• Sony teased a new RX10 on its Instagram, writing 'The Wait is over'
• Its previous bridge camera was the RX10 IV from 2017, which is discontinued
• This latest in the series will arrive on July 9 at 7am PT / 10am EDT / 3pm BST

Sony just dropped exciting news for fans of its versatile bridge cameras — a new RX10 camera will be revealed next week.

The teaser on Sony's Instagram reveals a surprising amount of detail, including the release date plus a silhouette of the next RX10, which from we can glean some info about its lens.

Perhaps the most surprising part of all is that Sony is launching a new RX10 in the first place. Its most recent bridge camera was the Cyber-Shot RX10 IV which was released all the way back in 2017, and has been discontinued for more than two years.

The RX10 IV is still regarded as the best bridge camera available, which tells you everything you need to know about this space, which has been largely dormant for years, save for a tired Lumix re-release and the occasional cheap Kodak model.

Despite the RX10 IV's skills, we can only hope that Sony has a little more in store for the next RX10, because an upgrade on the mark IV could be super interesting. The teaser (below) gives us a little snippet of what we can expect.

The most obvious point to note is the release date, which will be July 9 at 7am PT / 10am EDT / 3pm BST. I predict that putting a Sony bridge camera back in stores will be a popular move, especially among enthusiast wildlife photographers desiring a versatile telephoto lens in a lightweight setup.

Otherwise, there's one little clue, and that's the part of the teaser when the lens is extending upwards. We can't see the focal length of the lens, but we can see the aperture range, which is f/2.4 to f/16.

That aperture range is identical to the RX10 IV, which features a 25x optical zoom with a 24-600mm focal length range. The other details in that lens silhouette also look the same as those in the RX10 IV; the Vario Sonnar T* and twin control rings.

It's harder to glean much else from the teaser — the silhouette of the camera body looks similar to the one before it, but it could very well be different.

We won't have long to wait to find out more, with the next RX10 coming in less than a week.

What do you think of Sony's teaser? Is this the next Sony camera you were hoping for? Have your say in the comments.

• Kodak's latest 'bridge' camera packs a 65x zoom and 1-inch macro focusing
• It adds USB-C charging to its 7-year-old predecessor
• It is expected to go on sale in April for $450 / £350 (around AU$675)

Today's Kodak – as in the third party who has licensed the legendary name — specializes in blast-from-the-past tech. Case in point, the 'new' PixPro AZ653 bridge camera, which follows the PixPro AZ652 from 2019.

(Most of) its specs look too good to be true — a stabilized 65x optical zoom that covers everything from wide-angle landscapes to distant wildlife, 1cm macro focusing, 20MP stills, DSLR-style handling and an articulated screen — all for just $450 / £350.

This is an affordable do-it-all camera, except for one important part — quality. Like most bridge cameras (with few exceptions such as the Sony Cyber-Shot RX10 IV), it packs a tiny 1/2.3-inch sensor — the type you get in cheap smartphones, which means image quality is lacking.

In bright light, highlights will blow out and shadows lack depth. In low light, detail will be mushy. It's the price you pay for such versatility, and personally it's not a compromise I'd be willing to take for a special vacation like a safari, where I'd want the best possible quality.

That said, the overall package, especially considering the price, could be worth it for general use. And now Kodak has released this newer version which adds USB-C charging to bring the series up to date, even if the other features are now considered dated.

I'm a little disappointed there are no other upgrades — for example, the PixPro AZ653's video recording tops out at Full HD (so no 4K), while burst shooting is only up to 5fps.

For sure, it's the 65x zoom lens, spanning 24-1560mm focal lengths, which is the big sell, and along with the price I expect it'll be a popular camera.

Still worth it?

So-called bridge cameras are named because they 'bridge' the gap between compact cameras and DSLRs. They are bulky do-it-all 'compact' cameras with one important catch — a compromise in image quality.

They very much had their heyday in the 2000's, but 20 years later the market is a shadow of its former self – my best bridge cameras guide now has just three entries, one of which was recently discontinued.

That said, when Nikon relaunched its own take last year, the Coolpix P1100 with its 125x zoom, it got plenty of interest, despite its much steeper price tag.

Panasonic got in on the act in 2024 by refreshing its own affordable bridge camera, the Lumix FZ80D / FZ82D, which also modernized the series with USB-C charging, but otherwise features dated tech.

The surprise for me is how close the Lumix model is in price to Kodak's, and given it shoots 4K video (albeit with a lesser 60x zoom), it feels like the better pick of the two. For context, we gave that underwhelming Lumix camera a 2.5 star rating.

Kodak says its PixPro AZ653 will hit stores in April.

• The Coolpix P1100 boasts a 125x optical zoom with 24-3000mm range
• Dynamic Fine Zoom further pushes the reach up to 6000mm
• It shoots 16MP stills, 4K video, and weighs 1.4kg

Nikon has signaled that it's keeping a toe-hold in the superzoom camera space by announcing the new Nikon Coolpix P1100. It's a modest update of the Coolpix P1000, which was launched in 2018, and once again delivers a class-leading 125x optical zoom with 24-3000mm range, plus a smart Dynamic Fine Zoom mode that doubles that range.

Also known as a bridge camera, the Coolpix P1100 is designed to capture everything from sweeping vistas to distant objects such as landmarks and wildlife, plus everything in between, all with one camera. These cameras are a dying breed – Sony killed off its Cyber-Shot RX10 IV, which we rate as the best bridge camera money can buy, and while Panasonic threw a lifeline to one model with a minor refresh, the Lumix FZ80D / FZ82D, that's all the action we've seen in the last few years.

Nikon keeping its Coolpix superzoom series alive is good news for those looking for one do-it-all camera for their travels, and for beginner wildlife photographers, and it has kept the price competitive – the Coolpix P1100 costs $1,099.95 / £1,049 / AU$1,699.95, which is only a small mark-up over the Coolpix P1000.

But should you buy Coolpix P1100? And, what's new in this latest version? Let's take a look at five things you need to know about the new Coolpix P1100.

1. It has a class-leading 125x optical zoom, just like the Coolpix P1000

Zoom range is clearly the big selling point of bridge cameras, and the Coolpix P1100 has the biggest zoom of the bunch – a stabilized 125x optical zoom with 24-3000mm range is ridiculous. It even beats Samsung's stabilized 100x 'space zoom', and that mode is digital, meaning plenty of processing and interpolation (and so loss of quality) is taking place.

The Coolpix P1100 can optically get you closeups of the moon, and lock in tight on distant wildlife such as birds; and if that maximum 3000mm reach isn't enough for you, then a Dynamic Fine Zoom further doubles zoom to 250x – that's 6000mm!

Versatility is the name of the game here – the lens also offers a wide perspective for landscape photography. If you're looking for one lens to do it all, the Coolpix P1100 could be the ticket. But just to be clear though, the lens is exactly the same as the one in the Coolpix P1000.

2. Don't have too high hopes for image quality

Such zoom versatility comes at a cost, that cost being outright image quality. Compared to a similarly-sized mirrorless camera with a moderate zoom lens attached, the difference in quality is night and day – the modest 3-star rating we gave the Coolpix P1000, which features the same sensor and lens, in our review back in 2018, says it all.

The Coolpix P1100 features a 1/2.3-inch sensor that's capable of 16MP stills and 4K video. For perspective, that sensor size is tiny, equivalent to that in a current entry-level smartphone. If the light is good, image quality is okay; but when the light is low, temper your expectations. The lens' maximum aperture is reduced from f/2.8 at 24mm to just f/8 at 3000mm, which only reduces the amount of light the camera can take in.

It's best to consider the Coolpix P1100 as a beginner camera – highly versatile, with modest image quality. If you want a camera to grow with, it could be worth grabbing the pricier Sony Cyber-Shot RX10 IV before it sells out – it has a much larger 1-inch sensor and smaller 24-600mm zoom range, and as a result its quality is a big step up. Or look into a mirrorless camera with a moderate telephoto zoom lens if distant subjects are your thing.

3. It's a big ol' camera

The Coolpix P1100 measures 5.8 x 4.7 x 7.2 inches / 146.3 x 118.8 x 181.3mm, excluding projections, and weighs 3lbs 1.8oz / 1,410g. In short, it's an absolute beast – an all-in-one camera it might be, but you won't forget it's slung over your shoulder.

In fairness, the Coolpix P1100's DSLR-style design, together with 2.4m-dot electronic viewfinder and 3.2-inch vari-angle LCD screen, is comfortable in the hand. Its snap-back zoom button is incredibly helpful too, enabling you to quickly zoom out should you lose track of your subject.

If you're going to regularly use that maximum telephoto reach, it's worth factoring in that you'll need to carry a tripod with you, further adding to your load. Yes, the lens is stabilized, but a sturdy support will improve your viewing and photo-taking experience no end.

4. What's new?

All of the above are true of both the new Coolpix P1100 and its predecessor, the Coolpix P1000. So what exactly is new? The answer is, not a lot.

The latest model has some minor design changes and is equipped with USB-C charging, as per today's European standards, plus it features what could effectively be firmware-update-level improvements. These include a new Fireworks Show scene mode (to avoid blown-out highlights), a long-exposure noise reduction feature, selectable AF-area in Bird-Watching mode, plus enhanced Bluetooth and Wi-Fi connectivity. Any Fn button operation can be assigned to the compatible Nikon ML-L7 Bluetooth remote, too.

Like I say, there are no upgrades really worth writing about. The biggest news here is that Nikon has kept faith with and extended the life of its Coolpix superzoom camera.

5. There are two notable downgrades from the Coolpix P1000

Not only is the Coolpix P1100 only a minor update of the P1000, there are actually two downgrades from its six-year-old predecessor, one being that the optical stabilization has been downgraded from five stops to four stops – that's a real kicker.

When I see a lens with such a long telephoto reach, my first thoughts turn to the effectiveness of the stabilization, because it can increase your hit ratio of sharp images. Optical stabilization can only do so much – it's ineffective for fast-moving subjects like wildlife, but for static subjects it can correct camera shake effectively for clear viewing and crisp images. Losing 1EV of stabilization is hardly a huge deal, and apparently this is a result of adjusted CIPA standards rather than actual loss of performance, but I'll reserve judgment for now.

The second downgrade is the built-in flash's guide number – that's its maximum output – which has been reduced from 16m to 12m. That's a shame for those that regularly use flash for short-range subjects.

Because of these downgrades, I would potentially opt for the older Coolpix P1000 over the new Coolpix P1100 if I had the choice. However, we presumably won't have that choice soon – the former camera has been discontinued, and will likely disappear from the shelves over the coming months. I don't think the downgrades are deal-breakers, but they are head-scratchers.

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Panasonic Lumix FZ80D / FZ82D: One-minute review

The Panasonic FZ80D / FZ82D (Confusingly, Panasonic seems to call it the latter, but it most retailers call it the former) is an updated variant on the Lumix FZ80 bridge camera launched back in 2017. The new version has been refreshed with USB-C charging and improved resolution for the EVF and rear screen. Otherwise, it’s pretty much the same camera, so it’s more of a relaunch than a new camera.

The specifications look pretty spectacular on paper, including a huge 60x zoom, a very useful 20mm equivalent wide-angle capability, 4K video, and Panasonic’s clever 4K Photo modes, which can grab an 8MP still from a continuous 4K video sequence, or focus on a subject after you’ve shot it by capturing a short video sequence with multiple focus points.

They key drawback with cameras of this type, though, is the sensor size. The FZ80D / FZ82D uses a tiny 1/2.3-inch sensor no bigger than those in a smartphone, as it’s the only way to get this incredible zoom range in an affordable, portable camera.

This impacts heavily on the image quality, and it’s compounded by a drop-off in lens performance at long zoom settings. At short-to-medium zoom settings images are about as good as those from a smartphone, but by the time you reach the longest zoom setting – which is probably one of the reasons why you bought the FZ80D / FZ82D – the definition has fallen through the floor, and is not really adequate.

The FZ80D / FZ82D delivers a huge list of features for the money, but its plasticky build quality, and especially its variable performance, could leave you disappointed. It does an awful lot, but it does none of it very well.

Panasonic Lumix FZ80D / FZ82D: Price and availability

• $478 / £429 / AU$699
• Available now

The Panasonic FZ80D / FZ82D is priced at $478 / £429 / AU$699, and is available now. That puts it at a similar price to some of the cheaper best beginner mirrorless cameras, but none of these will come with zoom lenses that match the Panasonic’s zoom range – such lenses don't exist for mirrorless cameras, although of course you can swap lenses on a mirrorless camera, and there are telephotos available that give you something like the same reach. The difference is the image quality – images from the Lumix FZ80D / FZ82D do not approach the quality of those from the best mirrorless cameras, and you don’t need to be an expert to see the difference.

Quick specs

Panasonic Lumix FZ80D / FZ82D: Design

• Same shape and size as a beginner DSLR

• Distinctly plasticky feel overall

• Disappointing fixed rear screen 

The Panasonic FZ80D / FZ82D definitely looks the real deal. It’s the same size and shape as an old-school beginner DSLR like a Canon EOS Rebel, for example, with the same rounded corners and big viewfinder housing on the top. The difference is apparent when you turn it on and use the zoom lever to extend that huge 60x zoom – you could never do that on a DSLR.

The body does have a plasticky feel, though the dials and buttons work pretty well. There’s only one control dial rather than two, which is often the case with beginner-oriented cameras, and there’s no spinning dial around the four-way pad on the back, which is actually a bit of a relief since these seldom work well.

While the FZ80D / FZ82D does have improved EVF and rear screen resolution compared to the original FZ80, it’s not all good news. For a start, there’s no eye sensor to detect when you’ve taken the camera from your eye – if you want to compose a shot on the rear screen instead you have to press a button next to the viewfinder.

Worse, the rear screen is fixed – it doesn’t even have a tilt mechanism. That’s a real surprise in an era when just about every camera has some kind of rear screen articulation, and it’s going to make the FZ80D awkward for low-angle shots or video. Cheaply made but not cheap – that’s not a good combination.

Happily there’s not too much else to complain about. The menus are big, clear, and easily navigated, and the main mode dial has custom settings for those who like to shoot with specific setups. The memory card slot is next to the battery in the base of the camera, which is always a bit of a nuisance, but pretty normal in a lower-end camera.

Design-wise, the FZ80D / FZ82D is a mixed bag. It’s a good size and fits your hand well, but the finish and controls have a budget feel, and the viewing system is primitive.

Panasonic Lumix FZ80D / FZ82D: Performance

• Fairly snappy autofocus

• Reasonable high-ISO quality

• Very weak stabilization at full zoom

The major disappointment with the Panasonic FZ80D / FZ82D is its performance at longer zoom settings, which is especially annoying because the huge zoom range is probably what convinced you to buy this camera. It does indeed zoom to an amazing 1200mm-equivalent (in full-frame terms) focal length, but by this point the image detail is very soft and there’s visible color fringing around object outlines. In fact, judging by the processed look of fine details and textures, it looks as if there’s some heavy image processing going on at the long zoom settings to try to compensate for the lens’s limitations.

This doesn’t just affect the maximum zoom setting. You can see the fine detail rendition starting to fall away even at 400mm-equivalent, and it just gets worse from there. I wouldn’t use the FZ80D / FZ82D past its 400mm setting for this reason, which means a lot of the focal range would be wasted for me.

There’s another issue with shooting at the 1200mm-equivalent maximum zoom: camera shake. The FZ80D / FZ82D does have image stabilization, and this works well at shorter focal lengths. But at 1200mm, it just can’t cope – if you try to shoot handheld the viewfinder image leaps all over the place, and even if you brace the camera against a wall or railing, getting a sharp-ish shot at this focal length is a lottery.

At shorter focal lengths and for everyday subjects, the FZ80D / FZ82D performs pretty well. Images look sharp, crisp, and clear, though highlight detail in bright skies is often lost, and the camera does not have the HDR modes that smartphones have. You might think it’ll be a step up if you switch from a smartphone to a bridge camera like this, but in some respects it’s a step down.

The autofocus is nice and snappy, and there’s a macro mode for close-up shots, which makes this camera even more versatile. The 4K Photo mode is good for extracting single frames from extended bursts, and the Post Focus mode is almost uncanny in the way it lets you choose the focus point after you’ve taken the shot. In fact, here the camera is capturing a short video with a focus that shifts from near to far, so it’s not magic after all – it just feels like it. 

The issue with the 4K Photo and Post Focus modes is that they're based around 4K video capture, which means the images you extract are just 8 megapixels. If you want to capture a full-resolution sequence you’ll need to switch to the high-speed shooting mode, which tops out at 10fps, and that’s with the focus fixed on the first frame. 4K Photo mode aside, the FZ80D / FZ82D is okay for action sequences, but not great.

It did okay in my ISO tests, though. You can see fine details and textures start to slip away by ISO 400, but even at ISO 3200 images look reasonable as long as you don’t blow them up too much. This is where the FZ80D’s small sensor really holds it back; on a DSLR or mirrorless camera you'd be able to go way beyond these ISO settings before starting to lose quality.

Panasonic Lumix FZ80D / FZ82D: Sample images

Here’s a gallery showing our penguin at different focal length settings: 1200mm, 800mm, 400mm, 200mm, 100mm, 50mm and 20mm, moving the tripod nearer each time to keep the penguin more or less the same size in the frame to check for image quality at different zoom settings.

Here are some more sample images shot at a range of focal lengths, and which are more representative of casual day-to-day photography.

Should I buy the Panasonic Lumix FZ80D / FZ82D?

Buy it if...

Don't buy it if...

How I tested the Panasonic Lumix FZ80D / FZ82D

• I shot the same subject at different zoom settings with the camera on a tripod and the ISO set to 80 for absolute best quality

• I also tested the camera’s ISO performance using a tripod

• I checked the image stabilization across the zoom range

• I shot a range of subjects at different zoom settings handheld to get a feel for the kind of results average users can expect

The key feature of the Panasonic FZ80D / FZ82D is its massive 60x zoom range, but this is of limited use if it can’t maintain a good level of image quality at longer zoom settings. This is a regular failing of long-range bridge cameras, and likely to be a major disappointment for users who bought the camera specifically for that range.

It was also important to check the overall image quality and ISO performance. The FZ80D / FZ82D has a 1/2.3-inch sensor that's far smaller than the sensors in even cheap mirrorless cameras, and this can be a serious limiting factor.

The production lines of the versatile Sony Cyber-shot RX10 IV, which is the best bridge camera ever, will soon ground to a halt seven years after launch, according to a trusted source for Sony Alpha Rumors. 

It's a blow to many Sony photographers who rely on the powerful super-zoom as an all-in-one camera that can cover anything from landscapes and portraits to wildlife photography, and who were hoping for a new Mark V with Sony's latest tech. 

Fans must have been thinking a RX10IV successor was in the cards after Panasonic surprisingly revived its bridge cameras earlier this month with the announcement of the new Lumix FZ80D / FZ82D.

Panasonic's motive was simple: as of December 28 this year, small and medium electronic devices chargeable by wire, which includes digital cameras, must feature a USB-C port to remain on shelves in Europe, according to the EU's Common Charger Directive. 

Like Panasonic's Lumix FZ80 / FZ82, the Cyber-shot RX10 IV has a micro USB port and not USB-C, and so it will forcibly be removed from sale after December 28 in any case, at least in Europe. 

However, unlike Panasonic, it appears that a RX10 IV successor is not only wishful thinking, but that Sony will well and truly kill off its bridge camera lineup, and that's a real pity.

RIP our favorite super-zoom?

Like Panasonic, Sony could simply tweak the current RX10 IV design with USB-C rather than micro USB, and keep the production lines moving beyond 2024 with what I'll call a RX10 IV Mark II.

Even seven years after launch, the RX10 IV remains the most powerful bridge camera around, with users waxing lyrical about its super sharp lens and zoom versatility – and a refreshed version for 2024 and beyond, with Sony's 2017 tech, would still lead the pack.  

However, this is Sony we're talking about. Of any of the leading camera manufacturers, it is the one least likely to simply refresh a model to keep it alive. No, any potential Cyber-shot RX10 V would feature new tech and could be one of the most exciting new cameras this or next year, but would require time and money to develop – resources that Sony seemingly isn't willing to commit. 

We can still dream: the quality of the RX10 IV's 1-inch 20MP sensor and sharp 24-600mm F2.4-4.0 lens need little improvement, but imagine those killer features paired with Sony's latest processor for speedier operation and autofocus skills that include precise subject tracking for specific types of subjects, such as birds – that's a powerful combination, especially for amateur photographers.

We hope that this is just a rumor and that a Cyber-shot RX10V will materialize soon – it would put the super in super-zoom. But if it is indeed true that production will cease and the Cyber-shot RX10 IV was on your radar, you'll have to act this year. 

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Well, we didn't expect this: after years of dormancy, a new bridge camera is hitting the shelves – the Panasonic Lumix FZ80D / FZ82D. It replaces the Lumix FZ80 / FZ82, which is the top cheap option in our guide to the best bridge cameras, with the new model delivering 2024-friendly features. 

Despite the years between cameras, most of the key specifications for the travel-friendly superzoom are the same, including the 20-1200mm f/2.8-5.9 lens – that's a mega 60x zoom that'll cover you for anything from wide vistas to closeups of distant wildlife in a flash.

Like before, the 60x optical zoom is equipped with an optical image stabilizer to steady your shots at the telephoto end, and the zoom can be further doubled to 120x using an Intelligent Zoom mode, or by another 4x using a lesser-quality digital zoom.

There's also the same 1/2.3-inch 18MP sensor – that sensor size is around the same as a regular smartphone but smaller than 2024's flagship handsets: bridge cameras offer unrivaled versatility over outright image quality. 

You can shoot 18MP single-shot stills, 10fps at full quality, 30fps bursts at 8MP, plus 4K video up to 30fps. The body and handling of the Lumix FZ80D / FZ82D is largely the same as the Lumix FZ80 / FZ82 too, with macro focusing down to 1cm being another handy feature. 

So if all those key features are the same, what exactly is new?

A modest refresh, despite the years

It's been over seven years since the FZ80 / FZ82 first came to market in January 2017. By the end of 2024, new EU regulations demand a common USB-C charging port for all mobile devices and cameras. The FZ80D / FZ82D does indeed feature a USB-C socket.

Both electronic viewfinder (EVF) and LCD displays have been upgraded, too. The 3-inch LCD touchscreen receives a boost in resolution, up from 1.04m-dots to 1.84m-dots for crisper detail. Sadly, the display is still fixed – we would have liked to see a flip-out screen.

The EVF is an updated unit with 2.36m-dot resolution and 0.74x magnification – that's both larger and more detailed than before.

That mega 60x zoom is now equipped with a new Zoom Compose Assist function. At the push of a button, the FZ80D / FZ82D will quickly zoom out, enabling you to locate your subject once more and recompose your shot: losing your subject is a common issue at such telephoto zoom settings.

Otherwise there's not a lot else that's new in the FZ80D / FZ82D, besides the fact that presumably it will be readily available once it hits the shelves later this month, which is more than can be said for the aging Lumix bridge cameras like the FZ80 / FZ82 that are now hard to find.

It'll also be the cheapest bridge camera once it replaces the FZ80 / FZ82 in our guide to the best bridge cameras after review, with a list price of $479 / £429 / AU$849.

It's shame that the Lumix FZ80D / FZ82D is just a modest refresh of its seven-year-old predecessor, but the move by Panasonic shows that there is still a place for these superzooms in 2024.

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Mirrorless cameras are the cream of today's camera crop, but there's still a small (but dedicated) market for bridge cameras. The best bridge cameras are a great choice for anyone looking for a camera and lens combination that can cover just about every shooting situation, so long as you don't mind sacrificing some image quality.

With versatile zoom ranges and DSLR-style handling, bridge cameras are the photographic jack of all trades. If we had to choose just one bridge camera to shoot with, it would be the Sony Cyber-shot RX10 IV. While its 1-inch sensor can’t compete with the best full-frame cameras on outright quality, it still leads the class and captures superb detail in images and video. Its 24-600mm lens is hugely flexible, too. Sony recently discontinued the RX10 IV, but it can still be found at a few retailers and, for now, remains our top pick.

We've highlighted bridge cameras for every use case and budget in this guide, as well as a few cameras that didn't quite make the cut but are still worth checking out. Our team has tested and reviewed each of the cameras featured below, so you know our advice is grounded in real-world testing. Bridge cameras aren’t a huge part of the modern camera market – we tested some of these models several years ago. However, we’ve kept our advice up to date with relevant comparisons and pricing.

Why you can trust TechRadar's choices

TechRadar's expert reviewers have extensively tested every bridge camera in this guide. We've spent more than 15 years reviewing cameras in real-world scenarios, including the kind of situations you'd typically use a bridge camera for, especially wildlife photography. Each camera featured here has earned its spot by performing reliably in the field, relative to its price.

The best bridge cameras

Below, you'll find full write-ups for each of the best bridge cameras, as well as a link to our in-depth reviews. Our team has tested each camera extensively, too, so you can rest assured that our advice comes from trustworthy first-hand experience.

The best premium bridge camera

Sony Cyber-shot RX10 IV sample images

If you're on the hunt for a powerful all-in-one bridge camera, the RX10 IV is hard to beat. Featuring a hugely flexible 24-600mm f/2.4-4 zoom lens, photographers benefit from a generous amount of 'reach' when they can't get close to their subject. The RX10 IV builds on the RX10 III with an overhauled AF system that now does justice to the rest of the camera, and the 1-inch, 20.1 MP sensor achieves excellent levels of detail.

Alongside incredible zoom capabilities and amazing auto focus, the RX10 IV also delivers on the video front. Outstanding 4K capabilities are not commonplace in bridge cameras, but the RX10 IV bucks the trend. It's quite bulky for a bridge camera, and there's no getting away from the hefty price, but the RX10 IV is virtually in a league of its own and is perhaps even deserving of a better name than 'bridge'.

*Sony announced its intention to discontinue the RX10 IV in June 2024. It can still be found at select retailers, and will remain the top pick until it can no longer be purchased.

• Read our in-depth Sony Cyber-shot RX10 IV review

• ^ Back to the top

The best cheap bridge camera

Panasonic Lumix FZ80D / FZ82D sample images

The Lumix FZ80D (known as the Lumix FZ82D outside the US) might be one of the most affordable bridge cameras here, but it still packs quite a punch. The zoom range is impressive, going from an ultra-wide 20mm through to a staggering 1200mm, and benefits from an effective image stabilization system.

There's also 4K recording with Panasonic's 4K Photo, which can shoot 8MP images at 30fps, meaning that you'll never miss out on capturing those split-second moments. It's also very easy to use, with an intuitive touchscreen. We found that the camera was especially easy to use, too, thanks to the intuitive touchscreen. On the other hand, the viewfinder could be better, seeing as there's no eye sensor to automatically switch between the viewfinder and rear screen, and the high-ISO performance can't match larger-sensor, more expensive rivals. That being said, the Lumix FZ80D proves that you don't have to break the bank to get your hands on a reliable bridge camera.

* The Lumix FZ80D / FZ82D was released in August 2024 to replace the FZ80 / FZ82 from 2017, introducing USB-C charging (to adhere to the European Union's Common Charger Directive enforced from 2025) and improved resolution for the EVF and rear screen. Otherwise, the cameras are identical.

• Read our in-depth Panasonic Lumix FZ80 / FZ82 review

• ^ Back to the top

The best bridge camera for zoom

Nikon Coolpix P1000 sample images

The Coolpix P1000 is the follow-up to the P900 and stretches what we’ve come to expect from superzoom cameras a little bit further. It's all down to the lens, which packs a massive 125x optical zoom range, equivalent to 24-3000mm in 35mm terms. Photographers will be hard pushed to find an object that they can't zoom in on – that includes scenery, wildlife, and even the finer details of the moon.

If you need a camera with a 3000mm-equivalent lens, well, it's an easy choice – the P1000 is the only model that ticks the box. Unfortunately, it's not without its weaknesses, including a bulky body, unreliable autofocus, and a sub-standard LCD.

*The Nikon Coolpix P1000 has been replaced by the Coolpix P1100, so all purchase links are to the newer version. There are very few changes between the two models – I've written about the key differences in this Coolpix P1100 vs Coolpix P1000 article. To summarize, the new model has USB-C charging, a few auto scene modes such as Fireworks Show scene mode, selectable AF-area in Bird-Watching mode, plus enhanced Bluetooth and Wi-Fi connectivity. Optical stabilization and the power of the built-in flash are rated slightly lower in the new version.

• Read our in-depth Nikon Coolpix P1000 review

• ^ Back to the top

Also consider

If you're looking to buy a bridge camera new, then it's slim pickings out there. However, if you stumble across any of the below, new or second-hand, they're well worth a look:

Best RX10 IV alternative bridge camera – Sony Cyber-Shot RX10 III: Decent savings could be had over the best premium model by opting for its predecessor, the RX10 III. Sure, you'll miss out on the advanced AF system, 2fps burst shooting, and touchscreen, but otherwise the design is pretty much identical, and you've got the same 24-600mm f/2.4-4 lens and 1-inch sensor combo, with 4K video to boot.

Best all-rounder – Panasonic Lumix FZ2000 / FZ2500: A budget pick compared to Sony's RX10 line, Panasonic Lumix FZ2000 / FZ2500 offers the next best image quality, with a like-for-like 1-inch sensor and a 24-480mm, f/2.8-4.5 zoom, complete with 4K video and a neat live cropping mode.

Best value – Canon PowerShot SX70 HS: This is the best pick for Canon fans – a conventional bridge camera with a mega 65x zoom, paired with a small 1/2.3-inch sensor and RAW format stills. Handling is decent, with full manual control, reasonable stabilization and autofocus performance, a fully articulated screen (it lacks touch sensitivity, though), and a decent electronic viewfinder.

Kodak PixPro AZ653 – Kodak is probably the most active brand in the bridge camera space, and announced the new PixPro AZ653 in July 2025. We are working on a review and will update this page once the review is complete.

How to choose the best bridge camera

How we test Bridge Cameras

When spending such a significant amount of money, you want to make sure you're buying something that will not only last well but also fit your particular requirements. To help you make an informed decision, we have spent countless hours thoroughly testing every camera in this guide.

The first part of our tests involves handling the camera and getting a feel for its design and build quality. By using the camera on a tripod and handheld, we are able to assess who the camera is designed for and whether it'll stand the test of time.

Following on from this, we put a formatted SD card into the camera and shoot both RAW and JPEG formats. We take RAW images into an editing application such as Lightroom to see how far we can adjust exposure, highlights, and shadows.

Burst shooting is tested by using our test settings (1/250 sec, ISO 200, continuous AF) before shooting a series of frames in front of a stopwatch to see if it lives up to its advertised speeds.

Another vital element in terms of performance is the camera's ability to quickly find focus in autofocus mode. We test this using different types of subjects as well as in various lighting conditions. Alongside this, we'll shoot a variety of different photos and put metering through its paces. In all of this, we're also assessing the camera's ability to handle noise.

In terms of battery life, we use the camera from full charge to empty, and then make a note of the number of shots that it was able to take. This is then compared to the camera's CIPA rating. As most cameras have video functionality now, we'll also put it into video mode and test its resolutions, frame rates, and live view mode.

With all of this in mind, we write a final verdict that brings everything together.

Bridge cameras like the Nikon P950 are among the few 'small sensor' camera genres that still make sense in the smartphone age. Despite not having an APS-C or even 1-inch sensor, their enormous zooms makes them way more versatile than phone cameras, particularly if you like shooting wildlife. 

The Nikon P950 follows the five-year-old P900, sitting just below Nikon’s range-topper, the Nikon P1000. The P950 has a 83x optical zoom, which leaves you with 24-2000mm (equivalent) to play with – the same length as its predecessor, but a touch below the 3000mm equivalent offered by the P1000. 

Another feature inherited from the P900 is the same 16MP 1/2.3-inch sensor, but there have been some notable improvements. 

There’s a new 2.4m-dot electronic viewfinder, 4K video recording, Raw format support and 7fps shooting. In other words, this is a camera which has been finessed from its predecessor to make it a much more attractive all-rounder. But is it enough to tempt you to part with your cash?

Nikon P950 release date and price

• Announced at CES in January 2020
• The Nikon P950 is available to buy right now for £799 / US$796 / AU$1,399
• It's currently only available in black

The Nikon P950 was announced at CES back in January 2020 as a follow-up to its 2015 model, the P900. The P1000, with its 125x optical zoom, stays in the line-up as the “premium offering”. Since the P1000 is older, at the time of writing, there isn’t actually that much of a difference in price – so you may want to consider whether you’d be better off going for the more advanced model.

Targeted at nature and wildlife photographers, the P950 is the ideal choice for those who like to photograph garden birds or local wildlife, but don’t want the expense and hassle of a multiple lens setup with a DSLR or mirrorless camera.

Build quality

• Chunky and unwieldy – especially at full zoom 
• Lots of dials and buttons for quick access to certain settings
• Screen is fully articulating, but not touch-sensitive

The P950 has stuck to the form of the P900, which means you get a chunky camera which could quite easily be mistaken for a DSLR. If you’re thinking that sounds too bulky for a travel camera, it’s important to remember that if you were to pack the equivalent focal length in DSLR lenses, you’d definitely need to upgrade your luggage allowance.

You can zoom the lens in and out by using either a rocker switch around the shutter release, or a secondary switch on the barrel of the lens itself. Once the lens is at its full extension, the size of the P950 effectively doubles – you’re going to stand out from a crowd if you’re waving this about. It also makes the camera fairly unbalanced, so you might want to consider investing in a tripod if you’re planning to take shots in the garden of local wildlife, or even of the moon.

Speaking of nature and wildlife shots, keeping a subject in the frame can be tricky when working at very long focal lengths, especially if that subject is moving. To assist with that, there’s a button on the side of the lens which you can hold down to zoom the lens out, giving you the opportunity to relocate your subject. 

Once you’ve found it, release the button and the lens will go back to the previous zoom position it was in. You can customize this setting so the amount it zooms out varies, which can be helpful depending on the kind of thing you’re photographing.

Another dial on the side of the lens can be used to control various settings depending on what you think you’ll need quick or frequent access to. The default setting is to control exposure compensation, but you could also use it for settings such as shutter speed, aperture, ISO or white balance.

The top of the camera is set up in a similar fashion to Nikon’s DSLRs. This means you’ll find a mode dial for choosing between the various exposure modes the camera offers, including the standard P/A/S/M modes, plus fully automatic, creative control, birdwatching, night and a custom mode. A dial towards the back of the top plate can be used to adjust shutter speed.

All of the buttons and dials on the back of the camera are grouped on the right-hand side, and if you’re familiar with Nikon’s cameras, you’ll be at home here. Buttons here include a video record button, a playback button, a menu button and so on. An 'OK' button can be pressed if you want to change the focus point. 

A 2359k-dot viewfinder includes a sensor for automatically detecting when the camera has been lifted to the eye. This 'finder is one of the key improvements made to the P950 over its predecessor, being over twice the resolution. It’s a much better experience and gives you a decent view of the scene in front of you. 

There’s also a 3.2-inch fully articulating screen at 921k-dots. Sadly, touch-sensitivity hasn’t been included, but being able to position it fully forwards is useful for video and selfies. 

Performance

When the light is good, the P950 focuses quickly and generally accurately. If you’re looking for a travel camera to mainly use in good light, then overall it’s a good performer. 

Focusing is a little slower at the furthest reach of the telephoto lens, while in lower light conditions you’ll notice that the lens hunts a little before finally locking on to the target. There are some occasions when the lens fails to lock onto the target at all – generally in low light and with the zoom extended. 

The fastest frame rate available with the P950 is 7fps, which is reasonably useful for moving subjects, but there are better performers on the market. If you find you’re frequently trying to capture moving subjects, a bridge camera like the Panasonic FZ2000 is likely to be a more sensible option for you, thanks to its “4K Photo” functionality.

The P950's quoted battery life has been reduced when compared to the predecessor. This is presumably a result of the higher resolution viewfinder, with 290 shots per charge quoted, compared to 360 for the P900. 

In actual real-world use, it’s likely that you’ll get more than the quoted amount – you can safely expect it to last a day of moderate use. If you do find you need to charge it while on the go, another improvement from the predecessor is the addition of USB charging.

Image and video quality

As the P950 uses the same sensor and lens combination as the older P900, the image quality remains roughly the same, although you now get the boost of Raw shooting (more on that later). 

You might think that a camera boasting the same image quality as a five-year-old model is a little disappointing, but it’s clear that Nikon has concentrated on certain elements of usability over boosting image quality. 

That said, the P950’s sensor puts in a good performance, especially in favorable light. The small sensor struggles a little in low light, producing images which display noticeable grain, so if low light shooting is something you do a lot of, this isn't the camera for you.

Noise is evident from around ISO 1600, even at relatively small sizes, so it’s best to keep to as low an ISO number as possible. At the wide-angle end of the lens, you can shoot at f/2.8, which is helpful for letting in lots of light, but at the telephoto end, the maximum aperture is f/6.3. Sticking to good light situations for your zoom shots is therefore recommended if at all possible. 

The addition of Raw format shooting on the P950 is a significant boost. Even though image quality hasn’t necessarily been improved from the P900, the fact that you can made adjustments in post-production gives you a little added flexibility to fix problematic shots.

Overall, exposures tend to be well-balanced when using the all-purpose metering setting, while the automatic white balance setting is also a good performer under a variety of different lighting conditions.

Video performance has been upgraded thanks to the addition of 4K recording. This is probably not a camera that will be used by serious videographers, but with the articulating screen and external microphone socket, it could be a good choice for travel vloggers.

Verdict

Although it might seem like the P950 represents a fairly gentle evolution of the existing P900 model, some of the upgrades are pretty significant. 

Being able to shoot 4K video and in Raw format are perhaps the headline features. But improving the electronic viewfinder is another important update that improves the overall usability of the P950. 

That said, Nikon hasn’t done quite enough to make the P950 as appealing as it might be. The biggest omission has to be neglecting to include a touch-sensitive screen, while the decision to stick with a single UHS-I memory card slots also represents a restriction when it comes to fast shooting. 

As is always the case with pretty much every camera, there is a compromise to be made when you choose something like the P950. This is a model which is designed to appeal to those for whom zooming is the most important thing – perhaps for those who like to go on garden safaris or day trips without being bogged down for multiple lenses. 

At around £800/$800/$1400, it’s a relatively hefty investment for what is, at heart, a 'compact' camera. If you have a little bit of wiggle room in your budget, you could plump for the more advanced Nikon P1000, which isn't currently much more expensive.

It’s a decent performer, but there are certainly more flexible all-rounders on the market for those not too bothered by the ability to zoom.

The competition

• These are the best bridge cameras you can buy right now

No-one makes eccentric superzoom bridge cameras like Nikon, but rather than try and outdo the Nikon P1000's 125x optical zoom, the company has instead released an upgraded version of its 83x optical zoom model called the Nikon P950 at CES 2020.

