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Techradar Camera and Camcorder reviews

TechRadar - Cameras and camcorder reviews

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We've been waiting quite a while for the Canon EOS 6D Mark II to arrive. In fact, it's some five years since the original Canon EOS 6D was announced – and at the time it was the most affordable full-frame DSLR available.

While it lacked some of the more desirable features found on Canon's pricier models further up the range, it offered users a pretty affordable way into full-frame photography.

Quite a lot's changed since the arrival of the EOS 6D though, with not only Nikon offering some very tempting competition in the shape of the D610 and D750, but Sony's Alpha A7 and A7 II offering another affordable route into full-frame photography.

So does the arrival of the EOS 6D Mark II shift the advantage back to Canon in the contest to attract those looking to make the switch to full-frame photography?

Features

  • Full-frame CMOS sensor, 26.2MP
  • 3.0-inch vari-angle touchscreen, 1,040,000 dots
  • 1080p video capture

As you'd expect after a five-year gap, the EOS 6D Mark II comes with a wealth of improvements over the EOS 6D. 

Perhaps the headline change is the new sensor, with the EOS 6D Mark II sporting a 26.2MP CMOS sensor that not only offers a sizeable boost in resolution over the 20.2MP chip in the EOS 6D, but also a lot more pixels than the EOS 5D Mark III's 22.3MP sensor.

The new sensor brings with it a native sensitivity range of ISO100-40,000 which can be expanded to an equivalent of ISO50-102,400, matching the expanded sensitivity ranges of both the EOS 6D and EOS 5D Mark III.

While these cameras may all share the same ISO ceiling, the EOS 6D Mark II boasts Canon's latest DIGIC 7 processing engine, which is capable of processing information some 14 times faster than the previous DIGIC 6 (the EOS 6D featured the DIGIC 5 engine), and should see it handling image noise better at higher sensitivities.

It's also the first time the DIGIC 7 engine has been used in a full-frame EOS DSLR; until now it's only featured in some of Canon's recent APS-C DSLR bodies and PowerShot compact cameras.

One of the compromises with the original EOS 6D was its 97% viewfinder coverage – that 3% shortfall may not sound like much, but stray elements can still creep into the edge of the frame if you're not careful, and you're likely to only notice these once you're reviewing your images on the rear display.

The good news is that this stat has been improved on the EOS 6D Mark II – but only by 1%, to offer a coverage of 98%, so still not quite matching the likes of the D750's approximate 100% coverage. 

While the viewfinder may seem like a minor improvement, the rear display is quite a different story. No longer sitting flush to the body as it did on the EOS 6D, the 3.0-inch vari-angle display can not only be pulled away from the body,  it's also now touch-sensitive.

The expected trio of connectivity options – Wi-Fi, NFC and Bluetooth – are available, with the latter being a low-energy connection, meaning you can always be connected to the camera and enabling the rapid remote transfer of images from your camera to a compatible smart device. 

Also on-board is Canon's five-axis digital image stabilization for hand-held video recording. Designed to work with video but not stills, the system works in conjunction with the brand's IS-equipped lenses. 

Staying with movie capture, Canon has opted not to include 4K capabilities on the EOS 6D Mark II, instead limiting it to Full HD with frame rates up to 60p. That's an improvement on the 30p offered by the EOS 6D, but we're sure some people will be scratching their heads trying to work out why 4K capture has been left off the EOS 6D Mark II – especially as this is an area where Canon has excelled at in the past.

There is a 4K timelapse option however, which stitches images together into a 4K-resolution video. There's also a microphone input, although there's no headphone socket if you wish to monitor audio. 

Build and handling

  • Aluminum alloy and polycarbonate body
  • Dust- and moisture-resistant
  • Weighs 765g

Like the original EOS 6D, the Canon EOS 6D Mark II is crafted from a mixture of aluminum alloy and polycarbonate with glass fiber, and while it doesn't have quite the same 'pro' feel as the likes of the EOS 5D Mark III or Mark IV, it nonetheless feels very well put together.

It's also nice to see the camera featuring dust and moisture seals – having used the 6D Mark II in some very wet conditions in Norway, with the camera getting drenched on more than one occasion, we can confirm that this camera will more than hold its own when the elements are against you.

Proportions-wise, the camera is ever so slightly more compact than the EOS 6D – those looking to upgrade from the older model may be a little disappointed to hear that the BG-E13 battery grip designed for the 6D isn't compatible with the EOS 6D Mark II, with a new BG-E21 battery grip accompanying the new camera. 

The grip on the body of the 6D Mark II is excellently sculpted, and ensures the camera fits very comfortably in the hand, while the weight of 765g with battery and card in place is just 10g heavier than the original 6D (though it's actually not much lighter than the 800g EOS 5D Mark IV). It also felt very well balanced in the hand when teamed with the EF 24-105mm f/4L IS II USM we shot with.

