with a 15x optical zoom equivalent to 24-360mm in 35mm terms, yet with curved edges and glossy fascia we'd argue it's the most attractive travel zoom compact camera to date.

Beneath that sports car-like exterior, the Fuji FinePix F600 EXR is neither a professional nor enthusiast photographer's camera, but rather a mass-market point and shoot. The £250 model aims to punch above its weight, however, via raw capture alongside JPEG (or in addition to), a feature buried deep within the set-up menu. Then there's the secret weapon of a back-illuminated and image stabilised 1/2-inch EXR CMOS sensor that can be used in three ways.

There's the choice of full 16MP resolution shots in HR (High Resolution) mode, 8MP high sensitivity low noise images in SN (Signal to Noise) mode, or an 8MP high dynamic range DR mode to theoretically avoid the bright background with dark foreground syndrome. The camera achieves the latter by automatically capturing and combining two separate shots. There's also an EXR Auto option, if you can't decide on the best fit for a scenario.

A hump above the lens signals that, like the competing 16x Panasonic Lumix DMC-FZ20 that costs £50 more, the Fuji FinePix F600 EXR marries its big zoom power with built-in GPS, whereby each image is tagged with longitude and latitude coordinates.

Moreover, its maker claims to have taken GPS to the 'next level' with an additional Augmented Reality Landmark Navigator. This uses GPS to flag up famous sites near your position that might be worth a photo.

Also new is an Intelligent Digital Zoom feature. Best practice is normally to shy away from using digital zooms, which effectively cropthe image, but Fuji claims a reach equivalent to 30x and selective sharpening, so noise doesn't increase across an image as a whole. A new Motion Detection feature also, naturally, detects if the subject is moving and cranks up the settings (such as ISO) to compensate. This isn't just hyperbole and actually appears to work, providing usable results, if not quite pin-sharp ones.

EXR modes and separate regular auto mode aside, a full complement of additional shooting modes include Program, Shutter Priority, Aperture Priority and Manual, plus a 360-degree panorama, background defocus or low-light option.

We also get scene modes that only omit the miniature, fish-eye and pinhole-type digital effects that are otherwise all the rage with competing brands.

Full HD 1080p video gets a dedicated record button, plus stereo sound and slow motion options.

There's more to the Fuji FinePix F600 EXR than one might expect at first glance, even if headline resolution, sensor size and pixel count are identical to its predecessor.

Build quality and handling

A firm press of the top plate power button and with a mechanical whirr and bleeps the Fuji FinePix F600 EXR is ready for the first shot in two to three seconds. Although the lens starts out at maximum wide angle and completely retracts within the camera body when inactive, a broader than average focal range necessitates a slightly broader than average compact camera.

That said, the camera still slips into the pocket of your jeans, even if it does feel much heavier than its fully loaded 220g weight suggests. It's surprisingly solid and feels built to last.

With a rubber pad nudging against a subtle curve to the left-hand side of the Fuji FinePix F600 EXR's faceplate – viewed lens-on – the compact camera attempts to provide a means of hand holding the camera steady enough for blur-free maximum telephoto shots.

We reviewed the high gloss white F600, which was a tad slippery, producing distinctly shaky results in less than perfect light. The black model offers a more practical rubberised body coating, while red gloss is the third alternative.

On our review camera, the thumb of the left hand ended up partially obscuring and inevitably smudging the 3-inch, 460k-dot 4:3 ratio LCD screen. This is due to a thin bezel and lack of anywhere else to place your thumb.

The Fuji FinePix F600 EXR also embeds a pop-up flash in the top plate. Unusually, there's a small physical shooting mode dial to the far right of the LCD display, which slopes sharply backwards so that it automatically nudges the photographer's right thumb.

This positioning tempted us to experiment with other settings on the dial, but also means that it's easy to slip onto adjacent shooting options when getting the camera out of your pocket.

With video and playback getting their own controls, and a familiar four-way control pad with exposure, flash, self timer and macro options, core functionality falls readily to hand.