The successor to the Nikon P900, the P950 doesn't change a whole lot – in fact, it feels somewhere in between a firmware upgrade and genuine step up from that 2015 model, which was the first bridge camera to have 83x optical zoom when it launched.

The fundamentals remain the same as before – 83x optical zoom with a maximum f/2.8 aperture, backed by a 1/2.3-inch, 16MP sensor – but Nikon has tweaked the design and software to more closely match the P1000, while plugging some feature gaps that P900 fans have been crying out for. 

The two main improvements are the ability to shoot 4K/30p video and support for Raw shooting, which was a glaring omission on its predecessor. If you fancy shooting video alongside your travel stills, there’s further good news in the form of a built-in mic jack and accessory shoe, which means you can now attach an external mic to the camera.

• These are the best travel cameras you can buy right now
• Or read about the best compacts cameras 2020
• Find out how to master long exposure photos with Apple's favorite iPhone app of 2019

Bridging the features gap

More minor tweaks include a new OLED EVF, which is now double the size of its predecessor and has a far better 2.36-million dot resolution, and the same zoom controls as the P1000. 

So who is the new Nikon P950 for? Bridge cameras have traditionally been aimed at travelers who want the versatility and handling of a DSLR, but without the hassle of carrying around a bag of lenses. And while smartphones and small, mirrorless cameras have dented their appeal in recent years, the new P950’s equivalent of a 24-2000mm zoom range remains appealing for those who are planning to shoot a range of different subjects, from wide-angle buildings to distant wildlife, but want to retain image quality.  

That said, if you don’t need the new P950’s 4K video skills or Raw capture, then its predecessor may prove to be better value. The P950 will cost £799 (about $1051 / AU$1513) when it arrived on shelves in early Spring 2020. That’s significantly more than the original P900 (2015), which has been hovering at around 40% less than that, and may now drop even further. 

• Check out all of TechRadar's CES 2020 coverage. We're live in Las Vegas to bring you all the breaking tech news and launches, plus hands-on reviews of everything from 8K TVs and foldable displays to new phones, laptops and smart home gadgets.

Is this the Leica V-Lux 5? That's the question we asked a week ago after a handful of leaked images surfaced online – and the manufacturer has now confirmed that it is, indeed, the Leica V-Lux 5.

The Leica V-Lux 5 is a new superzoom-style bridge camera that's described as one of the most multifaceted cameras in the company's product portfolio.

• Here are the 10 best cameras for travel in 2019
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Helping support those claims is a 20MP 1-inch sensor and a Leica Vario-Elmarit lens that's equivalent to 24-400mm in 35mm terms, together with a wide f/2.8-4 maximum aperture, optical image stabilisation and 4K video recording to an impressive 60p.

The model also packs a newly developed EVF with 2.36million dots across its OLED panel, together with a 3-inch touchscreen that can flip out from the body and be adjusted to all kinds of positions.

There's also Focus Stacking and Post Focus options, as well as Bluetooth that allows it to be hooked to a smartphone for image transfer and remote shooting.

If all of this sounds familiar, that's because the camera appears to be a rebadged Panasonic Lumix FZ1000 II that was announced a few months back. Leica and Panasonic have long been development partners, and this seems to be the latest of many models based on an existing Lumix camera.  

You can pre-order the The V-Lux 5 now for $1,250 in the US, £1,050 in the UK and AU$1,900 in Australia, although there's no official word on when shipments will start.

• Best bring camera 2019: 10 cameras that pack huge zoom lenses

The PowerShot SX70 HS is Canon's latest bridge camera, and an update to the aging PowerShot SX60 HS. 

While the 65x optical zoom range running from 21-1365mm hasn't changed over its predecessor, there are a number of other updates. These include a new 20.3MP back-illuminated CMOS sensor that's paired with Canon's latest DIGIC 8 image processor, which should see an improvement in image quality over that from the 16.1MP chip used by the SX60 HS.

The arrival of the DIGIC 8 has also boosted the performance of the PowerShot SX70 HS's image stabilization system according to Canon, reducing camera shake by up to five stops, while the new camera can also shoot 4K video at up to 30p, improving on the SX60 HS's Full HD video capabilities.

The burst shooting speed has also taken a big step up, with the new camera capable of shooting at up to 10fps compared to 6.4fps, although this does drop to a more modest 5.7fps with continuous AF.

Similar design, new viewfinder

The design of the PowerShot SX70 HS follows the DSLR-inspired design of the SX60HS, but the new camera gets a new 2.36-million dot OLED electronic viewfinder, compared to the 922k dot LCD display on the older model. The SX70 HS also gets a handy eye sensor to automatically activate the EVF when you raise the camera to your eye, while there's now a useful zoom switch on the barrel of the lens.

The PowerShot SX70 HS has lost the hotshoe that was on the SX60 HS, although we can't imagine that this will be a big issue for most potential users. As well as JPEG and raw shooting options, the SX70 HS also now supports Canon's CR3 raw format, which offers smaller file sizes. 

The Canon PowerShot SX70HS will be available from November priced at £519.99 / $549, with pricing in Australia to be set at the dealer's discretion. 

• Best bridge camera: 10 cameras that pack huge zoom lenses

The new Nikon Coolpix P1000 is for photographers who felt that the mammoth 83x optical zoom on the P900 didn't offer quite enough reach.

The P1000 delivers the almost unthinkable telephoto reach of 3000mm, with the entire 125x zoom range from 24-3000mm. Featuring a maximum aperture of f/2.8-8, it's a little slower at the long end of the zoom compared to the f/6.5 offered by the P900, but the P1000 does offer an extra 1000mm of coverage.

3000mm not quite enough for your needs? Then the 250x Dynamic Fine Zoom feature on the P1000 delivers a mind-blowing 6000mm equivalent, though be prepared to sacrifice some image quality. 

To keep things steady, the P1000 features Nikon's Dual Detect Optical VR technology that delivers up to 5-stops of camera shake compensation, though we reckon you'll still need to use a monopod or tripod when shooting with those extreme focal lengths at the long end of the zoom range.

To help framing when using the long end of the zoom, the P1000 features a snap-back zoom button which temporarily expands the field of view for super-telephoto shots, so you can find your subject and reframe.

While zoom bridge cameras like Sony's RX10 IV enjoy a large 1-inch sized sensor, the P1000 features a smaller 1/2.3-inch back-side illuminated (BSI) CMOS chip with a resolution of 16MP - a physically larger sensor would force the camera to be impractically large. Good news as well is that the P1000 now offers raw capture - something the P900 was lacking. 

New control layout

Nikon has also refined the control layout over the P900, with the P1000 now featuring a dedicated focus mode selector, while a new control ring round the barrel of the lens allows for adjustment over a range of customisable settings, including exposure compensation, white balance and manual focus. 

The P1000 features a built-in 2.3-million dot OLED electronic viewfinder (EVF) as well as a vari-angle 3.2-inch display, though it's a little disappointing not to see touch control included here. 

With such a long zoom range, its no surprize to see a dedicated Moon Mode and Bird Watching Mode, with the P1000 automatically adjust settings to optimize the camera for these subjects. 

There's also 4K movie recording with stereo microphones, an external mic input, a time-lapse mode, while the P1000 features Wi-Fi and Bluetooth connectivity as well.

The Coolpix P1000 will be available from September priced at $999.95 / £999 / AU$1,599. 

• The 10 best bridge cameras you can buy right now

The Sony RX10 III was announced in March this year, less than a year after the RX10 II which, according to Sony, the new camera doesn't replace. The most noticeable difference is the inclusion of a variable aperture (f/2.4-4) mega zoom lens, with a reach of 600mm (25x optical and 100x digital zoom), and with this comes a substantial increase in size and weight.

[Update: The RX10 III has been replaced by the RX10 IV, which brings a host of improvements, most notably the increase to 24fps burst shooting and an improved AF system. The core features - including the design and built-in 24-600mm lens remain the same though.]

Like the RX10 II, the RX10 III is aimed at the serious enthusiast end of the market – photographers looking for ultimate image quality and telephoto reach in a bridge-style package.

Features

• 1.0-inch CMOS sensor, 20.1MP
• 24-600mm f/2.4-4 zoom lens
• 4K video capture

The RX10 III has the same 20.1MP 1-inch stacked Exmor CMOS sensor, and offers the same excellent 4K video functionality, as the RX10 II. In fact most features and functions are identical, and the main talking point is the large and impressive Zeiss 24-600mm lens. Only the Canon Powershot G3 X has the same reach, if we compare other bridge cameras with 1-inch sensors, with the much older Panasonic Lumix FZ1000 only going to 400mm.

The variable aperture of f/2.4-4 still makes this a pretty fast lens, certainly compared to the competition, and it boasts hugely impressive minimum focusing distances of 3cm at the wide end and 72cm at the long end.

As with other Sony compact and bridge cameras, a large range of shooting options and photo modes are included, with 3:2, 4:3, 16:9 and 1:1 formats for both raw and JPEG images. Maximum resolution is 5472 x 3648 pixels in its native 3:2 format. Sensitivity ranges from ISO100-12,800, expandable to ISO64-25,600.

Single shot autofocus (AFS), continuous (AFC), direct manual focus (DMF) and full manual focus (MF) are available, with Sony's very effective focus magnification and focus peaking options making the latter easy to use.

The EVF and tilting rear LCD are both high quality; the latter isn't a touchscreen, but unless you're using the camera on a tripod a touchscreen wouldn't be particularly practical given the size and weight of the camera.

There's no getting around the bulk of the Sony RX10 III. It's very well made and comfortable in the hand, but I suspect many more casual users will be deterred by its size (and price) and, if they want such long telephoto reach, may opt instead for the Canon Powershot G3 X or possibly the Panasonic Lumix FZ330/ FZ300, which has a smaller sensor but also offers 4K shooting, and impressed us last year. The Canon suffers from a slower lens and no included EVF by comparison, but the Lumix FZ330/ FZ300 does benefit from a constant f/2.8 aperture, albeit with a much smaller sensor.

However, if you want the ultimate image quality in a bridge camera, it's hard to look beyond the class-leading performance of the RX10 III's Zeiss Vario-Sonnar T* lens, and I'm sure enthusiasts looking for more reach and a highly specified camera will be attracted to this. Whether they'll be prepared to pay the £1,250 ($1,500, AU£2,150) price tag is another matter. That price is likely to fall post-launch, but at the moment it's around double the cost of both the G3 X and the Lumix FZ1000 (the Lumix FZ330/ FZ300 is cheaper again). That said the RX10 III is in a league of its own in some respects, so it's likely to find a market, albeit a niche one.

• The 10 best bridge cameras you can buy right now 

Build quality and handling

• Dust- and moisture-resistant
• Comfy handgrip
• Weighs 1095g

The first thing I noticed when I took the Sony RX10 III out of its box was just how large and weighty it is compared to other bridge cameras I've used. At a little over a kilo in weight (1050g or 2.3lbs with battery and SD card) it feels more DSLR like in-hand. It measures 132.5 x 94.0 x 127.4mm (5.25 x 3.75 x 5.12 inches), and feels substantially larger and heavier than the likes of the Canon G3X. Much of this is down to the sizeable glass of the 24-600mm equivalent, 72mm diameter lens.

Although plastic-feeling, the build is reassuringly solid and its generous, protruding-front grip and rounded body style means you're able to grip the camera securely and comfortably. Those with small hands may find the grip a little too large, but it feels in proportion to the size of the camera. I found the ergonomics very good, with buttons and dials falling in the right place for my hands.

The on/off switch is toggle-style, and is incorporated into the shutter button on top of the front grip; it's easy to access and clicks reassuringly. A lever to the front of this allows you to zoom the lens. The shutter button is also threaded, meaning you can use an old-style cable release. The RX10 III powers up pretty quickly, although there's inevitably a short delay while the lens extends to its start-up position of 24mm.

The mode dial (left) and exposure compensation dial (right) both have a textured side and just the right amount of resistance, making them easy to adjust precisely. Two customizable function buttons, an LCD light and the pop-up flash button are also included on the right, and behind these is a small LCD panel that displays key settings. The small but solidly built pop-up flash and hotshoe complete the top plate layout.

An aperture ring is included to the rear of the lens, and can be de-clicked for video use. There are also two textured rings for zoom and focusing. I found it easier to zoom in small increments using the lens ring rather than the lever on the front grip. I found the focusing ring responsive and easy to use, with a conveniently located focus hold button to the left of the lens. A focus mode switch is included on the bottom left of the camera body; I found it slightly fiddly, but quick access to this feature is welcome.

Much of the rear of the RX10 III is taken up by the impressive 1,228,800 dot, tilting 3-inch LCD screen. The XGA OLED electronic viewfinder is excellent and boasts a 2,359,296 dot resolution. It's responsive, clear and bright, and works well with glasses. It has 0.7x magnification, an eye sensor to allow automatic switching between EVF and LCD, and a generous diopter adjustment. A lens hood is included, as well as a pinch-style lens cap.

Menu and movie buttons sit either side of the EVF. The rear control dial and control wheel operate smoothly and are easily accessed, enabling you to select and adjust various menu items and settings. The control wheel and center button also enable you to change the placement and size of the focus area when using flexible spot AF. AE lock, quick function, playback and delete buttons complete the line-up; the latter can also be used as a third custom function button.

• The 10 best compact cameras you can buy right now

Performance and image quality

• Lens is nice and sharp
• AF and be a bit sluggish in poor light
• Excellent results from the 20.1MP 1-inch sensor

Based on my experience with the RX10 II version of the camera I was expecting the new 24-600mm lens on the Sony RX10 III to impress, and I wasn't disappointed. The lens performs extremely well throughout its zoom range; details are perhaps not quite as crisp as from the RX10 II's lens, but given the far greater reach of this lens that's not surprising.

At most focal lengths the lens is remarkably sharp wide open. At its wider end I did notice softness at the far left side of the frame, suggesting possible decentering in my review camera, as the right side was tack-sharp. However, at telephoto focal lengths, the image is impressively detailed across the frame, right up to 600mm.

Sharpness increases marginally when stopping down slightly, but there's very little in it. Diffraction becomes more noticeable by f/11, although with a little more sharpening applied details are still very good. I would avoid going much above this if possible – by f/16 there's a noticeable fall-off in quality, as you'd expect.

Click here for the full-resolution image

Click here for the full-resolution image

Click here for the full-resolution image

Out of focus areas are rendered pleasingly, although f/2.4 is only available up until 35mm, with f/4 the widest aperture available above 100mm. This does mean that isolating subjects from their background can be a challenge at times, but the RX10 III still beats most of the competition in this respect. Distortion and chromatic aberration are both very well controlled throughout the range; I struggled to notice any examples of either, after photographing a range of subjects in varied conditions.

The lens is able to resolve both close and distant details, and its impressively close focusing distances of 3cm at the wide end and 72cm at the long end make it extremely versatile. Most potential purchasers of this camera are likely to shoot primarily in raw, but I was also impressed by the quality of the RX10 III's JPEGs. Colours are punchy and pleasing, with plenty of options for customization, and resolution and dynamic range are both very good.

Even at higher sensitivities I was impressed with the quality of the JPEG files. I found that using noise reduction at its lowest setting gave a good compromise between detail and noise, with files very clean and detailed up to ISO1600; the raw files do have more detail but the difference is surprisingly small. Above ISO1600, JPEG quality is still remarkably good, with very manageable noise levels, and I'd have no hesitation making A3 prints from files at ISO6400. Above this the files are certainly usable, but I wouldn't want to be making large prints.

Click here for the full-resolution image

Click here for the full-resolution image

Click here for the full-resolution image

Metering is accurate, and I was impressed with the dynamic range of the sensor, for both raw files and JPEGs, even without utilizing any of the HDR options. Auto white balance (AWB) is very accurate in sunny conditions, but tends to be a little on the cool side in shade, with a slight magenta bias; in such conditions selecting Shady gives a pleasing image, if very slightly on the warm side.

Autofocus is a bit of a mixed bag with the RX10 III. At wider focal lengths the AF is pretty snappy, working well for both still and moving subjects. At the longer end of its range, however, AF is really very slow, even with still subjects; it's accurate, once it's found its target, but the lens is prone to hunting.

Not surprisingly, this is exacerbated if you're trying to track a fast-moving subject at longer distances: my usual test, trying to focus on my dog as it ran towards me, was definitely a step too far for the RX10 III. For closer and slower-moving subjects I found I could get good results using centre lock tracking and the slow burst rate. The lack of blackout during continuous shooting is a definite bonus, and makes it far easier to follow your subject.

Click here for the full-resolution image

Click here for the full-resolution image

Click here for the full-resolution image

Sony's SteadyShot image stabilization is very effective and, with Auto ISO enabling you to set a minimum shutter speed, you can customize the settings to ensure camera shake shouldn't be an issue. It's a big camera, though, and a long lens, particularly when extended, so I found a minimum setting of 1/125 sec was a safe option at longer focal lengths; at the wider end 1/25 sec was readily achievable.

Although the RX10 III is suited more to enthusiasts, Sony has included a wide range of scene modes, creative styes and picture effects, which are fun to use and will no doubt be welcomed by some users. At the opposite end of the scale it's good to see options such the ability to use the self-timer in conjunction with bracketing, as well as many other features found on Sony's higher-end system cameras.

Video enthusiasts won't be disappointed with an excellent range of filming options, with 4K and HD modes and the ability to extract 8MP stills from 4K movies. The High Frame Rate (HFR) feature is a great option, enabling you to create slow-motion videos; and I was also very impressed with the camera's ability to handle mixed and contrasty light when shooting movies.

Verdict

The Sony RX10 III is thoroughly enjoyable to use in most situations, with a superb 24-600mm f/2.4-4 zoom lens and a bright and detailed electronic viewfinder. It's packed with features and functionality for both stills and video enthusiasts, and delivers class-leading stills and movie image quality.

It's let down somewhat by its autofocus, and some may be put off by its relatively large size and weight; however, as long as action photography isn't high on your list the RX10 III is hard to beat as an all-in-one and travel camera, albeit one that comes at a price.

• The 10 best cameras you can buy right now 

Editor's Note

• Original review date: October 2017
• Still the most recent model
• Launch price: $1,700 / £1,500 / AU$2,000
• Official price now: $1,699 / £1,499 / AU$1,784

Update: July 2024. Seven years after its release and the Sony Cyber-shot RX10 IV remains the best bridge camera money can buy, with 1-inch 20MP sensor and impressively sharp and versatile 24-600mm F2.4-4.0 lens. However, because it doesn't feature a USB-C port for charging, it will be stripped from sale in the EU after December 28 when the EU's Common Charger Directive comes into force. Will Sony refresh the existing model with a USB-C port to keep it on sale, launch an upgraded Mark V version with Sony's latest tech, or kill the line altogether? We'll know soon enough, but if you've got your eye on this best-in-class super-zoom, you might have to act fast.

The Cyber-shot RX10 IV is Sony's latest high-end bridge camera, aimed at the enthusiast who wants an advanced all-in-one camera that doesn't compromise on performance.

It wasn't long ago that bridge cameras were a dirty word in photography – they may have looked like DSLRs, but their performance and image quality were anything but. But, thanks to the likes of the original Cyber-shot RX10, with its 1-inch sensor, that all changed.  

Four generations on we arrive at the RX10 IV, and while at first glance it may appear that little has changed from the RX10 III, Sony has furnished its latest camera with a host of new features. Packing a long, fast zoom lens, large sensor (for and bridge camera at least), and performance that, on paper at least, would make some advanced DSLRs blush, is this the ultimate bridge camera, as well as one of the best travel cameras?

Sony Cyber-shot RX10 IV: Features

• 1.0-inch CMOS sensor, 20.1MP
• 24-600mm f/2.4-4 zoom lens
• 4K video capture

Like the previous generations of the RX10 series the RX10 IV sports a 20.1MP 1.0-inch sensor, but takes advantage of Sony's latest EXMOR RS CMOS stacked sensor design. This, combined with the BIONZ X image processor borrowed from the Alpha A9 and front-end LSI, delivers a serious bump in performance. 

The RX10 IV can now rattle off an impressive 24fps (and that's with full autofocus and auto exposure functionality active), and can focus in 0.03 seconds, while the sensitivity range runs from ISO100-12,800, and is expandable to 64-25,600.

The lens design remains the same, with the RX10 IV using the same Zeiss Vario-Sonnar T* 24-600mm f/2.4-4 optic. The combination of a massive zoom range with a fast variable maximum aperture certainly makes this a versatile proposition for many photographers, allowing you to shoot everything from broad vistas to tightly framed action and wildlife images.

Such an extreme focal length introduces a serious risk of camera shake when you're shooting, and to compensate the RX10 IV features Sony's built-in Optical SteadyShot image stabilization system to enable the use of shutter speeds 4.5 stops slower than would normally be required to achieve a sharp shot.

The RX10 IV keeps the same 2.35 million dot EVF, but the arrival of the new BIONZ X processor means display lag during continuous shooting has been improved. The 3.0-inch tilt-angle display has also been revised, with resolution getting a modest boost to 1.44 million dots, while touch functionality is now featured, with Touch Focus supported. 

The RX10 IV also becomes the latest RX series camera to offer 4K (QFHD 3840 x 2160) movie recording at 24/30p, while Sony reckons its Fast Hybrid AF system (more on that in a bit) offers focusing speeds twice as fast as the RX10 III when shooting video. If you're happy with 1080p footage, this can be captured at up to 120fps, while S-Log2/S-Gamut 2 and S-Log3/S-Gamut3 are also supported. The RX10 IV can also capture a 720p stream alongside the 4K footage to help speed up editing.

There's a mechanical shutter with a maximum speed of 1/2000 sec, while the RX10 IV also employs Sony's electronic high-speed Anti-Distortion Shutter, which is designed to eliminate the ‘rolling shutter’ effect commonly experienced with fast-moving subjects. When this is engaged the RX10 IV can shoot completely silently a maximum shutter speed of 1/32,000 sec.

Finally, there's the full range of connectivity options to choose from, with Wi-Fi, NFC and Bluetooth offering hassle-free transfer of images to your smart device via the PlayMemories Mobile app.

• The 6 best bridge cameras you can buy right now 

Sony Cyber-shot RX10 IV: Build quality and handling

• Dust- and moisture-resistant
• Comfy handgrip
• Weighs 1095g

Even for a bridge camera, the Sony RX10 IV is a chunky affair – weighing in at 1,095g it makes some DSLRs look lightweight. When you consider that Sony has managed to squeeze a 24-600mm optic into the body, however, it begins to look incredibly compact for what it offers. A Nikon 600mm f/4 telephoto prime lens, for instance, is almost four times the weight of the RX10 IV – and that's just the lens. Granted, that's not quite comparing like with like, but it does make you appreciate what a neat all-in-one solution this camera is, despite its bulk.

As you'd hope for with a camera demanding this amount of cash, the finish is very good. The RX10 IV is constructed from a blend of magnesium alloy and polycarbonate, and is dust- and moisture-resistant, while the generous handgrip enables you to keep a firm hold the camera even when the lens is extended. 

The control layout is pretty much the same as on the RX10 III, although the RX10 IV gains a new focus limiter button that's positioned on the left-hand side of the camera. This gives you the option to choose between the RX10 IV's entire focus range, or from 3m to infinity.

Back-button focusing can be incredibly useful, especially when you're tracking moving subjects, and while the RX10 IV doesn't have a dedicated button, as some premium DSLRs do, it's now possible to activate the camera's AF with any of the custom buttons – we reckon the AEL button positioned just below the rear command dial is the best choice for this.

The large lens barrel sports three lens rings controlling aperture, zoom and manual focus. If you wish, you can also zoom using the rocker switch encircling the shutter button, while the aperture ring can be either click-less, or set to click every third of a stop if you prefer. 

Overall, handling is very good. The controls are laid out in a logical manner, while the menu system has been refined. There are still reams of options, but the video settings are now in one sub-section, making it that bit easier to navigate. 

Sony Cyber-shot RX10 IV: Autofocus

• 315-point phase-detection AF
• 0.03 sec focusing speed
• Enhanced AF

The biggest update to the Sony RX10 IV over the RX10 III is the arrival of on-sensor phase-detection autofocus. And Sony hasn't scrimped on AF points either, with a total of 315 phase-detection points covering 65% of the frame. 

Because the RX10 IV takes advantage of the same BIONZ X image processor as Sony's flagship Alpha A9, it also enjoys the luxury of using the same autofocus algorithms used for focus tracking as in Sony's top-flight mirrorless camera. This is known as high-density AF tracking, and concentrates AF points around a subject to improve tracking and focus accuracy, with Sony claiming that even the most unpredictable subjects should be captured with ease.

Sony reckons focusing speeds should be as quick as 0.03 sec, and in use it's hard to dispute that – even at the 600mm end of the zoom range focusing speeds are very swift for static subjects. 

Flick the RX10 IV into AF-C (or AF-A, a new mode that Sony has added that will choose between AF-S and AF-C based on its assessment of subject movement), and it continues to impress. In fact, the tracking performance of the RX10 IV is nothing short of excellent – we haven't seen this level of performance on a bridge camera before, and it would embarrass some advanced DSLRs.

We shot with the AEL button programmed as our back-button focus control (and with the shutter button therefore only required to trigger the shutter), and with Lock-on AF: Flexible Spot M mode selected as our Focus Area. And, just as we experienced with the Alpha A9, a exorbitant array of AF points light up the viewfinder as it tracks your subject round the frame. What's really nice is that when you add in the Touch Pad AF control, which allows you to guide the AF area round the rear display with the camera raised to your eye, it's quick and easy tell the camera where you want to focus.

For those shooting a lot of portraits, Sony's Eye AF technology does exactly as the name suggests. Activate this and the camera will lock on to you subject's eye, and hold focus and track the eye for as long as the mode is activated (it's initially set via centre button at the rear of the camera).

Sony Cyber-shot RX10 IV: Performance

• 24fps burst shooting
• 5-axis image stabilization
• 400-shot battery life

The 14fps burst shooting on the RX10 III was already impressive, but the Sony RX10 IV's 24fps burst shooting puts it in a class of its own for a bridge camera, even trumping the 20fps offered by the Alpha A9. 

You might have to ask yourself whether you actually need this kind of performance (if you don't, it can be set to 10 and 3.5fps), but for those who do, you can rest safe in the knowledge that the camera will sustain this rate for up to 112 raw or 249 JPEG files, with full AF and metering.

The RX10 IV's EVF doesn't disappoint either, rendering a crisp and clear view, while the broad dynamic range of the display means its suited to a range of scenes. There are no quibbles when it comes to the rear display either – resolution is good, while colors and detail also look good. 

The touchscreen integration is welcome – especially the AF functionality – but Sony could have gone much further here. Frustratingly, it's not possible to navigate the menus via the touchscreen (something that would be really useful given how comprehensive they are), or swipe through images when reviewing.

The 24-600mm f/2.4-4 lens impresses, performing extremely well throughout the zoom range. There's a hint of vignetting when the lens is wide open, but overall the lens is very sharp considering the extreme focal range it covers. 

More good news is that Sony's built-in SteadyShot image stabilization system is very effective and, with Auto ISO enabling you to set a minimum shutter speed, you can customize the settings to ensure that camera shake shouldn't be an issue. We managed to shoot as slow as 1/125 sec and still achieve a sharp shot at 600mm.

The RX10 IV's metering system did an excellent job; even under tricky lighting conditions it seemed to cope well, while the camera's Auto White Balance was also very accurate.

Battery life has actually reduced a little from the RX10 III, dropping to 400 shots per charge compared to 420. This could perhaps be attributed to the newer sensor and the demands of the image processor.

Sony Cyber-shot RX10 IV: Image quality

• ISO100-12,800, expandable to 64-25,600
• Decent dynamic range
• Noise controlled well at high ISOs

With the Sony RX10 IV packing a similar sensor to the RX10 III and RX100 V, images didn't throw up any unpleasant surprises. For a 1-inch sensor camera, the RX10 IV is capable of delivering some very pleasing shots at a range of ISOs, while the dynamic range available means it's possible to recover a decent amount of detail in raw files.

Resolution is very good, and you should have no qualms about making a decent A3 print from an RX10 IV file, especially if you shoot at under ISO800, where image noise is nicely controlled. Even if you go above that (and let's be honest, you probably will), things are still very good. At ISO1600 color noise is just starting to appear in shadow areas of images, while at ISO3200 there are hints of both color and luminance (grain-like) noise present. It's still more than satisfactory though, especially if you shoot in raw, as you can mitigate these effects in post. We'd resist going above ISO6400 if possible, although if you really have to you'll still be able to get acceptable results, provided you're realistic about how large you'll be able to print.

Sony Cyber-shot RX10 IV: Verdict

The RX10 IV suggests that Sony has listened to the main criticism levelled at the RX10 III, namely the slightly frustrating autofocus performance, and delivered an excellent bridge camera.

The AF performance now does justice to the camera, making it a viable option for shooting wildlife and action, especially if you want to rattle off images at 24fps – while we found that burst rate to be overkill, there will certainly be some applications where it's useful. 

Stills and video image quality are impressive from the 1-inch sensor, while handling is very good. There's still room for improvement though – the arrival of some touchscreen functionality is welcome, but this could be integrated even further. 

The biggest sticking point that's likely to deter potential purchasers is the price. The RX10 IV is almost twice the price of its closest direct competition, while there are also several tempting DSLR and mirrorless rivals to consider. However, you'd find it impossible to get a similarly-capable camera and lens combination to match the RX10 IV for a similar amount of money – and when you take that into account the price starts to look less outrageous.

It's also the case that not everyone wants to invest in a system with multiple lenses, and for those looking for a powerful all-in-one solution, the Sony RX10 IV is the best camera out there. It comes at a price, but there's nothing else quite like it. 

Sony Cyber-shot RX10 IV: Also consider

With DSLRs and mirrorless cameras seemingly dominating the camera market you could be forgiven for wondering where, exactly, a bridge camera sits within this competitive arena. But they do offer something unique.

Bridge cameras stand apart from other formats because they provide a powerful zoom lens capable of shooting wide-angle and extreme telephoto. And since the lens isn’t removable there’s no need to carry additional lenses and risk sensor dust while changing them. 

The Panasonic Lumix FZ80 (known as the FZ82 outside the US) follows a succession of attractive and feature-packed bridge cameras from Panasonic; it's a small and lightweight all-in-one camera capable of shooting practically any subject you point it at - and at its current price point, it's also one of the best cheap cameras available to buy.

Key features

• 1/2.3-inch High Sensitivity MOS sensor, 18.1MP
• 20-1200mm f/2.8-5.9 zoom lens
• 3.0-inch touchscreen, 1,040,000 dots

The FZ80 / FZ82 manages to cram in a 60x optical zoom, which provides a very broad focal range of 20-1200mm, so perfect for squeezing loads into the frame or zooming into your subject. 

Unlike some of the much higher-priced bridge cameras we've seen recently, like the FZ2000 / FZ2500, which sports a large 1-inch sensor, the FZ80 / FZ82 employs a 18.1MP 1/2.3-inch chip, which in real terms is the same size as that found in many entry-level compact cameras.

The difference between this and a compact, however, is the enormous zoom range and DSLR style controls that are on offer, not to mention the 4K video and stills functionality, which we’ll get to later. With the smaller physical sensor size in mind the resolution has sensibly been kept below 20MP, which will help to reduce noise levels when shooting at higher ISO settings. 

The ISO range itself has been kept within a narrow but usable range, running from ISO80-3200, so in low-light conditions you'll almost certainly need to use the built-in optical image stabilization, or, for longer exposures/slower shutter speeds, mount the camera on a tripod.

Start-up time is slow compared to some cameras, with a lag of around one second when switching the camera on and off. It’s not the end of the world, but when many cameras offer fraction-of-a-second start-up times it would certainly be welcomed here.

However, what the FZ80 / FZ82 lacks in speed when you turn it on, it more than makes up for with a number of functions designed to help you capture split-second action.

4K Photo is an innovative feature found on higher-spec Panasonic cameras, so to see it on an entry-level model such as this is fantastic. This feature allows you to capture a burst of 30 frames per second at 4K resolution, which is 3840 x 2160 pixels, from which you can extract an 8MP image. 

This is large enough to print up to just under A4 size, so perfect for snapshots. When reviewing images on the FZ80 / FZ82 you can select a single frame from the burst by scrolling through and selecting the best option, which will then be saved as a JPEG.

There are three settings available. 4K Burst is best for fast-moving subjects; here you press and hold the shutter button to capture a sequence of images. There is a 0.5-second delay after pressing the shutter button, so it pays to anticipate the subject and release the shutter early.

For more unpredictable subjects, 4K Burst (S/S) is best. This requires you to press the shutter button to begin capturing a burst, before pressing it a second time to stop. In this mode you can place markers within the burst to help you quickly find the best frame(s) later.

The final option is 4K Pre-Burst, which is more of an all-rounder. With the camera aimed at the subject it will capture roughly one second before and one second after the shutter has been released, giving you the best chance of capturing the perfect image.

These modes are a great feature, and they can be used to capture a range of fast-moving and unpredictable subjects, although they will of course eat up  space on your memory card. If you think this is a feature you’re likely to use often then invest in high-capacity and high-speed SD cards to ensure that your storage is up to the job – you'll also need these if you're shooting 4K video.

If you want to shoot high-resolution video you’ll be pleased to hear that the FZ80 / FZ82 offers 4K recording at up to 30p, Full HD at up to 60p, HD at up to 100p and VGA at up to 200p. While the latter option is extremely low-quality, shooting slow motion can be a lot of fun. Sound can be recorded in both stereo and mono using the built-in microphone, but there's no socket for an external mic.

Another innovative 4K feature of the FZ80 / FZ82 is Post Focus mode. In this mode you take a shot, and you can then touch the screen to select the point of focus. It’s a handy feature, although with such a small sensor depth-of-field is generally quite large, so it's more appropriate for shooting close-ups or macro that for general subjects.

• The 10 best bridge cameras you can buy right now

Build and handling

• Manual, semi-auto and auto modes
• Poor EVF
• Weighs 616g

Considering the Panasonic Lumix FZ80 / FZ82 weighs 616g with battery and SD card, it feels surprisingly light in the hand. This is due to the well-balanced design that’s not dissimilar to that of an entry-level DSLR, and which features a comfortable grip and thumb plate on the back. In fact, a quick glance at the camera and you could easily mistake it for a DSLR.

On the top you’ll find the familiar mode dial offering direct access to the most commonly used shooting modes, including manual, aperture priority, shutter priority, program, Intelligent Auto, Creative Video, C (Custom), Panorama Shot, Scene Guide, Creative Control and video.

Buttons in general have been kept to a minimum, and are all clearly labelled, so finding your way around as your skills grow shouldn’t be a problem. Menu-based shooting modes include Multi Exposure, Time Lapse Shot and Stop Motion Animation.

The menu system is similarly well laid out and easy to navigate, although once the desired file format and quality are set you could quite easily stay out of the menu for some time, taking advantage of the various direct access buttons on the camera body to access the most commonly used settings.

Moving round to the back of the Panasonic FZ80 / FZ82, you’ll find a clear and crisp, fixed 3-inch 1,040,000-dot LCD touchscreen that can be used to tap-focus and change settings, as well as to compose shots and review images.

You can also use the LCD to select the focus point when composing with the 1,170,000-dot electronic viewfinder (EVF), which is a nice touch – just watch out for your nose touching the screen and changing the focus point.

The LCD screen is great, but when shooting with the lens zoomed in it can be more effective to use the EVF. That said, while the image in the viewfinder is clear, it's let down by a low magnification, so it’s small and feels like it’s at the end of a short tunnel – this makes it difficult to read the camera settings that are visible, and moving back to the LCD for this can prove more comfortable on the eye.

Another point worth mentioning is that the EVF lacks the punchy colours and contrast of the LCD. On the plus side the EVF eyepiece sits out from the body, which avoids the need to squash your face up against the back of the camera. There isn't an eye sensor though, so you'll have to manually switch between the EVF and LCD.

Autofocus

• 1cm minimum focus distance
• Fast AF
• Full sensor point selection

The FZ80 / FZ82 delivers lightning-fast AF that locks onto subjects almost instantly as you depress the shutter button halfway. And when shooting with the lens set to 20mm you can take advantage of a minimum focus distance of 1cm when AF Macro is set, although as you extend the zoom the minimum focus distance increases, to 1.5m at 1200mm.

It would be great to be able to focus at a shorter distance with longer focal lengths, but this is a standard behavior of telephoto lenses, so it’s not out of the ordinary.

Focus modes include Face/Eye Detection; Tracking, which will identify and track moving subjects in the frame, 49-area auto selection; Custom Multi, which allows you to set an AF point pattern in the desired area and save custom settings; 1-area single point; and Pinpoint, which shows a zoomed area around the pinpoint area selected.

There’s also a Manual focus mode, which allows you to autofocus and then locks the focus at that setting. It’s not manual focus as you know it – you don’t turn a focus ring – but it will be handy for situations where focus needs to remain locked on a specific part of the frame.

As on most Panasonic Lumix cameras you can select a single AF point by simply touching the LCD screen when in 1-area mode, and this can also be done while using the EVF; using the thumb and forefinger to pinch allows you can change the size of the single AF point. The overall simplicity of operation here reflects the overall ease of use that’s evident across the camera’s overall design. 

• The best travel zoom compact cameras

Performance

• Optical image stabilization
• 4 sec – 1/2000 sec mechanical shutter
• 330-shot battery life

The jewel in the crown of the Panasonic Lumix FZ80 / FZ82, which we’ve already mentioned, is the fast contrast-detect AF; Panasonic says this can lock onto subjects in as little as 0.09 secs, and it certainly is fast. 

To further assist with the capture of fast-moving action, the FZ80 / FZ82 can shoot at up to 10fps, although it can only do so in single-shot AF mode; in continuous AF mode it can manage 6fps, which is a good figure, but continuous AF is more likely to be used for moving subjects, and is where a higher frame rate is more beneficial. 

The number of shots you can expect from a fully charged battery when using the rear LCD is 330, while if you're using the EVF this drops to 240. The thing about a camera such as this, with a motorised zoom, EVF and LCD is that you’re always going to be drawing power, so the true battery life will depend on a number of factors, including how much you're zooming in and out, and the settings and features you’re using.

For shooting in low-light conditions, or at shutter speeds not fast enough to support the focal length of the lens, the Lumix FZ80 / FZ82 features Panasonic's Power O.I.S. Image stabilization, which is excellent. Whether you’re shooting stills or video the stabilization is highly effective, even when shooting at the maximum focal length of 1200mm. During our testing we found it was possible to shoot indoors at shutter speeds as low as 1/5 sec with the lens at 20mm.

The FZ80 / FZ82 offers Wi-Fi connectivity for easy image-sharing, with options in the menu to connect to a Wi-Fi enabled TV. The easiest way to connect a smartphone or tablet to the camera is using the Panasonic Image App – this allows you to browse and share images remotely, as well as view a live feed from the camera and change settings.