As for the layout of buttons and controls, if you're coming from the EOS 6D you should feel right at home with the EOS 6D Mark II, as the control layout on the two cameras is pretty much identical.

There's a large LCD display on the top plate with plenty of information on tap, while there are controls for the AF, drive, ISO and metering between the LCD and the front command dial. The only new addition is a small button next to the command dial that affords access to the camera's focusing modes to complement the 6D Mark II's more sophisticated AF system.

Sticking with the same control layout as the EOS 6D means the EOS 6D Mark II forgoes a joypad on the rear of the camera to quickly move the AF point, as we've seen on some other EOS DSLRs; instead you use the multi-directional controller to do this. While it would have been nice to see this extra control incorporated into the camera, AF point selection is still pretty quick to achieve using this method.

That just leaves the rear display, which as we've mentioned can now be angled away from the body to suit a plethora of shooting angles. While its resolution doesn't get a boost over the display on the EOS 6D, the 1,040,000-dot screen looks decent enough, while the touch interface on the EOS 6D Mark II is one of the best around – from adjusting settings to flicking through images, it works a treat. 

This shot was framed using the vari-angle display, with focus acquired using the touchscreen

Autofocus

  • 45-point AF, all cross-type
  • Sensitive down to -3EV
  • Dual Pixel CMOS AF system

The 11-point AF system on the original EOS 6D looked out of date even when that camera was launched, and it came in for a bit of stick – particularly as only the central point sported a cross-type sensor. So it's no surprise to see the EOS 6D Mark II get a hefty bump in AF coverage. 

Rather than borrowing the 61-point AF system from the EOS 5D Mark IV, the 6D Mark II looks to its APS-C stablemates and employs a 45-point AF system that's very similar to the one inside the recent EOS 80D and EOS Rebel T7i / 800D.

And the good news is that rather than featuring one lone cross-type point (cross-type points are sensitive in both the horizontal and vertical planes for greater accuracy), all 45 points are cross-type, with the central point being dual cross-type, featuring a second point oriented at 45 degrees to the regular point for even greater precision. Furthermore, 27 of these remain operational when using a lens, or lens/teleconverter combination, with a maximum effective aperture of f/8, with nine remaining cross-type.

The EOS 6D Mark II's AF locked on quickly to fast-moving subjects

The EOS 6D Mark II offers a decent amount of control over customizing the AF setup too, with some 16 options to tweak should you wish. However, there are no AF 'case studies' (which specify the tracking sensitivity, acceleration and deceleration tracking and AF point switching depending on the subject you're shooting) as we've seen on the likes of the EOS 7D Mark II and EOS 5D Mark IV. 

Coverage of the 45 AF points is quite heavily weighted towards the central portion of the frame, meaning you'll have to regularly recompose shots if your subject is off-centre. 

That aside, AF performance is very good. We shot under a variety of lighting conditions on our trip to Norway and found focusing to be very good, with subjects acquired swiftly and accurately in most instances. Even in poor light the EOS 6D Mark II didn't really struggle – thanks in part, no doubt, to the camera's AF system being sensitive down to -3EV.

The focusing system did a good job of tracking the car in front as we followed behind

The EOS 6D Mark II also gets Canon's impressive Dual Pixel CMOS AF for Live View photography and video capture. It's a big improvement over the EOS 6D's rather clunky system, delivering smooth and fast focusing, especially when used in tandem with the touchscreen to select your desired point of focus.

Performance

  • 6.5fps burst shooting
  • Burst depth up to 21 raw frames / 150 JPEGs
  • 1,090-shot battery life

It's no surprise to see that Canon has upped the burst rate of the EOS 6D Mark II to 6.5fps, from the 6D's 4.5fps. Not only that but the burst depth has also been improved, with the new camera capable of shooting 21 raw files in succession compared to its predecessor's 17.

Interestingly for those who like to shoot JPEGs, however, the 150-frame burst depth offered by the EOS 6D Mark II is actually quite a drop from the 1,250-shot limit on the EOS 6D, although a 150-frame burst depth is hardly limiting. It’s also interesting to see that Canon hasn't included UHS-II support for the EOS 6D Mark II's single card slot, which might have improved that number, although any benefit would depend on how quickly the camera can deal with the information to begin with.

Either way, this isn’t a camera aimed particularly at sports photographers, and 6.5fps is a very credible burst rate for a full-frame camera at this price point, potentially suiting it to situations where the original EOS 6D may have fallen short.

