Samsung News Geek

Compact cameras are facing an existential threat from smartphones when it comes to casual point-and-shoot photography. But those who prefer some assurance of decent usable photos should consider a compact camera. After all, you might never revisit your holiday destination.

A compact camera will have a slightly larger image sensor than a smartphone, not to mention a decent zoom lens with wide-angle and better imaging electronics. So compacts can deliver the keepsakes you want to print out. There are models which are colourful, almost card-like models, which will slip easily into a pouch or pocket.

Outdoor enthusiasts can pick up rugged compact cameras built to survive a dip in the pool or an accidental drop on the biking trail. Some compacts offer long-range zoom lenses which allow you to shoot sharp close-ups even from metres away. Now that is a trick your smartphone cannot match, at least for now. Other models offer a host of shooting modes and the ability to produce panoramas.

Examples of compact cameras include Canon Digital Ixus 230 HS, Nikon Coolpix S6300, Olympus 110 and Samsung MV800.

Looks plus performance made this svelte 2.2cm camera a winner. Into its slim profile (two AA batteries' width) is a long 8x optical zoom lens spanning a 28-224mm range (35mm equivalent).

At just 140g and weighing the same as an iPhone 4S, this Canon is also a full high-definition camcorder that will record in slow motion as well.

These cameras have image sensors which are larger than those in typical compact cameras. They often feature high-quality zoom lenses. You can tell by the well-defined photos they deliver, even in low-light conditions, such as a sunset.

They also offer fully manual controls, so experienced users can tweak shutter speed, aperture size and ISO settings to get a particular desired photographic look, such as shallow depth-of-field or a light trail effect. Some professional photographers carry such cameras when they must leave their DSLR gear behind.

In the right hands, a prosumer camera can produce beautiful photographs as good as those produced by a mirrorless hybrid camera or even a DSLR. Examples include Cannon PowerShot S100 and Olumpus XZ-1.

Pitch perfect, this retro-styled camera is top of the class for visceral appeal. Yes, it is pricey and heavy at 445g, but its construction is superb and so is its image quality.

Its headline features include a DSLR-class sensor, a groundbreaking and superb hybrid viewfinder and fast f2.0 lens.

The jury is still out on whether the mirrorless cameras with interchangable lenses can beat DSLR cameras. But there is no doubt that these "mini-DSLR" cameras have garnered a lot of interest among hobbyists for their blend of portability and high-quality imaging which can give DSLRs a run for their money.

They marry the sleek looks and portability of compact cameras with the functionality of interchangable specialised lenses, once the sole province of DSLRs. When it comes to image sensor sizes, most hybrid cameras fall in the middle - between compact cameras and DSLRs. As mirrorless cameras, they lack the usual mirror and pentaprism box found in DSLRs, thus keeping the bodies slim. Put on a pancake lens and you can actually squeeze a hybrid camera into a pocket. But you have to forgo the accuracy of an optical viewfinder for framing shots.

Picking the right mirrorless model depends on how much you love the ecosystem that supports it. There are lens adapters which allow you to use full-size DSLR lenses with some of these bodies, but the unexpected weigh up front can throw you off balance. So before you buy, try out a hybrid camera fitted with a heavy lens to get a good feel for it.

Olympus and Panasonic are the major supporters of the Micro Four Thirds system. Samsung, Pentax, Nikon, Fujifilm and Sony all have mirrorless systems. Be sure to check out the available range of lenses and accessories for each brand. Canon is the only major camera brand without a mirrorless model.

Consider a mirrorless camera if you need the flexibility of interchangeable lenses to expand your photographic repertoire. If possible, choose a bundle offer which gives you an additional lens.

Examples include Olympus Pen Mini E-PM1, Nikon 1 V1, Sony Nex-C3 and Fujifilm X-Pro1.

With link to its past of film Pen cameras, Olympus infused nostagia into this Pen. But inside the metal body beats modern, hardcore photo smarts, making it a responsive machine that delivers pleasing colours.

A smart design in the telescoping kit lens shaves at least 20mm off the camera's thickness when the lens is packed to go.

A DSLR or digital single-lens reflex camera is a heavy load to lug around while on holiday, not just because of its hefty body but also its boatload of accessories. However, purists will swear by the excellent definition and colours of the photographs it produces.

Most DSLRs feature either an APS-C or a full-frame image sensor. When matched with a high-quality lens, it can deliver poster-ready images which are sharper and more vibrant than the images from a compact camera, even in lighting which is far from perfect.

Some fans actually prefer the comforting heft and grip of a full-body DSLR, while others rely on an optical viewfinder to accurately frame a scene. DSLRs are quick enough to grab sharp shots of, say, your kid riding a roller coaster or the tribal dancers in colourful costume, as it has virtually no lag when you press the shutter button.

If you are interested in shooting videos, note that certain DSLRs are able to produce high-definition videos with a cinematic feel which go beyond what camcorders can produce. Picking a major DSLR brand, such as Canon or Nikon, means you can enjoy the bountiful choices from a lively ecosystem of interchangable lenses and accessories, including third-party products.

For a beginner, a DSLR can be intimidating to operate. Establishing a collection of useful lenses may take money and time, and you will need to practice with it to familarise yourself with all the functions before going on holiday.

Look out for a good bundle offer which includes a general-purpose lens and more if you are just starting out. Examples include CAnon EOS 600D and Nikon D5100 kit.

Feature for feature, this Nikon matches the Canon 600D, from full-HD video recording to flip-out monitor.

Its resolution may be slightly lower at 16.2 megapixels, but it offers buckets of picture detail, noise management and colour range. Its grip and build quality are also slightly better.

Camera review:
Nikon D800 DSLR has a whopping full-frame 36.4 megapixel CMOS image sensor. This camera puts the competition to shame and is almost within the same league of the higher-end digital medium-format cameras which are typically two to three times more expensive. It will cater to advertising and fashion photographers who usually use medium-format cameras, as they need the granular details in their photos for use on giant advertising billboards.

The D800 sports a weather-resistant magnesium alloy body with the new EXPEED 3 image processor, 91,000 pixel metering sensor, a 3.2-inch display and the ability to record full high-definition 1,080p videos. The body is rock solid and has a strong grip. Button layout is well thought out and my fingers eased naturally into accessing the various functions.