As well as a useful Back function for seamless navigation that doubles up as a display button, this being a Fuji camera we also get an enigmatic 'F' (for 'Foto') button as a shortcut to the most widely used settings. These are ISO (the F600, like the F550, offers up to a semi pro-like ISO 12800), image size and film simulation modes, with our favoured colour saturation-boosting Velvia.

Here we also find GPS options, including the location search and info. There's the option to turn these off if you don't want them on permanently draining power.

Handling-wise there's little to fault on the Fuji FinePix F600 EXR, save for the niggles we've just mentioned.

Performance

We were testing the Fuji FinePix F600 EXR in gloomy winter weather and what looked drab in reality looked even more so on the back screen, which struggled to shine even with its reasonable 460k dot resolution retained from the Fuji FinePix F550 EXR.

Usually we find with Fuji EXR models that style tends to triumph over substance, and here visible difference between the switch-able EXR settings and regular intelligent auto or program modes are sometimes subtle at best. Plus, by virtue of its metering automatically trying to balance exposure in tricky lighting situations, if you have the relevant EXR mode selected, you're often left with a very flat-looking JPEG.

Also, despite all the gadgetry and gimmickry under the bonnet, the Fuji FinePix F600 EXR is still a point and shoot camera, and if you're expecting results that for the vast majority of images look like anything other than snapshots, you'll be disappointed.

If you're looking for a point and shoot with ideas above its station with a better chance of delivering, then investigate Fuji's own X100. Used side by side with this camera, it knocks spots (or should that be pixels?) off the F600 EXR's output, albeit with a sensor and price tag both twice the size of this model.

We got the best results here by selecting the Velvia setting from among the Fuji film simulation modes, which better mirrored the scene before us than the default Provia option. We did find, however, that the camera's auto white balance biased to correcting whichever colour was most abundant in the scene, so that a shot of bright orange berries produced an overall mauve tint.

However, we found the camera coped with tungsten lighting well - with drab weather outside we took it to a shopping mall and got respectable results shooting handheld, even with movement in the frame. However, images aren't always uniformly sharp over the entire frame at every focus setting, with some noticeable fall off towards the corners.

While colour casts and dull exposures are easily corrected in Photoshop, if you venture above ISO 3200 on the Fuji FinePix F600 EXR then resolution drops to 8MP at ISO 6400. It drops further still, to 4MB at the top ISO 12800 setting to further disguise progressively intrusive image noise. So we stuck at ISO 1600, but preferred the most noise-free results that were to be had at ISO 800, which is fairly par for the course.

To be critical, this Fuji is only the ideal travel companion it's pitched as if you're staying somewhere bright and sunny, but the same is true of most snapshots.

Image quality and resolution

As part of our image quality testing for the Fuji FinePix F600 EXR, 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 Fuji FinePix F600 EXR is capable of resolving up to around 18 (line widths per picture height x100) in its highest quality JPEG files.

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

ISO 100, score: 18 (see full image)

ISO 200, score: 18 (see full image)

ISO 400, score: 18 (see full image)

ISO 800, score: 16 (see full image)

ISO 1600, score: 16 (see full image)

ISO 3200, score: 14 (see full image)

ISO 6400, score: 12 (see full image)

ISO 12800, score: n/a (see full image)

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

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 from the Fuji FinePix F600 EXR (without EXR) show a good signal to noise ratio up to a sensitivity of ISO 800, despite this the Canon IXUS 220 HS, Nikon Coolpix S9100 and Panasonic Lumix DMC-TZ20 all have better results from around ISO 200.

Dynamic range

This chart indicates that the Fuji FinePix F600 EXR's JPEGs (without EXR) only just beat the Nikon Coolpix S9100 at ISO 200, at sensitivities above this the Canon IXUS 220 HS, Nikon Coolpix S9100 and Panasonic Lumix DMC-TZ20 greater dynamic range results.

Sample images

VELVIA: Selecting Velvia film simulation mode allows the deep hues of autumn foliage to be captured in their splendour, but this wide-angle shot also displays obvious distortion.

CLEAR: Find yourself with the benefit of clear blue skies and, like any snapshot camera, the Fuji FinePix F600 EXR delivers its very best performance, with good levels of sharpness here from front to back of frame.