Since it’s a Wi-Fi connection it can sometimes be fiddly to connect the camera, and, once connected, losing the link between smart device and camera isn’t uncommon. That said, it’s a handy feature that’s definitely worth investigating.

Image quality

• ISO80-3200
• Impressive lens performance
• In-camera effects

The limitation of any bridge camera compared to other types of cameras with larger sensors is always going to be image quality. With such a small sensor noise will be present even at ISO100, and the Panasonic FZ80 / FZ82 is no exception. In an ideal world you wouldn’t want to shoot at higher than ISO800, as sharp subject edges and detail begin to suffer even at this level; ISO1600 could suffice in an emergency, but ISO3200 is extremely noisy.

The best strategy to maintain image quality, of course, is to keep the ISO as low as possible, using flash for portraits and a tripod for landscapes and other static subjects. Shooting raw will allow you to apply more bespoke noise reduction to images than shooting in JPEG, where the camera applies processing, although JPEG processing isn’t too bad up to ISO800.

The bottom line when it comes to image quality is that, in order to pack in features such as the 20-1200mm zoom, a small sensor is a necessity.

The Lumix DC Vario lens is made up of 14 elements in 12 groups, using aspherical lenses, aspherical surfaces and ED lenses, and features an f/2.8-5.9 maximum aperture. The lens exhibits very little, if any, barrel distortion at 20mm or pincushion distortion at longer focal lengths. High-contrast subject edges can suffer from chromatic aberration, but it's not too bad considering the focal range of the lens, and is easy enough to correct in post-processing.

If image processing is something you haven’t yet got to grips with, then shooting JPEGs will be the obvious choice for you, and if you want to apply particular styles to your images then the Panasonic FZ80 / FZ82's Creative Control mode has 22 effects that you can apply to your shots in-camera.

Some of these are actually very good – which ones you like or dislike will come down to personal taste. Once selected the effects are visible on the LCD or through the EVF, although with some effects requiring fairly heavy processing the live view can become laggy. Also, when using these effects the camera goes into Auto mode, so you lose control of ISO, aperture and shutter speed, but you can use exposure compensation, select focus points and adjust the overall strength of the effect.

• The 10 best compact cameras you can buy right now

Verdict

The Panasonic Lumix FZ80 / FZ82 sets itself apart from interchangeable-lens cameras by offering all the controls you need for all types of photography, alongside a lens with a 20-1200mm focal range – and that zoom range alone makes a compelling case for amateur photographers to choose the FZ80 / FZ82 for use at home, on days out or on holiday.

Features such as 4K stills are designed to make the capture of fleeting moments even easier, and within the grasp of those who haven’t spent a lifetime behind the camera working professionally. The camera is incredibly easy to use, and the menus feel light and not at all intimidating, making it ideal for beginners.

The biggest let-downs are the EVF magnification, and the lack of an eye sensor to automatically switch between Live View on the LCD and the EVF. Noise at the highest ISO settings the camera offers is high, but shouldn’t prove too much of an issue for the photographers this camera is aimed at.

Put into context, though, none of those are deal-breakers, and when weighed against the convenience, features and price, the Panasonic Lumix FZ80 / FZ82 is an attractive proposition for beginners who are looking to take more control of their photography without the need for a bag full of lenses.

If you’re looking for a camera that will, forgive the pun, bridge the gap between compacts and DSLRs, the FZ80 / FZ82 will do just that, and very well.

Competition

Canon PowerShot SX60 HS

The Canon PowerShot SX60 HS features a 16.1MP rear-illuminated sensor powered by the DIGIC 6 processor. A 65x optical zoom provides an impressive focal range of 21-1365mm, and there's Intelligent IS with 5-axis Enhanced Dynamic IS for smooth handheld video and shooting stills with slow shutter speeds. The minimum focusing distance is advertised at 0cm.

Read the full review: Canon PowerShot SX60 HS

Sony Cyber-shot HX400V

The Sony Cyber-shot DSC HX400V sports a Carl Zeiss Vario-Sonnar T lens offering a 50x optical zoom with a focal range of 24-1200mm and Optical SteadyShot stabilization. The 20.4MP Exmor R CMOS sensor is powered by the BIONZ X image processor, and the camera can be connected to smart devices using NFC or Wi-Fi, while GPS allows you to geotag your images.

Read the full review: Sony Cyber-shot HX400V

Nikon Coolpix B700

With a high resolution of 20.3MP you can make some large prints from the Nikon Coolpix B700. For sharing images easily online and taking control of some camera functions the B700 features Nikon Snapbridge, with apps available for iOS and Android. The lens offers 60x optical zoom, with a focal range extending from 24-1440mm, and is supported by 5-stop dual-detect optical VR (vibration reduction).

• What camera should I buy?

Panasonic has long offered a respectable range of superzoom cameras within its Lumix portfolio, but the Lumix FZ1000 was still a notable addition when it arrived three years ago. The reason? While it adhered to the same formula as previous FZ models, by employing a 1.0-inch-type sensor it promised far better image quality than we'd expect from such a camera.

This, combined with its DSLR-style body, meant it became a natural rival to the Sony Cyber-shot RX10, a camera that also married a long zoom with the same size of sensor. Sony has since updated its camera twice, most recently with the Sony RX10 III, while Canon has also muscled in on the action with its 1.0-inch-sensor-toting PowerShot G3 X. Now, Panasonic is fighting back with the FZ2500 (it's called the FZ2000 outside the US).

The new model arrives with a longer lens than its predecessor’s, together with a handful of updated features, and the FZ1000’s video specs sweetened with a few extra additions. Indeed, the level of control offered by the camera over video recording is exhaustive, and way beyond what we’re used to seeing at this level. This video functionality is centred around the camera’s ability to capture 4K footage, with some of the changes made to the new optic helping to record more professional footage – more on this later.

While understandably pricier than the FZ1000 it supersedes, the FZ2500 / FZ2000 is currently cheaper than its closest rival, the Sony RX10 III. True, the two aren't completely equal in every area, with optical capabilities, battery life and weight being the main points of difference. Nevertheless, the FZ2500 / FZ2000 will no doubt be an attractive alternative for anyone interested in the RX10 III, but perhaps less keen on its asking price.

Features

• 1.0-inch CMOS sensor, 20.1MP
• 24-480mm f/2.8-4.5mm zoom lens
• Built-in ND filters

Every camera we've seen to date with a 1.0-inch-type sensor has offered a 20MP pixel count, and the FZ2500 / FZ2000 follows suit. Panasonic isn't claiming that this is in any way different from the sensor inside the FZ1000, so it’s reasonable to assume that this has been carried over. 

The sensor features a back-illuminated construction for more efficient light capture, and a sensitivity range that runs from ISO125 to ISO12,800, although it’s possible to expand this to settings equivalent to ISO80 and ISO25,600 should you need to.

This sensor works in harness with a Venus processing engine, and together these allow for 4K video capture, now in both 4K UHD (3840 x 2160) and 4K DCI (4096 x 2160) flavours. You can record at 30p and 24p frame rates, at a rate of 100Mbps, and if you switch to Full HD and you can record at up to 60p at 200Mbps.

As we've come to expect from Panasonic, the 4K video functionality is complemented by a wealth of supporting options, and on the FZ2500 / FZ2000 these stretch from fun and novelty settings to those you tend to only see in pro-grade equipment. 

You can, for example, use the Creative Controls when recording, instantly adding effects such as Toy Effect and Rough Monochrome to footage. You can also use the useful Live Cropping feature to pan or zoom across the frame without manually having to do so, with the camera outputting the results in Full HD quality.

There’s also focus peaking and zebra patterning for focus and exposure respectively, while more advanced options include adjustment to the Master Pedestal Level, appending Time Code and colour bars that conform to the SMPTE, EBU, ARIB standards. You can also output 10bit footage with 4:2:2 chroma subsampling through the HDMI port to an external recorder, and opt for a V-LogL option to give you a better starting point for post-production, although this latter option is a chargeable extra.

Video recording is also improved by changes made to the optic. There’s a new guide-pole mechanism that’s said to minimise shifts in the position of the image when zooming, and this works with an internal zoom structure to help keep things even more stable as the lens moves. Panasonic also says that a new galvanator-type actuator helps to smoothly adjust the nine-bladed diaphragm for more discreet changes in brightness, while the further incorporation of two ND filters allows for three levels of filtration – useful for video recording.

The lens itself spans a 20x optical zoom range, covering focal lengths equivalent to 24-480mm in 35mm terms – the far end of the zoom range is shown above. This is broader than the 25-400mm range offered by the FZ1000. It has a variable maximum aperture of f/2.8-4.5 and is equipped with a Hybrid O.I.S. system that promises correction over five axes, although this doesn't quite offer maximum correction when recording in either 4K quality or when using high-speed shooting for slow-motion footage. 

Once again Panasonic has opted for the same partnership of an electronic viewfinder – or 'Live View Finder' in Panasonic parlance – and an LCD screen that can be pulled away from the body, although changes have been made from those on the FZ1000.

While the LCD screen is still 3.0 inches, for example, Panasonic has increased its resolution slightly from 921K dots to 1.04 million dots, and also made it touch-sensitive. It’s also increased the magnification of the EVF from 0.7x to 0.74x, although its 2.36 million-dot resolution remains the same.

Internally, everything is recorded to an SD, SDHC or SDXC card, with support provided for the UHS-I Class 3 standard, although the HDMI port is there should you want to output footage to an external recorder. Wi-Fi is also on board, although unlike on the FZ1000 there’s no NFC technology alongside. In another move that will please videographers, the mic socket has been joined by a headphone port, which allows for audio to be monitored during recording.

• The 10 best bridge cameras

Build and handling

• DSLR-style design
• Built-in flash and hotshoe
• 966g

Anyone who's used to the FZ1000 may notice that the FZ2500 / FZ2000 is somewhat heavier, and with only a handful of physical differences between the cameras it seems this is down to the new optic. Historically, one issue with these sorts of cameras is that the camera becomes unbalanced as the lens zooms from one extreme to the other, although the internal zoom and focus systems prevent this from being an issue.

The camera sits nicely in the hands thanks to the deep rubber grip, and the abundance of physical controls allow for key settings to be accessed very quickly. User-friendliness is further aided by several customisable Fn buttons, including three on the lens barrel and five virtual buttons in the menu. Some may see this as overkill – and the virtual buttons are admittedly small and cramped – but it’s difficult to dispute that you can really make this camera work how you want it to.

The FZ1000 had one ring around its lens barrel, and on the FZ2500 / FZ2000 this is joined by a second ring just in front of it. The default setup has the broader of the two rings operating the zoom and the narrower one adjusting focus, although the collar around the power switch is arguably the easier way to zoom the lens, so you may wish to use this for day-to-day shooting.

These two rings, alongside the dials on the top plate, are designed from metal and add a touch of solidity to the camera, while the generous use of rubber around the grip is appreciated, although Panasonic doesn't state that the camera is weather-resistant to any degree. A few drops of rain here and there probably won’t do much harm, but it’s a shame when you consider the four-figure outlay – and the fact that weather-proofing is offered on rival cameras.

Autofocus

• Light Speed AF system
• Depth From Defocus (DFD) technology
• Post Focus, Focus Bracketing and Focus Stacking

Panasonic has put a great deal of work into its autofocusing technology, and it shows. In good light the system locks onto subjects without delay, and it performs almost as well even in less ideal conditions. As is generally the case, there’s slightly more hesitation at the telephoto end of the lens than the wide-angle, but even here performance is still very good.

Those using the FZ2500 / FZ2000 for action will be pleased to learn that the camera not only tracks subjects around the scene with great dexterity, but manages to keep them focused when set to the AF-C option too. The system did much better than we expected here, only occasionally drifting away from the subject when challenged with detail that was particularly bright, or similar in appearance to the subject. It did lose particularly erratic subjects on occasion, although these would outfox many more advanced DSLRs.

Panasonic also deserves credit for the extent to which it supports the camera’s focusing system with a range of options, from pinpoint focus for accuracy to its effective face recognition system. Even when using manual focus there’s a surprisingly broad range of options, with 10 different peaking colours across two peaking levels, together with the option to move the magnified portion of the frame to whichever area is most relevant using the touchscreen.

If we do have a complaint, it’s that it’s not as easy to adjust the camera’s focusing point as it is on cameras with a joystick-type control. You can use the menu pad’s directional buttons, and even the touchscreen, when using the viewfinder, but the facility to move the point more conveniently with a single physical control would make this far easier.

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Performance

• 12fps burst shooting (50fps with electronic shutter)
• 5-Axis Hybrid O.I.S system
• 2.36 million-dot Live View Finder

The FZ2500 / FZ2000 is capable of shooting at 12fps continuously, although this drops to 7fps should you want the autofocus system to keep a lock on moving subjects. When using the electronic shutter, however, it’s possible to boost this to 50fps at the camera’s maximum resolution. 

Battery life is rated at around 350 images when using the LCD and 270 images when using the viewfinder, although you can typically extend it by adjusting your power management settings. Helpfully, you can also charge the camera through its USB 2.0 port, which is great if you happen to be by your computer or if you’ve misplaced your charger. This is also handy for travel and holidays – ideal applications for the FZ2500 / FZ2000 – as you can travel without a bulky charger.

The camera’s five-axis image stabilisation system is clearly effective, and makes a significant difference to keep things steady at the telephoto end. Furthermore, the dual axis levelling function is perhaps one of the better systems of its kind, clear enough to show that the camera is level without posing an obstruction to details in the scene.

Another change Panasonic has made from the FZ1000 is an increase to the viewfinder’s magnification, from 0.70x to 0.74x (in 35mm terms). This places it at the same level as many compact system cameras and some DSLRs, and its performance is very good in both good lighting and more demanding conditions. Details are clear, while noise and artefacts are both low, and the feed is nice and fluid.  

The new touchscreen on the FZ2500 / FZ2000 is a massive help too, particularly when you’re using the LCD screen for composition, and even more so when it’s pulled away from the camera and used down low or up high. 

The screen is highly sensitive, which makes it easy to focus on subjects by touch, and its visibility in harsher light is better than expected – looking closely you can see that it's quite close to the outer panel, which helps to combat reflections. Its excellent sensitivity, however, is also something of an issue, in that it’s very easy to inadvertently move the focusing point, or select an option by simply brushing against it.

The sensitivity and protrusion of the viewfinder’s eye sensor also mean it’s easy to deactivate the LCD screen when you’re using it, particularly when shooting at hip or ground level. You can reduce the sensor's sensitivity a touch through the menu, though, and this helps a little.

One of the main impressions you develop through use is just how responsive the FZ2500 / FZ2000 is in a range of situations. For example, even though you have to wait a brief moment for the lens to fully extend upon powering it up, the camera is ready for action with very little delay. 

Browsing through the menus reveals no lagging, and with the right card in place shot-to-shot times are very good too. The touchscreen is slightly less responsive to pinching than anticipated, although it responds well to double-tapping.

Image quality

• In-camera raw processing
• +/-5EV (in 1/3EV steps)
• 4K DCI and 4K UHD video recording

The fact that the FZ2500 / FZ2000 appears to use the same sensor as the FZ1000 means we have a rough idea of what to expect in terms of image quality, although the new lens and any tweaks to processing will alter things slightly. In any case, the news is generally good.

The quality of video footage is very good, with a high level of detail and no particular artefacts evident. While the clarity isn't quite up there with the kinds of results we see from Panasonic’s Micro Four Thirds cameras, the FZ2500 / FZ2000 still does a very good job, and manages to suppress most noise in everyday footage.

The image stabilisation system helps to keep things calm at longer focal lengths, and rolling shutter is well controlled too. With the further advantage of reasonably clear audio, the camera can certainly produce great results here, with just a little manual intervention.

The FZ2500 / FZ2000's metering system doesn't appear to have any real issues, only occasionally leaning slightly towards underexposure, and otherwise performing well. Similarly, the Auto White Balance system manages to reproduce colours accurately under both natural and artificial lighting, and we was impressed by how faithful images looked at the default settings; you may want to intervene when capturing images in overcast conditions, though, as they can appear a little lacklustre otherwise.

Noise isn't problematic at the lower end of the sensitivity scale, and images generally retain their integrity well until around ISO1600 (as with the image above), where colour noise becomes more aggressive in shadow areas. Images are still usable at this setting, and indeed up to ISO6400, although how useable will depend on the subject, and on how you plan to output the images. 

Detail is generally very good, and if you capture in raw you of course have greater scope for adjustment, although the breadth of control over in-camera JPEGs means it’s quite possible that you’ll be happy to rely on these for everyday shooting. Being critical, images do appear to lack the bite of those from the Sony Cyber-shot RX10 III, although that camera is admittedly more expensive.

It’s worth experimenting with the FZ2500 / FZ2000's noise reduction system if you’re in the habit of only capturing JPEGs; while some may find the default level a little heavy-handed, Panasonic does provide fine control over this if you want to make it less aggressive. If you're only using high-ISO images at smaller print or display sizes you may be perfectly happy with the JPEG options, but if you’re in any doubt, simply shoot raw images alongside and manually process out any noise.

It’s pleasing to find that optical aberrations, which are a particular concern for any camera with such a mammoth zoom lens, are largely absent from images. This is no doubt thanks to a combination of the camera's lens and processing prowess, with distortion corrected very effectively at the wide angle, and only traces visible further up the focal range. Vignetting is also minimal, as are chromatic aberrations, despite the latter being a little more visible at times.

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Verdict

The Panasonic FZ2500 / FZ2000 is an impressive camera, with lofty ambitions that are thankfully matched by strong performance. If you're using it for video recording in particular it’s likely that you’ll be pleased with the results, if somewhat overwhelmed by the level of control on offer. Even so, with 4K video recording cropping up on many cheaper interchangeable lens cameras, the FZ2500 / FZ2000 does appear to be targeted towards a particular niche of photographers, those who need a broad level of video control together with an expansive optic.

Those using the FZ2500 / FZ2000 for stills will also find plenty to like. The camera's autofocus system is excellent, and does a great job of tracking moving subjects, while images show good dynamic range and low noise throughout the lower end of the ISO scale, with optical aberrations well controlled.

Both the EVF and LCD are fine performers in all key areas, while the responsive touchscreen is a huge bonus for ease of use and focusing, particularly when holding the camera in less conventional orientations.

In some respects the FZ2500 / FZ2000 falls a little short of the competition, and image quality is one area where the Sony Cyber-shot RX10 III has a slight but noticeable advantage. However, the Panasonic is cheaper by some margin, and certainly better value, so unless you’re in the habit of pixel peeping it may well be the better model for your requirements.

Competition

Sony Cyber-shot RX10 III

Like the Panasonic FZ2500 / FZ2000, Sony’s current flagship superzoom camera also boasts a 20MP 1.0-inch sensor and 4K video recording, although its Zeiss lens covers a 35mm-equivalent range of 24-600mm, with a wider maximum aperture range of f/2.4-4. It also offers a broader range of high-speed video recording options and a slightly longer battery life, together with a weather-resistant body and a faster top shutter speed. Videographers, however, may be put off by the fact that it doesn't offer a built-in ND filter, and it’s also limited to 8-bit output through its HDMI port.

Read our full review: Sony Cyber-shot RX10 III

Sony Cyber-shot RX10 II

While the Sony RX10 II has been superseded by the above model, it’s still available for roughly the same price as the Panasonic FZ2500 / FZ2000. It doesn't quite offer as broad a focal range as the Panasonic, with a lens equivalent to 24-200mm, although it does at least have the advantage of a constant maximum aperture of f/2.8. Aside from price, there are further reasons to consider the RX10 II over the RX100 III. Its optic, for example, makes the camera considerably lighter, while the ND filter that the RX10 III lacks is included here. If you don’t need the reach of the FZ2500 / FZ2000’s zoom lens, the RX10 II is definitely worth a look.

Read our full review: Sony Cyber-shot RX10 II

Canon PowerShot G3 X

Although the ageing PowerShot G3 X lacks a few niceties of the other models  here, it comes with a far more agreeable price tag. It doesn't stretch to offering 4K video recording, nor does it offer a built-in electronic viewfinder (an optional one is available). Considering how much cheaper it is, it’s still very welcome to find a 20MP 1.0-inch sensor and the decent reach of its 24-600mm f/2.8-5.6 lens, and Canon has thrown in Wi-Fi and NFC too.

Read our full review: Canon PowerShot G3 X

• What camera should I buy? Use our step-by-step guide

Sony has just taken the wraps off its latest bridge camera, the HX350 – but you'll need to pay close attention to the spec sheet to see any noticeable differences compared to the current HX300.

There's the same impressive 50x optical zoom running from 24mm to 1200mm, with Optical SteadyShot anti-shake technology, while the resolution remains the same at 20.4MP.

The tilting rear screen, with a decent 3.0-inch display that sports a 921,000-dot resolution, and the small built-in electronic viewfinder are also the same as on the HX300.

The body design is pretty much identical too – in fact it's exactly the same, so as far as we can tell. The only noticeable change is the upgrade to 1080p Full HD video from the HX300's rather dated 720p HD movie option; 4K would have been nice, but that was perhaps a feature too far for the price point Sony is aiming the HX350 at.

Otherwise, that's about it – a very minor upgrade to the HX300. In fact, the top-line spec looks identical to the HX400V. Available only in Europe for now, the HX350 will go on sale in January priced at €450 – UK pricing to be confirmed.

• The 10 best bridge cameras

Focusing after you've taken a picture is something that just shouldn't be able to happen. Once an image has been formed on the sensor, there's no going back, surely?

This new capability for the Panasonic GX8, G7 and FZ330 sounds reminiscent of the Lytro Illum, a revolutionary 'light field' camera that uses 'megarays' to capture images with three-dimensional depth. It turns out, though, that Panasonic's system is a whole lot simpler – though still rather clever.

Panasonic uses the 4K imaging and processing power of its top cameras to do more than capture 4K video. Its cameras can also use the 4K tech for a super high speed 'burst' mode running at 30 frames per second and capturing 8-megapixel still images measuring 3840 x 2160 pixels. That's less than the native resolution of the sensor but still enough to produce sharply detailed prints right up to A4 size.

How Panasonic's Post Focus mode works

Panasonic has combined its cameras' 30fps 4K shooting capability with its high-speed, high-precision DFD (Depth from Defocus) auto focus technology. A whole series of shots is taken in rapid succession, one for each of the system's 49 autofocus points.

This means shots aren't exactly instantaneous, but assuming the camera runs at its full 30fps it sounds like it should be possible to capture a post focus shot in 1-2 seconds.

There's no real need for a tripod, since there's no focus stacking or image merging technology going on here. Indeed, Panasonic's own Post Focus video (above) shows a photographer using a camera handheld.

As Panasonic explains, you can use this Post Focus mode to experiment with different focus points and background blur, find the perfect focus point for macro shots or just make completely sure that you don't lose the shot of a lifetime to a focus error.

It looks easy to use – you check the shot in playback mode and tap the screen to shift the focus to that area. You can use a 5x zoom feature for extra precision and a focus peaking display to help identify the sharpest areas in a picture. Once you've chosen your focus point, the camera then saves a new image.

The Post Focus update works with the Panasonic GX8, G7 and FZ330 and it's available from November 25th from the Panasonic website.

See also:

• Best CSC/mirrorless camera
• Best bridge camera
• Mirrorless vs DSLR cameras: 10 key differences
• What camera should I buy?

Sony first introduced its convention-defying RX10 bridge camera range back in 2013. Most bridge cameras offer monster-sized zoom ranges you might never use fully, which forces the makers to use tiny 1/2.3-inch sensors that compromise the image quality.

But Sony went for quality not quantity, and stuck to a relatively modest 24-200mm zoom. It doesn't have the telephoto reach of regular bridge cameras, but it still covers the everyday focal lengths most of us use, most of the time. What this lens does offer is a constant f/2.8 maximum aperture, even at full zoom, which means it's going to be much better for low-light photography.

That's not all. The less ambitious focal range has allowed for a more ambitious 1-inch sensor that's much larger than a regular bridge camera's and delivers much higher picture quality.

With the RX10 II Sony has kept to this winning lens and sensor combination and concentrated instead on processing power and speed, and 4K video in particular.

In terms of pixel count, The RX10 II is the same as its predecessor at 20.2 million, but there's a brand new sensor design here – it's the first Sony Exmor RS sensor, and it features a stacked design. There's a DRAM (memory) chip attached to the sensor itself, which allows for a quicker readout that is promised to be 5x faster than the previous design. It also facilitates such features as 40x super slow motion, and it's joined by a Bionz X processor which is also designed for speed.

Another new feature is an anti-distortion (electronic) shutter which is designed to combat rolling shutter in video and enable shooting at up to 1/32000 of a second for stills. This is particularly useful for shooting with wide apertures in bright sunlight, or when you want to capture something particularly fast moving. Sony claims an autofocus speed of around 0.09 seconds, and you can shoot continuously at up to 14fps (frames per second).

The viewfinder has been upgraded too, and now boasts 2,359k dots compared with the 1,440k dots of the original RX10. The rear screen is a 1,228k-dot device which tilts downwards and upwards to help with shooting from awkward angles – it's not fully articulating, though, so it's less useful for portrait-format images. Like its predecessor, the screen isn't touch sensitive, as Sony continues to show resistance to including this feature in its high-end cameras.

A constant aperture of f/2.8 can be maintained throughout the RX10 II's 24-200mm (focal length equivalent) zoom range, which is the same as found on the original RX10. The 8.3x zoom range is a lot shorter than the average bridge camera, and quite a bit shorter than some of the 50x, 60x and even 83x zoom bridge cameras which you can find on the market at the moment – but it's important to remember that very few of these offer an aperture of f/2.8 at the wide-angle end, let alone throughout their zoom range.

Sony has introduced 4K video shooting for this iteration of the RX10, but unlike the RX100 IV announced at the same time it can shoot for 29 minutes and 59 seconds at a time, compared with just five minutes for the smaller camera. Super slow motion video recording is also available, which gives you the option to shoot two- or four-second bursts of video and play them back at speeds up to 40x slower than real time.

One of the criticisms of the original RX10 was its battery life, but Sony has managed to improve that for the updated version, offering a claimed 400 shots compared with 340 for the RX10.

There aren't too many direct competitors for the RX10 II, aside from Panasonic's FZ1000, which also features a one-inch sensor but has a larger 16x (25-400mm equivalent) zoom range. The new Canon G3X, which also features a one-inch sensor but has a 24-600mm equivalent (25x optical zoom) lens also comes reasonably close. Both cameras have variable-aperture zooms, though – only the Sony offers a constant f/2.8 throughout the range.

Sony has kept pretty much the same body design and layout for the second generation of the RX10 as for the first – it's the interior specifications which have changed. If you've used the original RX10, you're going to find the RX10 II very familiar.

This is a substantial bridge camera which could easily be mistaken for a DSLR. It does have a large, chunky grip with a textured coating that makes it feel nice in the hand, but while it's possible to use the camera one-handed, it's more likely that you'll want to use a second hand to steady the lens.

On the top of the camera is an LCD screen which displays key settings, such as aperture and shutter speed. It's useful for quickly checking that you have the settings you want selected, and it can be illuminated if you're shooting in low light.

Also on the top of the camera, within easy reach of your thumb, is an exposure compensation dial, which has just the right amount of stiffness to ensure that you're not going to accidentally knock it in everyday operation. On the opposite side of the top plate is a mode dial on which you'll find one new addition: the HFR mode (high frame rate), which is used for creating super slow motion movies.

Most of the RX10 II's buttons are positioned on the back right of the camera, which makes it easy to change most settings with your right thumb. One notable exception is the main menu button, which is located just next to the viewfinder – it's a button you may find you don't need to press all that often though.

There's also a switch for altering the focusing mode, just next to the lens on the front of the camera – here you can switch between Single, Continuous, DMF (Direct Manual Focus) and Manual Focus. DMF is useful for making fine adjustments after autofocus has been confirmed by the camera, such as when shooting a macro subject.

There are two rings around the RX10's substantial lens. One of those is an aperture ring, which should be appreciated by enthusiasts. A nice touch here is that you can either have it click as you move through the stops, or have a smooth motion – the latter is particularly handy when you're shooting video.

The second ring can be used to extend the zoom lens (alternatively you can use the zoom switch around the shutter release), or for adjusting focus when using Manual Focus.

A 'quick'-type menu can be accessed by pressing the function (Fn) button. This menu is completely customisable, enabling you to switch out functions you use rarely for those you want to change more often. It's very handy to have, and works well in conjunction with the two dedicated customisable buttons. Both the left and right key can also be assigned to a function of your choice too.

By default, to set the autofocus point (if you have Focus Area set to Flexible Spot), you press the central button on the navigational pad, and then use the directional keys to choose the point you need. Although it's quite an easy process, it would be so much quicker if the camera screen was touch-sensitive. You can also set the central button to access another function if you prefer.

Like its predecessor, the RX10 II's screen is not fully articulated, but instead tilts downwards and upwards for help with shooting from some awkward angles, such as low down. You can't flip the screen forward for shooting selfies though.

The RX10 II's viewfinder is excellent, and the increase in resolution over the original RX10 has given it a good boost. There's a sensor that detects when the camera is lifted to your eye and switches the viewfinder on and the screen off – this is a seamless operation that feels very natural. What's more, there's an eyecup around the viewfinder which helps to block out distracting surroundings when you're composing images.

It comes as no surprise that the RX10 Mark II is capable of producing fantastic images. The Mark II builds on the great heritage of the original camera, and we've also seen this sensor working very well in the RX100 IV.

Images (JPEG) straight from the camera are nicely saturated, but still appear realistic when shooting with the Standard Creative Style setting. If you wish to, you can experiment with different Styles depending on the subject you're shooting – some may suit a more vibrant treatment, while others will benefit from a more muted palette.

An impressive amount of detail can be seen in images at the lower end of the sensitivity scale, even when zooming in to 100% – take a look at the feathers on the image of the bird below at full resolution to see what we're talking about.

Images maintain a superb overall impression of detail almost to the very top of the sensitivity scale when viewed at normal printing and screen sizes. It's possible to make a usable A3 print from images shot at ISO 6400, while even images shot at 12800 are usable at smaller sizes if you're really struggling with the light.

Sample image: Having an electronic shutter enables you to shoot at fast shutter speeds while keeping the aperture wide. This image was shot at 1/3200 sec; the fastest speed available from the mechanical shutter is 1/2000 sec. Click here to see the full-size image.

Sample image: This shot offers a great example of how much detail the RX10 II is capable of resolving – have a look at the feathers at 100%. Click here to see the full-size image.

Looking at the corresponding raw images it's clear that significant noise reduction is being applied to JPEG images from around ISO 800 and above. Without this applied to the raw files you can see a degree of coloured speckling throughout the image from around ISO 1600, but there's barely any banding. This means that you can use image processing software to extract a little more detail than is in the matching JPEG, so long as you're okay with a little bit of noise remaining.

Our labs test indicate that the RX10 II's resolution capability outstrips the original camera by some margin, but the signal to noise ratio tests appear to favour the Mark I. This suggests that for this camera Sony has favoured detail resolution over noise reduction, which is good news for detail fans – and remember, if you shoot in raw format you can apply your own preferred amount of noise reduction.

Our sensitivity table images show that the second generation camera is less prone to image smoothing at higher sensitivities. It's also possible to see a better representation of colour tones at the higher end of the scale, which is good news for those who like to shoot in low light.

Sample image: At the widest end of its lens, the RX10 II offers a 35mm equivalent focal length of 24mm, making it ideal for landscape images. Click here to see the full-size image.

Sample image: The same scene shot at the RX10 II's maximum focal length of 200mm (equivalent). Although the RX10 II's zoom range isn't as impressive as some of the 50, 60 and 83x behemoths on the market, you've still got a good degree of flexibility. Click here to see the full-size image.

The Panasonic FZ1000 does outperform the Sony in our labs tests, especially for signal to noise ratio, but the two are very closely matched for detail resolution.

For the majority of shots, the RX10 II's automatic white balance system copes well with different lighting conditions. Under artificial light, colours are very realistic and I felt little need to select a white balance preset. The Cloudy setting can be used to warm up images if you're finding that shots look a little cool under an overcast sky.

Similarly, the RX10 II's general purpose metering system works well to produce accurate and well balanced exposures in a variety of conditions. Most of the time, I elected to leave the DRO Optimiser on automatic. This works by evaluating the scene and adjusting the processing for different areas of the image depending on how much highlights and shadows should be retained.

It's particularly useful (and apparent) when photographing subjects or scenes with areas of high contrast. It can be beneficial to push the DRO Level up to 5 for very high-contrast scenes, although the resulting image can look a little artificial.

Sample image: At ISO 1600 an impressive level of detail retained, while noise is almost non-existent. Click here to see the full-size image.

Sample image: Unlike with Picture Effects, you can use Creative Styles to change the look of images while simultaneously shooting in raw format if you want to rescue a 'clean' version of the image later. Click here to see the full-size image.

Sony's Fast AF system works well to enable very quick focus acquisition, and it's generally accurate too. In lower light, the camera may hunt around for a little longer than the quoted 0.09 seconds, but it always gets there in the end.

Although the zoom range of the RX10 II is limited compared to other bridge models, it should be enough for most situations. Images taken throughout the focal length range are of a good quality, while optical image stabilisation helps to keep shake-induced blur to a minimum at the furthest reach. The fact that you can shoot at f/2.8 throughout the range is also a bonus, of course, enabling fast shutter speeds when shooting handheld.

Sony has been keen to shout about the video capability of its new cameras – not just the RX10 II but the RX100 IV too. Video quality at full HD and 4K from the RX10 II is very good, and the longer shooting time of up to 29 minutes and 59 seconds in 4K makes it more useful for holiday videos and the like than the RX100 IV.

It's possible to see a rolling shutter (jello effect) if you're panning quickly, but this shouldn't be a problem for most amateur videographers, and the effect is less obvious when you're shooting full HD (1080p) video.

We've carried out our full range of lab tests on the Sony RX10 II, but we've also pitted it against three key rivals so that you can see how it compares. We've included the Canon G3 X, which also has a 1-inch sensor but a longer zoom range, and the Panasonic Lumix FZ1000 – another bridge camera with a 1-inch sensor. For comparison, our third rival is the Nikon P900, which is a more typical bridge camera, featuring a huge zoom range but a small sensor.

We've carried out lab tests on the Sony RX10 II across its full ISO range for resolution, noise (including signal to noise ratio) and dynamic range. We test the JPEGs shot by the camera, but we also check the performance with raw files. Most enthusiasts and pros prefer to shoot raw, and the results can often be quite different.

Sony RX10 II resolution charts

We test camera resolution using an industry-standard ISO test chart that allows precise visual comparisons. This gives us numerical values for resolution in line widths/picture height, and you can see how the Sony RX10 II compares with its rivals in the charts below.

JPEG resolution analysis: The RX10 II comes out at the top of the group for resolution, closely matched by the camera most would consider its main rival, the Panasonic FZ1000. The Canon G3 X lags slightly behind, particularly at higher ISO settings, while the Nikon P900 has the lowest resolution figures of all – exactly what we would expect from a small-sensor bridge camera.

Raw (converted to TIFF) resolution analysis: Again, the RX10 II delivers the sharpest results, though the Panasonic and Canon match it pretty closely at low-to-medium ISO settings. The Nikon P900 doesn't figure in our raw test charts, as it doesn't offer raw format shooting.

Sample resolution charts

This is the chart we use for testing camera resolution. The key area is just to the right of centre, where a series of converging lines indicates the point at which the camera can no longer resolve them individually. We shoot this chart at all of the camera's ISO settings, and here are two samples at ISO 200 and ISO 6400.

ISO 200: Click here for a full-size version.

ISO 6400: Click here for a full-size version.

Dynamic range is a measure of the range of tones the sensor can capture. Cameras with low dynamic range will often show 'blown' highlights or blocked-in shadows. This test is carried out in controlled conditions using DxO hardware and analysis tools.

Read: Noise and dynamic range results explained

Dynamic range is measured in exposure values (EV). The higher the number the wider the range of brightness levels the camera can capture. This falls off with increasing ISO settings because the camera is having to amplify a weaker signal. Raw files capture a higher dynamic range because the image data is unprocessed.

Sony RX10 II dynamic range charts

JPEG dynamic range analysis: Disappointingly, the RX10 II lags a little behind the rest for dynamic range when shooting JPEG images – even the Nikon P900 comes out ahead.

Raw (converted to TIFF) dynamic range analysis: The results are similar for raw files. The RX10 II can't quite match the dynamic range of the Panasonic FZ1000, though it's close to the performance of the G3 X if you take the whole ISO range into account.

This is a test of the camera's noise levels. The higher the signal to noise ratio, the greater the difference in strength between the real image data and random background noise, so the 'cleaner' the image will look. The higher the signal to noise ratio, the better.

Sony RX10 II signal to noise ratio charts

JPEG signal to noise ratio analysis: Again, the RX10 II puts in a slightly disappointing result, some way below the signal to noise ratio of the Canon, Panasonic and even the Nikon. All this means in practice, though, is that Sony may have decided to reduce the level of noise reduction in its JPEG files for more natural, if noisier, detail rendition.

Raw (converted to TIFF) signal to noise ratio analysis: In fact the signal to noise ratio of the RX10 II's raw files is much closer to the rest, though it still lags noticeably behind its big rival, the Panasonic FZ1000, right across the ISO range.

Sample Sony RX10 II ISO test results

The signal to noise ratio charts use laboratory test equipment, but we also shoot a real-world scene to get a visual indication of the camera's noise levels across the ISO range. The right side of the scene is darkened deliberately because this makes noise more obvious.

ISO 200: Click here for a full-size version.

ISO 6400: Click here for a full-size version.

Despite its strengths, the RX10 II is, like its predecessor, likely to find favour only with a fairly niche audience. It's by no means a cheap camera, but for those looking for something which is a fantastic all-round model, and which delivers real quality without the hassle (and expense) of interchangeable lenses, it's a serious option.

Its image quality is fantastic, and the new sensor really delivers, producing excellent, vibrant images with bags of detail. Some bridge camera users are fans of huge zoom ranges while others put a premium on image quality, and if you fall into the latter camp you may be very tempted by the RX10 II.

However, if you think you're likely to need extra reach then the Panasonic FZ1000 may be more appealing, offering as it does a 400mm (equivalent) maximum focal length, which is twice the Sony's 200mm maximum – although the Panasonic's maximum aperture does drop to f/4 at full zoom.

The RX10 II is also a little on the large side; some will love that, some will hate it. Most of the bulk comes from the large lens, which facilitates the wide maximum aperture, and for those who are used to shooting with DSLRs it won't be a problem. However, if you're looking for something small and light then you'd do better to look elsewhere.

I found the camera very practical to use, with the aperture ring being a favourite feature. The fact that you can customise many of the buttons to work exactly how you want them too is also a bonus, and it seems like Sony has put some serious thought into how enthusiast photographers want to work.