With more videographers using DSLR for their work, the D800 also has a dedicated video record button to make life easier for them. In addition, there is a rear lever to easily switch quickly t live-view mode for viewing on the LCD screen instead of the viewfinder.

Landscape and nature photographers will like another, near-identical model, the D800E, as this has removed anti-aliasing properties in the image sensor to create even sharper images with finer details. However, without anti-aliasing, fashion photographers will not like the D800E as it is more likely to have the moire effect, which increases the jagged edges when shooting clothes with stripes.

Based on the big printouts shown, the level of details in the D800's images is incredible in both dark and bright areas. The D800E's images were even sharper.

Camera review:
This X-pro1 has a brand new 16.3-megapixel APS-C X-Trans CMOS image sensor (1.5x crop factor) with a new complex color filter array that removes the need for an optical filter. It has a 3-inch display with 1,080p video-recording capability.

X-Pro1 marks the dawn of a new camera system with its X electronic lens mount and three new XF prime lenses with different focal lengths of 18mm, 35mm and 60mm. The retro looks might set old timers' hearts fluttering but it is not just the looks. Its die-cast aluminum alloy construction feels sturdy with texturised leather around the body for a comfortable feel and secure grip.

On first look, the control layout is almost the same as the Fujifilm X100 with its analog shutter speed dial and aperture ring. However, the X-Pro1 has a bigger four-button controller with a quick button and rear dial to allow you to change settings faster and more easily. There is also a programmable function button so you can choose to put your most used settings on it.

The hybrid viewfinder, which allows you to toggle it to work as an electronic or optical viewfinder, returns with a twist. When you change lens from 35mm to 60mm lens, there will be a smaller box to help you frame a picture when you are in optical viewfinder mode. I found the auto-focusing to be much improved from the Fujifilm X100 in all three lenses.

Camera review:
While many cameras manufacturers are jumping onto the mirrorless inter-changable lens camera bandwagon, Canon refuses to bit the bullet. Instead, it believes what consumers really want is a digital compact camera with bigger sensor size.

A huge sensor is the key ingredient to image quality. And the one inside the G1 X is humongous, almost 10 times that of an ordinary compact camera's and more than 6 times the size of the one in the G12 prosumer camera. It is 16 per cent larger than sensors in the Panasonic G and Olympus Pen mirrorless cameras.

Its 14-megapixel image sensor is only about 20 per cent smaller than APS-C sensors used in DSLR cameras and slightly bigger than Micro Four Thirds image sensors of Olympus and Panasonic mirrorless cameras. This is not a danity camera. The large sensor called for a large lens, which is slower than those of its competitors (f2.8 versus f2.0 or faster). The closest macro focus point is also a long 20cm away instead f the usual 1cm. But its metal body feels unbreakable in your hands and its well-crafted mode dial has a lovely precise movement. A useful front wheel helps to make settings changes convenient.

The image quality shows, at ISO 2,200, picture noise is well managed. That is DSLR standard. Even at ISO 6,400 for snapshots prints, you will have to look hard to find noise. But Canon was careful not to stray into DSLR territory where it reigns supreme. The sensor is still dwarfed by those in Canon's own DSLRs and, more crucially, some mirrorless models from Fujifilm, Pentax, Samsung and Sony.

The G1 X has a convenient 4x (28-112mm of 35mm equivalent) optical zoom lens, a rotatable 3-inch display and records full high-definition 1,080p videos. Like any PowerShot G series camera, there are plenty of manual controls with dials and buttons at the right places for you to fiddle with. Yet, unlike the previous models, it now sports a dedicated video record button.

There is an optical viewfinder but it is not much different from the rudimentary ones found in most compact cameras. Good thing the 3-inch LCD is superb, being sharp, vibrant and fully articulated. The autofocus was not as fast as its smaller G series siblings'. Five sequence shots take almost 10 seconds but shutter lag is minimal.

Fujifilm's X100, also a prosumer, cost more than the G1 X but it raises the bar in both build quality and new features. At its price point, the G1 X faces competition from lower0end mirrorless cameras and entry-level DSLRs, including Canon's EOS 1100. Without a doubt, the G1 X is one of the best fixed-lens cameras in the market but it lacks the looks and headline features to stand out.

Overall, I find the operation to be swift with fast zooming of the lens and quick auto-focusing. If the image quality is 80 per cent as good as a Canon DSLR camera, then this will be the best PowerShot G series camera ever.

Camera review:
It seems that retro design is now the in-thing. Olympus has taken its OM-1 film SLR camera body and imbued it with digital properties to give you OM-D E-M5. This Micro Four Thirds camera has a 16-megapixel image sensor (2x crop factor), 3-inch tilting display and a built-in electronic viewfinder. It can shoot 1,080p videos and still images at a speed of up to nine frames per second.

The OM-D E-M5 will be the first camera in a new OM-D series to add to Olympus' successful PEN Micro Four Thirds series. With a magnesium alloy body and a vintage leather feel, it ticks all the attributes in terms of feel and looks. Even after adding the vertical grip, the camera still feels lightweight. Furthermore, it is weather sealed for ruggedness.

The layout of buttons is really intuitive. I particularly love the two top dials that are next to each other. This allows for quick changing of the shutter speed and aperture in manual mode. The electronic viewfinder looks sharp and shutter lag feels minimal with spot-on auto-focusing.

Camera review:
Yet another new mirrorless camera enters the market, but with a designer's name on it. Designed by Marc Newson, it looks much bulkier and boxier than the images on the Internet. But maybe that is because the K-01 has a 16-megapixel APS-C image sensor. It also has a 3-inch display, full high-definition, 1,080p video recording ability and can shoot up to six still images per second.

When you lift it up, it feels like a plastic toy. But because of its bulk and the rubber texture around the camera, it actually gives you good solid grip. The top mode dial is a bit far from your resting thumb, so your thumb will need to stretch a bit to get there. Other than this, controls are generally user-friendly with the rear controls easily accessible. There are two top small colour buttons - green and red - that are customisable. The red button is used for video recording by default.

Most importantly, it accepts all Pentax K-mount lenses, including the new 40mm f2.8 lens that is only 9.2mm thin. When used with either the pancake lens or a normal K-mount lens, the auto-focusing is fast but probably not as fast as the Olympus OM-D E-M5.