EXR: This 'EXR' mode image has commendably kept detail in the foreground and the sky, producing an image closer to what the eye sees if, to be picky, a little flat overall.

PANORAMA: This automatically generated handheld panoramic image reveals some lens flare – OK, we were shooting almost directly into the sun at one point – but is free from obvious overlaps and the colours are lovely too, if detail is unsurprisingly not quite pin sharp.

BLUR: A slightly otherworldly looking result from the Fuji with some serious loss of focus top left of frame plus pixel fringing in the same corner.

ZOOM: Having a 15x lens reach enables you to get closer to your quarry than the average point and shoot compact, if, when light levels are less than ideal, results are not always razor sharp at the telephoto end when shooting handheld.

Sensitivity and noise

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

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12800

Verdict

In terms of build quality and feature set, the Fuji FinePix F600 EXR betters most propositions around the £250 mark. Design-wise too it makes the leader among travel zooms - the Panasonic Lumix TZ20 - look almost utilitarian. Ironically this led us to expect the camera to deliver perhaps more than it was capable of.

What counts the most is image quality, and we can't claim the Fuji's performance is spotless on this score, with the rival Lumix range being more consistently reliable overall. While enthusiast-enticing gimmicks such as high light sensitivity settings look good on paper, in use a small sensor and high resolution don't do the Fuji FinePix F600 EXR many favours.

We liked

The build quality and styling of the Fuji FinePix F600 EXR suggest that here is the Ferrari of the digital camera world, and it's crammed with a box-ticking variety of latest tech, including GPS, stereo video clips, 360-degree panoramas et al. The £250 asking price therefore seems very fair indeed.

We disliked

Burnt out highlights and pixel fringing, rather flat-looking images straight out of the camera unless Velvia mode is constantly deployed, and noisy results at higher ISOs make the likes of ISO 12800 look like something that was only added to bolster the spec sheet. But similar accusations could be levelled at most point-and-shoot cameras.

Final verdict

We can see the ideal audience for this camera being young families who want an unfussy point and shoot camera that doesn't cost a packet but does a bit of everything and has the advantage of full HD recording with stereo sound at the press of a button - albeit not a dedicated record button.

Luckily for Fuji, the flashy exterior is bound to entice the gadget fan first, and camera enthusiast second, and in that respect the Fuji FinePix F600 EXR can be deemed a success.

Review: Samsung MV800

Amy Davies — 2011-12-08T16:01:00Z

Overview

The key feature of the Samsung MV800 is of course its tilting screen, which makes it one of the only compact cameras to feature an adjustable screen, especially at this price point. While other screens articulate round to the side of a camera, the Samsung MV800's flips up to the top, making it the world's first compact camera to feature such a screen.

The Samsung MV800 is designed to fit alongside the 2View range of cameras that Samsung introduced a couple of years ago and that feature dual screens, one being on the front of the camera to help with composing self and group portraits.

Helpfully, the compact camera's 3-inch screen also features the ability to flip over if the camera is turned upside down, so you can use it from all manner of awkward angles.

Further good news is that the screen is touch-sensitive, so it can be used to control the camera.

Other specs on board the Samsung MV800 include a 16.1 million pixel sensor, a 5x optical zoom lens that features a 26mm wide angle, Live Panorama and art filters.

HD video recording at 720p is also available.

The Samsung MV800 can be picked up for around £200, which, for a compact camera of this size and specification is fairly expensive. Presumably that extra money is paying for the novel touchscreen.

But does this camera deliver in terms of image quality and ease of use as well as boasting this unique feature? Let's see.

Build quality and handling

The Samsung MV800 is small and sleek, and even with the added bulk of the flip-out screen it is more than pocket and handbag friendly.

The camera features minimal physical buttons, with only Home and Playback buttons on its rear. The rest of the features are operated by the touchscreen.

Along with the obvious shutter release atop the camera, behind the flip-out screen is an extra shutter release button to enable you to take shots when the screen is fully extended. It's a good idea in principle, but we found it a little awkward to reach at times, especially when holding the camera upside-down to take photos from high angles.

As well as the rear shutter release button, the camera cleverly knows when it's being held upside-down and adjusts the display accordingly, so you won't have problems composing shots.