The 7560-pixel RGB+IR performs well in most situations

The 6D Mark II uses the same 7560-pixel RGB+IR metering sensor as the Rebel T7i / 800D, with 63-zone Evaluative, Partial, Centre-weighted and Spot metering options. 

As we've found with other Canon DSLRs that use this system, the evaluative system does a sound job most of the time, but it’s worth keeping in mind that the weighting is applied to the active AF point, which can mean you need to use exposure compensation in high-contrast situations; we experienced a couple of occasions where the same shot threw up two different exposures simply because we shifted the AF point slightly.

The EOS 6D Mark II's auto white balance does a very good job. There are actually two auto white balance options: Ambient Priority mode delivers slightly warmer results, helping you retain the overall ambience of the scene, while White Priority can deliver clean, neutral results even under artificial lighting.

Canon has also added the flicker detection option we’ve seen on previous EOS DSLRs, to help maintain consistency when shooting under artificial light sources. This is great news for those shooting indoors, perhaps events or sports, where such lighting is commonly used.

Battery life is very good, with the LP-E6N unit rated for up to 1,200 shots. Over the course of two days of extensive shooting the 6D Mark II's battery status bar hardly budged.

Image quality

  • ISO100-40,000, expandable to 50-102,400
  • +/-5 EV exposure compensation in 1/3 or 1/2-stop increments
  • Disappointing dynamic range

The EOS 6D Mark II is unique at this level in that it features a 26.2MP sensor; 24MP is the norm, so the 6D Mark II has a 2MP edge over its closest rival, the Nikon D750. In reality though, this makes a negligible difference to the amount of extra detail the EOS 6D Mark II can resolve – it's comparable to the D750, allowing you to happily print A3+ images, and even squeeze out large prints if necessary. 

The full-frame 26.2MP sensor produces good levels of detail

Looking at ISO performance and the EOS 6D Mark II puts in a solid, if unremarkable performance. JPEG files appear very clean throughout the ISO range, but when you look at the corresponding raw files, it becomes how much noise reduction is being applied to those JPEGs.

Raw files compare well to images from the EOS 5D Mark III, although we'd have expected things to have improved somewhat given the five-year gap in technology. Results at ISO800 hold up well, with minimal signs of noise, while results at ISO4000 are pretty good too; there are certainly signs of luminance noise at this sensitivity, but surprisingly little chroma noise (color speckling). 

Beyond that, while both luminance and chroma noise become more pronounced, at ISO12,800 and with some post-processing it's still possible to get a satisfactory result, with a decent amount of detail; we'd probably avoid going any higher than that unless absolutely necessary.

At ISO4000, results hold up pretty well considering the sensitivity

Dynamic range is an area where Canon DSLRs have lagged behind a bit compared to rival cameras from Nikon and Sony, so there was a certain amount of expectation placed on the new 26.2MP sensor.

However, while it's possible to recover a good bit of lost detail (as above), noise is much more noticeable compared to a similar image from a Nikon D750 when you look closely. And what's more disappointing is the fact that the 24.2MP APS-C sensor used by the likes of the EOS 80D actually holds up slightly better when images taken at lower sensitivities are pushed in post-processing.

Verdict

With the EOS 6D Mark II Canon has certainly made some significant improvements over the outgoing EOS 6D, packing in a host of new features including a fresh sensor, a faster processor, a much more credible AF system and a stronger burst rate. It's a much more well-rounded and better specified camera than the EOS 6D, but it's not without its issues.

The poor dynamic range is disappointing, and while the boost in AF performance is definitely welcome, coverage is too heavily weighted to the centre. The lack of a 100% viewfinder is also a pity, and the fact that the model misses out on 4K video will disappoint some.

These issues take the shine off what is otherwise a very nice full-frame DSLR that's a pleasure to shoot with, with the vari-angle touchscreen a nice bonus. It will certainly please Canon users looking to make the move into full-frame photography, but others might be better served elsewhere.

Competition

Posted: November 17, 2017, 4:37 pm

The Nikon D7500 marks the biggest departure yet for Nikon’s D7xxx series of enthusiast-focused DSLRs, with the camera borrowing quite a bit of the tech from Nikon's top-of-the-range DX-format DSLR, the mighty D500.

Nikon is keen to stress, however, that this new camera isn't a direct replacement for the D7200, which will continue to feature in the Nikon line-up, but rather slots in above it.

So does the D7500 muddy the waters by adding an extra layer of confusion to the Nikon DX-format range? Or does it do enough to stand out among some pretty impressive stablemates?

Features

  • APS-C CMOS sensor, 20.9MP
  • 3.2-inch tilt-angle touchscreen, 922,000 dots
  • 4K video capture

One of the biggest shake-ups the Nikon D7500 brings is the change of sensor. While both the D7100 and D7200 sported 24MP chips (as, for that matter, did the entry-level D3400 and D5600), here Nikon has opted to use the slightly lower-resolution 20.9MP sensor from the D500, which, as in that camera, is teamed with Nikon's EXPEED 5 image processor.