Camera review:
This is Nikon's answer to the likes of slim prosumer camera, such as Canon's PowerShot S100 and the Olympus XZ-1. Armed with a 16.1-megapixel CMOS image sensor and a 4.2x (24mm-100mm of 35mm equivalent) optical zoom lens with a big aperture of f1.8 and lens-shift image stabilisation, the P310 will ensure you get your pictures sharp even in poor lighting conditions.

It also has a high-resolution, 3-inch display to help you compose a picture or shoot full high-definition 1,080p videos. At only 3.2-inch thick, it is really compact and slips into any pocket easily. The minimalist design looks good and your fingers will like the feel of the camera. It also has plenty of manual controls that are well located to allow easy changing of settings.

Personally, I like the fact that you can use the top dial and rear dial to change shutter speed and aperture quickly while in manual mode.

Camera review:
- 12-megapixels
- 24x zoom (25mmm-600mm, 35mm equivalent); f28-f5.2
- 3-inch 461,000 dot LCD, 202,000 dot electronic viewfinder
- 538g

Dubbed bridge cameras, superzoom stars such as this Leica are filled with functions and look more like DSLR cameras than the pocket digital models to which they are more closely related.

Its star feature is telescopic power that can magnify faraway objects with the flick of a finger. This camera clocks a modest 24x zoom compared to competitors with 35x and 42x zoom. There are pluses to this restraint. The lens remains a little faster, capturing more light, when pushed to its zoom limit. This also gives the camera's image stabilisation a better chance at stilling shaky hands and thus capturing a sharper image.

In a sea of 16-megapixel wonders, Leica has held back and stayed with a relatively low resolution of 12-megapixels. I will pick image quaility over resolution any day. So will most consumers, I suspect, once they realise that a high megapixel count usually exacts a toll in terms of colour and picture noise in photos. Those 12-megapixels can deliver a fine print, even one blown up to a third larger than an A4 sheet.

While the camera was not fast in starting up, taking abut 4.5 seconds, it was swift in shooting off five snaps in sequence without using the burst mode. A very zippy time of under 3.5 seconds on average was clocked. Shutter lag was minimal so once the focus is locked on, a shot can be captured in 0.1 second.

In full high definition camcorder mode, which starts recording at the press of a button in any camera mode, the soundtrack to the clear sharp video is a lush, spacious stereo. But the question of value begs to be asked. The V-Lux 3 is based on the much cheaper Lumx DMC-FZ150 from Panasonic, which also builds this Japanese-made model for the German firm.

Timing tests were almost identical. Close scrunity of the images from the two cameras showed that the Leica was perhaps a whisker ahead in clarity as small fonts where slightly more legible. The V-Lux 3 adds well-regarded photo and video editing software: Adobe Photoshop Elements and Adobe Premiere Elements. Its international warranty is also double the length of Panasonic's.

Even with those features, you still have to pay a premium to own a camera with the iconic logo. Overall, Leica V-Lux 3 is a accomplished superzoom camera and full-HD camcorder.

Camera review:
- 16.1 megapixels
- 8x zoom, 25-200mm (35mm equivalent), f3.3-f5.9
- 3-inch 460,800-dot LCD
- 166g

To say that compact cameras take snapshots is downright wrong. Most are nowhere near snappy. "Slowshot" is a more apt label in many cases. Casio has always been known for its zippy cameras. But with the ZR20, this conjurer of compacts has hoisted the bar even higher. If I had not carried out the speed tests myself, I would not believe what this cute little thing is capable of. How little? It weighs little more than half a dozen AA alkaline batteries. It can justifiably thumb its nose at many mirrorless cameras and even some DSLRs.

Five shots in sequence without calling on the burst mode took a sizzlingly average of less than 2.6 seconds. This faster than what you will find in mirrorless cameras. But it was chickenfeed to the Casio. So I switched on the HDR mode, a software treatment, in which a single shot can choke much larger system cameras for a second or so. The ZR20 worked its guts out taking six to nine seconds to process the photo.

Ho hum, you say? There is a small but significant difference. Press the shutter button any time during the image crunching and this trooper is ready to shoot again with the same eagerness. Bravo, Casio, for giving priority to the photographer instead of the "Go away, can't you see I'm busy" signal that many other cameras would give when processing images. Can every camera designer busily stuffing devices with fancy tricks please take not and put this high on your to-do list?

This is still a compact with an average sized sensor. The image quality is above average but does not match the camera's stellar speed. The colours are tweaked for warmth and their vibrancy will surely please any compact camera user. Casio pioneered the HDR Art mode. Colours are boosted to borderline psychedelic levels. Good fun, but the novelty may wear thin.

In conclusion, the hidden gem is its HDR mode. Colours are juiced up to be more lively but remain fairly natural. Casio first featured slow-motion video four years ago, before others jumped in. The ZR20 still has the edge in the quality of such clips.

Camera review:
- 16.2 megapixel image sensor
- Expeed 3 image processor
- 3.2 inch display
- Dual card slot (CF and XQD)
- 1.34kg (with batteries)

This is the DSLR camera many of friends have been waiting for. With its magnesium alloy weather-resistant body, the D4 feels rock solid in your hands and ready to handle any abuse you can throw at it. The button layout is intuitive and shows how much thought has been involved in positioning each button.

For example, a small joystick is sited close to the AF-ON button to allow your thumb to move quickly between two controls. Nikon has even added a separate small joystick and AF-ON button for use when the camera is held sideways. For the growing number of videographers who use DSLR cameras, the D4 offers these features:
- A dedicated live-view button with a lever to toggle between still and moving images.
- A dedicated video-record button sits just beside the shutter release on the top of the camera
- Backlit rear buttons so that the controls are visible in the dark

The D4 has a new 16.2 megapixel CMOS image sensor that supports sensitivity settings from ISO 50 to an amazing ISO 204,800. It also features the latest Expeed 3 image-processing engine with a 91,000 pixel metering sensor and 51 autofocus points. In other words, the D4's operation will be blazing fast. Start-up is immediate. You are ready to shoot as soon as you power up the camera. Shut-down is slightly slower. It took about one second.