The Samsung MV800's touchscreen is used for a manner of different operations, including changing settings, scrolling through images taken and making edits.

Although not the worst touchscreen we've come across on a compact camera, it can be a little unresponsive at times, and therefore frustrating to use.

There is room for a couple of extra buttons on the back of the camera, so it's a shame more weren't incorporated. It's also worth noting that when shooting in cold conditions, the touchscreen becomes even harder to use.

As is expected of compact cameras of this type, there's not a great deal of manual control to be enjoyed on the Samsung MV800. Smart Auto can be used if you want to let the camera do everything for you, while Program does enable you to make changes to the white balance, ISO, exposure compensation and metering.

While the menu within Program Mode is laid out nicely and is easy to use, it can be a little frustrating having to dive back into sub menus every time you need to change something, such as ISO sensitivity, rather than having a dedicated quick menu for such simple changes.

The main menu, which is accessed via the Home button, features a wide range of options, including the usual features such as Smart Auto and Program mode, along with other scene modes, art filters and editing modes such as Photo Editor.

Including art filters on compact cameras is a pretty common move now, with most manufacturers offering some variation. On the Samsung MV800, some are more appealing than others. We have, of course, the ubiquitous Miniature Mode, which aims to replicate the effect of using an expensive tilt-shift lens on a DSLR, but there's also Vignetting, Old Film, Soft Focus, Half Tone, Retro, Fish-eye, Oil Painting and more.

Other editing and fun options are available on the camera, including Magic Frame, which enables you to use one of a selection of different pre-set frames to surround the subject of your photo, and Funny Face, which enables you to use fun distortion effects on portraits.

Performance

Overall, the quality of photos from the Samsung MV800 is reasonable, but not spectacular, given the £200 price point.

Although images are mainly bright, with well-represented colours, we found more than one instance of softness. And at 100% on the computer, some edges appear to have been rendered a little harshly, while some fine details are smudged.

While in Auto mode, the camera also seems to have the tendency to underexpose.

Thankfully, chromatic aberration is minimal, although we did find some evidence of fringing in some of our photos.

While using the camera in Smart Auto mode, the camera does a reasonable job of detecting the scene presented in front of it, including detecting close-up shots to deploy Macro Mode. The mode itself works well too, focusing to within just a couple of centimetres.

A number of filters are available to use on the Samsung MV800, which can be deployed either while the shot is being taken or applied once the photo is taken. This is handy when you want to have a "standard" version to work with at a later date.

The effectiveness of the different filters is varied, with Miniature mode working best from high viewpoints, but still not producing a totally convincing effect. Oil Painting and Cartoon are interesting, and produce realistic-seeming artistic effects.

One of the odder elements of the camera is the Pose Guide, which includes a variety of inbuilt photos for you to attempt to recreate by providing a model outline to work with. In theory, it's supposed to help you achieve flattering photos, but in reality it's just a bit strange and doesn't work all that well.

The ability to take panoramic shots is something that is becoming increasingly prevalent in many different cameras, including compacts.

The Live Panorama mode on the Samsung MV800 works in much the same way as Sony's Sweep Panorama. Simply hold down the shutter button while moving the camera across the scene for a panorama photo to be captured.

It takes some practise to get the panorama to work well. On our first attempt, there were several blurred areas in the picture, perhaps suggesting we had moved the camera too fast. After a while, though, you should come to understand how slowly you need to move. Converting the shots into a panoramic image is pretty quick, taking only a couple of seconds.

The touchscreen, which is the big selling point of this camera, is unfortunately also its biggest letdown. While the 180-degree tilting is a good idea, and will be welcomed by those who like to take self-portraits, the screen quality itself leaves a lot to be desired.

On several occasions, we were unsure whether a photo we shot was in focus, because it appeared soft and even blurry on the rear view screen. On checking the photos on a computer screen, we could see that the photos were fine.

This is obviously a major downfall, because it means you're unlikely to realise when a photo actually does need reshooting.

It's also disappointing for a camera that costs around £200 to be equipped with such a poor screen.