As on the D500, omitting the low-pass filter has enabled Nikon to eke out that bit more detail from the 20.9MP sensor

As on the D500, omitting the low-pass filter has enabled Nikon to eke out that bit more detail from the 20.9MP sensor, and while it may seem quite a sacrifice to lose almost 4MP compared to the D7200's 24.2MP, the minor drop in resolution does have advantages, particularly when it comes to sensitivity. 

Compared to the D7200’s ISO range of 100-25,600, the D7500’s 100-51,200 standard offers an extra stop of flexibility, but it’s the expanded range that impresses. There’s a low setting of ISO50, while the upper ceiling is a staggering ISO1,640,000. The reality is that these upper sensitivities are likely to be pretty much unusable, but the benefits will be felt further down the sensitivity range, and if the new camera performs like the D500 it should impress in this regard. 

While both the D7100 and D7200 sported 3.2-inch displays that sat flush with the camera body, the D7500 has a 3.2-inch tilt-angle touchscreen display with a 922,000-dot resolution (the D500 has a 2,359,000-dot resolution). There’s also an eye-level pentaprism optical viewfinder that offers 100% coverage.

We’re pleased to see 4K UHD (3840 x 2160) video capture arrive on the D7500, at 30, 25 and 24p for up to 29 minutes and 59 seconds. As usual there are lower-resolution video modes, and Full HD footage can be shot in 60p for slow-motion playback. In addition, 4K UHD timelapse movies can be created in-camera, and there's electronic Vibration Reduction to reduce the impact of camera shake when shooting movies hand-held.

The D7500 also offers simultaneous 4K UHD output – to card, and uncompressed via HDMI – as well as a headphone and microphone jack for pro-level audio recording and monitoring.

Speaking of cards, the D7500 only features a single SD card slot, not two, as on the D7200, which will no doubt be a disappointment for some potential buyers.

As we’ve seen with the D500, D3400 and D5600, the D7500 sports Nikon's SnapBridge technology, enabling the camera to stay permanently linked to a smart device over a low-power Bluetooth connection (or via Wi-Fi). This means that after the initial connection has been made images can be transferred automatically to your phone whenever you shoot. 

Build and handling

  • Weighs 640g / 1lb 6.6oz
  • 5% lighter than the D7200
  • Comprehensive weather sealing

The Nikon D7500 is 5% lighter than the D7200 (and 16% lighter than the D500), and tips the scales at a modest 640g / 1lb 6.6oz. Despite this minor weight saving though, it feels reassuringly solid in the hand.

Compared to the D7200 the handgrip is that bit deeper, and this, combined with the soft-texture coatings on the front and rear of the grip, ensures that the D7500 feels secure and comfortable in the hand. 

The D7500 is chunky enough that when we held the camera our little finger didn't slip off the bottom of the grip, which is just as well as those who want even better purchase and a more comfortable vertical shooting experience will be disappointed to hear that currently there isn't an optional vertical grip available.

Like the D7200, the D7500 is weather-proofed, so you'll be able to keep shooting when the elements turn against you. Interestingly, the magnesium alloy panels in the D7200's construction have disappeared, and are replaced by a single monocoque construction in an effort to save weight, although despite this apparently retrograde step this still feels like a well-made piece of kit for the price – it certainly doesn't feel plasticky.

There have also been some tweaks to the Nikon D7500's button placement compared to the D7200.

On the top plate the metering mode button has disappeared, to be replaced by a dedicated ISO button, as we saw on the D500. Its position has shifted slightly to be closer to the exposure compensation control, making it easier to reach when the camera is raised to your eye.

Moving round the back of the D7500, the general control layout remains virtually identical to the D7200. Metering mode now takes the spot vacated by the ISO control, while the 'info' and 'i' buttons have swapped sides.

The rear display is a touch slimmer than the D500's when you pull it out and away from the body. It can be tilted downwards and upwards, while it's nice to see some touchscreen functionality arrive on a D7xxx DSLR. 

There's obviously tap-to-focus control (you can also tap the area of the screen where you want to focus and trigger the shutter at the same time), while the touchscreen makes reviewing images that much quicker too – you can swipe through photos and pinch-zoom images. The menus can also be navigated via the touchscreen, a first for a Nikon DSLR.

The drop in screen resolution, to 922,000 dots from the D7200's 1,299,000, seems a bit of a backward step however – it's even lower than the D5600's 1,037,000-dot resolution, but in our time with the camera this didn't seem to impact on the user experience, with a decent amount of clarity and good color rendition. 