Shutter lag was almost non-existent. With either lens, autofocusing was breathtaking speedy. Autofocusing was spot on almost instantly in good light. Even in very dim conditions, without the help of the AF assist light, it took less than half a second to lock onto a focus. When shooting at 10 frames per second during the football match, the autofocusing was consistently fast and spot on.

This is the first DSLR that uses the new XQD card, which has a write speed of 125MB per second. With a 16GB XQD card, I was able to shoot continuously 53 images in simultaneous raw and jpeg format in five seconds before the buffer ran out of space. That is nothing short of amazing when you consider that not too long ago, you would have had time to make yourself a cup of coffee after shooting five frames of raw images.

The XQD card slot is the default slot, but you can switch to the CF card at any time. You can opt to create simultaneous back-up or have more storage space with the dual card slots. Personally, I would prefer a CF or SD card slot to the XQD which is not as easily available.

The image quality is stellar with sharp pixel rendition, vivid colours and crisp details, even in the dark areas. You can even make out individual strands of hair if you look closely enough. One downer is that the auto white balance tends towards blue under artificial lighting.

The D4's noise performance is stupendous. At IS) 1,600, the images look hardly different from those shot in ISO 400. Only at ISO 6,400 are noise artefacts more readily visible. Even at ISO 12,800 the pictures are still usable, but ISO settings above 12,800 are discouraged. The 1,080p videos are equally good too. But as with most DSLR cameras, they suffer from picking too much surrounding audio.

Lastly, the price may be jaw dropping but the D4's speed and build means that you do get what you pay for. Just ask any professional photographer - the D4 will be his natural choice.

Camera review:
- 23.3 megapixel full-frame image sensor
- Digic 5+ image-processing engine
- 61-point autofocus system
- 3.2-inch display
- ISO range 100 to 25,600 (expandable from ISO 50 to 10,2400)
- Dual-card slots (CF card and SD card)
- Full high-definition 1,080p video recording
- 860g (without battery, memory cards)

It has been nearly four years since Canon wowed everyone with the outstanding quality of the EOS 5D MK II's still and moving images. Now its successor, the 5D MK III is here. A weather-resistant magnesium alloy chassis protects it against rain and dust. Combined with comfortable contours, the 5D MK III is sturdy yet almost effortless to hold, useful for long spells of shooting.

Sit the 5D MK III side by side with the 5D MK II and you would think you are looking at twins. The differences are more apparent from the back. The 5D MK III has a rear switch for toggling between still image capture and video-recording via the display. It even comes with a convenient start-stop button.

The button layout and controls are well thought out and intuitive, except for the useless Rate button that is used to rate how many stars a picture gets. It would have been more useful to replace the Rate button with a zoom-out button, as there is only a zoom-in (or magnify) button.

The new model has an SD card slot as well as the CF card slot of the 5D MK II. The SD card can be used to back up any picture you take, or just for extra storage. Users often complained about the 5D MK II's sluggishness, especially in autofocusing. Canon has responded by replacing the 5D MK II's 9-point autofocusing system with a 61-point system in the 5D MK III and by giving the new model an image processor that is 17 times faster. The result is clear. Start-up and shutdown are immediate. Shutter lag is not noticeable.

With a 24-105mm f4 lens, autofocusing is much faster than with the 5D MK II, and a shade faster than with the Nikon D800. In bright light, autofocusing is instant. There is a slight hesitation in dimmer conditions, though. Much more impressive is its ability to lock on to a focus point in extremely dark conditions within a mere two seconds. Most DSLRs would have given up by then.

Using a SanDisk Extreme III CF card rated at 30MB per second, I shot 12 images in Raw format in two seconds before the buffer ran out of space. This is fast enough for you to photograph football ace Lionel Messi as he is scoring a goal.

Image quality is simply stellar. Details are crisp; skin tones, natural. Colour reproduction is slightly more conservative than the D800's. But auto white balance is spot-on and consistent across both natural and artificial light.

Picture-noise performance is simply astounding. There are no noise artefacts before ISO 3,200 and only sporadic chromatic noise in the dark areas at ISO 6,400. Even at ISO 25,600, noise levels were equivalent to the D800's at ISO 6,400.

Video quality is equally brilliant and sharp. Even at night, the moving images do not show up as grainy. The camera does not pick up ambient audio readily and even the sound of autofocusing is hardly apparent.

Camera review:
Sensor: 16.1 megapixel APS-C type (23.5 x 15.6mm) Exmor APS HD CMOS
Display: Flippable 3.0-inch TFT, Xtra Fine LCD with 921,600 dots
Sensitivity: ISO 200 to 16,000
Shooting speed: 5.5 frames per second
Weight: 313g (body only), 514g (with 18-55mm kit lens)

Sony Nex F3 is a mirror-less camera. Shooting a portrait of yourself unaided usually involves a tripod and many fluffed attempts. Unless of course you have a camera with a tillable LCD display that can be swung out so that you can have the lens facing you. This has been standard on most camcorders but not on cameras.

Nex models have displays that can tilt up or down but not swivel. While overhead or low-angle photos can be shot with precision, self-portraits are still hit or miss. Sony could be avoiding adding the additional flexibility in exchange for a stronger hinge and steadier handling. In the Nex-F3, Sony has made the LCD flippable by 180 degrees to the top so that it can be placed above the camera to face you.

By default, the timer is switch is on. So, assuming that your Nex-F3 is on a tripod, you have time to move away and compose your shot using the screen as your mirror. The timer can be killed to take instant shots. But there is a catch. With the overhead flip, the degree that the screen be tilted down for overhead shot is almost non-existent. So it is "hurrah" for self-portraits and "boo" for overhead paparazzi-style shots.

The Nex-F3 also gains a built-in flash, which has not been given in the Nex series, though a small add-on flash is usually supplied. Besides these two features, this is what you can expect from a Sony Nex - small in size but with a DSLR sized sensor. By numbers, the F3 is the biggest and heaviest model after the flagship Nex-7.

But the F3 is still small. With its kit lens attached, it weighs no more than the body of a DSLR. Mind you, the kit lens is metal, not the usual plastic DSLR kit lenses. The mount on the kit lens is also metal, though this is the low-end of the current Nex line-up. Plastic is the standard entry-level DSLR models which may cost more than this Nex.