As with other Samsung compacts, the MV800 uses a microSD card, which should be noted before buying it because they're not as prevalent as the full-sized version, so it's likely you'll need to buy a new card.

It also means that anybody with an SD card reader built into their computer will need to invest in an adaptor or specialist card reader or plug the camera directly into the camera.

Image quality and resolution

Resolution charts

As part of our image quality testing for the Samsung MV800, 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 Samsung MV800 is capable of resolving up to around 18 (line widths per picture height x100) in its highest quality JPEG files.

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

ISO 80, score: 20 (see full image)

ISO 100, score: 18 (see full image)

ISO 200, score: 16 (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)

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

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 Samsung MV800 are on a par with those from the Fujifilm Finepix 550 EXR up to ISO 400. From this value the MV800 overtakes producing a better signal to noise ratio up to around ISO 1600.

Dynamic range

This chart indicates that the Samsung MV800's JPEGs have a consistently lower dynamic range result than the Canon IXUS 220 HS, Nikon Coolpix S9100 and Fujifilm Finepix 550 EXR, showing the shadow and highlight tone is easily lost.

Sample images

Colours produced by the MV800 are sharp and punchy, if a little oversaturated at times.

Focusing is relatively quick, allowing you to speedily grab images.

Taken with the lens at fully wide

Taken with the lens fully zoomed

Shot with "old film" filter

Shot with the "vignetting" filter

Shot with the "Soft Focus" filter

Shot with the "Half-tone dot" filter..

Shot with the "Fish-eye" filter

Shot with the "Classic" filter

Shot with the "retro" filter.

Shot with the "oil painting" feature

Shot with the "ink painting" filter

Shot with the "cartoon" filter

Shot with the "zooming shot" filter

Sensitivity and noise

ISO 80

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

Verdict

Given the heavy advertising budget and the appeal of a flip-out screen, we can see the Samsung MV800 becoming a bestseller. Unfortunately, the quality of the pictures and the low quality of the screen let it down.

That said, there are other elements of the camera which definitely appeal. Its sleek body makes it extremely pocket-friendly, which is perhaps surprising considering the extra bulk that a moveable screen should add.

Filters and effects add a touch of fun, which should make it particularly appealing with families.

We liked

The Samsung MV800's flip-out screen is useful for composing self-portraits and group shots with minimal fuss, along with more awkward positions such as high and low angles. Some of the filters, frames and effects are genuinely quite fun to work with.

We disliked

The screen quality meant that more than once we needlessly retook photos to make sure that at least one was in focus. Using the second shooting button on the back of the camera is a little cumbersome.

Final verdict

We wanted so much to like the Samsung MV800, but ultimately for the price point we think it's a disappointment and would encourage anyone thinking of buying this compact camera to wait and see if it reduces in price first.

Review: Fuji FinePix X10

Gary Wolstenholme — 2011-12-05T11:49:00Z

Overview

Fuji created quite a stir when it released its FinePix X100 in March. The combination of a retro-styled metal body, APS-C sized sensor, fixed 23mm f/2 lens and a unique hybrid viewfinder caused plenty of interest among enthusiast and professional photographers alike.

Fuji's FinePix X10 sits below the X100 in the range, sporting similar retro styling, but sacrificing the large APS-C sensor and fixed lens in favour of a 2/3inch EXR CMOS sensor and a 4x zoom lens providing an angle of view equivalent to a 28-112mm lens on a 35mm camera. An impressively bright maximum aperture of f/2-2.8 has been achieved and the zoom is operated manually, carrying on the retro theme.

A positive point to glean from this specification is that the price is much more modest. Costing around £530, it is much more reasonably priced than its bigger brother, so it will be interesting to see how it fares when it comes to image quality.

Fuji's EXR CMOS technology uses a different pixel arrangement to conventional image sensors. This enables the camera to either take pictures at the full 12MP resolution, or to combine neighbouring pixels to increase image quality in low light conditions.

Another trick this unique sensor can pull off is to enable neighbouring pixels to take images at two different ISO sensitivities simultaneously, enabling images with much greater dynamic range to be captured, without having to take multiple frames.

An EXR Auto mode automatically recognises which EXR configuration should give the best results under the conditions, or each mode can be selected manually.