The viewfinder is excellent, offering a clear and bright view of the scene, while the integrated eye sensor makes it seamless to use. The screen is also good, but because it only tilts, rather than being fully articulating, it's not as useful for portrait-format images. It's also not possible to tilt it fully forward, so selfie lovers may be a little disappointed. There's still no touchscreen here either, and we're not entirely sure why.

We liked

There's still lots to like about the RX10 in its second iteration, but it's the image quality that remains the most impressive feature, even more so with the new stacked sensor design. Being able to shoot at up to 1/32000 of a second is incredibly useful when you want to shoot wide open in bright light, enabling you to keep those creative shallow depth of field effects without overexposing shots.

We disliked

This is a common complaint we have with Sony cameras, but it would be nice to have better flexibility with raw format shooting. You have to switch it off if you want to use Picture Effects or Digital Zoom for example, which adds a frustrating layer of faff and means that you don't have a clean version of the image to work with if you need it down the line.

Most other manufacturers offer you the ability to shoot digital filters in raw, so it's a shame that it's not possible here. A quicker way to switch off (and on again) raw format shooting would be welcome if Sony is particularly reluctant to facilitate dual shooting.

Final verdict

Like its predecessor, the RX10 II is an expensive investment, although you could argue that it represents good value for money. While it's true that a beginner-level DSLR won't cost you anywhere near this amount, you won't find a DSLR lens that offers an f/2.8 maximum aperture over a 24-200mm (equivalent) zoom range.

It's not a question of price – they simply don't exist. So for those who don't want to worry about lugging around a huge kit bag full of different optics it's a great option – travelling photographers in particular may find it appealing. For those on a more limited budget however, the Panasonic FZ1000 can be picked up for a much, much cheaper price at the moment, and offers comparable levels of quality.

The G3 X has been an open secret for some time and we've been featuring it for months on our camera rumors page – but now Canon has announced it officially. The headline feature is its 25x optical zoom, offering the equivalent of 24-600mm.

There are lots of compact travel zoom cameras like the Panasonic TZ70, say, that go even further, while top bridge cameras like the Canon SX60 HS and Nikon P900 offer 65x and 83x optical zooms respectively.

But the point about the G3 X is that it offers a big zoom range in conjunction with a much bigger (and hence better) sensor. Regular travel zooms and bridge cameras use titchy 1/2.3-inch sensors, and that restricts the kind of image quality they can produce, but the 1-inch sensor in the G3 X is four times larger. That means it should capture more detail, produce less noise and – potentially – offer increased dynamic range. It's not as big as the APS-C sensors in most digital SLRs and compact system cameras, but it's half way there.

This is the sensor used in the Canon PowerShot G7 X high-end compact, and we gave that camera 4.5 stars.

Lens is more

The key factor, of course, is going to be the quality of the lens. The 25x zoom range is not especially long on small-sensor cameras, but it's the first time we've seen one with this kind of zoom range on a camera with a 1-inch sensor. Even our favorite bridge camera, the mighty Panasonic FZ1000 (which also has a 1-inch sensor) can only manage a 16x zoom range.

That doesn't make the G3 X better straight away, though. For a start, the FZ1000 has a constant f/2.8 maximum aperture, where the G3 X lens has a variable f/2.8-5.6 lens. And where the FZ1000 has an electronic viewfinder built in, it's an optional extra on the G3 X – which is already pretty expensive.

Other key features

The G3 X is pitched at enthusiasts and offers full manual control and the ability to shoot raw files, as you'd expect from a camera in this class.

It has a dust and drip-proof body, and it can shoot continuously at 5.9 frames per second. The larger should mean it delivers good image quality in low light, too – it has a maximum ISO 0f 12,800. It has Wi-Fi and NFC for remote camera control via a smart device and quick and easy cable-free image transfer.

The G3 X is very adept at movies, too – in fact it reads more like the spec list for a high-end DSLR, not a compact camera. It can shoot full HD at frame rates from 24p to 60p, and it offers manual control of shutter speed, lens aperture and ISO in movie mode. It has a socket for an external mic, as you'd expect, but it also has a headphone socket for monitoring audio during recording. And the Canon's 5-axis image stabilization operates in movie mode too.

For less serious film makers there's a Short Clip Movie mode which captures movies of 4, 5 or 6 seconds in length, and there's a Story Highlights Mode which can automatically assemble stills and video clips into shareable movies.

The G3 X does not easily fit, however, into any existing camera category. It doesn't have the chunky profile of a typical bridge camera, but it measures a pretty substantial 123.3 x 76.5 x 105.3mm (4.9 x 3.0 x 4.1 inches) and weighs a hefty 733g (26 oz). It might look a little like a long-zoom compact travel camera, but its size (mainly the length of the lens) puts it well outside that category.

The Canon PowerShot G3 X goes on sale in mid-July and will cost £799.

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Photographers have joked for years about putting a phone in a camera and now Panasonic has gone and done it with the Lumix DMC-CM1. It's not just big talk; inside the CM1 is the same 1-inch type sensor with 20.1 million effective pixels found inside the excellent Panasonic FZ1000 – the best bridge camera around right now.

Further boosting the CM1's photographic credentials is Leica DC Elmarit lens with a maximum aperture of f/2.8 and 6 elements in 5 groups, including 3 aspherical elements. This has a fixed focal length of 10.2mm, which equates to 31mm in 35mm terms when shooting with an aspect ratio of 4:3, or 28mm with an aspect ratio of 3:2.

Like many compact cameras and mobile phones, the CM1 has a collection of automatic shooting options, but it's also possible to use shutter priority, aperture priority and manual exposure mode. Sensitivity may be set in the range ISO 100-25,600 and shutter speed can be varied between 60 seconds and 1/2000sec.

As usual with Panasonic cameras, the appearance of JPEG images can be varied by using one of a collection of Photo Styles; Standard, Vivid, Natural, Monochrome, Scenery and Portrait. Plus it's possible to adjust Contrast, Sharpness, Noise Reduction and Saturation, of colour images. There's also a collection of 18 filter effects called Creative Control options which can be used to apply effects such as Cross Process, Bleach Bypass and Retro to JPEGs – but they can be used while shooting raw files simultaneously.

As the CM1 uses the Android 4.4 (Kitkat) operating system there area huge range of apps that can be used in conjunction with the camera, including one of my favourites; Snapseed. However, even without extra apps it's possible to adjust JEPGs and apply a collection of effects with a range of colour, frame, brightness and contrast options being available.

One of the big selling points of the FZ1000 is that it can shoot 4K video and this has also been carried into the CM1, although only at 15fps. Full HD footage can be recorded at 30fps. Videos are recorded in MP4 format.

Stills and video may be saved to the camera's internal memory (16GB) or an optional microSD card that can be inserted into the dedicated slot.

Build and handling

From the back, the CM1 resembles are fairly large phone with the 4.7-inch 6,200,000-dot touch-screen that has an aspect ratio of 16:9 taking up almost the entire area. The front however, looks like a fairly minimalist camera with a comparatively wide lens barrel occupying one side.

There are just four controls on the top of the camera (or side of the phone if you prefer to think of it that way). Working left to right is a customisable volume toggle switch (I set it adjust exposure compensation), the power button, a sliding switch to bring the camera to life or set it to sleep and the shutter release. If you prefer, however, the shutter can also be tripped via the button icon on the touchscreen or by using Touch Shutter mode.

An icon in the top left corner of the screen indicates the selected exposure mode. Tapping this brings up a virtual dial that allows you to choose between all the available options. A strip down the right hand side of the screen gives a route to the key controls. Tap the top one in aperture priority mode, for example, and you can choose between setting aperture, exposure compensation, sensitivity and white balance. Once one of these features is selected it can be adjusted either by tapping the desire setting on screen or by rotating the ring around the lens barrel. Tapping the shutter release hides the list, leaving the selected option available for adjustment via the lens ring. It's the sort of system that you find yourself using instinctively without needing to delve into an instruction manual.

Tapping 'Q. Menu' on-screen opens the Quick Menu which gives a route to up to 12 features including metering mode, focus mode and file format. Any of the features can be selected and adjusted with just a couple of taps on the screen.

The main menu is also accessed and navigated by tapping the screen. Thankfully the screen is very responsive to touch so you don't find yourself double-tapping on a frequent basis.

The camera settings can be displayed around the screen, but if you prefer an uncluttered view they can be hidden by tapping the Disp icon. There are three display options to toggle through; one that hides all the data, a second that adds an electronic level and the third which shows all the settings data plus the level.

In bright sunlight it can be very hard to see an image on the screen. Boosting the screen's brightness helps, but that's only possible if you can make out the necessary icon on the screen. Even at the brightest screen setting, however, it can be very hard to see the location of the active AF point and to be 100% confident that the subject is sharp.

While the camera is generally nice and responsive, it takes 2 or 3 seconds to write images, whether they are being stored in the internal memory or to an inserted microSD card. In single shot mode this means that there's a slight delay before you see the captured image and you can take a second. In continuous shooting mode, there's no delay until you stop shooting and then it's only a couple of seconds.

By Matthew Hanson

Much has been made of Panasonic DMC-CM1 the camera, but how does it perform as a phone? Although the emphasis has been put on the camera, the specifications for the phone are pretty impressive, with a high performance Snapdragon 801 system on chip powering the device, with a 2.3GHz quad-core processor at its core.

This is the sort of hardware that is found on some of the top performing smartphones of last year including the HTC One M8, Sony Xperia Z3 and the Samsung Galaxy Alpha. The 801 has been succeeded by a newer version, but it's still a formidable chip, and means that the Panasonic DMC-CM1 performs quickly and smoothly during phone tasks. The 2GB of RAM is also pretty large by smartphone standards, so you can be confident that the Panasonic DMC-CM1 Phone is a suitably powerful phone for the price.

It runs Android 4.4 (also known as KitKat), which is a feature-packed mobile operating system from Google. Again, it's not the latest version (that would be Android 5.0 Lollipop), but it still does and excellent job of running things behind the scenes. You're able to download apps from the Google Play Store, making the Panasonic DMC-CM1 an extremely versatile device.

Android 5.0 is a free upgrade, but it relies on the manufacturers supporting it and bringing it to their own devices, and although we haven't heard what Panasonic's plans are regarding upgrading the Panasonic DMC-CM1 to Android 5.0, there's a decent chance it will happen – and you'll get some nice extra features for free.

The 4.7-inch touchscreen has a resolution of 1920 x 1080, which leads to a high pixel density of 469ppi (pixels per inch). The higher the pixel count, the sharper the image, which makes the Android interface look particularly nice on the Panasonic DMC-CM1.

Browsing websites, watching YouTube videos and looking over the photos you've just taken all look great on the screen as well, and the onscreen keyboard is easy enough to use as well.

Notifications of new emails, messages and phone calls can be slightly obtrusive if you're using the Panasonic DMC-CM1 as a camera, but a small LED just above the screen will flash when you receive a new notification, which is an informative, yet unobtrusive, solution – though you'll need to turn off vibrations and sound cues if you want to be completely undisturbed.

The Panasonic DMC-CM1 also comes with LTE connectivity, which allows for super-fast mobile internet. This makes browsing the web when out and about nice and quick, and the included Chrome browser does and excellent job of displaying web pages. You can also upload and download photos quickly – though you'll want to check your mobile contract before sending raw images, otherwise you might get a bit of a shock when you get the bill.

We've carried out lab tests on the Panasonic CM1 across its full ISO range for resolution, noise (including signal to noise ratio) and dynamic range. We test the JPEGs shot by the camera, but we also check the performance with raw files. Most enthusiasts and pros prefer to shoot raw, and the results can often be quite different.

We've also picked out three of its chief rivals so that you can compare their performance directly.

• Panasonic TZ70/ZS50: This is a more usual choice for keen photographers looking for a pocket camera. The TZ70 matches the manual controls of the CM1 and has a 30x zoom lens but a much smaller sensor.

• Panasonic FZ1000: Panasonic's big and powerful bridge camera is a million miles from the CM1 except in one vital respect – it has the same sensor.

• Canon G7 X: The CM1 uses a relative big sensor even by compact camera standards, and it's a size starting to appear in high-end compacts, too, like the Canon G7 X. But can the CM1 really approach the Canon's performance?

Panasonic CM1 resolution charts

JPEG resolution analysis: This is where the size and resolution of the sensor in the Panasonic CM1 pays dividends. Its results are on a par with the Panasonic FZ1000 and Canon G7 X, which are both highly regarded cameras. The CM1 is way ahead of the TZ70, which has a smaller 1/2.3-inch 12-megapixel sensor.

Raw (converted to TIFF) resolution analysis: These results are repeated in the raw files, where the Panasonic CM1 matches and even narrowly beats the FZ1000 and Canon G7 X at higher ISO settings. Again, Panasonic's smaller sensor travel camera, the TZ70, lags behind.

Dynamic range is a measure of the range of tones the sensor can capture. Cameras with low dynamic range will often show 'blown' highlights or blocked-in shadows. This test is carried out in controlled conditions using DxO hardware and analysis tools.

• Noise and dynamic range results explained

Dynamic range is measured in exposure values (EV). The higher the number the wider the range of brightness levels the camera can capture. This falls off with increasing ISO settings because the camera is having to amplify a weaker signal. Raw files capture a higher dynamic range because the image data is unprocessed.

Panasonic CM1 dynamic range charts

JPEG dynamic range analysis: Again, the CM1 comes out top for dynamic range, although all four cameras are so close together that it would be hard to spot the difference in practice. The TZ70 does better here, but with this camera Panasonic chose to use a lower megapixel rating (12Mp) to produce better overall performance.

Raw (converted to TIFF) dynamic range analysis: The CM1's raw files fare slightly less well. It's better than its TZ70 stablemate, but the Panasonic FZ1000 and Canon G7 X are better still.

This is a test of the camera's noise levels. The higher the signal to noise ratio, the greater the difference in strength between the real image data and random background noise, so the 'cleaner' the image will look. The higher the signal to noise ratio, the better.

Panasonic CM1 signal to noise ratio charts

JPEG signal to noise ratio analysis: Interestingly, the CM1 shows slightly more noise than the rest at low ISOs but maintains its performance as the ISO setting increases so that by ISO 1600 it's coming out on top.

Raw (converted to TIFF) signal to noise ratio analysis: The story is slightly different with the raw files, where the CM1 turns in a mid-field performance ahead of the TZ70 travel camera but a little behind the Panasonic FZ1000 and Canon G7 X.

Noise/sensitivity samples

The signal to noise ratio charts use laboratory test equipment, but we also shoot a real-world scene to get a visual indication of the camera's noise levels across the ISO range. The right side of the scene is darkened deliberately because this makes noise more obvious. Here are two samples from our ISO series.

ISO 100: Click here to see a full size version.

ISO 6400: Click here to see a full size version.

Overall analysis: The Panasonic CM1 holds its own against two of the best compact cameras on the market right now. More to the point, its lens and processor do seem to squeeze the maximum potential out of that big 1-inch sensor. As a camera, the CM1 isn't just good by phone standards, it's good by proper camera standards.

Although images taken at ISO 1600 and higher can look rather smoothed over and 'painterly' at 100% on-screen, the results from the CM1 generally look very good at normal viewing and sharing sizes. Lower sensitivity images have a good level of detail and sharpness. Unlike with some camera phones, the in-camera sharpening system also works sympathetically, not making edges look harsh or introducing halos.

Click here for a full size version.

Click here for a full size version.

The camera's Multi metering system does a good job with exposure and there were only a few occasions during this test when I needed to use the exposure compensation control.

As well as enabling a good level of detail and decent noise control, having a 1-inch sensor gives the CM1 good dynamic range. This means that images have a wide range of tones (for a compact camera) and highlights don't burn out too easily, nor do shadows turn deep black too quickly.

Click here for a full size version.

Click here for a full size version.

While the CM1 offers a collection of white balance settings, including manual (called 'White set'), the automatic option is likely to be the most commonly used and it works very well in most lighting conditions, producing natural looking images. Shots taken in heavily shaded conditions can look a little cool, but not excessively so and this can be easily corrected using an app or on a computer. Those who shoot raw files and use Adobe Photoshop have the full gamut of Adobe Camera Raw adjustments available to them.

In bright light the CM1's autofocus system is fast, but there's often a little backwards and forwards adjustment. It doesn't seem quite as smooth as an iPhone 5S's AF adjustment, but then it is moving larger lens elements. In most situations it gets the subject sharp, but there are times when it would be nice to have a smaller AF point so that finer details can be targeted.

Click here for a full size version.

We like

Many photographers have a hierarchy of cameras with an SLR or compact system camera sitting at the top, a compact camera in the middle and a phone at the bottom. While the CM1 would never replace an SLR or CSC, it doesn't feel like a step down from a compact camera. In fact, it has a larger sensor than many compact cameras, making it a step up in some cases. It also allows much more control over settings than many compacts and phones, plus there are lots of apps available to add extra features. It's very easy to share images, too.

We dislike

Reflections are always a problem on a screen in very bright light, but the CM1's screen suffers a tiny bit more than the screen on a iPhone 5S, which makes composing images tricky. The camera also takes a little longer to process shots, which while not a major drama, seems a little behind the times.

My only other concern with the CM1 is that the lens is rather exposed and I worry that it could be scratched fairly easily if carried in a bag along with keys and the usual paraphernalia of life.

Verdict

The Panasonic CM1 offers a level of control that few camera phones afford. For a start there's the full gamut of exposure control modes including aperture priority, shutter priority and manual as well a collection of automatic options. It's also possible to record raw as well as JPEG files. Further good news is that the control is handed to you via an intuitive interface with a responsive touchscreen, a few physical buttons and a lens ring.

The key selling point, however, is that having a larger sensor than other 'phones and many compact cameras enables the CM1 to produce high quality images in a wider range of conditions than most phones.

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Cigarette packet slim, the S9900 is just about thin enough to slip into a spare pocket. Indeed, at 112 x 66 x 40mm (4.5 x 2.6 x 1.60-in) and 289g (10.2oz), its space-saving design and light weight are ideal for a trip around town or for jetting off to the other side of the world.

Switch it on, however, and the beast within launches out of the front of the camera – a retracting lens with a powerful 30x zoom range, equivalent to 25-750mm. It stretches all the way from generous wide-angle coverage to super-telephoto reach at the flick of the zoom lever, conventionally placed around the shutter button.

Employ Nikon's 'Dynamic Fine Zoom' (digital zoom) extension, and you can double up to a frankly monstrous 1500mm effective focal length.

The combination of svelte build and heavy-duty zoom range isn't unique. The S9900 is in direct competition with the Canon PowerShot SX710 HS, Panasonic DMC-TZ70 and Sony HX60V, all of which have 30x optical zoom lenses. The Nikon is pricier than the Sony but undercuts both the Canon and Panasonic cameras.

• Panasonic TZ70 review
• Sony HX60V review

One thing that helps to pack a lens with such long telephoto reach into a small camera is that the image sensor is also small. It's a 16.0Mp CMOS sensor with a form factor of 1/2.3-inch and a resulting focal length multiplier of 5.6x. The actual focal length of the lens is therefore just 4.5-135mm and the image circle it needs to produce is only small.

It's not all about the lens, as Nikon has shoehorned a smart range of other fancy features into the S9900. These include built-in Wi-Fi and NFC communication, plus GPS for geotagging images. The GPS system also has the ability to literally pin your photos on a map, which you can view on the 3.0-inch 921k high-res LCD screen, complete with local points of interest. And if you're still feeling a little lost, there's a built-in electronic compass as well. The LCD itself boasts full vari-angle movement, but it's not a touchscreen.

Build Quality and Handling

Despite its small size and light weight, the S9900 feels solid and well engineered. The pocketable nature of the camera benefits from the lack of jutting protuberances like a viewfinder or hot shoe. You can also flip the vari-angle screen over and fold it into the camera, so it doesn't pick up scratches on its business side. The downside is that, without a built-in or optional external viewfinder, composing images on the screen under a glaring sun can be challenging, despite its non-reflective coating. And the lack of a hot shoe means you're limited to the tiny built-in pop-up flash, which is quite lacking in power.

Handling benefits from textured areas for the fingers and thumb of your right hand, complete with slight but effective sculpting for an assured grip. To aid stability, you'll naturally want to bring your left hand into play as well, which isn't so well catered for. The most obvious hold is to squeeze the left side of the camera between your index finger at the top and your thumb at the bottom. A problem here is that the pop-up flash falls under your finger, and it squashes down when you grip the camera, instead of remaining rigid when it's retracted.

The only other niggle with handling is that it's easy to accidentally press the Wi-Fi button with your right thumb when getting ready to take a shot, which diverts the camera onto a mission to find and connect to your smart device (a paired smart phone or tablet that you can use for camera control or sharing pictures). You then have to press the OK button to return to picture-taking mode.

PASM (program, aperture priority, shutter priority and manual) modes are made easily accessible via a shooting mode dial on the top panel, rather than being buried away in a menu system. The dial also gives direct access to a 'Smart Portrait' mode with blink-avoidance, and a crafty time-lapse movie mode. Regular movie capture is in the H.264/MPEG-4 format, at resolutions of up to 1080/25p.

A typical range of scene modes is gathered together under the shooting dial's Scene position, complete with a 'Scene auto selector' for 'intelligent' real-time scene analysis. There are also several special effects like soft, sepia, high-contrast mono and two 'toy camera' options. Overall, there's a good balance between being able to get to shooting modes and effects quickly and easily, without the controls being too cluttered.

It's the same story around the back of the camera, where there's direct access to flash, exposure compensation, self-timer and macro mode, while other shooting parameters like white balance, metering, autofocus and ISO are accessed by a simple and intuitive menu. Navigation would have been easier if the S9900 had a touchscreen but making adjustments is quite quick and painless nevertheless.

A critical area of performance for such a small camera with enormous telephoto reach is image stabilization. After all, there's little point in being able to travel light with a slimline compact camera if you need to lug a tripod everywhere with you. The good news is that Nikon's combined optical and electronic VR (Vibration Reduction) system works astonishingly well. We were able to get consistently shake-free shots at an effective 750mm focal length using shutter speeds down to just 1/30th of a second.

Click here for a full size version.

Click here for a full size version.

Click here for a full size version.

While shots might be shake-free, the levels of actual sharpness are somewhat disappointing. Even at the base sensitivity setting of ISO 125, fine detail within scenes turns all too easily to mush in the resulting images. And despite having backlit sensor technology to capture as much light as possible, image quality can be a little noisy even at the base sensitivity setting, and noise levels can get pretty unbearable at medium to high ISO settings.

For night time cityscapes and other low-light pursuits, another option would be to grab a tripod after all and to use a long exposure. Here, though, the S9900 is somewhat hamstrung by its maximum exposure time of just two seconds in 'Night Landscape: Tripod' mode and eight seconds in A/S/M shooting modes.

Click here for a full size version.

Dynamic range is merely mediocre and, while highlights tend to be well preserved when using the matrix metering option, shadows can look overly gloomy and lack detail. Unlike with many Nikon cameras, 'Active D-Lighting' isn't on the menu, so there's no facility for controlling how much highlights are reined in and shadow detail is boosted.

On the plus side, the auto white balance and matrix metering are both very reliable. It's a good thing too, because the S9900 can only capture stills in JPEG format. You therefore can't blag it by shooting raw mode and adjusting white balance and other shooting parameters at the editing stage. At least the range of scene modes makes it easier to get the results that you're after in-camera.

Click here for a full size version.

Click here for a full size version.

Click here for a full size version.

Click here for a full size version.

During playback, there's also a range of trick 'Quick effects', enabling you to save copies of captured images with effects like painting, photo illustration, soft portrait, cross screen and a few more. However, considering the lack of raw capture, we'd have preferred to see the inclusion of Nikon's 'Picture Control' options like standard, vivid and landscape, which are sadly lacking.

The contrast-detection autofocus system is a little sluggish compared with the phase-detection autofocus of a typical DSLR, or the hybrid contrast/phase autofocus system of Nikon 1 compact system cameras. However, it compares fairly well with similarly specced compacts and the S9900 autofocuses accurately throughout its zoom range, with the minimum of hunting back and forth even for tricky targets. That's no mean feat considering that the lens is quite 'slow', having a widest available aperture that shrinks from f/3.7 to f/6.4 as you extend through the zoom range.

We liked

The mighty 30x optical zoom range is backed up by very effective Vibration Reduction stabilization for handheld shooting. The vari-angle screen and built-in GPS are well implemented.

We disliked

There's no built-in or optional viewfinder, no hot shoe, and no facility for shooting in raw quality mode. Image quality is a little lacking in terms of sharpness, dynamic range and noise. Long exposures are limited to eight seconds.

Verdict

There's a lot packed into the S9900 but the combination of its slim build and 30x optical zoom range are the key attractions. It results in a camera that's easy to take anywhere and everywhere, while also offering the kind of versatility that you could only enjoy with a DSLR by carting along two or three lenses, at least one of which would be massive and very heavy.

The difference, of course, is the image quality. The small 1/2.3-inch format image sensor keeps pixel count to a fairly modest 16Mp. It's interesting to note that the Canon PowerShot SX710 HS boosts resolution from 16Mp to 20Mp compared with its predecessor, practically matching the Sony HX60V. Meanwhile, the new Panasonic DMC-TZ70 reduces its pixel count from 18Mp to 12Mp compared with the preceding DMC-TZ60, so the Nikon S9900 sticks to the middle ground.

Handling is good on the whole, while the controls and menu system strike a good balance between ease, speed and sophistication. Autofocus, metering and auto white balance are accurate and consistent, and the vari-angle screen and GPS are well implemented. The Wi-Fi system works well too, so long as you have a smartphone or tablet that you can pair with the camera.

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The zooms on bridge cameras just keep getting longer and longer. Nikon's previous model, the P610, had a 60x zoom, but the P900 beats this with ease.

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With Nikon's Dynamic Fine Zoom system, the zoom range is doubled, offering a 166x zoom and 4000mm equivalent focal length – though this will inevitably have an impact on the image quality.

The longer the zoom, of course, the worse the wobble, but Nikon has tackled this with a Dual Detect Optical VR system that offers a 5-stop shutter speed advantage. The P900 also has a side zoom control you can operate with your left hand while gripping the camera with the right, in order to cut down any shake still further.

The Dual Detect system is based around an angular velocity sensor in the lens along with 'motion vector information' from the sensor.

Feel the weight

Inside the P900 is a 1/2.3-inch 16-megapixel back-illuminated CMOS sensor – the same as the one in the P610. It has a 3-inch, 921k dot vari-angle LCD and a electronic viewfinder with eye sensor, and you get GPS, Wi-Fi and NFC thrown in too.

The super-long lens has had an impact on the dimensions, though. The old P610 weighs 565g (1lb 4oz), but the new P900 is larger and weighs a massive 899g (1lb 15.8oz) – that's as much as the average DSLR and kit lens combination.

The P900 goes on sale at £500/US$600 (about AU$770) on March 19th 2015.

Canon has announced four new PowerShot cameras to slot into its range of compact models, including a bridge camera with 50x optical zoom.

The PowerShot SX530HS also includes 100x Zoom plus, Canon's own digital zoom technology. The SX530 HS offers the second biggest zoom range in Canon's line-up, slotting into the range just behind last year's SX60 bridge camera, which features a 65x optical zoom.

The SX530 HS replaces the SX520 HS. The zoom range is slightly longer (50x vs 42x) but otherwise the camera is very similar, and it's part of an annual refresh of existing cameras rather than completely new products.

Canon SX710 HS and SX610 HS

Also announced today is a pocket friendly PowerShot SX710 HS, which features a 30x optical zoom and replaces last year's SX700 (also with) a 30x optical zoom. Meanwhile, the new PowerShot SX610 HS includes an 18x optical zoom and replaces the SX600 HS.

All three models have an Auto Zoom function which helps keep your subject in the frame by automatically detecting the number of people and adjusting the zoom level to determine the optimal size.

Full HD video recording, along with integrated Wi-Fi and Dynamic NFC, is also included in these models.

Canon PowerShot N2

Also announced today is the new PowerShot N2, which features a square design with zoom and shoot lens rings, designed to help you take pictures from a variety of different angles. It's also equipped with a new touchscreen that tilts up 180 degrees, activating the dedicated selfie mode.

An enhanced Creative Shot mode is also available to give your photos an array of different creative treatments.

The Canon PowerShot SX530 HS price is suggested at £329/$429, while the Canon PowerShot N2 price is £289 (a US availability is yet to be confirmed), both of which will be available later this month. Meanwhile, the Canon PowerShot SX710 price is also £329/$349, and the Canon PowerShot SX610 HS price is £229/$249, these will be available from February 2015.

Find out what else has been happening over at CES 2015 in our constantly updated show guide.

Canon has introduced a new bridge camera featuring a whopping 65x optical zoom lens.

Although not quite the 100x optical offering that many rumour mills had suggested, the Canon SX60 never-the-less gives a 35mm equivalent of 21-1365mm in a relatively small package. The lens also features optical image stabilisation for blur-free shots. It replaces the Canon SX50.

This model also features a 16.1 million pixel CMOS sensor, and is paired with Canon's Digic 6 image processor - the company's latest.

There's also the possibility to record in full 1080p HD video at 60p, with automatic or manual exposure control, together with a built-in stereo microphone and a port for an optional external stereo microphone.

Connectivity

Canon has included inbuilt Wi-Fi technology in the SX60 which enables you to quickly share images taken with the camera using compatible devices such as smartphones and tablets. NFC is also included for quick pairing with compatible Android devices.

Other interesting features include Canon's Face Detection and Tracking AF system, plus full resolution continuous shooting at up to 6.4 frames per second. There's also a new EOS (DSLR) style grip for comfortable and secure handling.

A 922k dot vari-angle LCD screen is paired with a high-resolution 922k dot electronic viewfinder.

There's a choice between fully automatic and manual settings, along with creative shot and scene modes. There's also the capability to shoot in raw format as well as JPEG.

The Canon PowerShot SX60HS price will be £449.99/ (US$549, about AU$608) with an availability date in October.

Canon has introduced two new bridge cameras into its range of PowerShot devices.

The SX520 HS and SX400 IS offer 42x and 30x optical zooms, respectively.

The SX400HS is a replacement for the SX170, which was a super zoom compact that has been redesigned to fit the bridge style aesthetic for the SX400HS.

With a 42x optical zoom lens, the SX520HS is designed as a more advanced offering, as it also offers manual control, as well as semi-automatic exposure modes.

Canon's HS System combines with a Digic 4+ processing engine for the SX520HS, which Canon claims allows it to be 60% quicker at higher ISOs and 30% faster at focusing and processing than cameras equipped with a standard Digic 4 engine. The SX400IS also has a Digic 4+ processor, but doesn't have the HS system.

Resolution

Both cameras feature a 16 million pixel 1/2.3 inch CCD sensor, although Canon was unable to confirm to us whether they are the same sensor, it would seem likely.

The SX520's lens offers an equivalent of 24-1008mm in 35mm terms, while the SX400's zoom is equivalent to 24-720mm.

In terms of other differences, the SX520 offers full HD video recording (compared with 720p on the SX400) along with Creative Shot.

The Canon SX520HS price will be £299, approx US$540/AU$508, while the Canon SX400IS price will be £249, approx US$450/AU$423. Both will be available from August 2014.

Ricoh has announced the launch of the Pentax XG-1, a bridge camera with a 52x optical zoom lens.

It also features a 16 million pixel back-illuminated 1/2.3 inch CMOS sensor, and finds inspiration for its appearance from the Pentax range of DSLR cameras.

The 52x optical zoom gives a 35mm equivalent focal range of 24-1248mm, which should get you very close to the action. There's also a digital zoom available of 4x, which boosts that reach up to 208x. At its widest point, the lens has a maximum aperture of f/2.8, rising to f/5.6 at the furthest reach of the lens.

On the back of the camera is a three inch 460k dot screen, while there's also a 200k dot electronic viewfinder for those who prefer traditional means of composition.

Get close

A macro mode allows you to get as close as 1cm away from the subject, while continuous shooting of 9fps is offered for sports and other fast moving subjects. A super high speed continuous shooting mode with a maximum speed of approximately 60 images per second is also available (image size is reduced to VGA format), along with a standard high speed shooting mode of 30 images per second (image size is reduced to four million pixels).

Full HD video recording is possible and there's a choice of digital filters, such as black and white. A range of shooting modes, including Program, Face Beautifier and Scene Mode are available.

Although it doesn't have inbuilt Wi-Fi connectivity, the X-G1 is compatible with Wi-Fi cards if you wish to add that functionality to the camera.

The Pentax XG-1 price will be around £279.99 / approx US $478 / approx AU $509 and it will be available from mid-August.

Thanks in no small part to their lens zoom range, bridge cameras are still a buoyant section of the fixed lens camera market. In fact, according to Panasonic's research the most important feature for prospective bridge camera buyers is their lens zoom ratio, followed by the lens quality and then image quality.

Consequently, Panasonic has given the FZ1000, its top-end bridge camera, a 16x zoom range with a focal length equivalent to 25-400mm. What's more, this is a Leica DC Vario-Elmarit lens with a maximum aperture of f/2.8 at the widest point and f/4 at the narrowest.

As well as allowing the shutter speed to be kept at safe hand-holdable levels in low light, having a large maximum aperture gives the photographer the ability to restrict depth of field and separate the subject from the background when they want to.

Image blur is also reduced by the Lumix DMC-FZ1000's Hybrid 5-axis Optical Image Stabilisation.

To ensure better image quality than the average bridge camera, the FZ1000 has a 1-inch sensor (significantly larger than the 1/2.3-inch devices in most models), with 20.1 million pixels. The larger size sensor means that the photo receptors (pixels) are larger and this should have a positive impact upon noise control, dynamic range and image quality as a whole.

The FZ1000 is set to compete with the Sony RX10 which also a (20.2Mp) 1-inch sensor, but the lens has a more restricted focal length range equivalent to 24-200mm and a fixed maximum aperture of f/2.8. The FZ1000's f/2.8 maximum is restricted to 25mm, it drops to f/3.1 as soon as you zoom in the slightest amount, and by 200mm the maximum is f/4.0.

Panasonic has coupled the FZ1000's sensor with a new Venus Engine which the manufacturer claims will dramatically improve the resolution, gradation, colour reproduction and noise control compared to Panasonic's existing bridge cameras.

Naturally, being Panasonic's top-end bridge camera, the FZ1000 has exposure modes to suit enthusiasts (program, aperture priority, shutter priority and manual) along with Intelligent Auto and scene modes to help less experienced photographers. There's also the Creative Control option which allows users to select one of 22 filter effects to use. These effects are applied to JPEG files, but they can be used when shooting raw files simultaneously so that there's a clean file available for processing.

In a first for a compact or bridge camera, the FZ1000 is capable of recording 4K (3840 x 2160 pixel) video footage at up to 25fps (PAL) in MP4 format. This comes with the advantage of being able to output 8Mp still images for a better viewing experience on 4K televisions.

Naturally, it's also possible to record video at Full HD and VGA resolution. The FZ1000 can record in MP4 and AVCHD to allow easy transfer, editing and sharing of movies. Those interested in slow motion playback will appreciate the ability to record Full HD footage at 100fps.

We first saw the company's Depth from Defocus technology in the Panasonic GH4, Panasonic's flagship compact system camera. It has been used again in the FZ1000 to achieve focus speeds that are said to be 275% faster than those achieved by the Panasonic FZ200. Panasonic claims a focus speed of 0.09 second at the widest point of the lens and 0.17 second at the telephoto end when the viewfinder is used to compose images.

There are a total of 49 AF points available for selection either by the photographer or automatically by the camera. In addition to 49-Area and 1-Area AF, there's also the Custom Multi AF mode, first seen in the GH4. This allows the user to select blocks, rows or columns of AF points for use.

Panasonic has also added Pinpoint AF, in which the camera automatically magnifies the focus area to ensure the correct section is in focus, and Focus Peaking to show the areas of highest contrast (focus) around the focus position in manual focus (MF) and AF+MF modes.

In addition to Face Detection AF, Eye Detection AF mode is available to automatically set the focus directly on a human eye, and it can start focusing as soon as the viewfinder is used.

Being a bridge camera, the FZ1000 has an electronic viewfinder. This is a 2,359,000-dot OLED device. There's also a 3-inch 921,000-dot LCD screen mounted on a vari-angle hinge to allow the monitor to be seen from a wide range of angles. One surprise with this screen, however, is that it is not touch-sensitive.

Like Panasonic's recent compact system cameras, the FZ1000 has Wi-Fi connectivity built-in and an NFC chip to allow a connection to be made quickly to an NFC enabled smartphone or tablet. As well as wireless image transfer, this means the camera can be controlled remotely via Panasonic's Image App.

Other features brought with the FZ1000 include zebra displays to indicate the brightest areas of a scene, timelapse shooting and stop-motion recording.

Build and handling

Given that it has a larger sensor than Panasonic's other recent bridge cameras, it's not a surprise that the FZ1000 is also a little larger bodied. In fact it's a little bigger than the Sony RX10, but then it does have a much longer lens (albeit with a smaller maximum aperture at focal lengths above 25mm).

The camera feels well built and solid enough in the hand, without being too heavy, but it's a little more plastic-feeling than the RX10.

Like other bridge cameras, the new camera has SLR-like styling with a chunky finger-grip and a liberal helping of dials and buttons giving a direct route to key features.

On the top of the camera there's a mode dial to set the camera to shoot in aperture priority, shutter priority or manual exposure mode, or one of the automatic modes, such as Panasonic's Intelligent Auto (iA) mode, designed to help novice photographers.

Panasonic's Creative Control options are also accessed via the mode dial, and comprise 22 digital filter effects including Sepia, High Dynamic, Toy Pop, Rough Monochrome, Soft Focus and Miniature Effect.

Although there is a deep zoom ring around the lens barrel, using it to zoom from 25 to 400mm feels quite laborious, so I prefer to use the switch around the shutter release to make major adjustments and the ring for minor tweaks to the framing.

A switch on the side of the lens allows the ring to be changed to control manual focusing. The reliability of the FZ1000's autofocus system is such that this isn't required very often, but it can come in handy with some close subjects and the Focus Peaking display helps to make it clear when the subject is sharp.

With 2,359,000 dots at its disposal, the OLED electronic viewfinder (EVF) gives a good, clear view and changes made to the exposure or colour settings are quickly reflected in the image it displays. The 921,000-dot LCD also gives a clear, detailed view and its articulating joint means it is useful for composing images at above or below head-height.

It's disappointing that the screen is not touch-sensitive though as this would allow speedier selection of AF point and more convenient shutter tripping in some instances.

The EVF and rear screen are both capable of showing an electronic level so you can be sure that the horizon is at the correct angle. This is easy to see in the viewfinder, but it can be tricky to see the thin yellow line (which turns green when the camera is level) on the screen in very bright conditions or when the viewing it from an angle.