Because it is small, there is space for only a few buttons and more needs to be done through menus. A mode change takes just a twist of a dial on most big cameras. It takes three steps on this cameras. The grip is comfortable and the camera is easy to handle if you are not one to fuss with the settings.

In terms of speed, it is a bit behind other mirror-less and DSLR cameras. Five shots in sequence took 3.9 seconds. The autofocus is not as surefooted in dim lighting as DSLRs and mirrorless cameras. Noise is bearable up to ISO 3,200. So 4R prints from images up to ISO 6,400 are fine, as the colours remain vibrant. Picture quality is on par with entry-level DSLR cameras and colours have a solid strong feel.

Camera review:
Sensor: 18 megapixel, 22.3mm x 14.9mm APS-C CMOS
Display: Tiltable, 3 inch Clear View LCD II capacitive touchscreen with 1.04million dots.
Sensitivity: ISO 100 to ISO 12,800 (ISO 25,600)
Shooting speed: Up to 5 frames per second
Weight: 575g (body only)

The headline feature of the Canon EOS 650D is that it is the world's first DSLR camera with a touchscreen, and I can already hear the purists sniffing. Yes, touchscreens are old news. Canon's first lxus compact camera with a touchscreen deputed back in 2009. Years before that, videotape camcorders, Canon's included, already had such displays.

But the 650D's is truly responsive and not at all sluggish as many camera touchscreens tend to be. Like a smartphone, it lets me flip through photos. It also recognises multi-touch commands. When viewing photos, you can use the familiar pinch/spread action to reduce or enlarge a photo.

It also works well for changes in settings. Instead of spinning a dial and toggling through options, I tap the option I want on the screen. Purists will be happy to know that they can ignore the touchscreen and simply use the usual complement of dials and buttons to operate the camera.

Tech-wise, the big deal is buried inside the camera. This is a hybrid autofocus system. It combines the software method used in compact and mirrorless cameras with the DSLR method, which is fast but needs extra hardware in the form of autofocus sensors. Canon's smart move, and that is another first for DSLR cameras, is to plant those autofocus sensors in the image sensor itself.

Using the DSLR's native autofocus method for snapping photos is faster than using the hybrid autofocus method. I tried both ways in live view mode, that is, using the screen instead of the viewfinder to compose a photo. It took 14 seconds to shoot five shots in sequence using the hybrid focus system. The native method took three to five seconds less but it was noisy, because the mirror inside the camera has to move out of the way.

The new path is a huge step up for Canon DSLRs as it offers full-time autofocus when you shoot a movie. This is another first for Canon. The autofocus on most DSLR cameras stop working once recording of a movie starts, unlike a camcorder's autofocus, which continues working.
Does it work on the EOS650D? Yes, although a camcorder's autofocus still works faster and is less prone to confusion. For this, you can only use the new Canon lenses with the STM suffix, like the EF-S18-135 IS STM.

The STM lenses' stepping motor allows smooth quiet autofocusing during movie shooting. When I used the only STM lens, the 40mm f2.8. I could not detect any focusing sound. In contrast, with a standard 14-55mm lens, the juddering of the autofocusing is faithfully recorded.

But in my tests, the standard design lens was usually slightly faster than the STM one. The 650D also records in stereo sound although monoaural is standard for DSLR cameras. What it lacks is something found in most mirrorless and compact cameras, a direct video button that lets you start recording a movie no matter what mode you are in.

With the 650D, you must first push the power switch to camcorder mode, then press the Live View button. But with practice, you can probably master this very quickly. The 650D is fast, five shots in sequence were done in under 2.4 seconds using the viewfinder. Strong colours were delivered with effort. At ISO6,4000, noise can be seen when a photo is magnified but the details are still retained. At ISO12,8000, noise is obvious.

The body is a fairly solid polycarbonate one with a mostly matte leather-like surface. However, the grip could be broader for an easier hold.

Camera review:
Sensor: 16.1 megapixel, 23.5 x 15.6mm APS-C Exmor APS HD CMOS
Display: Tiltable 2.7 inch LCD with 230,400 dots, electronic viewfinder
Sensitivity: ISO 100 to 16,000
Shutter speed: 1/4,000 to 30 seconds, bulb
Shoot speed: Up to seven frames per second
Weight: 726g (with kit lens), 505g (body only)

The A37 is the size and price of a beginner;s DSLR. But in major areas it performs like a mid-range model. The biggest weakness to some is that instead of being able to look at the subject bounced off mirrors, you a video of it.

At the heart of this camera is a mirror that stays put. A DSLR mirror needs to move. It reflects light to the focus sensor and then swings out of the way for the light to reach the image sensor behind it.

This one, being translucent, manages to do both without moving. Because it doesn't need to flap furiously, the camera can capture seven frames per second, the kind of performances you would expect from a DSLR that costs $1000 more.

The A37 uses what boffins call the fast "phase detection autofocusing" while you are using the LCD to compose your photos, something DSLR cameras cannot do. It also has an eye sensor, another step-up feature, that switches off the LCD when your eye approaches the viewfinder.

Add an articulated LCD to the list. This one doesn't swing out for framing self-portraits, but it serves your overhead and low-angle shots. It terms of speed, it noses ahead of the latest and pricer entry-level models from Canon and Nikon. Five sequence shots took under 2.2 secs.

The autofocus is confident even with poorly lit subjects. Unlike mirrorless design shutter operates quietly, the A37 is not silent but it is not as loud as a DSLR. In indoor shots, I would keep to ISO 1,600 and not go pass ISO 3,200.

The camera is not as adept at basic management as a DSLR, but it offers such tricks as being able to fire an automatic burst of three shots and use software to merge the trio into a single remarkably noise-free photo. Unlike shooting a movie with a DSLR, which results in audible internal acrobatics, the A37 does it serenely at the press of a button.

Also, it records stereo sound, unlike the monaural track captured even by high-end DSLR cameras. The autofocus continues to work when a movie is being shot but you can hear the sound of it focusing.

There are niggles. The electronic viewfinder gets grainy when it is trained on dark objects but otherwise gives a clear view. The shape and small size of the handgrip made it uncomfortable to wrap one's fingers around it. This camera may not be among the first that springs to mind when you consider buying a serious beginner's camera. But it should be, given its abilities and price.