Autofocus

  • 51-point AF, 15 cross-type AF points
  • Group-Area AF added
  • Auto AF Fine Tune

While the Nikon D7500 borrows a lot from the D500, it doesn’t get the same sophisticated 153-point AF system the D500 enjoys. Instead, it gets an uprated version of the 51-point AF system that was in the D7200.

This system may be getting a little long in the tooth, but it’s a tried and tested one that’s still well specified. Fifteen of the 51 AF points are the more sensitive cross-type variety, which offer greater precision and accuracy, while the coverage can be configured down to 21 and nine points if you wish.

This AF system might be getting a little long in the tooth, but it’s a tried and tested one

The D7500’s AF system now gets a Group-Area AF mode, which we first saw on the D810. This promises to enhance subject detection and tracking, with the D7500 constantly monitoring five different AF fields, and improves focus acquisition and background isolation.

When using with 3D tracking, the D7500 does an excellent job of following subjects through the frame

Another subtle difference from the system in the D7200 is that the AF system is hooked up to a different metering sensor, which is used to aid image recognition when focusing. While the D7200 uses the older 2016-pixel RGB sensor, the D7500 enjoys the same 180,000-pixel RGB sensor as the D500, which when combined with the decent coverage of AF points across the frame  delivers reliable AF tracking performance.

Away from 3D tracking, and the D7500's Dynamic AF mode (using 9, 21 or 51 AF points) is again, very good

Like both the D500 and the D5, the D7500 gets the Auto AF Fine Tune feature, which when in Live View enables users to automatically calibrate autofocus with specific lenses if required.

Despite the Live View AF not being quite as fast as rivals, it still does a decent job

Autofocus in Live View can be a bit of a clunky experience with many Nikon DSLRs, but it's a bit more refined on the D7500. It's not a match for Canon's excellent Dual Pixel AF system that we've seen in several recent cameras, but focusing is better than we've experienced with a lot of other Nikon bodies, while the ability to tap-focus using the touchscreen speeds things up greatly.

Performance

  • 8fps burst shooting
  • 180K-pixel metering sensor
  • 950-shot battery life

With a raft of mirrorless cameras, such as the Fujifilm X-T2, overshadowing the 6fps burst shooting performance of the D7200, it’s no surprise to see the Nikon D7500 offering 8fps.

Helped by the new EXPEED 5 image processor, the D7500 can shoot a burst of 50 raw files before the buffer needs to clear – quite an improvement over the D7200’s 18 raw files at 6fps.

The D7500's metering system performs very well

As we've touched upon, the D7500 inherits the D5 and D500’s 180,000-pixel RGB sensor, which handles metering and white balance, as well as informing the automatic scene recognition system to help improve autofocusing with better subject detection.

As expected the metering system performs very well, consistently delivering spot-on exposures, while the Auto White Balance does a solid job too. 

There's a new battery as well – the EN-EL15a is good for 950 shots before it needs charging. That's streets ahead of most mirrorless cameras, for which you'd need two or more batteries to even think of getting that kind of endurance, but it's actually down 150 shots from the D7200's 1,100-shot battery life – undoubtably one of the trade-offs for having the more powerful EXPEED 5 image processor on board here.

Image quality

  • ISO100-51,200, expandable to 50-1,640,000
  • Impressive dynamic range
  • Excellent noise performance

With the same sensor as the fabulous D500 at the heart of things, the results from the Nikon D7500 are predictably excellent.

It may have slightly less pixels than more affordable DX Nikon DSLRs, but unless you're going to spend most of your time shooting at ISO100, the minor drop in resolution is a compromise worth making.

Don't be put off by the D7500 having 'only' a 20.9MP resolution – there's still plenty of detail

This is underlined when you look at images through the ISO range. Shots taken at the lower end of the sensitivity range display excellent levels of detail, but the camera really starts to shine as you bump up the ISO setting. 

While detail does suffer a touch at ISO6400, results stand up remarkably well. Increase the sensitivity a further stop to ISO12,800, and while there's now a hint of chroma (color) noise in shots, results are still very good.

As you'd expect, luminance (grain-like) noise becomes more pronounced at ISO25,600 and ISO51,200, but the results are still some of the best we've seen from a camera at these sensitivities. 

Once you go beyond the realm of the camera's native sensitivities, things do tail off. That said, results at Hi1 (ISO102,400) are actually pretty good for such a high value, but banding starts to creep into images shot at Hi2 (ISO204,800); we'd caution against using anything higher, as results can look pretty murky and suffer from a severe lack of detail. 

Dynamic range is also very impressive. It's possible to recover shadow detail in a shot that's been underexposed by some five stops – even six at a push – and still end up with a very satisfactory shot. 