A switch around the AF/AE Lock button to the left of the thumb-rest on the back of the camera allows the focusing to be changed quickly between single AF, continuous AF and manual. The left button on the navigation control is also a shortcut to the AF mode options. In 1-Area AF mode the AF point is selected by hitting the left navigation button and then hitting the down key, before using the navigation controls to activate the desired point. It's not terribly slick and takes longer than tapping a screen or having a dedicated control.

There's a 'Direct Focus Area' option in the custom menu which turns the navigation pad into a dedicated AF point control, but it has the downside of deactivating the shortcuts (ISO, white balance and macro mode). Thankfully, these options can be assigned to the Quick Menu.

The drive mode dial on the left of the top-plate allows the camera to be switched to continuous shooting, auto exposure bracketing, self-timer or timelapse mode. I found it especially useful when I chance upon a moving subject as I quickly set the camera to continuous drive and continuous AF mode (the latter by the rear switch mentioned earlier).

The FZ1000's menu is logically arranged and will be familiar to users of other Panasonic cameras. Those who are new to Panasonic cameras may like to activate the Menu Guide, although the level of assistance that this offers is variable. When Metering Mode is selected, for instance, it explains that this is to 'select the brightness measurement mode' and each of the options (Multi, Centreweighted and Spot) have similarly helpful explanations when highlighted. When attempting to choose between using the electronic or mechanical shutter it doesn't explain why you might opt for one or another (maximum shutter speed rises to 1/16000sec with the electronic shutter) it merely tells you which option will be selected by each setting.

Another issue is that the HDR (high dynamic range) option is JPEG only, as it is with many cameras. Canon seems to be the only manufacturer that allows raw files to be recorded at the same time as JPEG images when shooting an HDR sequence, and even then it is only made possible on the Canon 5D Mark III. However, there's additional frustration with the FZ1000 as the camera won't automatically turn off raw recording (with a warning) when HDR mode is selected, instead the photographer has to turn it off before HDR mode can be activated.

Although I've raised a few negative points about the FZ1000, it handles well, is responsive and has generally sensibly arranged controls.

We have found that Panasonic's G-series of compact system cameras have excellent metering systems and there's rarely a need to switch from the general-purpose Multi option. The FZ1000 Multi metering system is just as good and the camera produces perfect exposures in a wide variety of situations. In fact it manages to produce a correctly exposed subject when some lesser cameras would struggle. Under a bright overcast sky, for example, it produces a correctly exposed foreground, even when the subject under the active AF point is itself significantly brighter than a midtone.

Further good news is that thanks to the FZ1000's wide dynamic range, in many situations the bright sky isn't burned out and some tonal variation is retained.

In very high contrast conditions the FZ1000's iDynamic dynamic range boosting system can help extend the range of tones visible in the shadows and highlights, but the impact is subtle and not overly 'HDR' (high dynamic range). Similarly, the camera's in-built JPEG-only HDR system produces natural looking results even when pushed to the maximum setting (+/-3EV).

Colours are also generally good straight from the camera in the default 'Standard' Photo Style. The 'Vivid' option can be useful on occasion for injecting a little more vibrancy and some landscapes look better when the 'Scenery' Photo Style is used, but it can make blue skies a little too vivid and greens sometimes rather acidic.

Still on the subject of color, the FZ1000's automatic white balance (AWB) system performs well in most natural light conditions, managing to retain some of the atmosphere of the shooting conditions. In bright sunlight the results when using the AWB settings are often almost indistinguishable from those taken with the Sunny white balance setting. In shade, however, the Sunny setting is sometimes preferable as it imparts a little warmth. As is often the case, the Shade setting over does things a little.

The FZ1000's native sensitivity range runs from ISO 125-12,800, but there are extension settings to push the range to ISO 80-25,600. At normal viewing sizes JPEG images generally look good throughout the native sensitivity range. At 100% on-screen, however, even ISO125 images have a slight stippled texture visible and this gradually gets stronger at the expense of detail as sensitivity rises. By ISO 6400 the stippled texture of luminance noise is very obvious at 100% on screen, but images still look pretty good at normal viewing sizes. Push up to the expansion settings and colour saturation also starts to suffer and images are best kept fairly small.

We have seen a similar approach to noise reduction in Sony cameras such as the RX100 III, and while it makes shots look less than ideal at 100% on screen, they usually look very good, with the impression of lots of detail. Our lab results show that the FZ1000 is capable of resolving more detail than the Sony RX10.

Naturally, raw files can be subject to bespoke noise reduction as they are processed. Without any noise reduction being applied, chroma noise (colored speckling) is visible at 100% in images shot at ISO 400 and above. By ISO 12,800 coloured speckling almost obliterates the image.

Chromatic aberration is generally well controlled in JPEG images, but at 100% on-screen you can see hints of it here and there, along with greyish patches that suggest it has been removed, if you decide to look for it. But it's not a major issue at all.

Panasonic has made great strides with its AF systems over recent years and the FZ1000 benefits from this as it focuses quickly on the subject even in fairly low light conditions. I found that it can even get fast moving subjects sharp and follow them as they move towards the camera provided that the active AF point is over the subject. As we have seen before, however, the Tracking AF mode can only keep up with fairly slow moving subjects as they move around the frame and it's of little use to anyone shooting fast sport or action.

As part of our image quality testing for the Panasonic Lumix FZ1000, we've shot our resolution chart. These images were captured using a full-production sample of the camera.

For a full explanation of what our resolution charts mean, and how to read them, check out our full explanation of our camera testing resolution charts.

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

JPEG

ISO 80. Score: 26

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ISO 100. Score: 26

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ISO 200. Score: 24

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ISO 400. Score: 26

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ISO 800. Score: 24

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ISO 1600. Score: 24

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ISO 3200. Score: 22

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ISO 6400. Score: 22

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ISO12800. Score: 18

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ISO 25600. Score: 14

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Raw

ISO 80. Score: 28

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ISO 100. Score: 26

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ISO 200. Score: 26

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ISO 400. Score: 26

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ISO 800. Score: 24

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ISO 1600. Score: 22

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ISO 3200. Score: 18

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ISO 6400. Score: 18

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ISO 128000. Score: 16

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ISO 25600. Score: 16

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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.

Here we compare the Panasonic Lumix FZ1000 with the Sony RX10, Panasonic FZ200 and Canon Powershot SX50 HS.

JPEG signal to noise ratio

The FZ1000 has the lead for the lower sensitivity settings, indicating that its images are cleaner than those from competing cameras, however, from ISO 800 and above the Panasonic FZ200 takes the lead and the Canon Powershot SX50 HS comes close to the FZ1000's performance. This may indicate that the FZ1000 reveals more noise to allow more detail to be visible.

Raw signal to noise ratio

The FZ1000's raw file (after conversion to TIFF) performance is good, but the Canon SX50 HS appears to have cleaner images throughout most of the sensitivity range. The Sony RX10 beats the FZ1000 from about ISO 3200 upwards.

JPEG dynamic range

The FZ1000's JPEG dynamic range performance in the lab is consistent with a camera that produces images with pleasant contrast.

Raw dynamic range

An impressive performance that indicates that the FZ1000 is capable of capturing a wide range of tones in raw files. It beats all the competing cameras here.

JPEG

ISO 80 (Click here to see full resolution image)

ISO 100 (Click here to see full resolution image)

ISO 200 (Click here to see full resolution image)

ISO 400 (Click here to see full resolution image)

ISO 800 (Click here to see full resolution image)

ISO 1600 (Click here to see full resolution image)

ISO 3200 (Click here to see full resolution image)

ISO 6400 (Click here to see full resolution image)

ISO 12800 (Click here to see full resolution image)

ISO 25600 (Click here to see full resolution image)

Raw

Full ISO 80 image, see the cropped (100%) versions below.

ISO 80 (Click here to see full resolution image)

ISO 100 (Click here to see full resolution image)

ISO 200 (Click here to see full resolution image)

ISO 400 (Click here to see full resolution image)

ISO 800 (Click here to see full resolution image)

ISO 1600 (Click here to see full resolution image)

ISO 3200 (Click here to see full resolution image)

ISO 6400 (Click here to see full resolution image)

ISO 12800 (Click here to see full resolution image)

ISO 25600 (Click here to see full resolution image)

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Taken at the 25mm end of the lens to capture the wide vista.

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Taken from the same position as the previous image, but at the 400mm end of the lens.

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There's plenty of sharp detail here.

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Chromatic aberration is kept well under control.

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I focussed manually here, using the focus peaking display to tell me when the top of the stamen was sharp.

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Despite the bright sky and subject the Multi metering system has delivered a well exposed image.

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The AF system is fast enough to get moving subjects sharp and keep them sharp as subject distance changes provided the active AF point is in the correct place.

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In Panorama mode the camera is panned to include the whole scene and the results generally look good.

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Using HDR mode has enabled every last bit of cloud detail to be retained and put more detail in the shadows, however, the green leaves in the field look a little too vibrant.

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Using the Vibrant Photo Style has over-saturated the grass in this shot.

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Using the Scenery Photo Style has produced a better result.

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The long reach of the lens is useful for candid photography.

While there are cameras available with a much wider zoom range than 16x, a focal length equivalent of 25-400mm is a good working range that many SLR photographers would be happy with, although they would expect to carry several lenses to achieve it. Some cameras with small sensors offer more at the longer end of the focal length, but in many cases this is overkill and users can often achieve the same framing by moving closer to their subject.

Panasonic hasn't skimped at the wide-angle end and 25mm is a good starting point for many applications, including landscapes and documentary photography as well as shooting cramped interiors. The comparatively large maximum aperture is also attractive as it allows good control over depth of field as well as a greater range of shutter speeds in low light. Even though the largest aperture is only available at the 25mm point, a maximum aperture of f/4 at the equivalent of 400mm is not to be sniffed at, Canon's EF 400mm DO IS USM lens, for example, retails for around £5400/US$6,470 (around AU$9,770). Naturally part of this expense stems from the size of the image circle required from a lens designed for a full-frame camera, but the price gives an indication of the rarity of such a lens in the average photographers kitbag.

The ability to record 4K video may not seem especially enticing at the moment, but as 4K televisions become more widely available it will have greater value. One of the key benefits is that it turns the video mode into a high-speed continuous shooting mode, as 8Mp still images can be extracted. That will be attractive to parents wanting to photograph their children at play as well as keen nature, wildlife and sport lovers.

The FZ1000 marks the start of a new line for Panasonic and it could prove popular with those wanting a high quality, versatile camera, with a fixed lens.It has plenty of features to allow those who want to take control over their images to do so, while providing automatic options for less experienced users. It's also very capable, delivering well exposed images with plenty of detail and good, natural colour.

We liked

That zoom range is excellent, it gives plenty of scope for framing subjects in a wide range of situations. The camera also feels comfortable in the hand, with a nice chunky grip and responsive controls within easy reach.

Photographers are starting to see the benefits of electronic viewfinders now and the FZ1000 has an excellent device capable of showing plenty of detail with no flickering or banding. The Focus Peaking display is also a bonus when focusing manually.

We disliked

A touchscreen would make this camera little slicker to use, allowing faster, more intuitive selection of AF point and easier settings adjustments. I'd also like to see greater control over exposure when using the Creative Control options and the ability to shoot raw files when using HDR mode. It would be nice if the Creative Control effects could be used when shooting in aperture or shutter priority mode like the Photo Style options.

Verdict

The Panasonic FZ1000 is an excellent bridge camera, but it's also rather large and expensive for the genre. Some potential buyers may find that they are better off buying an SLR such as the Nikon D3300 and a superzoom lens with a focal length range of 18-200mm (27-300mm effective on APS-C format) or even 18-300mm (27-450mm) or perhaps a compact system camera like the Panasonic G6. These options bring the opportunity to invest in a range of lenses and accessories and hence offer more room for users to grow as a photographer.

However, the ability to change lenses is precisely what some want to avoid with a bridge camera and these users will not be disappointed by the FZ1000. It has shooting options that will suit both experienced and novice photographers, has lots of scope for customisation and a versatile lens. Furthermore, it produces high quality images with excellent exposure, pleasant colour and good detail.

Panasonic is clearly pitching the FZ1000 against the Sony RX10 and it certainly gives it a good run for its money. It may be a little larger and not have quite such a high-quality feel, but the lens is a 25-400mm equivalent rather than a 24-200mm optic, albeit with an f/2.8-4.0 maximum aperture rather than a fixed f/2.8. Our lab results also indicate that the Panasonic camera outperforms the Sony model, but there's not a huge amount in it and both models produce high quality images in the real world.

Samsung's smart cameras are a range, also including the larger WB2200F, that while a step down from the Galaxy Camera in terms of complexity still manage to cram in a great many features.

The concept is an interesting one – can you make a camera that does everything, capturing, editing and sharing, severing the link between a digital camera and a PC or smartphone, or will the inevitable compromises make the final result unworkable?

While it doesn't have quite the range of skills of its bigger brother, lacking manual, aperture- and shutter-priority modes, the WB1100F is no slouch either. Featuring a 1/2.3in CCD sensor that's either 16.2MP (according to the spec sheet), 16.4MP (according to the back of the camera) or 15.9MP (images are actually made up of 4608x3456 pixels), and a 35x zoom lens that's equivalent to 25-875mm in 35mm terms.

This optic has a maximum aperture that varies from f/3 at the wide end to f/5.9 at the long end. Along with 1080p video, Optical Image Stabilisation and wireless features, the WB1100F certainly seems on the surface to have plenty to recommend it.

The screen, which isn't touch sensitive, is a three-inch TFT LCD with 460,000 dots.

The WB1100F is going up against the likes of the Canon Powershot SX510 in the 35x zoom stakes, but the similarly priced Canon has fewer megapixels yet gains full manual control. More expensive and with a 30x optical zoom is the Panasonic TZ60 which ups the ante by adding an EVF, a couple more megapixels and raw file support – sadly missing from the Samsung.

Build quality and handling

This camera is not going to fit in your pocket, with its protrusive lens and a grip that's deep enough to get a proper hold of, but neither is it huge and ungainly. It's lighter than you'd expect from something with so much glass and electronics packed into it, and its controls are well placed for accessing with a finger or thumb while still keeping hold of the camera and using the live view screen to compose your images – there's no electronic viewfinder on this model.

Despite its plastic construction the WB1100F feels well put together, its parts tightly connected and not prone to movement. A clip would be nice on the battery and SD card compartment's door, so it fastens when you close it rather than you having to move a switch – this method of closure can catch you out and leave the door hanging, but neither battery nor memory card are going to fall out easily.

The lens cap is nicely designed, the lens retracting just enough when the camera's switched off to allow it to clip on. Try and switch it on with the cap attached, though, and the camera will beep and nag you to remove it, before turning itself off. A little more patience on the camera's part would be nice here.

There are no controls on the left-hand side of the body – only an NFC logo plus the micro USB data and charging port live there, with a release on the side of the flash and the mysterious Speed Control button on the left of the lens – but the right of the camera is not overburdened with buttons either. Samsung has taken a minimal approach, expecting you to dive into menus or use the dedicated Settings position on the mode dial to alter parameters. You can do most common things, such as setting macro mode or playing back images, without using the menu, however.

The Speed Control button is raised from the lens, and is positioned for the left thumb while you're cradling the camera in both hands. It allows you to alter the speed at which the zoom travels, with it speeding up noticeably when the button is pressed.

The menus are sensibly laid out, although some options are not available in all modes, leading to a hurried switch from Auto to P (there's nothing less automated, like aperture priority or manual) in search of something. The menu for Auto mode is one page, while P mode's extends past three full pages.

Movie makers are well catered for, as there's a dedicated Movie mode on the dial. A press of the red record button on the back of the camera will start you recording in any other mode too.

Overall the camera feels responsive, and when turning on is ready to shoot almost as soon as an image appears on the live view screen. Menus come up promptly, and processing of the built-in Smart Filters doesn't take very long even on a full 16MP image.

Performance

A weekend spent testing the camera on a variety of moving and non-moving subjects threw up no issues with metering, exposure or colour balance – P mode allows exposure compensation for those tricky compositions – but did uncover the flaws in the autofocus system.

With no way of telling you if you're within the minimum focus distance, which is as far as three and a half metres at the long end of the zoom and in Normal AF mode, the camera sometimes won't focus, which is fair enough, but other times reported a false focus lock for an image that was clearly still blurred on the screen. Auto Macro mode, which is an option in P and seems to be on by default in Auto, solves the distance problem, but not the false positives.

When on the cusp of its minimum focus distance, the camera also reported a red rectangle for no focus lock for images that, on later inspection, were in focus. It may be, however, that the subject was simply within the depth of field created by a small sensor and a short focal length.

The OIS can hold the lens reasonably steady at full zoom, but still expect a bit of wandering around. Something solid to rest the camera on will help immensely here – holding the camera away from your body to compose via the screen is never the most stable position.

The lens doesn't seem inclined to flare, even when shooting toward the sun, and the blue skies of a summer's afternoon were captured in accurate colours without too much cyan.

Those summer days uncover another flaw in the WB1100F, however: its screen. Any degree of sunlight renders the image hard to see, and while changing it to the Bright setting from its default Auto helps, it does nothing to cut down on the reflections that blight the image or increase the poor viewing angle.

Turning the brightness up will eat into the battery life too. With the screen on Auto a battery that showed as fully charged (the indicator only has three divisions) was flashing red by mid-afternoon on a day out, after nearly 200 photos and a little light Wi-Fi.

Image quality

Images are fairly sharp across the frame, but achieve their peak level of detail in the centre, as is common. High contrast scenes don't exhibit much in the way of chromatic aberration, and while there is distortion from using the wide end of the lens, it's nicely controlled and nothing to get worked up about.

Colours direct from the camera seem a tiny bit flat, but with the built in editing functions this is something that can be easily addressed. Alternatively, the file can be transferred to a smartphone for brightening up.

Inspecting an image at 100% reveals smoothing, and noise naturally begins to creep in at higher ISOs. There's almost none of the colour speckling in dark areas that you often see, rather the images take on a grainy quality that's less offensive to the eye but still serves to obliterate detail form ISO 800 and up to the 3200 maximum.

Setting the camera to ISO 3200 also drops the image resolution to three megapixels, anything higher vanishing from the menu. Drop back to a lower sensitivity setting, and the image size doesn't automatically go back up again – something that may catch people out.

Smart features

Establishing an NFC connection to launch the Samsung Smart Camera app on a smartphone (we used an Android model) takes a few seconds, and the remote viewfinder app connects easily. The view on the phone screen seems to lag about a second behind the movements of the camera, but the + and - zoom buttons on-screen move the lens as you'd expect (albeit as a series of jerks rather than smoothly). Capturing a photo takes slightly longer using the app, as a tap of the on-screen shutter button triggers focusing, then takes the pic.

To transfer an image to a smartphone, you display it in the camera's playback mode, then bump the phone and camera together, letting NFC and Wi-Fi do their stuff. The file transfers in less than ten seconds, and appears in a Gallery folder called MobileLink (on Android) from where it can be edited or shared as if it were an image taken with the phone's camera.

Direct from the camera, you have fewer options. You can share to Facebook, Picasa, Dropbox or by email. Dropbox sharing asks you to input words from a captcha that doesn't appear – something that needs to be fixed – but the others seem to work just fine. Why no Flickr or Twitter, though?

Verdict

The camera that does everything is a lovely idea, and Samsung is well on the road to getting it right. This isn't it, though, as while it's great to see so many features packed into a relatively small camera body that's reasonably priced for what you get, the unreliable AF and lack of anything more complicated than P mode are a bit of a turnoff.

Battery life isn't amazing either, a victim of the limited space inside the camera body, but that body is nice to hold, balances well in the hand and isn't as massive as it could have been, given what's packed within.

Some of the features are great. Wi-Fi in cameras is becoming standard, but the ease with which the WB1100F establishes a link with its companion app through NFC marks it out from the crowd.

We liked

The size, handling and feature packed nature of the camera. The speed with which it connects to the companion app and the wireless features in general are great to work with, and the image quality really isn't bad, with its absence of colour noise.

We disliked

The AF system. Misses, false positives and a minimum focus distance that balloons to 3.5 metres as you zoom didn't endear it to us. The screen is also hard to see in sunlight, and the battery life could be better.

Final verdict

Samsung has done well cramming this many features into a camera body. It's not compact, but will fit in a bag or outside coat pocket, and the 35x zoom means you can easily frame your subject whether you're close by or not. Focus (and, really, watch out for the AF) and shoot, then either edit and share directly from the camera or transfer it to your smartphone. It's an attractive proposition, and one that will become a more solid reality in the near future, but we're not quite there yet.

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The zoom's widest setting is the equivalent of 25mm.

At its longest, you're looking at an equivalent of over 800mm

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Digital zoom takes you two times closer.

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While this duckling has a sharp head, the motion blur on the rest of its body is a lesson in keeping your shutter speed up. OIS won't help you here.

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This image is nicely exposed despite the contrast between the dark water and white foam.

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Macro mode can capture a great deal of detail, and blurs the background nicely too.

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At the longer focal lengths, even more background blur can be achieved.

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Sharpness is best in the centre, but extends to the edges of the frame.

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There's some chromatic aberration at the edges of this contrasty image, but it's only noticeable if you look for it.

Smart filters

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The Lumix DMC-FZ1000 is Panasonic's most advanced bridge camera to date and it starts a new line for the company. It features a 1-inch 20.1Mp High Sensitivity MOS sensor and a Leica DC Vario-Elmarit f/2.8-4.0 lens with an equivalent focal length of 25-400mm - that's a 16x zoom range.

The FZ1000 is also the first compact or bridge camera capable of recording 4K video. While few homes have a 4K TV right now, the ability to shoot 4K footage means that 8Mp (3840x2160) still images can be extracted from the footage, effectively turning the FZ1000 into a high-frame-rate stills camera. It is also possible to record lower-resolution movies, including Full HD footage.

Using a 1-inch sensor rather than the 1/2.3-inch device more commonly found in bridge cameras should enable the FZ1000 to produce higher quality images with better noise control and dynamic range. Data from the sensor is processed by a new Venus Engine, which Panasonic claims improves still and video image quality over what is produced by the FZ200.

This engine allows a native sensitivity range of ISO 125-12,800, with extensione settings to push the range to ISO 80-25,600.

The larger-than-average sensor combined with the large maximum aperture (f/2.8 at wide-angle and f/4.0 at telephoto) also allows photographers to restrict depth of field creatively.

In addition, Panasonic has given the FZ1000 Hybrid 5-axis Optical Image Stabilisation, Depth from Defocus technology for fast focusing and a rapid-burst shooting mode to help when shooting sport or action. Plus, there's focus peaking to aid manual focusing and azebra view to warn when bright areas are close to burning out.

Put on a display

Images can be composed and reviewed on the 2,359,000-dot OLED Live View Finder (LVF), more commonly know as an electronic viewfinder (EVF), or the 3-inch 921,000-dot LCD. Both of these displays show the image as it will be captured and preview the impact of the 22 filter effects available in Creative Control mode.

The FZ1000 has integrated Wi-Fi connectivity and an NFC chip so it can be connected to a smartphone or tablet for wireless image sharing and remote control.

The Panasonic Lumix DMC-FZ1000 is set to go on sale in mid July and will retail for £749.99 (approximately US$798, AU$1,340).

• Our round-up will help you find the best camera for you

Bridge cameras such as Nikon's P530 get lumped in with the compact camera category, which can seem a little odd when you consider their overall body size.

Offering a huge zoom range, and generally full manual control, one of the reasons bridge cameras find themselves in this category is down to their small sensor size.

The P530's 16 million-pixel CMOS sensor is just 1/2.3 inches in size, making it much smaller than a DSLR's. It's also a reduction in resolution from the P520, which featured an 18 million-pixel device.

It seems that Nikon has simplified the P530 when comparing it with its natural predecessor, the P520, making this a more budget offering. For those looking to spend a little more money, the P600 now exists, with a huge 60x optical zoom.

While the P530 features the same 0.2 inch, 201,000 dot electronic viewfinder as the P520, the screen is now fixed, remaining at 921,000 dots, but losing the full articulation of its predecessor's screen.

What has also stayed the same is the 42x optical zoom, which gives an equivalent of 24-1000mm in 35mm terms, making it useful for a wide variety of subjects.

Enthusiast photographers will be drawn to the fact that the P530 allows you full manual control over different settings. Unfortunately however, it's not capable of shooting in raw format. Along with manual and semi-automatic modes, there is also fully-automatic mode, and a range of scene and creative modes.

There's still no integrated Wi-Fi connectivity for the P530, while Nikon has taken the interesting decision to remove the GPS functionality too.

A lot of bridge cameras have very long zoom ranges now, making the 42x optical offering slightly less impressive than it once would have been. That said, this camera goes head to head with the likes of the Canon SX50 HS, which although offering a 50x optical zoom, has a similar price to the P530.

Build quality and handling

The P530 is a reasonably chunky camera, and although it's certainly not the largest bridge camera on the market, it's approaching entry-level DSLR size, while it's also pretty weighty, giving it an air of quality.

With a rubberised coating, the deep grip of the camera makes it feel especially secure in the hand, while a contour at the top of the camera helps your finger fit snugly. Despite its relatively large size, this is a camera we would feel comfortable using one-handed.

On the top of the camera is a mode dial for quickly switching between the different exposure options the camera offers. This includes manual, semi-automatic and fully-automatic modes. There's also scene auto selector mode, a couple of scene modes and the effects mode. Movie mode can be accessed no matter what stills shooting mode you're in, simply by pressing a dedicated movie record button on the back of the camera.

Also on top of the camera is a small function (Fn) button which can be set to a number of different options, including white balance, metering or sensitivity (ISO). This is useful if you're often changing the same setting and don't want to dive into the main menu every time.

On the back of the camera is a pretty standard compact camera style button layout. There's a scrolling dial that doubles up as a four-way navigational pad, with each directional key having a specific function. Left accesses the timer function, up accesses the flash function, right accesses exposure compensation and down accesses the different focusing modes.

To change the autofocus point, you need to press the central OK button and then use the directional keys, or scroll with the dial, to the point you need. It's a reasonably quick process, but you've always got the option to leave the point in the centre and focus and recompose if you're in a particular rush.

Zooming the 42x optical zoom lens is achieved via a lever around the shutter release button on the top of the camera. Unlike with the P520, there's no switch on the lens barrel itself. Zooming in and out is pretty smooth and fluid, while it's handy that zooming briefly pauses before straying into digital zoom territory.

If you've used a Nikon camera before, then you'll be at home with the main menu system, which for the most part is pretty sensibly arranged.

Unfortunately the electronic viewfinder doesn't have an eye-sensor, so you'll need to a press a button next to it every time you want to use it, and every time you want to stop using it. It doesn't make for the most seamless of transitions, and I often found myself not bothering to use it at all because it was too frustrating.

If you do use the viewfinder, you'll find that it's not too bad for a bridge camera EVF. It's the same size as its predecessors, and although not as large or bright as some of the current crop from compact system cameras, it's not too bad to use, and useful to have if you prefer using them to using a screen.

Colours are generally represented well by the P530, but on occasion, skies tend to have a cyan cast, which although not hugely uncommon for compact cameras, is a little disappointing to see here.

Despite the step back in resolution (16 million pixels compared with 18 million from the P520), the P530 is capable of resolving detail well. If you zoom in 100%, there is evidence of some image smoothing, even at lower sensitivities, but it's not something that should be worrying unless you're printing at very large sizes.

Noise is generally controlled pretty well at lower sensitivities, although that does result in some loss of detail. As is to be expected, as you step into higher sensitivity settings, noise starts to become more problematic, but it's only after ISO 3200 that images start to become unacceptable.

The zoom performance of this camera is probably the most crucial since that's its key selling point. At the furthest reach of the 42x zoom optic, there is a noticeable loss in detail when examining at 100%, but when viewing at normal printing or web sizes, it's more than acceptable and is a great flexible option for travelling photographers.

There is also a digital zoom available if the optical zoom isn't enough – while it's nice to have this, image quality suffers quite badly, and is only recommended for use if you're desperate, and/or you only want to print or share the images at small sizes.

Generally, autofocusing speeds are adequate. The lens locks onto the target reasonably quickly when shooting in good or bright light, hunting around a little more when in darker conditions. You can activate macro focusing if you want to get particularly close to a subject, and generally this also produces attractive images that fill the frame and are sharp.

For the majority of shots, the P530's matrix (all-purpose) metering system does a good job of helping the camera to produce accurately exposed images. It can struggle when you're shooting something with high contrast though, such as a backlit building – an instance when switching to spot metering can be beneficial.

Under different kinds of lighting sources, the P530 copes reasonably well to produce accurate colours. Under artificial lighting, it errs towards warm tones, but it's not unexpected for a camera of its type, and it's easy enough to switch to a more appropriate white balance setting if you need to.

There are a number of different creative filters that you can shoot with, which is good if you like to experiment with your photos. It will of course come down to personal preference, but it's worth using all of them at least once to see if you like them. It's not the greatest set available on the market, but it's nice to see them here nonetheless. You can see examples of the filters on the sample images page.

Verdict

The bridge camera sector is one of the most competitive areas of the camera market, with several manufacturers now producing cameras with huge zoom ranges.

Here we have a camera that offers a 42x optical zoom in a budget body – so if your main concern is the zoom range, then this is a good option for you.

While it's a shame that it can't shoot in raw format, the fact that it has full manual control should appeal to enthusiasts who want a no-frills camera, or perhaps for those looking for a decent travel camera.

Handling is good for the most part, and image quality is decent. It's no better than its predecessor though, which you can still pick up for a reasonable price.

We liked

The huge zoom range makes this ideal for those looking for a flexible camera to shoot a wide range of subjects. Image quality at the telephoto end of the zoom isn't perfect if you examine at 100%, but it seems unlikely that the majority of the users of this camera would do that.

We disliked

There's no discernible leap in image quality from the camera's predecessor, the P520, making this seem like a little bit of a pointless upgrade.

Final verdict

Nikon has once again produced a solid bridge camera in the P530, and if you're on a budget and looking for something that gets the job done without worrying too much about tempting extras, then this is a good option.

For now, you can still buy the P520, which if you're bothered about an articulating screen makes for a better purchase. If you have a bit more cash to spend, take a look at the P600 too.

On occasion, skies can have a cyan tint to them, something which is a little disappointing to see from a Nikon camera. (Click here to see the full resolution image)

Colours are generally bright and punchy straight from the camera. (Click here to see the full resolution image)

The camera's 42x optical zoom gives you a flexible range to work with. (Click here to see the full resolution image)

At its widest point, the P530's optical zoom lens covers a wide angle of view, useful for architectural and landscape shots. (Click here to see the full resolution image)

The camera's 16 million-pixel sensor can resolve detail fairly well. (Click here to see the full resolution image)

At mid-range sensitivity, noise is pretty well controlled, but there are some examples of image smoothing if you examine at 100%. (Click here to see the full resolution image)

Use the camera's macro mode when you want to shoot close-ups. (Click here to see the full resolution image)

Despite the camera's small sensor size, you can still achieve shallow depth of field effects if you go close the subject. (Click here to see the full resolution image)

At its widest point, the camera's 42x optical zoom lens offers an equivalent of 24mm. (Click here to see the full resolution image)

At the telephoto end of the optic, the 42x optical zoom equates to 1000mm in 35mm terms, making it very flexible. (Click here to see the full resolution image)

If you need extra reach, the P530 also features a digital zoom, which boosts the reach by 4x, to 4000mm. (Click here to see the full resolution image)

Special effects

The following images display the range of different effects that can be enjoyed when shooting in Special Effects mode.

Only available in black, the Nikon L330 is the latest edition to Nikon's L series, and the successor to the L320, which was released in 2013. With an effective pixel count of 20.2 million (an upgrade on the L320's 16 million pixel sensor), 26x optical zoom and 4x digital zoom, the L330 is a nice little update to the popular L series. It's also had a screen upgrade, from a 230k-dot screen to a 3 inch 460k-dot LCD screen.

It comes equipped with an impressively long zoom lens - with a 35mm equivalent of 22.5-585mm - which is claimed to be capable of focusing at a minimum distance of 1cm, perfect for macro shots. It also benefits from Nikon's high performance Vibration Reduction (VR) technology to keep images as stable and sharp as possible.

Competing with the Canon Powershot SX510 HS, the Panasonic Lumix DMC-LZ30 (just replaced by the LZ40) and the Sony DSC H300. The Nikon has fewer features (the Powershot SX510 has GPS and Wi-Fi for example), but is also slightly lower in price.

You'll find four shooting modes on the L330 - Easy Auto, Smart Portrait, Auto Mode and Scene, which gives you the option of 18 scene modes including options such as Portrait, Landscape, Pet Mode and Sunset. Using the L330 on Smart Portrait mode offers the options of Blink Proof shooting and utilising the inbuilt Smile Timer.

Users also have the option to shoot video with the Coolpix L330. While it doesn't offer full HD shooting, you can shoot in 720p HD, with the ability to autofocus and zoom during shooting. It's powered by 4 AA batteries, so you'll always be able to carry a spare set with you in case you run out of charge, and Nikon suggests that users should be able to get between 370-960 shots from the four AA batteries depending on the type used, based on the CIPA industry standard.

Manual adjustments are thin on the ground with the L330 - users can adjust the sensitivity and white balance and choose from five color modes (Standard Color, Vivid Color, Sepia Tone, Black and White and Cyanotype), as well as being able to change the exposure compensation and macro focusing mode, depending on which shooting mode you are using. Nikon has declined to add any other creative filters to the Coolpix L330.

There are a couple of options for editing photos in camera , for instance, you can soften skin on photos taken with Portrait Mode. It's also possible to crop and rotate images.

There is no inbuilt Wi-Fi connectivity with the L330, but it is Eye-Fi compatible, meaning users can use Eye-Fi SD cards to create a Wi-Fi network for sharing images with smartphones and tablets.

Build quality and handling

You're not going to be able to fit the Coolpix L330 into your pocket - it's a bulky DSLR shape camera with a deep grip. It does, however, feel solid - the handgrip on the right hand side is nice and sturdy, and it feels like it's made from quality materials. I found the battery door to be a little fiddly to open, and it's best done when the camera is upside down as the door is the only thing holding the 4 AA batteries in, unlike those with the flatter, rectangular shaped batteries, there are no clips to keep them in place.

Overall the L330 is a chunky camera, due to the zoom lens, and it doesn't feel flimsy or cheap. Even with the batteries inserted it's not that heavy, coming in at just 430 grams, although it's obviously not as light as a more pocketable compact camera.

The camera comes with a strap for the lens cap, although some may prefer to keep it separate as it does have a habit of dangling in the way - when shooting towards the ground for example.

Buttons on the L330 are clear and easy to reach, even while using the camera one handed. The majority of the controls can be found on the back, along with a nice thumb rest. Users familiar with the Nikon menu system will have no trouble getting to grips with this camera, particularly as there are very few options to change, and new users shouldn't take too long to become comfortable with it either.

There is a dedicated Scene button to access the shooting modes - the rest of the options and settings can be found by pressing the Menu button. There's also an erase button, a playback button and a one-touch record button, all within fairly easy reach.

If you want to use the flash for your shots you can pop it up using the button to the side, and with its location directly above the lens you're unlikely to accidentally get your fingers in the way of this one.

During testing I found the Coolpix L330 was a little slow to respond to demands, especially just after taking a photo. If you want to change settings quickly you might see "Please wait for the camera to finish recording" message more than once, which can be a bit annoying if you're trying to capture something quickly. This also became more frequent as the battery life starts to decrease due to the AA batteries the L330 uses.

Shots taken with the Coolpix L330 generally turned out to be evenly exposed, with fine detail captured well and with very little distortion or camera shake, even at the far end of the optical zoom. I was particularly pleased with the punchy, bright colors that it produced.

Sensitivity on the L330 is set by the camera for all modes except Auto Mode, where you can select from ISO 80 - 1600 or let the L330 pick the right sensitivity for you, and while shooting outdoors I found it generally produced little to no noise until the sensitivity was set to ISO400 and above, even on overcast days. There is a little noise seen at ISO400 and above, but it's nothing unexpected for a camera of this quality. Shooting indoors, however, produced a fair bit of noise in lower light conditions, and images above ISO400 are disappointingly grainy.

While there is a custom white balance mode available on the Coolpix L330 when shooting in Auto Mode, I found that it produced inconsistent results - sometimes it added a blue color cast to shots even after taking a custom reading. The auto white balance setting did a great job of producing accurate colours, while the presets are a good option if you're finding that the automatic setting is erring slightly.

It's not possible to adjust the autofocus or the metering mode which is a shame, as the L330 sometimes overexposes a shot if there is a wide expanse of light which might have been fixed with a different metering method.

In general however most photos are well balanced, whether using the easy auto mode or using the specific scene modes. Autofocus is quick to find a subject and generally seems to focus correctly, although it sometimes struggles to pick up smaller items in the foreground while using the optical zoom.

There are five color modes available and they all produce decent images - I was especially happy with the results from the Black and White filter which leant a moody and dramatic feel to the final shots, and the Vivid Color filter was useful for pushing up the saturation when required. While some of the filters might not be to everyone's tastes, it's worth experimenting to see if you like them.

There is a little fringing to be seen when shots are zoomed to 100%, but it's unlikely to be something you'd notice when printing at A4 or below, and isn't particularly surprising for a budget camera.

Lens performance

Zoom performance on the L330 is very impressive, there is no doubt about it. I was also impressed with the Vibration Reduction technology - even at the highest optical zoom the view on the screen was steady. It's a neat lens, allowing users to focus on far away scenes with very little noticeable loss of quality.

I was also impressed with the macro performance from the L330. The detail it can capture is great and the claims that it can focus from 1cm are spot on - although sometimes the shadow of the camera can be a hindrance when shooting that close to your subject in direct light. Using the Close Up scene mode produces fantastic results that are hard to fault.

Panoramic Assist is offered in lieu of a dedicated panoramic scene mode, meaning the Coolpix L330 will assist you in lining up your photos but you'll have to stitch them together using your own software once you've downloaded them, which is a bit of a shame.

In an upgrade from the 230k-dot screen of the L320, the 460k-dot 3" LCD screen is sharp and crisp, but while it should cope well in bright sunlight due to its anti-reflection coating, in reality it is plagued by pink lines whenever it's directed at a light source. These don't appear on the final images but could confuse some users, especially the beginner users this camera is aimed at.

Video

Video performance from the Coolpix L330 is reasonable, although not particularly sharp and the noise from using the zoom is very audible during playback. It does, however, manage to autofocus well while zooming in and out, which is nice to see.

I used alkaline AA batteries during testing, and was pleasantly surprised with the outcome - the battery indicator was still full after a couple of hours of near constant shooting (including using the flash and recording a few minutes of HD video), and I managed to take 400-500 photos before performance started to suffer with slower shot processing times.