Camera review:
Image sensor: 24.2 megapixels, APS-C CMOS
Screen: Fixed 3-inch LCD screen with 921,000 dots
Weight: 505g (body only, including batteries)

Looking for an entry level DSLR with a high megapixel count sensor? The latest Nikon D3200 might just fit your needs. It has a 24.2 megapixel image sensor, second only to its full frame cousin, the D800, in Nikon's DSLR line-up. It even has more megapixels than the high-speed full frame professional Nikon D4.

The D3200's new Expeed 3 iamge processor, which is also found in both the D800 and D4, speeds up image processing, the autofocus (AF) and data transfer. It also has a proprietary USB port, mini-HDMI port, an accessory port for an optional global positioning unit and supports SDXC memory cards.

I was pleasantly surprised when I first held the camera. For a camera of its class, it felt lightweight but sturdy. I was able to handle it comfortably and with confidence because of its ergonomic and rubberised grip. The camera's button layout is well thought out for the smooth changing of settings. The mode dial, command dial and rear four-way directional pad are all within easy reach of my right thumb. The information, dedicated video-record and exposure compensation and aperture adjustment buttons are also placed just behind the shutter release button so my right index finder did not have to move too much.

For beginners, turn the mode dial to Guide. It will bring up a menu with three options - Shoot, View/Delete and Setup. From these, you can learn about the functions of the camera and access step-by-step set-up guides. For example, the Shoot option, which has easy and advanced levels, provides specific advice for a myriad of situations, such as how to soften backgrounds, capture fast action or shoot a sunset. When you select a shooting mode, it can even explain the settings it is using.

The camera's start up is around 0.6 sec while shutdown is almost immediate. Shutter lag clocks in at around 0.3 sec, which is really good for an entry level DSLR. The camera has 11 AF points and you can use the four way controller to choose an AF point, which can be seen in the optical viewfinder. Other entry-level DSLRs require at least two steps of button pressing before you get to move the AF point.

With the focus assist beam on, this camera is able to lock onto a focus in a very dim lighting in about two seconds. The time nearly doubles when you use Live View to focus under the same conditions. When shooting in RAW, I was able to fire four shots in a second before the camera's buffer was filled. It captures 16 JPEG frames before the camera took a breather to transfer the images into the memory card. When you consider the amount of megapixels the D3200 has, these timings can be considered impressive.

The image quality, with a sharp rendition of pixels and nice tonal gradation, is superb for such a cheap DSLR. Colours are vivid with accurate auto white-balance. Image noise performance, with clean images up to ISO 800, is really good as well. It is only a ISO 1,600 that you start to see noise artefacts. In fact, I have no qualms with using ISO 6,400 if my images are meant for Facebook or other websites.

The quality of the the 1,080p high-definition videos are equally splendid but it tended to record the usual wind and AF noise.

Camera review:
Sensor: 1/1.7 inch high sensitivity MOS, 10.1 mega pixels.
Lens: 3.8x, 24mm to 90mm, f1.4 to 2.3
Display: 3-inch LCD with 920,000 dots
Sensitivity: ISO 80 to 6,400
Weight: 304g

When Panasonic launched its LX5 camera two years ago, enthusiasts lapped up the superb prosumer compact. As other competitors trotted out updated features in their new prosumer models, Panasonic lost its grip on the market.

Now it looks it could recover lost ground with the LX7. The LX7 is proof of Panasonic's in-depth engineering, but those who are after a more aesthetically pleasing model will be disappointed. Panasonic prosumer compacts have never been great lookers, they look staid and bristle with buttons and dials. Yet, as any true-blue Panasonic Lumix fan will tell you, these knobs are he very reason he loves the compacts, as they allow for instant access to a setting. Think of them as more convenient hardware short-cuts rather than aesthetic blights.

At first glance, the X7 appears to be no different form its LX5 from its LX5 predecessor. It has the same price, the resolution has not budged from the 10.1 mega pixels, which is adequate, and the 3.8x zoom starting at 24mm stays. The ultra-wide angle is useful for squeezing in more people into a group shot.

Panasonic has done serious engineering with this Leica lens. It is as much as two times faster than the previous model at its wide angle. Only Samsung's prosumer model the EX2F, matches this. Simply put, you need less light to nail a shot compared to another camera. But what is impressive is how this lens performs at the maximum telephoto. While most lenses constrict at full zoom, the Lumix's aperture is still fast at full zoom. No other camera come close. The LX7 is more than a third faster than the Samsung model, which is the second fastest in the current crop.

The LX7 boasts two additional controls to the LX5. For manual focusing, there is a lever which also activates the internal natural density filter, a new feature. The filter reduces the light entering the camera, allowing for longer exposures. This means you can have a larger aperture in bright sunshine for the background to be more out of focus while the subject stays pin sharp.

The other new features is an aperture ring on the lens, a feature even most DSLR lenses do not posses. This ring, which has a delightfully notchy feel, allows the aperture to be adjusted quickly and precisely. All these goodies add to the LX7's weigh of 304g still lighter than a can of beer, but 65g heavier than the LX5. While LX7's small handgrip is adequate, I wish the slightly broader LX5's grip was kept.

The camera is quite responsive clocking 4.35s for five shots made in sequence. In burst mode, it snaps off 11 frames per second. Starting up took an acceptable 2.46s but the lens took a slow 3.05s to cover the 3.8x zoom. While colours captured from glistening pad thai to broiled broccoli were alluring, the images were a tad soft. Noise management could be stronger. I will not push the camera past ISO 800 and ISO 1,600 for a 4R print with this current firmware version of 1.0.

I particularly enjoyed the scene mode of "Glass Through" - it bumped up the colours and contrast of photos shot through a window but reflections remained.

Camera review:
Sensor: 20.3 mega pixels, 23.5 x 15.7mm APS-C CMOS
Display: Tiltable 3-inch Amoled with 614,000 dots, 1,440,000 dot electronic viewfinder
Sensitivity: ISO 100 to 12,800
Shutter speed: 1/8,000 to 30 seconds, bulb
Shooting speed: Up to 8 frames per second
Weight: 619g (with kit lens) 403g (body only)

The world of mirrorless cameras is ruled by models whose sensors are as big as those of DSLR cameras. Fujifilm and, more recently Canon, have one model each in that realm. But Sony and Samsung have launched more. Samsung was first off the blocks with the NX10 in January 2010. The NX20 is its latest flagship.