Verdict

This latest addition to Nikon’s DSLR line-up represents the biggest revamp we’ve seen in the D7xxx series since the D7000 arrived and replaced the D90.

Getting one negative out of the way first, we can't help feeling that the absence of any magnesium alloy in the Nikon D7500's construction is a cost-cutting exercise, although having said that the monocoque construction certainly feels durable enough. 

That aside, there are certainly a lot of tempting features on offer here. The new camera may not get the 153-point AF system from the D500, but the enhanced 51-point system in the D7500 still puts a lot of rival systems in the shade, while the 4K video capture, tilt-angle touchscreen display and 8fps burst shooting are some of the highlights of this very well-specified camera.  

The most exciting thing about the Nikon D7500, though, is the appearance of Nikon's 20.9MP sensor and EXPEED 5 image processing engine in a more compact and affordable body. This is something that's bound to attract the attention of both new users and existing ones who are looking to upgrade, but  who can't quite justify the leap to the D500.

Think of the Nikon D7500 as the D500's smaller brother then – and that can only be a good thing. 

Competition

Posted: November 17, 2017, 4:05 pm

New: The GoPro Hero4 is now a couple of generations old and is starting to be hard to come buy if you want to buy new. We recommend you take a look at either the GoPro Hero5 Black or the new Hero6 Black. For our 10 top action camera picks, check out our up-to-date buying guide

GoPro remains at the pinnacle of sports-oriented compact video cameras.

Watch any broadcast of a daredevil stunts show or extreme sport and you will doubtless spot a little box attached to an appendage or vehicle. GoPro is the go-to guy of sports cameras.

GoPro's 2012 line up of HERO3 cameras has been split into three: the White, Silver and Black editions all sport different megapixel counts and frame rates. The Black Edition is the top dog with a twelve-megapixel sensor capable of shooting larger images and with enough processing power to snap bursts of 11MP images at 30 frames per second.

All HERO3s come with Wi-Fi built-in, plus a redesigned casing with a flat lens which has led to two improvements over its predecessor, the HERO2.

Firstly, fogging inside the case has been reduced. In a quick head-to-head using a helmet-mounted camera on a chilly mountain bike trail we found the HERO2 misted up after 10 minutes' hard pedalling, whilst the HERO3 showed no misting at all.

GoPro HERO 3: Black Edition

GoPro HERO3 at a glance

Sensor: 12-megapixel

Lens: f/2.8 6-element aspherical glass lens

Memory : Micro SD class 10 or higher, supports up to 64GB

Viewfinder: No

LCD Screen: Optional LCD Touch BacPac £79.99, 3.5mm headphone jack

Video resolution: WVGA, 720p, 960p, 1080p, 1440p, 2.7K, 2.7K Cin, 4K, 4K Cin

ISO range ISO x-xx expandable to: Not stated

Focus modes: Auto

Max burst rate: 30fps at 11MP

Shutter speeds: Up to 240 fps (848 x 480 pixels)

Weight: 73g

Dimensions: 1.7 x 1.5 x 2.2 cm

Power supply: Li-ion 3.7V 1050mAh 3.885Wh. Charge via USB

The other benefit of the new case is that you can take the camera underwater without having to buy a separate dive housing. Once inside it will produce good quality images with decent colour reproduction, even in the relatively dim light of a two-metre deep pool where we took ours for a splash.

The HERO3 is also smaller and lighter by 25 grams. The weight reduction is very welcome for anyone that's ridden with one atop their head.

Also down in size, but not capacity, are the battery and memory card slot, which now utilises microSD cards.

As with the previous models you have the option of recording video in PAL or NTSC. Shooting modes go from WVGA (848 x 480 pixels) at 240 frames per second through to the more common 720p and 1080p, up to 120fps and 60fps respectively.

GoPro HERO 3: Black Edition

The GoPro HERO 3: Black Edition also ships with a Wi-Fi remote that can control up to 50 cameras simultaneously

From there we go into more exotic high-definition sizes of 1440p, 2.7K, 4K and 4K Cin (4096 x 1260 pixels), with the largest resolution being captured at 12fps.

Build quality & handling

The plastic housing, like the previous version, is robust enough to be knocked, dropped, drenched and thrown about.

There's an extra lock on the top hinge which can be fiddly with cold or gloved hands, but will guard against accidental leverage of the hinge, although we did find the hinge assembly coming off from time to time.

The mount attachment is the same as previous models so you can reuse your existing mounts without buying new ones, or take advantage of the many Third Party options out there such as the K-Edge GO BIG mounts.

The only things about the camera that have got bigger are the operational buttons for the menu and shutter activation: an improvement over the previous model, as it makes operating the camera inside and outside the housing easier.