While AA batteries are useful if you want to travel, or don't want to worry about running out of charge, I'd still like to see a lithium ion battery with this camera, as AA batteries can become expensive to replace and can become sluggish when they're low on charge. However, users should at least be able to get a fair amount of shots from the L330 before they experience slower shot processing times or have to change the batteries.

Verdict

Frustratingly low on basic manual settings like the ability to adjust the metering mode, the L330 has been designed for users who want to snap and go, and not mess around with settings. Sadly, this means that when the exposure or the metering decided by the Auto Mode isn't quite right, there's little you can do to adjust the scene and try again, which some users may find annoying.

It's not all bad - the Coolpix does, for the most part, work well and provides users with an easy to use camera with a decent battery life (based on use of alkaline AA batteries) and a great zoom lens. If you're also interested in taking macro photos then the L330 is certainly one to consider as the results were consistent and impressive.

For only a bit more money you can pick up the Canon Powershot SX510 HS, which has full manual control, full HD, Wi-Fi, GPS and 30x optical zoom, and while it only has a 12 million pixel sensor this doesn't necessary mean a lack of quality. It also has a rechargeable lithium ion battery, which may appeal more to some users.

Alternatively, the Sony DSC H300 has a 20 million pixel sensor and 36x optical zoom and uses AA batteries - both alternatives are available for around £30 more than the L330 but offer a lot more desirable options for the average user.

We liked

If you're interested in a long zoom or macro photography then the Coolpix L330 can and will produce consistent results for you, no matter what the subject. It's super easy to use and the battery life is pretty decent for AA batteries.

We disliked

This camera is basic and it feels like Nikon missed a trick - if there were just a few more options it would appeal to a far broader audience. As it is, people who are already comfortable using a digital camera might be put off by the lack of settings available, while beginners may not appreciate the chunky shape.

Final verdict

Although the performance from the L330 is good, there are a few annoying niggles that stop us from loving this camera. The lack of settings and the slow response when the batteries start to fail all became irritating with prolonged use.

For users just starting out with photography and want a larger zoom than most compacts can provide them the Coolpix L330 is a safe bet, but for the more experienced crowd, or those who would like to experiment more with their photography this probably isn't the camera for them.

Fine detail is captured well by the optical zoom lens, with little to no camera shake

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Macro mode is also able to pick up fine detail and bright colours.

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Landscape mode produced evenly balanced shots, with nice detail and very little fringing or distortion.

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Colours represented by the Coolpix L330 are very natural and true to life.

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Another example of the fine detail that the L330 is able to capture.

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Using the Black and White filter produces dramatic images.

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The Coolpix L330 produces a reasonably shallow depth of field.

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Even while using the optical zoom, the L330 can still capture moving subjects with little blurring.

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Shooting from just 1cm away, the L330 still produces crisp, clear images.

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Metering is generally spot on from the L330.

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But some images can be a touch over exposed when there is a large expanse of light.

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The high resolution gives you good scope to crop without losing too much quality - this image was cropped to remove distracting background clutter.

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Zoom range

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Filters

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Olympus has introduced a new bridge camera, the first to feature "dot-sight" technology.

The sight works in tandem with the camera's newly developed 50x optical zoom lens, making it ideal for spotting moving and distant subjects, such as wildlife or planes. The built-in sight is stowed for portability, popping up instantaneously for shooting.

With its 24-1200mm zoom lens, the SP-100EE is also capable of shooting at an equivalent of 2400mm when using the 100x Super Resolution zoom.

Other specs

The camera features a 16 million pixel BSI CMOS sensor, along with Olympus' own FAST AF system and 7.1 fps sequential shooting.

It also has a 920k dot electronic viewfinder, along with a 3 inch, 460k dot LCD screen on the back of the camera.

As is common with many camera manufacturers, technology from elsewhere in the range has found its way into the SP-100EE, such as a TruePic VII image processor, something which is also found in the OM-D compact system cameras.

Available from March, the Olympus SP-100E price will be £349.99 (approx US$580/AU$662).

Samsung has revealed a new range of compact cameras at CES.

Last week, the company announced a new compact system camera and Galaxy compact, but it wasn't content to finish there and has added a further six compacts to the announcement roster.

The WB2200F is a 60x optical zoom bridge camera which features a DualGrip design. The lens starts at an ultra wide 20mm (35mm equivalent) and users have the option to use the zoom at double speed or go directly from zero to 60x.

It also features a 16 million pixel BSI CMOS sensor, full HD video recording and a 3 inch LCD screen. It also has an electronic viewfinder. Similar to Samsung's range of compact system cameras, the WB2200F features an iFunction button for controlling various parameters of the camera.

Also announced today is the WB1100F, which features a 35x optical zoom with a 25mm wide-angle lens.

The WB100F features a a Speed Control Key which allows you to quickly move through the various levels of zoo. It can also be used to activate the panoramic mode.

Keep on scrolling...

The third camera, the Wb350F features a 21x optical zoom with a 23mm wide angle lens. It uses a 16 million pixel BSI CMOS sensor, and is capable of recording full HD video. On the back of the camera is a 3 inch touch sensitive LCD screen.

Finally, the next two cameras are aimed at more family orientated users. The WB50F features a 12x optical zoom, 16 million pixel sensor and Smart Mode.

Meanwhile, the WB35 also features a 12x optical zoom and 16 million pixel sensor and includes a Smart Mode and Live Panorama mode. It features a 2.7 inch LCD screen.

All of the new cameras feature NFC and Wi-Fi connectivity and utilise Samsung's "Tag and Go" feature, which connects cameras to smartphones and tablets by tapping the two together (NFC needed).

This means you can use features such as Photo Beam for instantly transferring an image across to a smartphone or tablet, while AutoShare saves images straight to a smartphone in real time.

Pricing and availability of the new cameras is yet to be announced.

Last year's Canon PowerShot SX500 IS was hailed as the smallest 30x optical zoom camera on the market, and it was certainly impossible to deny that it packed a whopping lens and the pixels to support it. While it was generally well received, there were a few areas where quality fell foul of quantity. That being the case, we were excited to get our hands on the Canon SX510 HS, contender to the tiny-but-mighty crown.

The two cameras are outwardly similar and share the same great 30x optical zoom, with a maximum effective focal length of 720mm. Further expandable to 60x with Canon's ZoomPlus digital zoom technology, the equivalent of 1440mm, you shouldn't find any problems snapping long range subjects. While it can't boast the same 50x reach as the range-leading Canon SX50 HS, it offers more than enough reach for most situations in a package almost half the size.

There are a number of major improvements under the SX510's hood, and the foremost of these is the new 12.1 million pixel CMOS sensor. The Canon SX500 IS featured a 16 million pixel CCD sensor and this change hopefully reveals a major shift towards better image quality. The new sensor has Canon's HS (short for High Sensitivity) system, which should make it far better at handling low light photography. Although the included DIGIC 4 processor is now two generations old, we know it to be a good performer in other cameras.

The SX510 also features the same three-inch, 461k-dot LCD screen as its forebear, which is starting to lag behind the competition in terms of resolution, with many compacts now packing 920k-dot or higher displays.

Intelligent IS

As with its predecessor, the Canon SX510 features Canon's Intelligent IS technology, which has proven itself to be equal to the task of keeping images stable, even with the long focal length offered by this lens. As well as a powerful IS system, the camera also features a raft of autofocus options including full manual focusing. Tracking options including automatic face detection allow you to keep moving subjects in focus while continuous and servo options help save time spent refocusing.

A wide range of imaging modes are included, with aperture and shutter priority modes as well as full manual control. Scene Mode includes options for low light shooting and portraits, while a range of creative filters provide imitation toy camera and fisheye effects. Flexible tools such as reduced resolution high speed shooting and face triggering give you plenty of options for any situation.

One of the hardest parts of telephoto photography is maintaining framing, especially when shooting moving subjects. The Zoom Framing Assist function, accessed via an easy to reach button on the size of the lens, aims to make reframing as easy as possible by enabling you to quickly zoom in and out. One press while zoomed in will quickly zoom out to a wide view, with a handy framing window that matches the approximate telephoto view. Let go of the button and the lens will zoom right back to your initial range, allowing you to quickly search for subjects. What's more, when a subject is detected, the camera will attempt to keep it relatively the same size in the frame at all times, which is great for moving subjects.

Moving pictures

With most modern compacts featuring full HD movie recording; the Canon SX500 offered a disappointing maximum resolution of 720p. Thankfully, this upgraded model has received a much-needed boost, bringing it in line with what is quickly becoming the industry standard. Although there are no options to adjust frame rates at HD resolutions, a high-speed mode is offered, with up to 240 frames per second available, at the cost of a cut to resolution.

A welcome addition to this model is wireless connectivity, something that is becoming more and more common in modern compact and bridge cameras, making transferring files and printing entirely computer free. The wireless connection also allows you to share GPS information from a mobile device in order to automatically tag images with location information, which adds even more attraction to an already traveller-friendly camera.

As diminutive as the SX510's frame is, it doesn't for one second feel toy-like. As we've become accustomed to with Canon's compact line up, high quality materials are paired with tasteful and understated design. From the rubber grip to the metal lens ring, the choice of materials shows consideration to both form and function.

You might expect a camera this small to feel fragile or fiddly in the hand, but the reality is pleasantly quite the opposite. Even in large hands, the carefully contoured grip gives you plenty of purchase and you never feel as if you're in danger of losing hold. Being so light, the camera sits gently in the hand and the weight, or lack thereof, makes it easy to maintain framing for long periods.

The grip and controls are all located on the right hand side, which makes one-handed operation simple. While the controls are all well placed, it can be a little bit cramped and some may have to perform thumb gymnastics in order to reach all the controls without shifting grip. Likewise, the zoom control switch may prove a little small to some digits.

Button placement is the standard Canon fare, centered on the scroll dial/directional pad combination that has become common in recent models. The scroll dial, which surrounds the directional pad, allows quick scrolling through menu options as well as the changing of settings such as aperture and shutter speed – depending on mode.

Directional pad shortcuts offer quick access to focusing modes, sensitivity, flash and timer options, while the central function button gives access to more detailed settings such as white balance, metering and resolution. The focal point of the top panel is a mode selection dial, which manages to squeeze in all 11 of the SX510's operation modes.

If you've used any recent Canon compacts, you'll find the menu system familiar and it's relatively simple to access all the camera's options. That being said, there are so many different mini-menus that it can be a little hard to locate exactly the one you're looking for on the first try. You'll also find that it takes a fair bit of scrolling to get to some of the lower options. It would have been nice to see the menus sub-divided a little more, as seen in Canon's DSLR lines.

It takes a little intuition to find the Wi-Fi settings for the first time, doing so requires you to switch to playback mode, which isn't instantly apparent. Once you get there, set-up is quick and relatively painless however and allows you to quickly name the camera and connect to a local network. It's a quick and easy process to connect to a mobile device on the same network in order to view and transfer image. Connecting to a device with GPS also allows you to tag images with location information while the two remain linked. Although thumbnails render quickly, it can take a little longer than we'd like to load full size previews.

In what is a pretty clear concession towards keeping size down, the flash has no automatic pop up and upon switching the flash on, you'll receive an on-screen reminder to raise it yourself. The mechanism itself is solidly constructed though and it requires very little force to raise the flash; it's entirely possible to do so with your index finger while holding the camera one handed. It lowers just as easily with a satisfying snap.

We've come to expect good all-round image quality from Canon, and the new 12.1 million pixel CMOS sensor certainly doesn't disappoint. In our test shots, we found the SX510 HS capable of automatically handling a wide range of light conditions as well as offering full manual flexibility.

Evaluative metering generally provided good results, except in extreme lighting conditions, while spot metering gives good control. The metering system managed to handle complex lighting situations such as dappled sunlight and it felt equally stable in low light situations. White balance provides solid, true to life, colour reproduction on automatic, while a full range of lighting specific options and custom setting allow for full control.

The sensitivity may be capped at the ISO 3200 mark, but this proves to be a good thing, as quality within this range is generally good. The new High Sensitivity system appears to do a great job of preventing loss of detail at high sensitivity settings. You can still expect to see some colour speckling as you pass the ISO 1600 mark, but the quality is very solid compared to other compact cameras.

Although it's not possible to manually select it, the Low Light scene mode offers sensitivity up to ISO 6400, at the cost of resolution. In this way, it's possible to get stable shots even in low light conditions, although you do suffer the same noise you'd expect when increasing sensitivity manually.

Images are sharp across most of the centre frame, and subjects appear crisp overall. There is some understandable chromatic aberration and colour fringing at the very edges of the frame, especially when at the telephoto end of the lens, but it doesn't detract from an overall good image quality. There is a small amount of distortion at the wide end of the lens, which is natural given the focal length.

Autofocus

Autofocus is responsive and fast, even in low light, a fact most likely attributed to a bright and clear focus assist light. In tracking modes, the AF was responsive at following the subject and in Zoom Framing Assist mode, faces were tracked fast and zooming occurred smoothly. Overall, the autofocus is very capable and should be able to cope with almost any situation.

Even though the star feature of this model is the long focal range, it's equally capable at macro photography. A 0cm focusing range means that you can literally press the lens up to the subject and still manage to focus - provided there's enough light, of course. Tracking options work just as well at macro distance as they do in normal conditions and overall it's very easy to focus on just about anything.

The Intelligent Stabilization system is extremely capable and it's possible to get some very clear pictures at surprisingly low shutter speeds – provided you have a steady hand. This is an area where the camera's weight pays off, being so light means that your hand isn't strained and shakes less. The system makes it entirely possible to hold a subject steady at telephoto distances, which makes a big difference with a lens this size.

The 3-inch LCD screen is bright and gives good image previews and field of view is as good as we'd expect. The screen suffers from glare in bright conditions and it can become hard to accurately judge exposure and colours when in direct sunlight. The lack of an optical or electronic viewfinder can make this a problem, but in general, we managed to cope just fine and it certainly isn't a deal breaker. Sadly the screen is neither touch sensitive nor articulated, but we consider this easy to accept given the size of the camera.

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The 28mm-equivalent wide-angle end of the zoom offers plenty of detail across the entire frame.

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Colours are acute and realistic, with detail in highlight and shadow areas.

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At the wide end of the lens, it's possible to take in a wide vista.

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While at the telephoto end, you can zoom right into details.

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The ZoomPlus option allows you to get even closer, but noise is clearly visible and detail is lost.

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Colours are bright and crisp, even in difficult lighting conditions.

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Lighting and colour reproduction are even across the entire frame.

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Shallow depth of field can be captured, and the new sensor manages to stop bright areas from being blown out.

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The 0cm macro focusing distance makes it possible to get some really interesting perspectives.

Filters

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No filter.

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Fisheye.

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Miniature.

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Monochrome.

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Poster Effect.

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Toy Camera.

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Vivid.

Canon's aim with the original SX500 IS was clear; create the smallest and lightest long-range shooter possible. They succeeded in that goal, but in pushing for sensational numbers sacrificed some quality. With this successor, they've managed to maintain what was great about the original while correcting some of the omissions of the original.

While we can't in all honesty describe the size as 'pocketable' (unless you have particularly large pockets), it's certainly small enough to be tucked into a handbag or satchel. Being so lightweight, it's never a burden to take it with you and the included strap lets you carry it comfortably. Whether you're trekking across mountain ranges or just walking around the park, it's a great companion.

The new 12.1 million pixel CMOS sensor is a significant improvement over the previous generation, and while the effective pixel count has been reduced, the image quality itself is boosted. The built in High Sensitivity system does a great job of boosting low light performance, and images don't suffer anywhere near as much from muted lighting.

The new Eco Mode setting, which is popping up on many new PowerShot releases, offers an effective way to save battery life. Rapidly dimming the screen when it isn't being used right-that-second helps you last longer between charges. This feature alone makes this model attractive to travel and holiday photographers.

While the lens and stabilization system haven't been updated, it's still worth commenting on their overall quality. The full 30x optical zoom is more than enough range for almost any conceivable situation, and when coupled with the capable digital zoom you'll never worry about needing to move closer to a subject. The stabilization system is more than up to the task of reducing those nasty telephoto shakes and does a great job of keeping low light shots sharp.

With the addition of wireless connectivity and full HD video recording, the SX510 HS has been successfully brought up to date and fares well against other recent releases. While we would have liked to see features offered by competing models in the same price range, such as the Nikon Coolpix P520's high resolution screen, we can understand the limitation.

Overall however, the SX510HS compares very favourably to other models in the same bracket and if you're choosing this model, you can feel comfortable in getting a very capable camera. Whether it's right for all users is a matter of preference, while size and weight are important to some, others might prefer to spend a little bit more money on a longer lens and articulating screen, as seen on its big brother, the Canon SX50 HS.

If you don't necessarily need the full reach of this monster lens, you might be just as happy with Canon's ultimately more pocketable SX280HS, which offers the same sensor HS sensor technology in an even smaller and lighter package. While it doesn't give you quite the same 30x zoom, it's still got a pretty good reach and if you're not specifically looking for a bridge style camera, you can pick it up at a similar price.

You get a well rounded and most of all compact camera for your money and it offers the kind of focal range and stabilization which make it perfect for travel photography. You'll find it just as capable for every day photographer, with new sensor and range of scene and metering options make it flexible enough for most situations.

We liked

There's a lot to like about the Canon SX510 HS, from the wonderful focal range to it's lower power options and full manual options. The much lauded stabilization system does a great job of keeping images sharp and blur-free.

We disliked

As understandable as the omissions are, it's still disappointing not to see a touchscreen on this device or an articulated screen. While the autofocus system is snappy, it's sadly not possible to move the focus point, even if it is easy to zoom in and out to reframe.

Final verdict

The 30x optical zoom gives you as great flexibility for a camera this size and, while it can't claim to be the smallest on the market any more - the Sony HX50V has stolen that title - it manages to provide the range without costing the earth. It also offers a range of flexibility that matches or exceeds that of the Sony contender at a lower price point.

Even though the zoom range is the clear star of the show, what really shines about the Canon SX510 HS is its flexibility. Pictures are of generally good quality and although images get a little noisy at higher sensitivity settings, details are retained fairly well. The image stabilization system is very capable and we didn't experience any trouble getting shake-free pictures at low shutter speeds. Overall, you'll find the SX510 comfortable and easy to use and offers plenty of room to expand your ability.

It's no secret that the compact camera market is declining, but one area which seems to continue to perform reasonably well is the bridge camera market.

Sony has already taken hold of another lucrative area of the market with its RX100 and follow up, the RX100 II, topping the sales charts of the premium compact area.

Now, the company has put that same sensor inside a bridge camera in the shape of the RX10. Not only does it have that excellent sensor, Sony has also designed a new processor, the Bionz X, which promises to deliver processing speeds which are three times faster than the equivalent found in its predecessor.

Other bridge cameras on the market generally feature a standard compact-camera sized sensor at 1/1.7 inches. This should make the RX10 a much better performer, both in terms of low-light shooting and also in helping to create attractive shallow depth of field effects.

Although the 8.3x zoom (24-200mm equivalent) lens doesn't have the mammoth zoom range of cameras such as the Canon PowerShot SX50, it does offer something which most don't; a constant fixed aperture of f/2.8. The only other bridge camera to currently offer that is the Panasonic Lumix FZ200, which includes a 24x optical zoom (25-600mm equivalent), but of course it's worth noting that the sensor size inside the Panasonic is considerably smaller.

On the back of the camera is a screen, which, although isn't touchscreen, is tiltable for those awkward angled shots. Though it's not fully articulated or 180-degree tiltable, making it less useful for self portraits or video work.

There's also a 1.4 million dot EVF. Many will groan at the thought of an electronic viewfinder, but Sony's devices generally are very good, and with a resolution that high, it seems likely that the RX10's device will not disappoint.

As is starting to become standard with cameras now, the RX10 features inbuilt Wi-Fi and NFC connectivity.

This means you can share shots you've taken instantly with your smartphone or tablet, or use one of those devices to control the camera remotely - something which will probably appeal to nature and wildlife photographers.

NFC is still a bit of a technology buzzword and basically means that if you have another device with the technology, you'll get a one-touch connection. Plenty of Android devices are packed with NFC, but Apple users still haven't been treated to the technology.

As well as an inbuilt flash, there's also a hotshoe for attaching other accessories you may want to use, such as a flashgun.

As it stands, it's difficult to find a direct competitor for the RX10. There are no bridge cameras with such a large sensor, but if we're looking at premium cameras in this market, then the Canon PowerShot SX50 and the Fuji HS50 seem like obvious choices. The Leica X Vario is also technically a bridge camera, but it features an even larger, APS-C size camera.

The biggest sticking point for this camera is likely to be the price. It is not cheap, coming in at over £1000/$1000. You could probably get three beginner DSLRs for that price. But that's not the point; to get something which offers this focal length and maximum aperture with a DSLR would cost many thousands, and, what's more, would be many times the size and weight of the RX10.

This camera joins the premium RX family, of which the RX100 II and the RX1 also belong. It's an interesting trio, all of which are unique in the marketplace. Sony is proving to be an innovative manufacturer at the moment.

The RX10 is very reminiscent of a DSLR camera, especially a beginner model such as the Nikon D5200. It has a large, chunky grip with a textured rubberised coating which lends it an air of quality.

On top of the camera are a number of dials and buttons which enthusiast photographers will no doubt appreciate, such as a mode dial for switching between exposure modes including aperture priority and shutter priority, and an exposure compensation dial.

Anyone who has used a Sony camera before will be familiar with the extensive range of buttons and dials that can be customised, and there are a few available on the RX10 too, including a small "c" button on top of the camera, which is useful if you're often looking to change one particular setting, such as sensitivity.

On the back of the camera, all of the directional key buttons can be customised, which is great if you find you like quick access to a particular setting.

The lens itself is fairly chunky, which also makes it quite satisfying to hold. An aperture ring can be found at the base of the lens, for quickly changing apertures.

A small, but appreciated, touch is the ability to switch on and off the clicking noise it makes as you turn the dial, especially if you want to use the camera for video recording. This is done via a switch at the base of the lens, which unfortunately can be easy to knock on and off when you're trying to change the aperture - this switch could do with being moved, or featuring a lock, to remove this problem.

Altering shutter speed (depending on the mode you're in) can be achieved via a scrolling dial on the back of the camera. If you rotate the aperture ring when not in full manual mode or aperture priority, it does nothing. It would be nice to be able to use it for something else in this instance.

Zooming the lens can be done in one of two ways. You can zoom using the lens itself, or, if you prefer, you can use a switch around the shutter release button - the latter is likely to appeal to compact camera users and is helpful when you're shooting one-handed. Either way, zooming is a fluid and quick motion.

One very nice touch on top of the camera is an LED screen for displaying key settings. This can be illuminated when it's dark, which could be handy in low-light conditions.

The back of the camera has a tilting screen. You can tilt it downwards for composing from above, or upwards for shooting from high angles, such as overhead. While it's a small shame that the screen doesn't articulate, which would have been more helpful for portrait format shots, this may have added unnecessary bulk and perhaps even expense.

To change the autofocus point, you will need to use a combination of buttons and the scrolling dials/arrow keys on the back of the camera.

First, you'll need to have the AF mode set to flexible spot, which you can do via the main menu or by assigning one of the custom buttons to this function. From there you can use the arrow keys to move around the screen and set the point.

Unfortunately, once you've done this, there's no super quick way to change the point; you'll have to set AF mode again to flexible spot, then move the point around the screen.

It can therefore be a little frustrating if you want to often change the AF point, so we'd recommend leaving it in the centre and focusing and recomposing the majority of the time. We're a little disappointed not to see a touchscreen on a camera of this calibre as it makes things like setting the AF point so much quicker and easier.

To make changes to various settings, a quick menu can be accessed via the function (Fn) button.

Happily, this menu can be completely customised, which is very useful if you find you're not using a particular setting and want it replaced with one you do use more often. When in playback mode, this function button accesses the camera's ability to send photos via Wi-Fi/NFC to your smartphone or tablet, which is a handy and quick addition.

The LCD screen is also joined by an electronic viewfinder. Bridge camera viewfinders tend to have a bad reputation, but this has to be easily one of the best we've ever seen on a camera of its kind. It's a large and clear device - the same as found on the Sony NEX-6, in fact - that is genuinely useful and easy to use. As there's also an eye sensor, switching between using the screen and the EVF is a doddle.

Another element which can be customised is the display, both on the LCD screen and in the electronic viewfinder. By hitting the Up button on the four-way navigational pad, you can move through the various options, all of which can be switched on and off in the main menu.

So, for instance, if you'd like to have the option to display an electronic level on the rear LCD, but never in the EVF, you can do this.

We were pretty much assured of the image quality of the RX10 from the get go, as it uses the same excellent sensor as the RX100 II, but it's nice to have that confirmed by the full production sample.

Colours are reproduced excellently, being bright and punchy without showing too much saturation.

Skies are represented well, as are skin tones.

You can alter the colours coming straight from the camera by altering the Picture Styles, for instance if you want more vivid or neutral colours. The good thing about these is that they can be shot in raw format, so you'll have a 'clean' version of the image to work with should you need it later down the line.

Detail is also excellently resolved by the 20.2 million-pixel sensor, as we'd already seen in the RX100 II.

All-purpose metering is generally good, though you may find you need to dial in some exposure compensation in particularly dark or high-contrast scenes.

Automatic white balance is also an excellent performer, although it errs towards warm, yellowish tones under artificial lighting conditions. Changing to a specific white balance setting overcomes this if it's proving to be too problematic.

Sony's Dynamic Range Optimiser helps to produce balanced exposures, especially if there are areas of high contrast in the scene. Generally, leaving it on automatic does a good job, helping to bring out detail in the shadows without being an over-the-top effect.

However, if you're shooting something which has a particularly high amount of contrast, you can change the levels between one and five, with five offering the biggest effect. It's not something you'll want to use for every shot, but it can be very effective.

With an f/2.8 constant maximum aperture, you may find that shooting at high sensitivities is reduced, but nevertheless the camera does an excellent job in such situations. Image smoothing is present throughout the sensitivity range, but it only starts to become problematic from around ISO 3200, and then only if you're examining an image at 100%.

Generally, image noise is minimal, while detail is kept well. Images are especially good when looking at them at normal sharing or printing sizes of A4 or below.

Being a Zeiss lens, we expected the RX10's optic to be a good performer, and it is. That f/2.8 constant aperture, coupled with the large sensor, means you can create some excellent shallow depth of field effects throughout the focal length. Out-of-focus areas are rendered beautifully, with some excellent bokeh visible.

Optical image stabilisation does a good job of keeping images blur free when shooting at the furthest reach of the telephoto end. Detail is also good at either end of the range.

If you find that the 200mm offered by the lens isn't quite enough, you can choose to use Clear Image Zoom, Sony's excellent digital zoom. This keeps the same resolution (20.2 million pixels) despite cropping into the image. Detail is well maintained when using this, although it's not as sharp as the optical end of the zoom. But again, this is only something you'll really notice when checking the image at 100%.

Unfortunately, you can't shoot Clear Zoom if you're shooting in raw format, so you'll need to switch to JPEG only first.

Autofocusing speeds are pretty quick, but they're not the fastest we've ever seen, with compact system cameras from the Micro Four Thirds family offering quicker times.

That said, it's quick enough for most everyday situations, and in the main it's accurate too. Speed does drop in lower-light conditions, but it's only when it's extremely dark that the camera struggles to focus at all.

Sony is one of the best manufacturers for the creative photographer, offering a wide array of digital filters alongside its great sweep panorama mode. Although there are no new filters on offer here, the selection is decent as always.

Again, though, you can't shoot the filters in raw format, so you'll be stuck with them if you decide you don't like them after all. Using Picture Styles is one alternative, especially if you want to shoot monochrome images.

Sweep panorama is easy to use and quick to stitch in camera, but if you're shooting something with lots of fine detail (such as an area with lot of trees) and you examine the image at 100% it's likely you'll see repeated patterns in some areas. It's not particularly noticeable when viewing at a normal sharing size though.

As part of our image quality testing for the Sony RX10, we've shot our resolution chart.

For a full explanation of what our resolution charts mean, and how to read them, check out our full explanation of our camera testing resolution charts.

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

JPEG

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

ISO 80. Score: 24 (Click here to view the full resolution image)

ISO 100. Score: 24 (Click here to view the full resolution image)

ISO 200. Score: 24 (Click here to view the full resolution image)

ISO 400. Score: 24 (Click here to view the full resolution image)

ISO 800. Score: 24 (Click here to view the full resolution image)

ISO 1600. Score: 22 (Click here to view the full resolution image)

ISO 3200. Score: 20 (Click here to view the full resolution image)

ISO 6400. Score: 18 (Click here to view the full resolution image)

ISO 12800. Score: 12 (Click here to view the full resolution image)

Raw

ISO 80. Score: 24 (Click here to view the full resolution image)

ISO 100. Score: 24 (Click here to view the full resolution image)

ISO 200. Score: 24 (Click here to view the full resolution image)

ISO 400. Score: 22 (Click here to view the full resolution image)

ISO 800. Score: 22 (Click here to view the full resolution image)

ISO 1600. Score: 20 (Click here to view the full resolution image)

ISO 3200. Score: 20 (Click here to view the full resolution image)

ISO 6400. Score: 18 (Click here to view the full resolution image)

ISO 12800. Score: 16 (Click here to view the full resolution image)

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.

We have compared the RX10 with the RX100 II, with which it shares the same sensor, as well as some other traditional bridge cameras currently available on the market - the Sony HX300, the Panasonic FX200 and the Fujifilm X-S1.

JPEG Signal to noise ratio

Here we can see that the RX10 clearly beats the other cameras on test, with the exception being the RX100 II with which, as we would expect, it is very closely matched. At the very top end of the sensitivity run, the Sony HX300 just pips it, but it sits comfortably above the Fuji and the Panasonic throughout the sensitivity run.

Raw (after conversion to TIFF) signal to noise ratio

It's a little harder to compare raw format files, since so few bridge cameras offer this facility. However, we can that again it is reasonably closely matched with the RX100 II and shows a consistent performance across the range. The Panasonic FZ200 beats it at the lower end of its sensitivity scale (ISO 200), but the Sony overtakes it from the mid-range of ISO 400 and above.

JPEG dynamic range

The RX10 puts in a consistent performance across the sensitivity range, producing an almost flat graph. It is beaten at the very lower end of the sensitivity range (ISO 50-100) by the Panasonic FZ200, Fujifilm X-S1 and Sony HX300, but from ISO 200-400 upwards it either matches or beats the other cameras on test. The RX100 II, with which it shares the same sensor puts in similar scores, if a less consistent overall performance.

Raw (after conversion to TIFF) dynamic range

As we might expect, the RX10 puts in a reasonably similar performance to the RX100 II for raw format files (after conversion to TIFF) here. It beats the Panasonic FZ200 at every sensitivity too.

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Colours are represented well by the RX10.

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Use Picture Styles to change the colour output of your files in camera.

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Different Picture Styles can be used for different situations, for instance Sunset. Shooting in Picture Styles means you can also shoot in raw format, should you need a clean image.

Click here to see the full resolution image.

Despite not having a dedicated macro mode, you can still get fairly close with the RX10.

Click here to see the full resolution image.

At the widest point of its lens, the RX10 offers an equivalent of 24mm, making it wide enough to take in a good wide view.

Click here to see the full resolution image.

The top telephoto end of the lens offers an equivalent of 200mm, which is enough for the majority of situations.

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If you do need to get even closer, use the Clear Image Zoom - Sony's very good version of digital zoom. Note that this can only be used when shooting in JPEG only.

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You can create shallow depth of field effects with the RX10's lens, which has an f/2.8 constant aperture throughout its focal length.

Click here to see the full resolution image.

There's lots of detail created by the RX10's one-inch 20.2 million-pixel sensor.

JPEG

Full ISO 80 image, see the cropped (100% versions below).

ISO 80 (click here to see the full resolution image)

ISO 100 (click here to see the full resolution image)

ISO 200 (click here to see the full resolution image)

ISO 400 (click here to see the full resolution image)

ISO 800 (click here to see the full resolution image)

ISO 1600 (click here to see the full resolution image)

ISO 3200 (click here to see the full resolution image)

ISO 6400 (click here to see the full resolution image)

ISO 12800 (click here to see the full resolution image)

Raw

ISO 80 (click here to see the full resolution image)

ISO 100 (click here to see the full resolution image)

ISO 200 (click here to see the full resolution image)

ISO 400 (click here to see the full resolution image)

ISO 800 (click here to see the full resolution image)

ISO 1600 (click here to see the full resolution image)

ISO 3200 (click here to see the full resolution image)

ISO 6400 (click here to see the full resolution image)

ISO 12800 (click here to see the full resolution image)

The RX10 could be the camera to shake up the bridge camera market.

It's a camera which offers a unique set of features in what is becoming an increasingly packed market. The fact that it uses the same excellent sensor as the RX100 II should make it extra appealing too.

That sensor has already proven its worth before, and here it continues to impress. The new Bionz X processor also plays a part in making this a fantastic all-round camera, which really does a pack a lot into one body, not least by including that f/2.8 constant aperture.

If you are looking for a complete camera, without having to worry about changing lenses or shelling out for expensive specialist lenses, this is the camera that will appeal to you. Sure, it's expensive, but it's still cheaper than buying a beginner-level DSLR and a bunch of heavy lenses that you'll need to lug around to achieve the equivalent focal length and maximum aperture of the RX10.

The addition of Wi-Fi and NFC also makes the RX10 handy for those who want to share images quickly, and for those who want to remote control the camera - nature photographers in particular may find this to be a key selling point.

Creative controls, such as digital filters and panoramic mode, are an added bonus, although we'd like to see more flexibility with raw format shooting. We'd also like to see a touchscreen, especially as setting the autofocus point is more of a pain that it should be.

The design of the camera is reminiscent of a DSLR, and for some that will be another major selling point: you get all the kudos that a 'big' camera brings, without having the bulk, weight, and need to invest in additional lenses.

Sony has once again thought about how enthusiast photographers like to use cameras: making so many of the buttons customisable is a smart move, for instance.

Electronic viewfinders have had a bad reputation for a long time, and in fairness, those that are found on the majority of current bridge cameras are nothing to write home about. Sony has been one pioneer in bringing excellent, usable EVFs to the market, though, and here in the RX10 they've installed another winner - it's not quite as good as using a full-sized optical viewfinder, but it's pretty damn close. And don't forget that using an electronic device does have its advantages, such as displaying a preview of the taken image.

We liked

There's plenty to like about this camera, but the image quality is the thing that should sell it the most.

Beautiful colours, lots of detail and excellent low-light shooting elevate it above other bridge cameras on the market, especially with the f/2.8 constant aperture lens.

We disliked

Some elements of this camera are harder than they should be. In particular, it's disappointing that it's tedious to change the AF point, something which the enthusiast photographer is likely to want to do often. We've said it before, and we'll say it again - a touchscreen would solve this problem pretty easily.

Final verdict

It's difficult to know how well this camera will perform - at the end of the day, there isn't generally a big audience for £1,000+ bridge cameras.

That said, it does offer quite a lot of value for an admittedly high outlay. For the real niche area of the market that this is aimed that, this could be a real winner.

Best cheap camera 2014: 6 cameras reviewed

Image quality is excellent, while handling is solid and reliable, with the customisation giving it a real enthusiast feel. Other touches such as the aperture ring and top plate LED also elevate it beyond the standard bridge camera.

Overall, Sony has brought another interesting concept to the market, expanding its well-respected RX family with this addition. Great work.

Olympus has announced the 12MP Stylus 1, a compact camera with a 1/1.7-inch back-illuminated CMOS sensor, a constant f/2.8 lens offering an equivalent focal length range of 28-300mm and a large electronic viewfinder.

Image processing is handled by the same TruePic VI engine as in the Olympus O-MD E-M5 (AKA the original OM-D). This enables sensitivity to be set in the native range of ISO 100-12,800.

All this is crammed into a body with a casing depth of just 52mm (overall dimensions are 116x87x56.5mm), along with Wi-Fi connectivity that's compatible with the Olympus Images Share app for remote control and wireless image transfer.

The lens is an 'ultra-slim' iZuiko Digital optic, and is specifically matched to the sensor. It also has an image stabilising element built-in to reduce the impact of camera shake by up to 5EV.

In addition, there are 11 Art Filter modes available, which can be used when shooting Full HD movies at up to 120 or 240fps.

Viewfinder

Unlike many compact cameras, the Olympus Stylus 1 has a viewfinder built in. This is the same 1.44-million dot electronic device found in the OM-D E-M5.

This EVF is backed-up by a tilting 3-inch 1.04-million dot LCD screen which is touch sensitive and uses capacitive technology to speed AF point selection and the like.

OM-D style

Olympus has given the Stylus 1 an SLR-like shape that's very similar to the OM-D E-M1's, with a mode dial, control dial and direct movie button on the top-plate.

Meanwhile on the front of the camera there's a sprung switch next to the lens to control zooming and a dial around the lens to control aperture and focus.

Price and availability

The Olympus Stylus 1 will be available in black for US$699.99/£549 from late November.

The bridge camera market is one that is continuing to perform well, amid a general downturn in compact camera sales.

Bridge cameras fall into the compact camera area of the market, not because of their small overall size (far from it), but because of their relatively small sensor.

The FZ72's 16.1 million pixel High Sensitivity MOS sensor is 1/2.3 inches, the same size as found in many (premium compact) cameras. What makes bridge cameras such as the FZ72 stand out is of course their huge zoom ranges. The FZ72 takes that principle to the extreme, with its 60x zoom range making it the longest available on the market.

Other cameras in this area of the market, such as the Canon SX50 HS and Sony HX300 offer 50x optical zooms, which are pretty impressive but are left somewhat in the shade by the 20-1200mm equivalent the FZ72 is capable of. What's also impressive is the wide angle of 20mm, with most cameras like this offering 24 or 28mm starting point, perhaps giving the FZ72 the edge for landscape photographers.

At its widest point, the FZ72 offers the appealing f/2.8 maximum aperture, matching the Sony HX300, but beating the Canon HS50 which is only capable of f/3.5 at the widest point. The FZ72 has a slightly wider maximum aperture at its full 1200mm, offering f/5.9, compared with the Sony's f/6.3 and Canon's f/6.5.

Panasonic also has an FZ200, which features an f/2.8 constant aperture, but with only a 24x optical zoom ratio – that's worth a look if the idea of the maximum aperture appeals to you more than a long zoom ratio.

Intelligent Zoom and Intelligent Resolution are included to boost that 60x zoom even further up to an equivalent of 120x. A separate tele conversion lens is also available to boost the optics of the lens up to 102x.

Aimed at enthusiast photographers, the FZ72 is capable of shooting in raw format and has full manual control along with semi-automatic modes such as aperture priority and shutter priority. There are also digital filters, such as Expressive, Retro, Dynamic Monochrome and so on that you can choose from. Panoramic mode is also included.

Round the back

On the back of the camera is a three-inch LCD screen with approximately 460k dots, but Panasonic has decided not to make this fixed position device touch-sensitive. There is also an electronic viewfinder, which is 0.2 inches in size and 202k dots.