In NX style, Samsung has stuck to safe and subdued streamlined black for the NX20. The only spot of colour is a ring of blue around the lens body. The camera looks like a DSLR on a diet. But while it is smaller than a DSLR, it is not small for a mirrorless model.

The NX20 has one terrific trick that other system cameras lack. Android and iOS phones and tablets armed with free apps can accomplish a variety of tasks, including snapping a photo and downloading photos from the camera.

Samsung launched three wireless features first with its compact cameras and it remains one of the best performances in this area. Atop the NX20, a hump that looks like a DSLR's prism houses the electronic viewfinder (EVF). This offers a comfortably large sharp view which makes it a breeze for manual forcusing if you should so choose.

Unlike the EVFs found in other brands, the colours in the Samsung's are natural and not artificially boosted in terms of hue or brightness. These is a handgrip of reasonable size, but as with many weight-loss successes, the grip was a tad short for my hand and my little finger had to be tucked below the camera.

Inside the grip lies a battery that is good for 360 photos on one charge, says Samsung. This is good for a compact, but below average for a DSLR. The colours of photos, even those shot indoors in low light, have a richness that is the domain of cameras with big sensors. Even my creative mess of a desk looked better through this lens.

Noise is well managed up to ISO 1,600. Prints of 4R size can be made with photos of up ISO 3,200 without worry. Speed is a mixed bag. In burst mode, it manages eight frames per second, as good as DSLRs that cost about $1,000 more. The camera stops after 11 shots and takes about 12 seconds to catch its breadth before it can start shooting again.

Camera review:
Image sensor: 24.3- megapixel full-frame image sensor
Display: Fixed 3.2-inch with 921,000 dots
Sensitivity: ISO 50 to 25,600
Shooting speed: Up to 5.5 frames per second
Weight: 760g (without battery and memory cards)

Not too long ago, full frame DSLRs would cost a tidy sum. With the likes of full frame DSLRs such as the Canon EOS 5D MK III and Nikon D800 , the price has gone down to almost half. With the latest D600, it is now even cheaper.

Full frame DSLRs have larger sensors to gather more light and produce better image quality. With an image sensor the size of a 35mm film frame, there is no crop factor used in smaller sensors found in mid-range or entry level DSLRs.

The D600 is essentially a smaller, lighter and cheaper cousin of the full frame D800. It has a 24.3 megapixel sensor compared with the massive 36.3 megapixel on the D800 but at about 200g lighter. That makes it good to lug around. The body is made of durable magnesium alloy and protected by an anti dust and weather resistant sealant.

This produces a sturdy and solid feel because my hands can wrap around its ergonomic contours. My fingers fit neatly on the rubberised grip, which has an indentation to support them. Button layout is impeccable, with buttons and dials easily accessible. In addition, Nikon has thrown in some nice touches.

There is a dedicated video record button next to the shutter release, and the lever on the rear live-view button to switch between still and video recording modes. There are dual SD card slots, allowing you to use the second card as automatic backup or extra storage. A lock release located on the top dial mode ensures that you do not accidentally change modes.

Operation wise, the device has an impressive almost instant start-up so you never miss that decisive moment. Shutdown is almost as fast, at around half a second. Shutter lag is negligible. While the D800 has 51 autofocusing (AF) points, the D600 has 39. Still, there is no discernible slowdown in performance during actual use. Using a Nikon AF-S 24-85mm lens, AF is immediate in good lighting conditions.

While it can take up to three seconds to lock down a focus point with the AF assist light in total darkness, this is still a feat as some DSLRs may have just given up. With a Class 6 SD card rated at 6MB per second, I was able to capture 15 RAW format images in under 3 seconds, before the buffer was filled. It performs as advertised to its 5.5 frames per second shooting speed. This is noteworthy as it was done in full frame RAW format.

Image quality is equally remarkable with ultra sharp rendition of pixels. It also exhibits the same smooth and natural tones as the D800. Auto white balance is accurate under most lighting conditions. It even managed to get spot on skin tones under incandescent lighting.

The noise performance is top notch as well. You should feel comfortable shooting up to a setting of ISO 6,400 and chromatic noise starts to appear only at ISO 6,400, and are more evident in darker areas. Even at higher ISO settings more than 6,400, the images are still usable for web publishing.

The D600's only weakness is with video. While those recorded under good lighting are clear and sharp, there are flickers and noise artefacts found in clips shot in darker conditions. There is also too much win and ambient audio, especially with the AF lens.

Camera review:
Sensor: 1/1.7 inch 12.2 megapixel backside illumination CMOS
Lens: 7.1x, 28mm to 200mm, f2 to f4
Display: 3 inch LCD with 921,000 dots
Sensitivity: ISO 80 to 6,400
Weight: 398g

The P7700 is geared entirely for performance and is unabashed about its size. It is one of the largest of its sensor class on the market. The camera is as wide as a beer can is tall and heavier to boot.

One reason for its size is its 7.1x zoom lens, the most powerful among prosumer cameras in the market. The closest runners up Cannon's PowerShots S110 and G15, max out at 5x.

While the P7700 kept to the zoom range of its predecessor, the lens speed or how much light is captured has been increased. It needs only half the amount of light to nail a shot. The sensor is now a newer design CMOS, which should yield lower image noise compared to the previous CCD used.

In picture-noise control, images can be used for 4R prints up to ISO 3,200. For the more fussy photographer, ISO 800 shots are fine and some photos up to ISO 1,6000 are acceptable. Indoor shots of static object pose no problem. Highly kinetic children are another matter. Unless the flash is used to freeze their movement, blurred shots will result.

The colours from shots of food to those of faces looked natural. I like the rubberish handgrip, which gives a confident grip. The front and back dials and two functions, which can be customised, make it easy to change settings.

The screen is bright and sharp. It is fully articulated to help in framing all your tricky angle shots. Sadly, there is no viewfinder option. While the zoom moves quickly, the time for five shots made in sequence was slow, taking more than 9 seconds on the average.