GoPro HERO 3: Black Edition

The menu system is unchanged although, as with previous HERO cameras, you can find yourself pressing the same button over and over to cycle through the menus when you've clicked past the option you wanted to change.

Performance

The metering functions cope very well across a range of light conditions and rapidly changing light conditions.

The sensor and compression improvements, in terms of quality over the HERO2, are obvious when looking at 100% crops of identical photos with a reduction in artefacts.

There is a tiny improvement in resolution and chromatic aberration is still present, but less so than with previous models.

The white balance, which can be adjusted in nerd-friendly Kelvin, isn't always right in auto mode, returning magenta-tinged blues at times, but nothing that a little post production couldn't fix.

One marked improvement is the ability to retain details in highlights. On the previous model bright areas were easily blown out, but there's a lot more detail now.

There is a sacrifice to be made in detail in dark areas, which we found when shooting into low autumnal light. But then this camera comes from California, where they love the sun.

GoPro HERO 3: Black Edition

LCD touchscreen performance

The optional touchscreen is a great addition, if only for navigating the menus. Whilst only 5cm across the diagonal it eliminates the guess work from lining up shots, and provides an opportunity to check back footage quickly and easily.

The unit doesn't have its own power supply so it is a drain on your camera's battery. There's no setting to change the brightness and the screen isn't visible in bright sunlight.

Why they chose to use white graphics on light grey backgrounds is a puzzler, when more contrasted icons would make for easier viewing.

It can be a little slow to respond to presses in video playback.

When shooting underwater, the touch functions won't work so you'll be relying on the regular buttons for menu selection.

Compared to the competition, such as the £100 ($150) cheaper Sony HDR-AS15, which already has Wi-Fi built in for live streaming, identical frame rates at 1080p and 720p plus a stereo microphone and speaker compared to the GoPro's mono and no speaker; and the £160 ($250) cheaper Drift HD which has a built in colour screen and more buttons for menu navigation, is the GoPro worth the extra money?

Yes.

Especially if you're a professional videographer, because of the wide range of resolutions and frame rates it offers.

And yes again, if you want a small, light camera that is capable across a wide range of environmental conditions.

If you're not that worried about weight or size and are looking for a cheaper alternative, then the Sony offers a great picture for less money and does pretty much the same job.

GoPro Hero3 review

Depending where you want to use it, the GoPro already has a mature range of mounting accessories. They're still a little flimsy and overpriced, and difficult to attach with cold or gloved hands, but it does mean that you can attach the camera to pretty much anything that moves.

With the HERO3 the main takeaway in terms of image quality was the improved detail in highlighted areas, but when shooting into the light you can lose a lot of information in the dark areas of the image.

The menu system is still a frustration too, but the LCD touchscreen negated this annoyance and we hope the free GoPro App, which becomes compatible in December for the Black Edition, will do the same job as the touchscreen, as well as making framing of shots and shooting a more controlled affair.

We liked

A wider variety of high-end resolutions and frame rates give you incredibly flexibility. The flat-lens case is a great improvement over the previous version, and the weight difference is most welcome.

We disliked

Overly high contrast video in front-lit harsh light conditions can lead to a loss of detail in dark areas of the image.

Final verdict

An amazing and robust camera that can go all the places you can, and some places you can't. Better, faster, and now with higher-end video modes more suited to the pro market, it's a serious little piece of kit.

Posted: November 17, 2017, 2:15 pm

New: The GoPro Hero4 is now a couple of generations old and is starting to be hard to come buy if you want to buy new. We recommend you take a look at either the GoPro Hero5 Black or the new Hero6 Black. For our 10 top action camera picks, check out our up-to-date buying guide

The action camera market is expanding at blinding speed, and the best known name in this sector is GoPro. GoPro cameras feature extensively at sports events and they're used by broadcasters like the BBC to capture spectacular wildlife footage.

GoPros and their rivals are 'POV', or 'point of view' cameras – they capture what you're doing, not necessarily what other people are doing, and what has made these cameras so groundbreaking is their small size and high-quality, high-resolution footage – and the characteristic GoPro wideangle 'look'.

• See our guide to GoPro and action cameras.

This is a camera not much larger than a matchbox which can capture 4K video at an incredible 30 fps (that's the same as the Panasonic GH4).

There's no screen, and no way of checking your composition on the camera itself, but you can connect your GoPro via Wi-Fi to a smart device to check live composition and clips. At any rate, the lens has a 170 degree angle of view so you're unlikely to miss anything.

GoPro cameras have now hit their fourth generation and the line-up has been overhauled with three new models – the GoPro Hero4 Black, GoPro Hero4 Silver and regular GoPro Hero. You can see what's new in our earlier GoProHero4 news story, but it's the top-of-the range Hero4 Black we've got our hands on here.