As you might expect, full HD video recording is available in 60i, 50i and 25p. A hotshoe is also included for adding accessories such as external flashguns, though an inbuilt flash is also included.

As of October 2013, the FZ72 is available at a price which is a touch more expensive than its nearest rivals, the Canon SX50 HS and the Sony HX300, but not enough to take it out of contention.

All of these cameras are available for around the same price as some beginner DSLRs such as the Nikon D3200 or Canon EOS 1100D. Although those cameras have much larger sensors, you'd need to shell out a hell of a lot of cash to get the same kind of zoom range from a DSLR lens, so this is aimed primarily at traveling photographers and those who want maximum flexibility without having to carry around heavy and expensive equipment.

Very much styled in a DSLR fashion, the FZ72 could be mistaken for an entry-level model in the same vein as a Nikon D3200 at first glance. It has a larger than average lens for a bridge camera, which is unsurprising considering its enormous zoom range.

A chunky hand grip to the side of the camera is useful when shooting one-handed, while the rubberised coating makes it feel especially secure in the hand and gives it a high quality feel at the same time.

Fans of direct access dials and buttons should find lots to like about the FZ72, as the lack of a touchscreen means that the entire operation of the camera is carried out via the various buttons available.

On top of the camera is a mode dial for quickly switching between the various exposure modes available, including fully automatic, shutter priority and aperture priority, creative modes, scene modes, panoramic mode and movie mode. There's also space here for a group of custom settings, which is a useful touch if you often find yourself shooting in one particular scenario, such as low light.

On the back of the camera is a four way navigational dial, which gives you quick access to ISO, white balance, drive mode and a customisable function button. It's also used to navigate around the menu system, or when selecting an autofocus point.

A quick menu is also included for accessing commonly used settings, such as file type, colour and metering, this is accessed via a dedicated button to the bottom right of the back of the camera, which doubles up as a delete button when playing back images.

To switch between different focusing kinds, such as autofocus, autofocus macro and manual focusing, another dedicated button is found on the back of the camera. Another button can either be used as a customisable function button or as the AF/AE lock button. Burst shooting can be activated via a button on top of the camera, and up to 9fps is available. Clearly Panasonic has thought about how people like to use an advanced camera, and has included a decent range of buttons and customisation.

Up to your eye

The camera's electronic viewfinder doesn't have a sensor for automatically detecting when the camera is lifted to your eye, which is unfortunate as it makes the process a little disjointed. Instead, you will need to push the LVF button to switch it on – and off again.

Activating the pop up flash is a simple case of pressing a dedicated button on the back of the camera. Pushing this up will activate automatic flash, so you will need to push the flash back down again to switch it off completely.

A scrolling dial at the top of the thumb rest at the back of the camera is used to alter aperture or shutter speed, depending on the mode you're working in. If you push the dial in, it can then be used to alter exposure compensation when shooting in aperture priority or shutter priority. When in fully manual, pushing in the dial will switch between altering aperture and shutter speed.

Huge zoom, small switch

To zoom in and out of the FZ72's extensive 60x zoom range, a small switch around the shutter release button is used. Zooming is fairly quick and fluid, although with such a long range, getting to the full 60x is less than instant. One useful function which is found in the full menu is the 'zoom resume' feature, which means the camera will power up at the same zoom length it was at when you switched it off.

Unfortunately, although there are 23 autofocus points available on the camera, you can't choose them for yourself. Instead, you can pick between Face Detection, AF Tracking, 23-Area and 1-Area focusing. By choosing the 23-Area option, the camera will automatically pick a point to use. If you want more flexibility, the best option you have is to choose 1-Area, which is the centre point, and focus and recompose. It seems a bit unusual that a camera that is so otherwise enthusiast friendly doesn't offer this as an option.

If you've used any Panasonic cameras before, such as other Lumix compacts or even the Lumix G compact system cameras, you'll be more than at home with the menu system on board the FZ72. It's sensibly arranged, with most settings exactly where you'd expect them to be and split into three sections, one for shooting settings, one for movie record settings and other for general camera settings (such as setting the clock for example).

We've come to expect great things from Panasonic of late, especially from their interchangeable lens G series range. We've also been impressed by their Lumix compact cameras such as the TZ40 and FZ200.

Fortunately, the FZ72 carries on that tradition, producing excellent images in a range of different conditions. Colours are bright and punchy without displaying too much saturation, though you can choose to boost saturation if you want to emphasise bold colours.

The FZ72's 16.1 million pixel sensor is capable of producing very detailed images, while there's very little evidence of fringing or chromatic aberration even when shooting fairly high contrast subjects.

There is some evidence of image smoothing, even at lower sensitivities, when examining images at 100%, but it's not noticeable at normal printing and web sizes, such as A4 and below.

Of course, the stand out feature of the FZ72 is its zoom range, which makes it especially important that it performs well in this area. It's great to have a wide angle of 20mm, putting it above the likes of the Sony WX300 and Canon SX50 IS, which both offer 24mm at the maximum wide point. It doesn't sound like much, but it can help to get more of the scene in and will likely be appreciated by landscape and perhaps even architectural photographers.

Optical image stabilisation does an excellent job of helping to produce blur free images even at the telephoto end of the huge 60x zoom range. If you do need extra reach, the FZ72 also offers Intelligent Resolution, a type of digital zoom. This is also a good option, and despite the fact that some detail is lost when examining at 100%, it's one of the better digital zooms we've seen and useful to have when you need it. It's worth noting that you won't be able to shoot digital zoom when photographing in raw format, meaning you'll have to turn that off first – a little annoying if you're quickly trying to capture a moment.

Focus speed

Focusing is generally pretty quick, and usually accurate. It's a shame you can't set the autofocus point yourself, but using the 23-point system is generally accurate, so you may not miss it too much. Macro focusing is available via a dedicated button and allows you to get very close to the subject – so close in fact that the lens can be almost touching the subject - to produce detailed macros. In low light, focusing can take a little longer, especially in low contrast environments.

General-purpose metering does a decent job of producing correct exposures, even when shooting high contrast scenes which may otherwise throw off the metering sensor. In daylight conditons, automatic white balance does a good job of producing accurate colours, but it does err heavily towards warm tones when shooting under artificial lighting, meaning switching to a more appropriate white balance is preferable.

Processing speeds are generally quick, although when shooting in very low light, the camera can take a while to process high sensitivity shots – sometimes up to three or four seconds, which isn't particularly conducive to shooting fast moving action. In good light, processing is much quicker though.

Speaking of low light, when shooting at high sensitivities, such as ISO 3200, there is evidence of image noise and loss of detail when examining at 100%, but if sharing online or printing at less than A4, images look good, and certainly better than not capturing the moment at all.

The screen on the back of the camera does fairly well, even in reasonably bright conditions, though of course it would have been nice to see an articulating or tilting device. The EVF isn't too bad, as far as EVFs go – it's certainly a lot better than the device found on the Canon SX50 HS. However, it's still quite a small device and some may struggle with it, or only really use it in very bright conditions.

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At 20mm, the FZ72's wide angle lens is wider than its nearest competitors on the market and means you can get creative with wide angle shots or fit more into the scene.

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The zoom function of the FZ72 is its standout feature. Here we can compare an image taken at the wide angle, in which you can barely see a clock face in the centre of the frame.

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Here at the full 60x zoom function, the full clock face is visible and the optical stabilisation system has done an excellent job of keeping blur to a minimum even though this picture was shot handheld.

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The FZ72's macro focusing option allows you to get very close to the subject to produce frame-filling pictures.

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Here again we can take a look at the zoom function. Here's another shot at the 20mm wide angle.

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Now look at the 60x optical zoom to see how close the lens can get.

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If you do need extra reach, the camera's decent digital zoom comes in handy and allows you to get even closer. There is some loss of detail, but it's certainly good enough to share online and so on.

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The FZ72 has a dedicated panoramic mode, which is easy to use. Simply pan the camera across the scene and release the shutter button when you want the camera to stop recording.

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In artificial lighting conditions, the FZ72's automatic white balance tends towards the warm side. Meanwhile, noise is visible in this shot taken at ISO 3200, especially when examining at 100%.

Digital filters

The FZ72 has a large number of digital filters available when shooting in a specific mode. They are as follows:

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The bridge camera area of the market remains steadily buoyant in an otherwise declining area, and it's thanks to cameras such as the FZ72 which offer so much more than a mobile phone or simple point or shoot probably ever will.

In the FZ72, there's a lot to appeal to a wide range of different consumers. For the photographer that's looking to start getting more serious about photography, this camera offers a satisfying level of manual control and features things such as raw format shooting which means you could learn a lot. Similarly, for those used to shooting with DSLRs but looking to downsize now, the large number of direct control buttons and dials will surely be appealing.

It's a shame Panasonic hasn't invested a little more into the screen and EVF of the FZ72. They're both fairly low resolution, while the screen itself isn't articulated or tilting, which is useful for shooting from awkward angles. It's also not touch sensitive, which is starting to become fairly standard nowadays – we know Panasonic is capable of producing excellent touchscreens as we've seen them on the G series of CSCs, so it would have been nice to see one here.

Putting that aside, images are generally great, with special mention for those shot in good lighting conditions. The zoom function is of course the real stand out feature, and this doesn't disappoint, even when shooting at the telephoto end of the optic. Digital zoom is also good, so if you really do need 120x zoom, then you should be pleased with this camera.

It's a shame there's no inbuilt Wi-Fi for instantly sharing images, but perhaps this would have pushed the price of the camera a little too high.

We liked

The best thing about this camera is its huge zoom ratio. It's the world's longest available, and at 60x you've got a lot of flexibility. It's also nice to see that the widest point of the lens is 20mm, a good chunk wider than its nearest rivals and making it ideal for landscapes and capturing a large amount of the scene – traveling or holidaying photographers should love it.

We disliked

It seems like an odd decision on a camera with so much manual control that is aimed at enthusiasts to not allow you to change the autofocus point. We'd like to see that addressed for the next version of this camera, as having to focus and recompose can be a little frustrating when you've paid a decent chunk of money for a camera.

Final verdict

At first glance, a camera like this seems pretty expensive, being as it costs roughly the same – or in some cases more – than a beginner level DSLR with a sensor size far exceeding the FZ72's 1 /2.3 inch device. However, for your money you get a huge amount of flexibility with that 60x zoom that you just wouldn't be able to achieve with a DSLR without shelling out a lot of money and carrying around a huge piece of equipment. This camera would be a great option for holidaying and travel photographers, as well as those stepping up to learn more about photography or those looking to lighten the load a little.

Competition in the bridge camera market at the moment is pretty fierce. It's one of the only growing segments in the compact camera market, as users look for something much more advanced than their phone, especially in regards to zoom functionality.

It's a bit of an oxymoron that bridge cameras are lumped into the compact genre when, in actuality, many of them are roughly the same size as entry-level DSLRs. Where the difference lies, however, is in the size of the sensor.

The Nikon P520 houses an 18 million pixel, 1/2.3-inch CMOS sensor. This is the same size as those found in many "normal" compact cameras. However, where this camera, and other cameras of its type, trumps the larger sensored DSLR is the zoom flexibility.

Housing a 42x optical zoom, the Nikon Coolpix P520 boasts a 35mm equivalent focal length of 24-1000mm. That's an incredibly versatile range that could see you shooting everything from sweeping vistas to the deer standing on a hill that you can barely see with the naked eye.

This is a camera aimed at those looking to get a little more from their photography, and as such, it is also capable of full manual control, along with semi-automatic modes (such as aperture and shutter priority). Unfortunately, however, it cannot shoot in raw format.

Along with an articulating 3.2-inch, 921k dot, rear LCD screen, there's also a 201k dot equivalent electronic viewfinder, which is something that may be appreciated by those stepping up from a compact camera or smartphone camera.

A feature that may be of interest to travelling photographers is the inbuilt GPS, which can log the details of a shot's location. This is helpful for plotting on a map when you get back, or remembering the name of the remote village you holidayed in.

The Nikon Coolpix P520 doesn't have Wi-Fi built in, but it is compatible with Nikon's Wu-1a wireless adaptor if you want to add the functionality.

There's a range of creative options available also, including Effects mode and Easy Panorama. Auto HDR mode combines two shots taken at different exposures to create an image with wide dynamic range and rich colour gradation.

Another example of the camera's flexibility is macro focusing, which is available from as close as 1cm for frame-filling shots. A 99-point autofocus system is included, along with subject tracking AF. Furthermore, high speed continuous shooting of up to 10 images at 7fps at full resolution is available, or alternatively, 30 full resolution shots at 1fps.

The Nikon P520 goes head to head with cameras including the Fuji HS50 EXR, which also features a 42x optical zoom. The Fuji, however, boasts a maximum aperture of f/2.8 at the wide end of the lens, compared with the Nikon P520's f/3.0 offering.

Although it doesn't quite have the reach of the Canon PowerShot SX50 HS (which features a 50x optical zoom lens), the two cameras occupy roughly the same price bracket.

Speaking of price, the Nikon Coolpix P520 is priced at £399.99 / US$449.95 / AU$528, also putting it in the same bracket as premium compacts the Pentax MX-1 and the Olympus XZ-10.

The Nikon Coolpix P520's large grip and generally large body makes this almost akin in size to an entry-level DSLR, with of course the added benefit that the flexible 42x zoom brings.

For those looking for a serious-looking camera that is weighty and sturdy, without the bother of having to change lenses, this should be a serious contender.

Although the camera is made from plastic, there is a rubberised coating around the hand grip, on the area next to the lens and where your thumb rests at the back of the camera. This gives it good purchase, especially when shooting one-handed, and also lends the camera an air of quality that it might not have if it was entirely plastic in appearance.

Much of the button layout is also very similar to a DSLR. For starters, there's a dial on top of the camera for quickly switching between different modes. Here you'll find all those at home on a DSLR, including full manual mode and semi-automatic modes (shutter priority and aperture priority). On this dial you'll also find full automatic mode, scene mode, effects mode and space for a user-defined group of settings, which is useful if you often find yourself shooting in one particular scenario, such as low light.

Unlike most DSLRs, there's no dial on the finger grip for making changes to settings such as aperture priority. Instead, there is a dial at the rear of the camera, which you can reach with your thumb. This can only be used when in fully manual mode for making changes to shutter speed.

To change aperture (or shutter speed in shutter priority mode) you need to use the scroll dial around the OK button further down the back of the camera.

To change the autofocus point, you need to hit that OK button and then use the scroll dial, or the directional keys which the scroll dial doubles up as, to navigate around the scene to the point you want to use. This is reasonably quick to do, though it could be speedier if a touchscreen was included.

Other settings accessed via the four-way directional pad include exposure compensation, self-timer/drive mode, flash settings and focusing settings. You can choose between standard autofocus, macro focusing, infinity focusing and manual focusing.

There's no quick menu available here, so you will need to delve into the full menu (accessed via a dedicated button) if you want to make extensive changes.

There is, however, a small Function button just next to the mode dial - here you can assign a number of different functions, including white balance, ISO and metering modes. You can change which parameter to access via the button itself, making it almost like a quick menu, if a bit of a convoluted one.

Confusingly, there's a Display button next to the viewfinder, but pressing this while the articulating screen is in the standard home position doesn't switch on the viewfinder. In fact, you can't use the viewfinder at all unless the screen is packed away from view.

Once the screen is packed away, the EVF automatically fires up. It's logical that this happens when the screen is not in use, but not being able to access it when the screen is out is more than a little annoying if you only want to use the EVF sporadically. Having to articulate and unarticulate the screen often gets frustrating pretty quickly.

The 42x optical zoom can be controlled in one of two ways. First, there's a standard zoom switch around the shutter release - common for compact cameras. Secondly, there's a switch on the lens barrel itself, which can be pushed two ways to zoom in and out.

This switch on the lens barrel can also be used to control manual focus if you prefer, setting this via the main menu.

A handy setting that can be configured via the main menu is to have the zoom always set to a certain position on start-up. This is handy if you're finding you're often shooting at one particular focal length towards the end of that huge zoom.

Nikon continues to impress us with the quality of images produced by its Coolpix range. Happily, the P520 is no different.

Images feature vibrant and well-produced colours, without being too over the top. Despite its small size, lots of detail is captured by the 18 million pixel sensor. Some evidence of smudging can be seen when viewing images at 100%, but generally in good light, details are crisp. Viewing at normal printing and web sizes reveals images with plenty to like.

There's also very little evidence of fringing in high contrast areas, which is pleasing to see.

That 42x optical zoom is extremely flexible for shooting a wide range of different subjects, and will surely be appreciated by travelling photographers. The excellent news is that while the zoom itself is quick and fluid to use, images taken at the far end of the telephoto optic also display a good amount of detail with minimal blur caused by camera shake.

Since you can alter the autofocus point, you have a good amount of control over compositions with the Nikon P520. Generally, autofocus locks onto the subject quickly and accurately.

Macro focusing can be activated if you need to get closer to the subject. This results in detailed close-up shots that also have the added benefit of reducing the depth of field for beautiful creative effects. The macro focusing capability of the camera is another advantage that bridge models have over their DSLR counterparts.

Generally, Matrix (all-purpose) metering does a very good job of helping the camera to produce accurate and well-balanced exposures. A couple of times during our review, it did struggle with scenes with very high contrast. If this happens, it's advisable to switch to Spot Metering for a better representation.

Again, automatic white balance does a reasonable job in different lighting conditions. If you find that the camera can't quite keep up, switching to a more suitable white balance option is pretty easy.

The Nikon Coolpix P520 offers some creative filters under the Effects mode found on the mode dial. Since the camera is incapable of shooting in raw format, should you decide down the line that the effects aren't what you really want, you're stuck with them anyway.

That said, there are some fun and interesting effects to experiment with, depending on your personal preference. We particularly liked the High-Contrast Monochrome and Cross Process filters.

As with other Nikon cameras from across its range of compacts, CSCs and DSLRs, there is also the option to adjust Picture Control. This is a more understated way to get creative, enabling you to boost the colours and contrast (Vivid) or create a simple black and white conversion (Monochrome). These can be accessed while shooting in fully manual and semi-automatic modes, giving you greater control over other settings.

The Nikon Coolpix P520's large screen is great for composing your images on, being bright and not suffering particularly badly from glare (except in the very brightest sunlight).

The fact that the screen articulates is a bonus too, since you can manoeuvre it away from very bright light, or have a better angle of view for awkward compositions.

Unfortunately, such high praise can't be lavished on the electronic viewfinder. We've already mentioned that it can't be used unless the screen is packed away, but it is also small and not as responsive as those found on other cameras, particularly the likes of the Nikon 1 compact system cameras.

We'd only recommend using the Nikon Coolpix P520's viewfinder in very bright conditions, or if you want an extra way to stabilise the camera when shooting at the telephoto end of the lens.

As part of our image quality testing for the Nikon P520, 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 P520 is capable of resolving up to around 24 (line widths per picture height x100) in its highest quality JPEG files.

For a full explanation of what our resolution charts mean, and how to read them, check out our full explanation of our camera testing resolution charts.

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

JPEG

Full ISO 80 image, see the cropped (100%) versions below.

ISO 80, score: 22 (Click here to see the full resolution image)

ISO 100, score: 20 (Click here to see the full resolution image)

ISO 200, score: 18 (Click here to see the full resolution image)

ISO 400, score: 16 (Click here to see the full resolution image)

ISO 800, score: 12 (Click here to see the full resolution image)

ISO 1600, score: 10 (Click here to see the full resolution image)

ISO 3200, score: 10 (Click here to see the full resolution image)

ISO 6400, score: n/a (Click here to see the full resolution image)

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.

Here we compare the Nikon P520 with the Canon PowerShot SX50 HS, Sony HX200V and Panasonic Lumix FZ200.

JPEG signal to noise ratio

This chart shows that the Nikon P520's JPEG files have a similar signal to noise ratio to those from the Sony HX200V and Panasonic Lumix FZ200, and a weaker ratio than those from the Canon PowerShot SX50 HS, at every sensitivity setting.

JPEG dynamic range

JPEG images from the Nikon P520 again show a weaker dynamic range than those from the Canon PowerShot SX50 HS at every ISO setting, but produce a similar dynamic range to those from the Sony HX200V and Panasonic Lumix FZ200.

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Some examples of image smoothing can be when viewing the image at 100%, however at normal printing and web sizes it's not too much of a problem.

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Colours are represented well by the Nikon Coolpix P520, being vibrant without being overly punchy.

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The wide angle (24mm-35mm equivalent) of the Nikon P520's lens at the widest point of the optic provides a lot of scope for capturing wide-angle shots, such as landscapes.

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Macro focusing enables you to get really close to the subject and fill the frame. It also results in a pleasing shallow depth of field effect.

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Cross Process is one of the filters that can be found in the Effects section on the mode dial. Compare this image with a standard image shot below.

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The same scene as above, but without any filter used.

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High contrast monochrome suits a number of different subjects - including, but not limited to, landscapes.

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Other creative functions include the ability to capture 16 frames in one shot.

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The 24mm end of the telephoto optic enables capturing of a wide-angle of view.

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Compared with the far telephoto end of the optic, image stabilisation has also done a great job of keeping everything sharp here.

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Similarly, shot at the far end of the telephoto optic, the camera has produced a detailed image with a pleasing shallow depth of field.

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Full ISO 80 image, see the cropped (100%) versions below.

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ISO 80

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ISO 100

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ISO 200

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ISO 400

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ISO 800

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ISO 1600

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ISO 3200

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ISO 6400

The bridge camera is an ever competitive market, with Fujifilm being the dominant manufacturer in this area. As a response, Nikon's P520 has a lot to offer the consumer, and is a good all-round performer.

It's a shame that it can't do things such as shoot in raw format - something the Panasonic FZ200, Canon SX50 HS and Fujifilm X-S1 can all offer. That would have made it a much more appealing camera for those consumers looking for something a little extra.

Otherwise, the handling is good and the image quality - especially at the telephoto end of the optic - is also great. It's a big shame about the quirks of the electronic viewfinder, but a bonus to have an articulating screen. What the Nikon Coolpix P520 gives with one hand, it takes away with the other.

We liked

The huge zoom range makes this a great bridge camera for the travelling photographer. Autofocusing, including macro focusing, is accurate, making it possible to photograph subjects from flowers to far-away wildlife well.

We disliked

With no raw capture available, flexibility in post-processing is limited, especially when it comes to removing those filters that seemed like a good idea at the time.

Final verdict

What we have here is another very capable bridge camera from Nikon. Unfortunately, while the Nikon Coolpix P520 is an excellent and versatile all-round performer, ultimately there's nothing to get overly excited about, and it is not the best option currently available on the market.

If you're looking for something with a large zoom range, but with more flexibility, take a look at the Canon SX50 HS. Meanwhile, the fantastic Panasonic FZ200 offers a lens with an f/2.8 constant aperture throughout its zoom range, which is also worth consideration.

Fujifilm has introduced a new bridge camera, the Finepix S8400W, featuring a 44x optical zoom.

The S8400W's wireless feature means that you can transfer images and videos from the camera to smartphones, tablets and computers.

One of the key features of the S8400W is its huge 44x optical zoom, which offers a 35mm equivalent range of 24-1056mm. It also boasts a fast starting aperture of f/2.9 at the widest point of the lens, rising up to f/6.5 at the telephoto end. Optical Image Stabilisation is designed to reduce blur caused by camera shake.

The lens on this camera features 17 elements in 12 groups and combines aspherical and ED elements to help reduce aberrations. A super macro mode is included to get as close as 1cm from the subject.

Speed

A 16 million pixel 1/2.3 inch CMOS sensor is included, along with the ability to shoot at sensitivities up to ISO 12800. Autofocusing can be achieved at 0.3 seconds, while a start-up time of 1 second and a 0.5 second interval between shots is also promised.

Full HD video recording is available, with the ability to capture movies at 60fps with stereo sound and slow-motion capture at 480fps.

An electronic viewfinder can be used to compose images, along with a 3 inch 460k dot LCD screen.

A number of artistic digital filters can be used on photos, including Pop Colour, Toy Camera, Miniature, Partial Colour and Cross Screen.

The Fujifilm S8400W price is yet to be confirmed, but it will be available for sale from May 2013.

The Pentax X-5 is unusual in that it's a bridge camera being released into a sea of new types of cameras.

Since smartphones have done a fantastic job at replacing the need for traditional ultra-slim compact cameras, many camera manufacturers have tried new concepts to hook consumers.

Some invested heavily in compact system cameras (CSCs), while others chose the route of premium compacts - bestowed with super fast lenses and manual controls - such as the Canon G15 or the Panasonic LX7.

Others played smartphones at their own game by creating Android cameras such as the Nikon Coolpix S800c and the Samsung Galaxy Camera, which supply access to the internet and offer the ability to download apps direct.

A few, however, are continuing to produce bridge cameras, which sit neatly between easy to use point-and-shoots and low-end DSLRs. With impressive focal length ranges, bridge cameras are often the weapon of choice for those looking to progress their photographic skills without investing in a pricier DSLR.

Today, however, high-end compacts and CSCs are squeezing out bridge cameras, yet a few manufacturers aren't giving up and Pentax, with its new X-5, is one of them.

Priced at a very affordable £199.99/AU$269.95/US$279.95, the beefed up compact Pentax X-5 is available in black or silver. This makes it cheaper than fellow bridge cameras such as the Canon PowerShot SX50 HS and Panasonic Lumix FZ200.

The Pentax X-5 features a 16MP 1/2.33-inch backlit CMOS sensor with a sensor-shift shake reduction system, as well as manual shooting mode, 1080p HD movie modes and digital filters.

Pentax's camera also boasts a 3-inch tilting 460k dot LCD screen, and offers 10fps shooting and a 1cm macro mode focusing distance.

Perhaps most impressively of all, it touts an incredible equivalent focal range of 22-580mm with its 26x optical zoom.

And it tops this with an intelligent zoom function that extends coverage approximately 187.2 times, up to a jaw-dropping equivalent focal length of 4174mm.

Built in the mould of an entry-level DSLR and encompassing a hearty zoom lens, the Pentax X-5 weighs in at unsurprising 600g (21oz) when fully loaded. The added weight offers a sense of reassurance and durability, yet it could deter some, since it's twice as heavy as the average CSC.

The front of the camera fits the elongated lens with a rubberised ring, offering the suggestion of being able to control zoom or focus from here. But sadly this is just for decoration.

A comfortable rubberised grip protrudes from its right, sporting an indented index finger rest, and there's a solid zoom dial on top. Sadly using the zoom control, while impressive in range, doesn't slide in and out of the scene as smoothly as we would have hoped. Instead, chunky incremental jumps are made, even with the gentlest of nudges to the dial.

Holding the camera is made steadier and more comfortable by the large grip, which smuggles four AA batteries and a memory card in its underbelly.

While some photographers may enjoy the flexibility of AA batteries, many may lament this decision, which can be more costly in the long run. We found that a set of fresh top-brand batteries yielded around 400 shots, yet four rechargeable batteries only provided sufficient power to execute around 200.

Positioned next to the rather flimsy battery compartment door is a plastic thread for tripod mounts.

Looking at the top of the Pentax X-5 we find a pop-up flash and familiar looking shooting dial that houses Manual, Program, Movie, Auto Picture, a customisable 'User' mode and Scene modes.

Auto Picture automatically selects between 16 presets such as portrait, landscape and macro. There are 19 scene modes, including all the stable choices plus more unique offerings such as Digital Wide and Stage Lighting. Also included are shortcut options for Handheld Night, Sport, Landscape and Portrait.

While there is enough shooting choice in the Pentax X-5 to tantalise most levels of photographer, we can't help noticing obvious weak spots - notably the startling absence of shutter priority and aperture priority modes.

These modes arguably act as the essential stepping stone for many novice shooters looking to bridge the void between auto modes and full manual control, which is surely one of the main purposes of a bridge camera.

Furthermore, despite the adoption of manual features, there is no support for raw file shooting - instead we are merely given the choice of three JPEG qualities.

When it comes to shooting with the Pentax X-5, auto modes are pretty straightforward, and there are no eye-raising flaws that surface.

But the same can't be said for Manual, which sadly lacks the same intuitiveness that many of the new breed of manual-mode-clad compact cameras offer. You toggle between speed and aperture by using the exposure compensation button, then have to rotate the rear dial to select values.

No issues there, but while we found it possible to vary the shutter speed in incremental steps, when it comes to moving the aperture in stops, you only have the choice of two extreme variables, which change depending on the focal length.

So realistically the Manual mode is better suited to those with a preference for shooting in shutter priority mode.

The rear of the Pentax X-5 features a 230k dot electronic viewfinder with dioptre and a 3-inch articulating 460k dot LCD display. Despite the fact that most average compact cameras now brag a screen resolution of 920k dots, we found the Pentax X-5's monitor to be pleasingly bright and clear.

Plus, thanks to its anti-reflective coating and tilting design, it combats glare efficiently in most lighting scenarios.

Elsewhere on the reverse of the camera, the placement of a one-touch record button is conveniently positioned for avid movie-makers, but is perhaps edged a little too close to the rear thumb pad, and as such there is a danger of accidentally recording.

The Pentax X-5's D-pad doesn't throw up anything bizarre, and thankfully includes the faithful macro shortcut, since some recent compact offerings by rival brands have noticeably lacked this feature of late.

The camera is adequately responsive, taking just over a second to start up. The shutter takes half a second to respond, and it requires around a second to write the picture to memory before refreshing for the next frame.

We found that the Pentax X-5 has a slight bias towards overexposing in auto and scene modes, with an apparent loss of detail in the shadows, and slightly blown out highlights in some cases.

The Pentax X-5 offers eight white balance presets plus a custom option. Using the majority of these options produced satisfactory results, with colours being very nearly on point. Yet the daylight, auto and even the custom option failed to deliver colours as rich as the real-life subjects, with reds and green in particular appearing muted.

In terms of noise performance, we see little disruption at ISO 100 and 200, with colours appearing smooth and lines clean. The first tale-tell signs become visible in darker sections of images by ISO 400, and are quite obvious by ISO 800, with colours and the crispness of detail becoming compromised.

After that, images show clear incremental damage as we move through the sensitivity range, and by ISO 3200 and certainly by 6400, the image quality is so degraded at full size that results are relatively unusable.

Chromatic aberrations are noticeable in areas of high contrast, as is often the case with lower-end compact cameras.

However, what is more disturbing is the purple glare captured in any circumstance where the light source is photographed - be it as harsh as the midday sun or as delicate as a flickering church votive.

We see relative softening at either end of the 22-580mm focal range straight out of the camera, but nothing that should put you off.

However, despite Pentax promising no compromise to image quality when using the infamous Intelligent Zoom feature, we found the results at its full extension were relatively unusable. They more often than not exhibited distortion, blur and colour desaturation.

Given its very reasonable price tag, we weren't expecting flawless images, yet actually the Pentax X-5 does very well for its class. There were a handful of image quality concern areas we could take issue with, but nothing that should deter you from considering it.

As part of our image quality testing for the Pentax X-5, 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 Pentax X-5 is capable of resolving up to around 18 (line widths per picture height x100) in its highest quality JPEG files.

For a full explanation of what our resolution charts mean, and how to read them, check out our full explanation of our camera testing resolution charts.

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

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

ISO 100, score: 18 (Click here to see the full resolution image)

ISO 200, score: 18 (Click here to see the full resolution image)

ISO 400, score: 18 (Click here to see the full resolution image)

ISO 800, score: 16 (Click here to see the full resolution image)

ISO 1600, score: 12 (Click here to see the full resolution image)

ISO 3200, score: 10 (Click here to see the full resolution image)

ISO 6400, score: n/a (Click here to see the full resolution image)

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.

Here we compare the Pentax X-5 with the Panasonic Lumix FZ200, Canon PowerShot SX50 HS and Nikon Coolpix L810.

JPEG signal to noise ratio

These results show that JPEG images from the Pentax X-5 have the weakest signal to noise ratio of all the cameras here at low sensitivity settings. At ISO 400 and above, however, the Pentax climbs up the rankings, coming second to the Canon PowerShot SX50 HS and beating the Panasonic Lumix FZ200 and Nikon Coolpix L810.

JPEG dynamic range

JPEG results for dynamic range are more spread out than those for signal to noise ratio, with the Pentax X-5 again starting off weaker than the other cameras at ISO 100, before moving ahead of the Nikon Coolpix L810 at ISO 200-400. At ISO 800 and above, the Pentax also shows a greater dynamic range than the Panasonic Lumix FZ200, so that at mid and high sensitivities it's only behind the Canon PowerShot SX50 HS.

Click here to see the full resolution image

The Pentax X-5 comes with 16 presets in Auto Picture mode, including a Landscape option that appears to enrich colours, helping to make the greens, yellows and blues in this seascape pop.

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The X-5's smc Pentax lens offers an aperture range of f/3.1-5.9, enabling portrait fans to make good use of even and low light.

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Touting an impressive focal range equivalent of 22-580mm, the affordably priced Pentax X-5 provides shooters with a great deal of scope for their money.

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The Pentax bridge provides photographers with a range of focus modes, including: Contrast Detect, Multi-area, Tracking, Single and Face Detection, helping you to creatively progress your shooting skills by attempting new challenges and subjects.

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Thanks to the Pentax X-5 including manual and semi manual shooting modes, you can experiment with aperture to generate interesting scenes.

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A macro mode is installed on the Pentax X-5 to help you get up close and personal with smaller and intricately detailed subjects.

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We found that a purple glare was apparent in the majority of scenes where a light source is present.

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As an affordable bridge camera, we were suitably impressed by the level of detail attained, even in images taken at great focal lengths.

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Colour accuracy appears to be on the mark, but there is a set of digital filters included if photographers feel the urge to spice scenes up.

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Like most modern bridge cameras, the Pentax X-5 includes a plastic thread to accommodate a tripod mount.

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While some users may applaud the decision to power the Pentax X-5 with AA batteries, others may lament it. But the extra weight does make the camera feel reliably secure in the hand.

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The Pentax X-5's macro mode offers you the chance to capture some amazing close up shots, with fantastic results.

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Colours and details remain strong even when taking advantage of the camera's f/3.1 aperture.

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The Pentax X-5's maximum shutter speed ensured this close up macro shot was as crisp as possible, since it was taken during a heavy gust of wind.

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Taken as a landscape shot, this image was framed at 22mm to encompass the great deal of land in front of us.

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Using the Pentax X-5's 26x optical zoom, we were able to zoom in to the town on the horizon and achieve fairly balanced results.

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Using the Intelligent Zoom feature, we were able to zoom in close enough to pick out the clock face on the church in the distance. The fact it could achieve this distance is clearly rather impressive, yet the results were far less so.

JPEG

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

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ISO 100

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ISO 200

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ISO 400

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ISO 800

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ISO 1600

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ISO 3200

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ISO 6400

JPEG

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ISO 100

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ISO 200

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ISO 400

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ISO 800

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ISO 1600

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ISO 3200

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ISO 6400

On paper the Pentax X-5 sounds like it could fulfil the needs of a niche consumer base; seeking to please photographers who want a camera that exudes the build of a DSLR but has the simplicity of one lens that provides a huge focal range.

These shooters may also have a bias for auto operation, but want the potential for manual modes if the need should arise.

We liked

The eye-popping focal range is perhaps the main draw of the Pentax X-5, while the camera's incorporated manual mode will also seek to interest more advanced users - although it can be a tad trickier to operate than other brands'.

We disliked

While a manual mode is included, aperture priority and shutter priority are sadly forgotten, as is support for raw file shooting. Although image quality is of a solid level, there were slight issues with glare, noise and white balance.

Final verdict

While this is a neat little package, you should be aware that there are many other premium compact cameras fulfilling a similar need and producing stronger image quality, offering faster lenses and heavier feature sets, albeit at a slightly higher price point. The Canon PowerShot SX50 HS and Panasonic Lumix FZ200, for example.

That said, it feels unfair to be so critical of the Pentax X-5, because it does do a relatively good job at producing decent image quality and handles well in auto modes, and as such most novices may find this a great little camera.

The problem that some people will have is that, other than an extraordinary focal range, this bridge camera doesn't really offer anything new or exciting. Plus elsewhere it feels a little rushed or unfinished, with obvious features missing such as semi-manual shooting modes and support for raw shooting.

The first new superzoom camera in Sony's compact range is the Sony Cyber-Shot WX300, which is the world's smallest and lightest digital stills camera to feature a 20x optical zoom.

That lens is a high-quality Sony G lens, which the company claims has been designed to handle a wide variety of different subjects, including wide-angle landscapes and portraits. Optical Steadyshot is built in to help reduce the impact of camera-shake and reduce blur in images. Sony claims image stabilisation is now up to twice as effective as on the previous 20x zoom model, the Sony HX20V.

The speed of autofocusing has also improved, being approximately 3.6x faster than the HX20V according to the company.

An 18.2 million pixel sensor can be found onboard, along with a 3-inch, 460k dot ClearPhoto LCD screen.

Built-in Wi-Fi is included, which can be used with a smartphone as a wireless remote to control the camera. Shots can also be sent via the camera to a phone for sharing on social networking sites.

Sony claims that despite the camera's small size, its battery life is capable of shooting up to 500 stills from a single charge.

Massive zoom

Next up, the Sony HX300 is a new bridge camera to feature a 50x Carl Zeiss Vario-Sonnar T* lens optical zoom lens.

The T* coating on lens surfaces is designed to cut reflections, while Super ED and ED glass elements promise to minimise chromatic aberration for sharper images.

A newly enhanced Optical Steadyshot is included in the camera. This helps when composing images while the camera is significantly zoomed in. The position of a second group of lens elements shifts rapidly to correct for hand movement, making it easier to frame shots.

Inside, an Exmor R CMOS 20.4 million pixel sensor can be found, along with a Bionz processor.

High speed autofocus has also been improved at telephoto settings, apparently locking onto subjects twice as quickly as its predecessor, the Sony HX300V.

The camera features a DSLR-style body, with a chunky, moulded grip which has been designed for maximum comfort. Other high-end features include a manual focusing ring, custom buttons, jog dial and Memory Recall mode.

The Sony HX300 price will be around £420 (around US$648/AU$626) and is expected to be available from March. The Sony WX300 price is around £280 (around US$432/AU$417) and has an anticipated release date of April.

Fuji has introduced two new cameras at this week's CP+ Japanese trade show, both featuring long zooms.

First up, the Finepix F900EXR is a travel zoom camera, with a 20x optical zoom lens in a compact and slimline body. It also features a powerful new EXR-CMOS II 16 million pixel sensor with extra fast Phase Detection AF and an EXR Processor II.

The new Intelligent Hybrid AF system is apparently capable of focusing in as little as 0.05 seconds when employing the new Phase Detection AF which uses special new pixels that have been added to the sensor. The camera automatically switches between Phase Detection AF and Contrast Detection AF depending on the subject and scene.