Camera review:
Image sensor: 12.4 megapixel CMOS
Lens: 3.3x optical lens (24-80mm)
Screen: 3-inch swivel Amoled
Weight: 294.3g (without battery and memory card)

The EX2F has a textured grip which is seamlessly integrated into its body. The number of buttons and dials on the EX2F will put some DSLRs to shame. There is a wheel dial on its grip. On the camera's top, there is a mode dial and a shooting speed dial, both situated close to your thumb when you hold the camera.

The back of the EX2F is dominated by a 3-inch swivelling display. But there is a dedicated video button, an auto exposure lock button along with the menu and function buttons. Below these sits a wheel dial which doubles as a navigation pad. Four settings, display, flash, macro, Wi-Fi can be easily activated using the pad.

While the camera's button layout is generally well though out, it is far from ideal. For example, the EX1's dedicated ISO button has been replaced by the Wi-Fi button on the EX2F. Som changing the ISO setting now requires several steps. My other beef is that this camera has no electronic viewfinder support.

The highlight of the EX2F has to be its lens. It has big apertures, ranging from a huge f1.4 at 24mm to a relatively big f2.7 at 80mm. Compared to an entry level DSLR kit lens with aperture settings starting at f3.5, the EX2F offers a really attractive lens range even though its 3.3x optical zoom might be a short.

However, a big aperture can work against you in bright light. Luckily, the EX2F has a neutral density filter function to reduce the amount of light entering the sensor. The macro ability of this lens is outstanding. You can autofocus on an object just 1cm away, giving you plenty of creative options.

The performance of the EX2F is pretty quick for a compact camera. It boasts a start-up time of 1.6 sec and shuts down in 1.4 sec. The camera's shutter lag is negligible and its autofocusing is quick. In poor lighting conditions, it is able to focus sharply on a subject in about a second, with the help of the autofocus-assist lamp.

This camera can take up to 10 frames per second when you shoot in JPEG format. But you can take only one shot at a time when shooting in RAW format. This is probably because it takes up to 5 seconds to save a single RAW image.

The in-built Wi-Fi is another good feature. You can use the MobileLink app, available on iOS and Android devices, to download the pictures you took with the EX2F onto your devices. You can also use the remote viewfinder app to capture photos remotely.

Pictures can be easily uploaded directly to social networks if there is Wi-Fi connection available. The camera's picture quality is superb, with sharp pixel rendition, rich details and smooth skin tones. Colour reproduction is natural, with accurate auto white balance in most lighting conditions. However, I did occasionally find a tinge of blue in photos taken under fluorescent light.

I find the picture noise performance great, with noise artefacts appearing only at ISO 800. Even at ISO 1,600 the pictures are still usable but probably only for Web and small prints. I wouldn't recommend it for those taken at ISO 3,200 and above.

The EX2F's high definition video quality is sharp and crisp, but ambient audio is still a distraction. The Samsung EX2F might have its shortcomings but features, such as a bright lens, Wi-Fi and superb image quality, represent great value for money.

Camera review:
Sensor: 16.2 megapixels, APS-C CMOS
Lens: 24mm f2.8 (36mm equivalent)
Display: Fixed 2.7-inch with 230,000 dots
Sensitivity: ISO 100 to 12,500
Weight: 345g (including batteries)

Let's get one thing straight. This compact camera is not for everyone. It has no zoom lens, no tiltable display, no built-in electronic viewfinder (EVF), no macro mode and not even a video-recording function. And it costs a staggering amount - enough to buy a semi-professional DSLR with change to spare.

You can shout "Nuts!" and stop reading. Or read on and find out why I consider the X2 a great buy. First, it has the red dot logo that signifies it is a Leica. And Leica is the Rolls Royce of photography, a pedigree synonymous with photographic excellence. With their Leica rangefinders, photojournalism's pioneers Henri Cartier-Bresson and Robert Cap a documented history from the streets of Seville to the shores of Normandy.

The X2 has a mini-rangefinder with 24mm fixed lens that has a resultant focal length of 36mm, due to the 1.5 times crop factor of its APS-C CMOS sensor. This big image sensor is usually found in semi-professional DSLRs. Its design and controls borrow strongly from the rangefinders of old.

The X2 's body is shaped like its illustrious ancestors and comes in either black or silver. It does, however, have a pop-up flash. The silver review unit feels comfortable and sturdy with its metal plates on top and bottom and a leather wrap in the middle. It has full manual controls with two dials on top - one for aperture and the larger one for shutter speed.

The aperture ranges from f2.8 to f16. The shutter speed dial offers a range of K/2,000 second to more than a second. To set slower speeds, just turn the larger dial to +1, then using the rear top wheel dial, set the speed at anything up to 30 seconds. For auto mode, set both dials to A.

At the back is a fixed 2.7-inch screen, small by today's standards, with five menu buttons to the left, and four directional buttons, two dials and a menu button to the right. The handling feels natural. Your fingers can easily reach the dials and buttons to change settings. To complete the rangefinder-like experience, shooting using the LCD is not an option.

This prompts you to add the Leica electronic viewfinder EVF2. noticed that the EVF2 looked a lot like the Olympus VF-2 EVF. So I plugged that in and it worked perfectly. When I took the X2 out for a spin, it did not arouse undue attention when I raised the camera to eye level for a fast shot using the EVF. Its 90-degree swivel function let me shoot without being noticed.

At only 345g, it Is Iight enough not to weigh you down as you prowl the streets. A settings change helps to make the camera almost silent except the (quiet) shutter release. The X2 is not without its flaws. i he menu Interface can be a drag. All 38 settings are listed on a single menu without sub-categories. So you need to keep hitting the down button to reach the setting you want. It is also slow, taking about two seconds to power up or shut down.

Even in good light, it takes around a second to lock onto a focus. In poor lighting conditions, it can take up to three seconds. Shutter lag is around 0.5 second, If the subject is too close (in this case, around 23cm), it cannot even lock onto a locus Another downer is the lack of a self-capping lens. But its picture quality is breathtakingly sharp.

Colour reproduction is natural with accurate white balance. Its ability to reproduce the different tones of black is amazing and I tended to use its high contrast black and white mode more than colour.

There are no visible noise artefacts until you reach ISO 3,200, when they start to get noticeable.' Even at ISO 6,400, it is still workable, especially if you are shooting in black and white. The picture noise is reminiscent of grain found in black and white film.