Other features include 1080p video recording and continuous shooting at frame rates up to 7fps, which should be perfect for capturing action. Enthusiasts will be glad to find that the Fuji FinePix X10 can also record images in Fuji's RAF raw format, providing extra scope for editing images afterwards.

Build quality and handling

The chunky black metal body of the Fuji FinePix X10 is reassuringly well put together and the retro styling doesn't stop at the way the camera looks. A smart leatherette finish has been applied around the middle, providing a firm and comfortable grip over the camera body.

Controls are laid out in a mixture of retro and contemporary ways. Exposure modes and compensation are selected using chunky metal dials on top of the camera, with the shutter release placed in between. A threaded socket for attaching a cable release is inset into the shutter release, which is a feature rarely seen on modern cameras.

The rear has the controls you might expect to find on a typical digital compact camera, with four buttons along the side of the 460,000 dot 2.8-inch LCD screen and a directional/navigation control to the other side.

Two control dials for altering exposure provide direct access to any adjustments you may wish to apply. The thumb wheel placed near the top plate is very easy to operate, but the bezel-style ring placed around the buttons on the rear can be a little fiddly to use by comparison.

Images can be composed either on the LCD screen or in the optical viewfinder. The screen is bright, clear and has an excellent ant-reflective coating applied, which helps when using the camera in bright conditions.

The Fuji FinePix X10's viewfinder is also very bright and clear, plus unusually for a digital compact camera, it provides a decent sized view and is quite comfortable to use with glasses. Unfortunately there are no markings in the viewfinder to signify where the focus point may be, even when it is fixed to the centre, so confirming sharp focus through the viewfinder is a matter of guesswork.

Still, it is quite useful when shooting in bright conditions at moderate apertures, where much of the scene will be in focus.

Located next to the viewfinder is a switch to activate the built-in flash unit, which sits flush inside the top plate of the camera. The flash is very small, but is still useful for occasional fill in.

For situations where more demands are made of the flash, a standard hotshoe is provided. This enables Fuji's EF-42 and EF-20 TTL flashguns to be mounted and as it is a standard hotshoe, a wide range of accessories can be used, including wireless triggering systems or studio lights with an adaptor.

Flash can be synced at any shutter speed, right the way up to 1/4000sec, which may be of particular interest to those who use flash in bright conditions for creative effect.

In use, the Fuji FinePix X10 feels very responsive. Autofocus is quick and accurate under most conditions, although it can sometimes struggle to lock onto subjects in low light conditions. Once the camera is focused, there is little noticeable shutter lag.

Menus are clear and easy to navigate too. The quick response and handling of the camera can be attributed to the dual-CPU EXR processor, which has two separate processing cores, just like you may find in many modern computers.

Even when shooting raw images, there is very little waiting around for the camera to catch up, especially when a suitable high-speed SD card is used.

Performance

Images produced by the Fuji FinePix X10 are rich and detailed at most ISO sensitivities. Significant levels of noise don't start to show until ISO 800, and even then any speckling is only visible on close inspection. ISO 1600 produces perfectly printable results too.

Although some fine detail is lost to noise reduction, prints up to A4 should still be perfectly acceptable. Even at higher ISO sensitivities, noise levels are admirably well-controlled, even though more and more fine detail is sacrificed.

Above ISO 3200, the camera reduces image resolution in an attempt to retain image quality. ISO 6400 is still acceptable for small prints and sharing on the web, but ISO 12800 may be a step too far, with most fine detail being smudged beyond recognition by the camera's noise reduction system and images having a general snowy appearance.

Using the available EXR modes can improve image quality, depending on the scene. Using the low-light EXR mode tends enable acceptable quality images to be taken at sensitivities a stop higher than without, up to ISO 3200 and the Dynamic Range mode does an excellent job of retaining extra detail in highlight and shadow areas, although it isn't quite as effective in very bright conditions.

As is typical for a Fuji camera, colours are vibrant on the Fuji FinePix X10 using default settings. Film simulation modes to recreate the look of Fuji's Velvia, Astia and Provia films are provided and cover most shooting scenarios, with Provia being the default setting.