Performance has been boosted by the new EXR processor, with Fujifilm promising a super-fast startup time of 1.1 second, interval time between shots of 0.5 seconds and a burst-mode rate of 11 fps (for a maximum of 5 frames).

The 20x optical zoom lens combines with Intelligent Digital Zoom for up to a 40x zoom, giving an equivalent focal length ranging from 25mm at the wide angle up to 500mm at the telephoto end of the optic.

Advanced CMOS-shift image stabilisation is designed to reduce the blurring which often occurs at long focal lengths because of camera shake or subject movement.

Inbuilt Wi-Fi technology allows for the transfer of images and movies to smartphones, tablets and computers. You can also back up your photos on your home PC wirelessly.

Creative features such as double exposure and digital filters including Dynamic Tone and Toy Camera and Motion Panorama are also included. Film simulation mode lets you choose from five different combinations. Interestingly, the F900EXR can also shoot in raw format.

On the back of the camera is a 3 inch 920,000 dot LCD screen.

The Fujifilm F900EXR price will be £279.99/US$441/AU$421 and will be available from April.

Travel friendly

Second up is a bridge camera, the Finepix S4800, which features a 30x optical zoom which offers 24-720mm in 35mm equivalent terms.

The S4800 features a 16 million pixel 1/2.3 inch CCD sensor along with Scene Recognition Auto and autofocusing speeds as fast as 0.3 seconds and start-up times of 1.3 seconds.

HD video recording is available at 720p, while the ability to shoot in fully manual and semi-automatic modes is also included.

Powered by AA batteries, the Fujifilm Finepix S4800 price will be £149.99/US$236/AU$225 and will be available from April.

Nikon has introduced two new superzoom bridge cameras, including the P520 with a 42x optical zoom lens.

The P520 features an 18 million pixel backlit CMOS sensor and advanced lens-shift vibration reduction to help keep frames steady and subjects pin-sharp.

On the back of the camera is a variangle 3.2 inch 921k dot LCD monitor to help with shooting from unusual angles.

For advanced photographers, the P520 has the ability to shoot in fully manual and semi-automatic modes. Full HD video recording is also available, along with GPS tracking. An optional Wi-Fi dongle is available for instant transfer of images to smartphones and tablets.

Auto HDR mode combines two shots taken at different exposures to create an image with wide dynamic range and rich colour gradation. Macro focusing is available from as close as 1cm for frame-filling close-ups.

High speed continuous shooting of up to 10 images at 7fps at full resolution is available, or alternatively, 30 full resolution shots at 1fps. A 99 point autofocus system is included, along with subject tracking AF.

Other interesting features of the P520 include easy panorama, 3D shooting and a customisable function button.

Easy to use

Meanwhile, the L820 includes a 30x optical zoom lens and full HD video recording. Designed for less advanced photographers, the L820 includes Easy Auto mode to choose the optimum settings for any given scene.

The sensor is a 16 million pixel backlit CMOS device, while a 3 inch LCD screen can be found on the back of the camera.

Four different automatic anti-blur functions are included to help keep subjects sharp and avoid blur.

A smart portrait system is included on the L820, which means the camera will take a photo when the subject smiles, while blink proof alerts you when someone's eyes were closed. Glamour retouch can help make portraits look more flattering.

The L820 takes four AA batteries for convenience across the world.

The Nikon Coolpix P520 price will be £399.99 and will be available from February. A price and availability date for the L820 has yet to be determined.

Samsung has revealed a new range of "smart" cameras to sit in its compact lineup.

Smart Camera 2.0 features a host of new functionalities and upgrades to enable you to shoot and share photographs instantly. The cameras have been designed with smartphone users in mind, combining large touchscreen technology with faster editing and sharing to social networks.

AutoShare enables images to be simultaneously sent and saved straight to a smartphone via a Wi-Fi connection as soon as the photo is taken. The Samsung Smart Camera app, which is available for both Android and iOS, contains the capability to act as a remote viewfinder for the camera.

The new flagship compact, the Samsung WB250F, features an 18x optical zoom, 24mm lens and 14.2 million pixel CMOS sensor. A Samsung WB200F, which features a 14.2 million pixel CCD sensor, will also be available. Both use a touchscreen interface and include full manual mode.

Creative modes

Best Face mode, which is also found on the Samsung Galaxy Camera, is available on the new WB cameras. This mode automatically selects the best facial expressions from a burst shot to create group photos where everybody in the shot looks at their best. SMART mode and Motion Photo are also included.

Next up is the Samsung WB800F, which features a 21x optical zoom and 16.3 million pixel CMOS sensor along with a touchscreen.

The Samsung WB30F is the range's new "mini" model. It has the same capabilities of a WB model, including a 10x optical zoom and 24mm wide angle lens, but in a body that is only 17mm thick. Other features include Magic Frame and Live Panorama.

Wi-Fi is also available on the Samsung DV151F, along with a 1.48-inch front LCD screen, designed to help with taking self portraits. A Beauty Palette feature is included to apply a range of make-up looks to the subject of a portrait.

Magic frame and more

Other creative options include Smart Filter 3.0, Motion Photo and Magic Frame. A 16.2 million pixel CCD sensor and f/2.5 maximum aperture lens, along with a 5x optical zoom, can also be found in the aluminium body of the camera.

Lastly in the standard compacts lineup , the Samsung ST150 is the last camera in the range and includes an f/2.5 lens, 5x optical zoom and 25mm wide angle lens. A 16.2 million pixel CCD sensor is also on board. Wi-Fi connectivity is included for instant sharing to social networks.

This year, Samsung has also announced a new bridge camera. Featuring a 35x optical zoom 25mm wide angle lens, the camera is also capable of recording Full HD video.

It includes a 16 million pixel BSI CMOS sensor and scene recognition, Smart Auto and Low Night Shot technology. On the back of the camera is a tilting 3-inch LCD screen. The design is reminiscent of a DSLR and includes a soft feeling hand-grip.

Pricing and availability for all the new models is yet to be announced.

Fuji has unleashed four new bridge cameras, with the SL1000 boasting an impressive 50x optical zoom lens.

The Fuji SL1000 also includes a 1cm super macro for shooting close up subjects, while the 35mm equivalent of that massive focal length is 1200mm. Intelligent Digital Zoom is also include to effectively double the zoom range to 2400mm, or 100x.

Not only that, but the lens boasts a pretty fast maximum aperture, at f/2.9 at the wide angle. That makes it second only to the Panasonic FZ200, which has an f/2.8 constant aperture throughout its range. By contrast, the Fuji rises up to f/6.5 at the telephoto end of the zoom range.

The Fuji SL1000 also includes a 16 million pixel 1/2.3-inch BSI-CMOS sensor, which boasts the capability of shooting up to sensitivities as high as ISO 12,800.

Autofocus speeds are claimed to be as fast as 0.2 seconds, while the camera has an apparent start up time of 0.9 seconds and a continuous shooting mode of 10fps at full resolution.

Full HD video recording at 60p and stereo sound is also included. A number of video editing features, including Movie Trimming, are also available.

On the back of the camera is a 920k dot electronic viewfinder, along with a 920k dot, 3-inch tilting LCD screen. An eye sensor has the ability to detect when the camera is lifted to the eye for quickly switching between the screen and the EVF.

As well as a standard zoom lever around the shutter button, a second lever is placed at the side of the lens barrel, enabling you to adjust the zoom with your left hand. A mode dial is included for switching between manual, automatic and semi-automatic modes. Raw image capture is also available.

Bridge cameras

Next up are the Fuji FinePix S8200 and Fuji FinePix S8500 bridge cameras, which both incorporate fast maximum apertures of f/2.9. The S8200 has a 40x optical zoom lens, while the S8500 has a 46x optical zoom lens.

Both cameras house a 16 million pixel 1/2.3-inch BSI-CMOS sensor, and are capable of shooting up to ISO 12800.

Autofocus speeds are claimed at 0.3 seconds, with start up times of one second, and a 0.5-second interval between shots. 10fps shooting (max 10 frames at full resolution) is also available. The camera is capable of shooting at 60fps at lower resolutions.

Full HD video recording is available, while creative modes such as digital filters are also included.

On the back of the cameras is a 460k dot LCD screen, along with a 200k dot electronic viewfinder. Manual and semi-automatic modes are available, but raw shooting is not.

Fast autofocus

Finally, the Fuji FinePix HS50 EXR boasts a 42x optical zoom lens with a manual zoom mechanism for precision while zooming.

Fuji also claims that the camera has the world's fastest autofocus, at 0.04 seconds, thanks to the new Phase Detection pixels on its 1/2-inch 16 million pixel EXR CMOS II sensor.

The Intelligent Hybrid AF system can choose between Phase Detection AF or switch to Contrast AF in low light, to select the best focusing system.

Focus Peaking is available to help with manual focusing, by highlighting areas in the composition that are in focus.

Along with quick autofocus time, start up time is just 0.5 seconds, while the interval between shots is 0.5 seconds. 11fps shooting at full resolution is also available for up to five frames.

On the back of the camera is a 920k dot electronic viewfinder, along with a 3-inch vari-angle 920k dot LCD screen.

Other premium elements of this bridge camera include fully manual, semi-automatic and fully automatic modes, raw shooting, film simulation and a virtual horizon (electronic level) display.

Pricing and availability for the new Fuji bridge cameras has yet to be announced.

Panasonic has launched a new 35x optical zoom bridge camera. The Panasonic LZ30 features a 16.1 million pixel sensor and an equivalent focal length of 25-875mm.

The lens unit itself comprises 14 elements in 10 groups including three ED (Extra-Low Dispersion) lenses and one dual-sided aspherical lens within a small body.

An included Extra Optical Zoom function means the Panasonic LZ30 can extend its zoom power to 78.8x (at 3 megapixel resolution) by using the centre part of the 16 million pixel CCD sensor - so essentially it crops the image.

The iA (Intelligent Auto) mode as found on several other Panasonic Lumix compacts is included on the Panasonic LZ30. The mode integrates optical image stabiliser (OIS), face detection, intelligent scene selector and intelligent exposure to help beginners get the best shots.

Creative

For those looking to get a little bit more creative with their photography, P and M modes are also available. Newly integrated creative controls, such as filter effects, are included too.

Filters include Expressive, Retro, Low Key, High Key, Dynamic Monochrome, Impressive Art, High Dynamic, Cross Process and One Point Colour. These effects can be activated in both stills and video shooting. Creative Retouch also enables these filters to be applied in post-capture.

Panorama Shot and HDR (High Dynamic Range) are options that are also available.

The LZ30 is capable of video recording at 720p HD. A 3-inch 460k dot LCD screen promises good visibility in a variety of lighting conditions.

Available from April, the Panasonic LZ30 price has yet to be confirmed.

Bridge cameras are perhaps sometimes unfairly dismissed as not being tools for 'proper photographers'. Perhaps what this niche has needed is a newcomer to storm onto the scene with a specification list that will make all the dedicated DSLR users out there do a double-take.

Perhaps the Panasonic Lumix DMC-FZ200 is that camera.

With an impressive list of numbers and features, the Panasonic FZ200 could very well be the first small bridge camera to truly make DSLR owners - or those thinking about upgrading to a DSLR - rethink their plans.

The signature feature of the Panasonic FZ200 is its 24x zoom lens, with a fast f/2.8 aperture that remains available across its entire equivalent 25-600mm (equivalent) focal length range.

Sure, there are bigger zooms out there, such as the Nikon Coolpix P510's 41.7x, 24-1000mm zoom range, and even the Panasonic FZ200's predecessor, the Panasonic FZ150 boasts the same 25-600mm focal range.

Panasonic Lumix FZ200 at a glance

Sensor: 12.1 megapixel, 1/2.3-inch MOS sensor

Lens: 24x zoom, 25-600mm (equivalent) f/2.8-f/8

LCD Screen: 3-inch, 461,000 dot articulated screen

ISO range: ISO 100-3200, Auto

Dimensions: 125.3mm x 86.6mm x 110.2mm (4.9 x 3.4 x 4.3 inches), 588.4g (12.9lbs)

But the maximum aperture of f/2.8 throughout (on the FZ150 it was restricted to wider focal lengths) marks - at least on paper - a breakthrough for Panasonic.

This goes some way to explain why the new Panasonic FZ200's full retail price of £568.99/AU$799/US$599.99 makes it more expensive than both the P510 and FZ150.

Also rare for cameras of this class is the Panasonic FZ200's ability to shoot raw images. And though it uses a fairly standard (for compact cameras) 1/2.3-inch sensor, Panasonic has 'only' used 12 million pixels on its sensor, to make it more capable in low-light situations.

Partnered with its fully articulated 3-inch LCD screen, EVF and a whole host of direct controls, the Panasonic Lumix FZ200 appears to breathe some new life into a stagnant market.

Build and handling

The Panasonic FZ200 has bags of direct controls, and the layout of the buttons is very sensible with regard to where your hand grips the camera. The deep, contoured rubber grip on the Panasonic FZ200 also makes it feel secure in your hands, while a small, raised rubber thumb rest on the back prevents it slipping.

Your index finger rests comfortably over the shutter button on the top plate, and is in close proximity to the video record, burst shooting and Fn buttons, as well as the mode dial (into which the On/Off switch has been integrated).

Underneath your thumb on the back of the camera are the Playback and AF/AE Lock (which also doubles as a second Fn button) buttons, and a multi-function wheel on the far right, above the thumb grip.

This wheel enables you to adjust aperture and shutter speed settings in manual mode, or the dominant setting in another mode and +/- 3EV exposure compensation in 1/3 stops. To alternate between the two, simply press in on the wheel.

Below the thumb grip is a third customisable Fn button and the display button, which sit above a four-way controller, with options for setting ISO, white balance, the self-timer and your AF mode. In the centre of this controller is the Menu/Set button. At the bottom is the Q Menu/Cancel button.

Finally, to the left of the viewfinder is a button to switch between using the LCD or EVF. It's a bit of a shame that there's no eye sensor to automatically switch between the two for you (and it took several moments of 'Why isn't this working?' before remembering that's not a feature on this camera). But it's a minor complaint.

Other cool controls? Yes, there are more. On the lens barrel is a switch for alternating between AF, AF Macro and Manual Focus, with a focus button beneath it. There's also a second zoom toggle if you don't want to use the one around the shutter button.

Everything feels sensibly placed, and nothing was too awkward to press or adjust. In fact, we were quite capable of changing most settings one-handed. What's more, the robust build and large grip never left us in doubt that we shouldn't be using just one hand.

The only complaint about the Panasonic FZ200's build, while seemingly small, is one that proved a frequent annoyance: it was rather difficult to open the articulated LCD. The screen has a small raised bit on the upper-right corner, but nothing on the bottom - and it's not substantial enough to make pulling it open a simple exercise. There's real exertion here.

The Panasonic FZ200 generally produced bright, vibrant images in our testing. The bridge camera's metering system, while biasing its readings a bit too much towards mid-tone detail, overall produces well-balanced exposures and preserves detail in bright skies and other highlight areas most of the time.

What's more, purple fringing is only very slight in all of the high-contrast scenes we shot on a very rare sunny day in Bath, in south west England.

Shadow detail is also a delight, with much of it easily recovered in post-processing - particularly if you shoot with the Panasonic FZ200's raw option.

Overall, colour saturation is strong in all the pictures straight from the camera, although it must be said that contrast levels prove only adequate, with images sometimes coming out a bit flat.But that is a very easy adjustment.

Viewing pictures from the Panasonic FZ200 at actual pixels (or 100%) on the computer, reveals that chroma noise is kept to a minimum and largely unnoticeable. Luminance noise, however, is visible throughout the ISO range. Even at the lower sensitivities there is mottling of colour, which increases - as you'd expect - the higher you move up the ISO range.

That said, the levels of noise and smudging aren't terrible, and for sharing your photos online or making small prints for a photo album - which suits most people's needs - you'd only know this noise is there, um... if you know it's there.

Focusing with the Panasonic FZ200 gives you a number of direct controls, to choose from the camera's 1-area, 23-area, AF tracking and Face Detection AF modes. In all instances the camera's four options are able to quickly latch on to subjects, even at the telephoto end of the focal range.

In Face Detection mode, the camera quite easily picks out faces at different ends of the room, or with one person large in the foreground and another small in the background. It even caught faces in profile. The only instances when it failed to recognise a face where when a cup obscured part of the face.

We set the AF Tracking mode a challenge as well, standing on a busy street corner in the heart of a tourist hot spot. We set the AF tracking to focus on passing cars in the middle ground, while tourists crossed our path in the foreground and background.

With near-flawless accuracy the Panasonic FZ200's AF tracking latched onto our car of choice and followed it throughout the frame, only once getting confused by a man in a wheelchair in our foreground who was at the same size and level of the car within the frame.

Both the 23-area and 1-area options were also quite accurate at picking out the dominant elements of a scene, and in the 1-area mode you can adjust the size of your focus point and use the focus button on the lens barrel to move it around the frame. This was quite handy for using more creative and complex compositions, and also gives you that extra bit of control over the camera.

You can also set an AF Macro mode on the lens barrel, which enables you to cut the 30cm minimum focusing distance to 1cm.

At longer focal lengths, the Panasonic FZ200's Power OIS noticeably cuts down on the 'jumpy frame' one often encounters when shooting at the super-telephoto end of a superzoom camera, enabling us to more easily compose images of distant subjects.

Images are fairly sharp too with Power OIS, though at the extreme end of the digital zoom, don't expect to be making A4 prints.

In terms of shooting options… well, let's just say we never felt like we didn't have suitable options. With a shortest shutter speed of 1/4000 seconds and the maximum at 60 seconds, there was never a subject we couldn't shoot.

Meanwhile, the fast f/2.8 throughout the entire focal range meant we were never unable to get a fast enough shutter speed, even shooting indoors in a dim, covered street market.

If you want to get a bit more creative with your photography, the Panasonic FZ200 offers 14 Creative Control modes, accessed via an easel icon on your mode dial or via the Menu button on the back of the camera.

Included are High Dynamic, Cross Process, Toy Effect, Miniature Effect, Soft Focus, Star Filter, One Point Color, Expressive, Retro, High Key, Low Key, Sepia, Dynamic Monochrome and Impressive Art.

While some, such as Star Filter and One Point Color, you might not use all that often, the effects are cool and a nice option to have. Others, such as the High Dynamic option, were subtle and effective, and could prove very useful over time.

The High Dynamic option, in particular, was more effective in high-contrast scenes than setting the Panasonic FZ200's iDynamic function to boost dynamic range.

Finally, the Panasonic FZ200's articulated LCD screen is worth mentioning. While we noted at the beginning it's slightly difficult to open, the LCD is nevertheless a fantastic feature of the Panasonic FZ200. Visible even in bright, overhead light, scenes on the LCD are crisp and clear, and street photographers in particular will enjoy its ability to compose a photo on the sly at any angle.

The EVF, on the other hand, while clear and sharp, was sometimes shaky and cast a blue tint over scenes in mixed lighting.

Video is bright, sharp and clear, and very easy to use via the one-touch button on the camera's top plate. Having access to the full zoom range while filming is handy, and the camera's AF is quick to reconfigure itself even going from wide to super-telephoto in one quick jump.

It's also worth noting that the Panasonic FZ200 can shoot Full HD (1080p) video at 50 progressive frames per second, but if you opt to record MP4 files, the frame rate drops to 25p. This, of course, isn't a problem for most people, but if you're a keen videographer it's something to consider.

As part of our image quality testing for the Panasonic Lumix FZ200, 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 Panasonic FZ200 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, check out our full explanation of our camera testing resolution charts.

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: 20 (Click here to see the full resolution image)

ISO 200, score: 18 (Click here to see the full resolution image)

ISO 400, score: 18 (Click here to see the full resolution image)

ISO 800, score: 16 (Click here to see the full resolution image)

ISO 1600, score: 16 (Click here to see the full resolution image)

ISO 3200, score: 14 (Click here to see the full resolution image)

ISO 6400, score: 10 (Click here to see the full resolution image)

Raw

ISO 100, score: 20 (Click here to see the full resolution image)

ISO 200, score: 18 (Click here to see the full resolution image)

ISO 400, score: 18 (Click here to see the full resolution image)

ISO 800, score: 16 (Click here to see the full resolution image)

ISO 1600, score: 16 (Click here to see the full resolution image)

ISO 3200, score: 14 (Click here to see the full resolution image)

ISO 6400, score: 10 (Click here to see the full resolution image)

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.

Here we compare the Panasonic FZ200 with the Panasonic FZ150, Canon G12 and Nikon D3100. Follow this link to see how it compares with the Canon SX50 HS.

JPEG signal to noise ratio

These results show that the Panasonic FZ200's JPEG files have a similar signal to noise ratio to those from the Panasonic FZ150, Canon G12 and Nikon D3100 at lower sensitivities, but it tails off at mid to high ISO settings.

Raw signal to noise ratio

The signal to noise ratios of the TIFF images (after conversion from raw) from the Panasonic FZ200 are higher than those from the Panasonic FZ150 and Canon G12 but lower than those in the Nikon D3100's images.

JPEG dynamic range

JPEG results for dynamic range are more spread out than those for signal to noise ratio, with the Panasonic FZ200 producing results similar to the Canon G12, better than the Panasonic FZ150 and worse than the Nikon D3100 at low to mid sensitivities. There's a sharp drop-off at the top ISO setting, falling well below all the other cameras.

Raw dynamic range

This chart indicates that TIFF images (after conversion from raw) from the Panasonic FZ200 start off the best at low ISOs, and are similar to the Panasonic FZ150 from ISO 200-3200. It scores the same as the Nikon D3100 at ISO 400, before falling below it. Its images consistently have a greater dynamic range than those from the Canon G12.

Click here to see the full resolution image

Looking over the shoulder of tourists, the Panasonic FZ200 at its widest focal length takes in a huge surrounding view.

Click here to see the full resolution image

Zooming in further over the tourists' shoulders to the end of the FZ200's optical zoom, you can see spectators at a local rugby match.

Click here to see the full resolution image

Zooming in further, to the end of the camera's digital zoom, you can even see what beer the spectators are drinking.

Click here to see the full resolution image

Colour saturation was strong in all the images we took for this test.

Click here to see the full resolution image

Using the FZ200's iDynamic function on its highest setting, we were able to pick up detail in the dimly lit corridor in the background of this scene.

Click here to see the full resolution image

The Sepia option among the FZ200's Creative Control menu is a nice, simple way to get a retro look to your photos.

Click here to see the full resolution image

The FZ200's Miniature Effect Creative Control mode provided strong colours and a very pleasing effect.

Click here to see the full resolution image

The FZ200's Dynamic Monochrome Creative Control mode was our favourite by far, providing strong contrast and dramatic images.

Click here to see the full resolution image

The Panasonic FZ200 fared pretty well in mixed lighting, but as you can see in the 100% crops of this scene, noise was visible even at lower ISO settings.

Click here to see the full resolution image

The FZ200 showed signs of luminance noise and smudging of colours even at lower ISO settings. This is taken at ISO 160.

Click here to see the full resolution image

Noise increased as you moved up the ISO scale. This is taken at ISO 800.

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

Click here to see the full resolution image

ISO 100

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ISO 200

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ISO 400

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ISO 800

Click here to see the full resolution image

ISO 1600

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ISO 3200

Click here to see the full resolution image

ISO 6400

Raw

Click here to see the full resolution image

ISO 100

Click here to see the full resolution image

ISO 200

Click here to see the full resolution image

ISO 400

Click here to see the full resolution image

ISO 800

Click here to see the full resolution image

ISO 1600

Click here to see the full resolution image

ISO 3200

Click here to see the full resolution image

ISO 6400

Overall, the Panasonic FZ200 is a pleasure to use, and the quality of images delivered by the camera leaves a generally good impression. Compared to other bridge cameras we've used, the raft of features, direct controls and manual control over your pictures make it stand out from most other popular models on the market.

Oh, and that fabulous lens. While there are bigger or equivalent zooms on the market - and even in Panasonic's catalogue - the maximum aperture of f/2.8 throughout the whole of the 25-600mm focal range gave us the freedom to shoot anywhere, at any time.

We liked

The lens, the 24x zoom, that fast aperture… oh yes. The flexibility of the Panasonic FZ200's optic and its bright, fully articulated LCD screen meant this was a take-anywhere camera in every sense of the phrase. Manual mode, raw capture and having the option to move the focus point around your frame and adjust its size only added to the camera's flexibility.

We disliked

With a metering system that is biased towards the mid-tone, pictures were sometimes a bit too flat. The Panasonic FZ200 also seems to struggle a bit with luminance noise, even at lower sensitivities.

Final verdict

The Panasonic FZ200 offers a great number of features and direct control over the image-making process. But with its full price of £568.99/AU$799/US$599.99 and considerable size for a bridge camera, you might instead be tempted to consider upgrading to an entry-level DSLR.

The Nikon D3100, for example, can be found new for as low as £350/AU$550/US$500.

That said, its versatility, efficient AF system, fast f/2.8 aperture, manual mode, 3-inch fully articulated LCD screen, option to shoot raw and wide range of creative filters make the Panasonic FZ200 a wonderful all-rounder.

It's a suitable back-up camera for your DSLR, or could even be your primary camera if you just want to shoot holidays and other pictures to share online or make small prints for your photo albums.

The bridge area of the compact camera market is one part of the market that is still doing well in what is otherwise a declining segment.

Manufacturers are packing larger and larger zooms onto these cameras which, for many, act as an alternative to a DSLR, or a step up from a standard compact camera.

Two key features distinguish the 12.1 million pixel Canon PowerShot SX50 HS from the 12.1MP Canon PowerShot SX40 HS that it replaces at the top of Canon's bridge camera or superzoom lineup.

The Canon PowerShot SX50, announced at Photokina 2012 alongside the Canon PowerShot G15 and Canon EOS 6D, has a 50x optical zoom that covers the equivalent of 24-1200mm, whereas the zoom range on the Canon SX40 is 35x, or 24-840mm.

This is a phenomenal zoom range that most DSLR users can only dream of, or perhaps look to achieve at huge expense. The Canon PowerShot SX50 HS is much more affordable, with a price of £448 (about AU$700) in the UK and US$479 in the US.

The 24mm point is ideal for capturing landscapes and indoor scenes, while the longest telephoto point is perfect for photographing distant wildlife or picking out details.

For those who feel that a 50x zoom still isn't enough, the camera boasts a digital zoom that expands it to 100x. Canon calls this 100x Zoom Plus.

Another important improvement that the Canon SX50 HS makes over the Canon SX40 is that it can record raw format images as well as JPEG files. For enthusiast photographers, this makes the camera a much more attractive proposition, since it means that the files can be processed manually if you desire.

Probably the biggest competitor to the Canon SX50 HS in the bridge camera market is the also recently announced Panasonic FZ200. Although that camera only features a 24x optical zoom, it does boast an f/2.8 constant aperture throughout the range. By contrast, the Canon can only manage f/3.4 at the widest point, rising up to f/6.5 at the telephoto end.

Other features of the Canon SX50 include a Digic 5 processor, which is the same as those found in Canon's top-end DSLRs such as the Canon 5D Mark III. This should mean that noise is controlled well at high sensitivity settings, and it also facilitates Full HD video recording.

The Canon Powershot SX50 HS is styled very much akin to a miniature DSLR, with a pronounced hand grip, electronic viewfinder, hotshoe and mode dial.

It's also relatively heavy, giving the same kind of feeling as an entry level DSLR with the kit lens attached, such as the Canon 1100D.

But of course the lens that is attached is far more flexible than a standard 18-55mm kit lens, with its 50x optical zoom.

Unlike a DSLR, this is controlled via a switch around the shutter release button on top of the camera, rather than by manually twisting the zoom by hand.

Zooming in and out is quick and smooth, meaning you can quickly go from the fully wide angle right up to the full telephoto with the minimum of effort.

Thanks to the large hand grip, the camera feels very secure in the hand, making it easy to use when shooting one-handed - even when extending the full range of the zoom.

Anyone familiar with Canon's range of DSLRs will recognise the mode dial at the top of the camera. Here you'll find access to full manual, semi-automatic, automatic, scene, movie and creative effect modes.

When using aperture/shutter priority, to change shutter speed or aperture, rather than using a dial on the grip, as you might do a DSLR, the wheel on the back of the camera must be used. If shooting in fully manual, you can switch between shutter speed and aperture by pressing up on the control pad.

The Canon SX50 HS features a fully articulating, 2.8-inch PureColor II 461k dot LCD screen. It's a bright and clear display, avoiding glare and reflections in a variety of lighting conditions. We've been unable to test it in the brightest of sunlight to fully assess that, though.

Having an articulated screen is very useful, because it gives that extra flexibility when shooting at awkward angles.

A small pop-up flash can be found at the top of the camera, which needs to be raised manually. There's a button at the side of the flash which is used to access different flash modes once the flash is raised. It can take a lot of jabbing at the button to realise that it doesn't raise the flash automatically.

You can either elect to have the camera decide autofocus points for you, or choose a singular point.

This is achieved by pressing a dedicated button on the back of the camera, then using either the arrow keys or the scroll wheel on the back of the camera to move the autofocus point into the correct position.

An electronic viewfinder is included on the Canon PowerShot SX50 HS. Unfortunately there's no eye sensor to automatically detect when your eye is lifted to the EVF, so you will need to hit the display button twice to switch it on.

This slows down the image taking process somewhat, and is a shame on a camera with an otherwise great specification.

Next to the thumb grip on the back of the camera is a dedicated button to activate Full HD video recording. This is particularly handy and can be used even when the camera is not in video mode, which really speeds up capturing the moment as it unfolds in front of you.

We were pleased with the image performance from the Canon PowerShot SX40 HS, and given that the Canon PowerShot SX50 HS contains the same processor and 12.1 million pixel sensor, we were hopeful that image quality would match up.

Happily, we're pleased to report that images from this camera are also very pleasing. There's bags of detail, especially for a sensor this small, making it a great option for a wide variety of different subjects.

It's also relatively easy to achieve attractive shallow depth of field effects with the camera, though it would have been nice to see a wider maximum aperture, such as the f/2.8 constant aperture found on the Panasonic FZ200.

Colours are represented well in images straight from the camera. There's plenty of vibrancy and brightness, without it being over the top.

The addition of a Digic 5 processor was big news for this camera's predecessor, and here it continues to deliver reduced noise levels.

Images remain usable throughout the range to ISO 1600, only beginning to drop off in quality at ISO 3200, but we even found these looked acceptable.

There are some examples of image smoothing when zooming into the images at 100%, but certainly nothing which would be noticeable at normal printing or web sizes.

Digic 5 also helps to facilitate a high shooting rate, with the option to shoot at up to 10.3fps for up to eight frames at a time (when shooting JPEG only). This is a real boon when you're photographing fast moving subjects, such as children or animals, and is great to see in a bridge camera.

Autofocus does a good all-round job of locking onto subjects quickly and accurately, even when the lens is at the furthest reach of the zoom length.

Of course perhaps the biggest draw of this camera is its 50x optical zoom, making it the longest reach currently available on the market.

Generally speaking, image stabilisation does a very good job of preventing image blur, but at the furthest reach of the optical telephoto end of the lens, you will need a steady hand.

If you can steady it, either with a dedicated tripod or just via a nearby wall, table or other surface, then it's a fantastic bonus to have while travelling or taking nature shots.

Because even the slightest of movements can dramatically alter the composition when holding the camera at 100x or 200x its reach, it's only really possible to use when the camera is secured in position.

The digital zoom on the camera boasts its reach up to 100x, or 200x when engaging the very furthest reach. At 100x, the images remain surprisingly good, and while they're not on par with what an optical zoom could deliver, it's useful to have if you need it. As is to be expected, image quality drops at 200x quite significantly.

This means that the resulting images should only really be used at the smallest web sizes. Again though, it's a nice to have feature, rather than a necessity, and one that probably won't be used all too frequently.

As with the Canon SX40, there are a few art filters to experiment with on the Canon SX50. Unfortunately you can't shoot these while using raw format, so if you decide you don't like the filter later in post-production, you won't be able to remove it.

Some of the filters are better than others, as you might expect, but it's nice to have a few different options to try out, while some of them are customisable, meaning you can achieve different effects.

You can choose to compose your images on the articulating LCD screen, or the electronic viewfinder. The LCD screen is bright and clear, and isn't marred by glare or reflections, except in perhaps the brightest sunlight. Having the ability to articulate is also very handy when you want to shoot from a difficult angle.

There have been some fantastic advancements in electronic viewfinder technology, with many cameras now boasting fantastic devices that are very useable.

Unfortunately, the Canon SX50 is not one of those cameras. Composing an image using the EVF is made difficult by the small size of the screen.

Although the small scroll dial at the side of the EVF can be used to adjust the sharpness of the screen, it's still tricky to use, especially in brighter conditions.

As part of our image quality testing for the Canon PowerShot SX50 HS, 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 80 the Canon PowerShot SX50 HS 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, check out our full explanation of our camera testing resolution charts.

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 (Click here to see the full resolution image)

ISO 100, score: 20 (Click here to see the full resolution image)

ISO 200, score: 20 (Click here to see the full resolution image)

ISO 400, score: 18 (Click here to see the full resolution image)

ISO 800, score: 18 (Click here to see the full resolution image)

ISO 1600, score: 16 (Click here to see the full resolution image)

ISO 3200, score: 16 (Click here to see the full resolution image)

ISO 6400, score: 14 (Click here to see the full resolution image)

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 signal to noise ratio

JPEG images from the Canon PowerShot SX50 HS are most similar in their signal to noise ratio scores to those from the Canon PowerShot SX40 HS, although the newer camera is slightly stronger overall. Both of these cameras produce better results than the Panasonic FZ200 and Nikon Coolpix L810, at every sensitivity setting.

Raw signal to noise ratio

Of the cameras tested, only the Canon PowerShot SX50 HS and Panasonic FZ200 are able to shoot in raw file format. Here, the Canon beats the Panasonic again for signal to noise ratio, with the Panasonic dropping off dramatically at higher ISO settings.

JPEG dynamic range

For dynamic range, JPEG images from the Canon PowerShot SX50 HS again sit at the top of the chart, beating the Canon PowerShot SX40 HS, Panasonic FZ200 and Nikon Coolpix L810 at every ISO setting, with the Nikon performing worst and the other two sitting closest together on the scale.

Raw dynamic range

Again, in the raw image files the Canon PowerShot SX50 HS shows a greater dynamic range than the Panasonic FZ200, at all sensitivities, although this time the difference between them is slightly less pronounced.

Click here to see the full resolution image

Macro focusing is quick and accurate, and enables you to get really close to the subject.

Click here to see the full resolution image

Macro focusing even works well when the light source is low, or the subject is prone to movement.

Click here to see the full resolution image

Despite its small size, the Canon SX50's sensor is still able to resolve bags of detail, even at the telephoto end of the 50x optic.

Click here to see the full resolution image

The Canon SX50 is a great option for a wide variety of subjects, including wildlife. DSLR owners can usually only dream of such a huge zoom range.

Click here to see the full resolution image

At the widest end of the optic, the Canon SX50 offers an equivalent of 24mm, making it a fantastic choice for getting a large proportion of the scene in the frame.

Click here to see the full resolution image

Even at 100x digital zoom, image quality is still fairly high, giving great flexibility for capturing far away action.

Click here to see the full resolution image

It's fair to say that image quality does drop quite dramatically at 200x digital zoom, but it's nice to have this flexibility if you really need to use it.

Click here to see the full resolution image

Colours are represented well by the SX50 straight from the camera, they're punchy without being overly vibrant.

Click here to see the full resolution image

Noise is controlled well at high sensitivity settings, though there is some examples of image smoothing when examining the images at 100%. Normal printing and web sizes are good, though.

Click here to see the full resolution image

Even in artificial lighting conditions, auto white balance does a good job of producing accurate colours.

Art filters

There's a fairly decent range of art filters available on the SX50, giving you the opportunity to get really creative with your shooting style. See below for some of those filters in action.

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Click here to see the full resolution image

Full ISO 80 image, see the cropped (100%) versions below.

Click here to see the full resolution image

ISO 80

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ISO 100

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ISO 200

Click here to see the full resolution image

ISO 400

Click here to see the full resolution image

ISO 800

Click here to see the full resolution image

ISO 1600

Click here to see the full resolution image

ISO 3200

Click here to see the full resolution image

ISO 6400

The bridge camera section of the market is continuing to perform well in a time when the general compact camera market is on a downturn.

What bridge cameras such as the Canon PowerShot SX50 HS offer is fantastic flexibility in a smaller, lighter and cheaper package than a DSLR. The trade-off is a smaller sensor and the impossibility of changing lenses.

They're fantastic for travelling photographers, or those looking to get a bit more from their photography without the added complications that an interchangeable lens system brings.

One of the biggest disadvantages of the Canon SX40 was that it didn't have the capability of shooting in raw format. Happily, Canon has addressed that issue, making the Canon SX50 a much more attractive proposition.

We liked

With many great features onboard the Canon SX50, picking one feature is difficult. But, what probably stands out the most is that incredible 50x optical zoom lens, giving this camera huge appeal to travel, wildlife and family photographers.

We disliked

It's a shame that at the widest end of the optic, the camera couldn't boast a wider aperture, because that would have really been the icing on the cake for this great bridge camera.

Final verdict

What we've got here is good image quality, lots of features, an attractive body and plenty to appeal to a wide variety of photographers.

While it's true that the Panasonic FZ200 offers a better maximum aperture value, of f/2.8 throughout its entire range, this camera boasts a whopping 50x optical zoom - something you won't get anywhere else.

For anybody looking to purchase a bridge camera this year, the Canon SX50 is easily one of the best options currently available on the market. An articulating screen, raw format shooting and of course that giant zoom all add to a fantastic package in a neat little body. It's just a shame about the EVF, though.

Olympus has revealed a new superzoom bridge camera to sit in its Traveller series of cameras with a 40x optical zoom lens.

Starting with a focal length that's equivalent to 22.4mm, the SP-820UZ is the widest angle bridge camera currently available on the market.

The 40x optical zoom extends all the way up to 896mm in 35mm terms. Super-resolution zoom is also included, which boosts the lens capability up to 80x, or 1792mm.

At heart of the camera is 14 million pixel CMOS sensor and a TruePIc V image engine, which in addition to still images are capable of delivering full HD video.

Other features include a 3 inch, 460k dot LCD screen, dual image stabilisation and Multi-motion Movie IS for capturing HD movies with reduced blur while walking.

Creativity

Fun and creative features include Smart Panorama, Face Detection, Scene Mode and a choice of twelve Magic FIlters along with Beauty Make-up Mode.

Super macro shooting from as close as 1cm is also possible, along with high-speed sequential shooting for fast-moving objects and high-speed movie recording for high-frame rate capture and super slow-motion playback.

The camera comes with a built-in flash, support for SDHC, SDXC and Eye-Fi cards and in-camera help guide.

The Olympus SP-820UZ price will be around £279.99 and it will be available from October.