The Velvia mode produces vivid colours best suited to scenic shots, and the Astia mode produces subtle tones well and is best suited to portraiture. Auto white balance does an excellent job in natural lighting, and a fair job under artificial lights indoors, leaving a slight colour cast in the image.

Multi-segment metering produces accurate exposures under a wide range of conditions and isn't easily fooled by large areas of light or dark in the image. Centre-weighted and spot metering modes are also provided and the direct access to exposure compensation and manual exposure adjustments makes these modes a pleasure to use.

Image quality and resolution

Our results from the lab have been compared against the Fujifilm X100, Canon PowerShot G12 and Nikon Coolpix P7100, all top of the range compact cameras from their respective manufacturers.

Our analysis shows that all four cameras produce good results, but the X10's raw files (after conversion to TIFF) are on par for signal to noise ratio with the Canon PowerShot G12 and Nikon Coolpix P7100. When it comes to dynamic range, however, the raw file (after conversion to TIFF) results show that the Fujifilm X10 is capable of capturing a greater tonal range than both the Canon PowerShot G12 and Nikon Coolpix P7100.

Resolution

As part of our image quality testing for the Fuji X10, 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 200 the Fujifilm X10 is capable of resolving up to around 22 (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 take a look at the resolution charts article.

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

JPEG images

ISO 100, score: 22 (see full image)

ISO 200, score: 22 (see full image)

ISO 400, score: 20 (see full image)

ISO 800, score: 20 (see full image)

ISO 1600, score: 20 (see full image)

ISO 3200, score: 18 (see full image)

ISO 6400, score: 14 (see full image)

ISO 12800, score: n/a (see full image)

Raw images

ISO 100, score: 22 (see full image)

ISO 200, score: 22 (see full image)

ISO 400, score: 20 (see full image)

ISO 800, score: 20 (see full image)

ISO 1600, score: 20 (see full image)

ISO 3200, score: 18 (see full image)

Noise and dynamic range

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

Signal to noise ratio

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

JPEG images from the Fujifilm X10 show signal to noise ratio results that are on par with the Canon PowerShot G12 and Nikon Coolpix P7100, and are better than the X100 from around ISO 800.

Raw signal to noise ratio

Raw images (after conversion to TIFF) from the Fujifilm X10 have a better signal to noise ratio than the Canon PowerShot G12. Meanwhile, the Nikon Coolpix P7100 just beats the Fujifilm X10 from a sensitivity of ISO 800 upwards, but the difference in scores is exceptionally small.

The benefit of the Fuji X100's APS-C sized sensor comes to bear here as its raw files produce a cleaner signal than the other cameras.

JPEG dynamic range

This chart shows that the Fujifilm X10's JPEGs capture a wide tonal range up to a sensitivity of ISO 1600, at higher sensitivities some of the tonal range in the shadows and highlights will be lost.

Raw dynamic range

This chart indicates that the Fujifilm X10's raw images (after conversion to TIFF) capture a wide tonal range across the sensitivity range, comfortably out performing both the Canon PowerShot G12 and Nikon Coolpix P7100. As we would expect given its larger sensor size, the Fujifilm X100 manages to outperform the Fujifilm X10's dynamic range performance.

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

Sample images

A standard ISO hotshoe allows external flash accessories to be attached to the Fuji FinePix X10, which can expand creative possibilities.

Detail levels are excellent and images are sharp straight from the camera.

The EXR low light mode improves high ISO quality for shooting in dark conditions.

The built-in flash is weak, but still useful for fill-in at close quarters.

Multi-segment metering copes well in a wide range of conditions.

Colours are vivid, without over saturating skin tones.

The standard film simulation mode aims to reproduce the look of Fuji Provia slide film.

Whereas the vivid setting aims to reproduce Fuji Velvia slide film, with its highly saturated colours.

A Super-Macro mode allows focusing as close as 1cm from the front element of the lens.

Shutter speeds between 1/4000sec and 30sec can be selected.

In-lens image stabilisation helps to reduce image blurring due to unwanted camera movement.

Auto white balance does a reasonable, but not spectacular, job of correcting artificial lighting indoors.