It goes on sale at £369/US$499/AU$639 and the headline new features are 4K video at 30fps (the Hero3+ could shoot 4K but only at 15fps) and 1080p at 120fps – that's full HD in 1/4-speed slow motion. This is a crazy amount of power in a device that costs about the same as an entry-level DSLR or compact system camera.

Other new features include Bluetooth support, not just Wi-Fi, and the ability to tag your best footage as you shoot it.

GoPro Hero 4

Photographer's fingers find form factor familiar

Aesthetically, the Hero4 Black looks much the same as the Hero3+, with the familiar GoPro box form and dimensions. This means that the standard waterproof housing remains the same and is included with the camera when purchased. But once you start using it you realise there have been a few significant changes to the design which make a big difference.

Some are fairly minor – the camera status and Wi-Fi lights that were on the front before are now two small illuminated slits to the left of the LED screen.

And on the right hand side of the body the old direct access Wi-Fi button now becomes the settings button – and if you hold down for a couple of seconds it will still enable you to toggle Wi-Fi on and off.

This new settings button is part of the overhauled navigation system, which is a vast improvement and actually makes using the camera far more intuitive than the previous version.

GoPro Hero 4

Change settings, become a hero

Finally, the battery compartment is no longer accessed through the back of the camera. It's now located in the base, and the battery type also changes from 3.7v 1180mAh to 3.8v 1160mAh. More importantly, it's much easier to swap out in the field than before.

As with previous models there's a connection on the back for a screen. On the side under a protective flap are two connectors that enable direct connection to HDMI and USB along with a Micro SD card slot.

The GoPro Hero 4 is a camera of two parts, with the camera itself and a protective waterproof housing. The housing can easily be removed and replaced with other housing designs that offer different levels of protection and features depending on the activity you're doing.

The GoPro Hero4 Black comes supplied with a standard housing in the box, this is a good general purpose case, providing waterproofing up to 40m. There are further housings such as the dive housing (the standard housing for the Hero3) that is waterproof up to 60m, and a selection of skeleton housings for use with drones or the various harnesses.

GoPro Hero 4

The housing adds bulk, but also waterproofing

Using either of the waterproof housings does add bulk, but when compared with action cameras of a similar design such as the Toshiba Camileo X-Sport, the GoPro is still compact.

These housings are at the heart of GoPro's versatility and feature the standard GoPro mount, this is widely supported by third party manufacturers, so there's an abundance of accessories out there. This means that if there is something that you would like to attach your GoPro to, then there's likely to be a mount out there for it. The GoPro mount is extremely secure and when compared to mounts from other action camera manufacturers, you can really see the benefit of the design. It enables the camera to be bolted down tightly without wobble, which might seem like a small ask but is surprising difficult with some mount designs.

• See our Top 10 GoPro Accessories feature.

The accessories we used, included the GoPro handlebar mount, K-Edge Go Big Pro handlebar mount and DJI Phantom quadcopter, fitted to the GoPro's housing easily and once tightened held the camera in place securely, helping to prevent vibrations which can plague action camera footage. The housing and mounts were also tough enough to survive a heavy mountain bike crash better than its user. With the bike's front wheel being a complete write off and its rider having to be patched up in the local A&E, the GoPro Hero4 Black, mounts and case all survived with a coating of mud and leaves.

We tested the camera on a relatively cold morning and the casing suffered from steaming up a little on the inside when moving from a cold to warm environment. This has been a common issue with the waterproof cases, but is easily solved, and GoPro suggests you use a small moisture strip, that can be bought separately, and can be easily fitted into the case.

Whichever case you choose they all allow direct access to the buttons so you are able to easily navigate the various menus, change setting and set the camera recording.

GoPro Hero 4

The on/off switch is on the front of the camera

Operation of the camera is straight forward with three buttons enabling complete access to the menu system and settings, as well as the operation of the camera. There have been a few changes since the Hero 3+ to these navigation controls and while the buttons are still in the same position as previous GoPro versions, the way in which they work has been slightly tweaked, which makes finding your way around quicker and more intuitive.

The large on/off button is position on the front of the camera and also acts as the mode button once the camera is switched on. This enables you to switch between Video, Photo, Multi-Shot, Playback and Setup. With a mode selected the options for that mode can then be accessed by a single press of the settings button on the side of the camera. The Mode button is then used to scroll through the settings and the button on top is used to make your selection.

Finally once you've exited the settings the button on top of the camera starts or stops recording.

Smart features

Connecting to a smart device is straightforward, and there's an app available for both iOS and Android devices. Once Wi-Fi is activated a blue light flashes on the front. The GoPro can then be selected on your smart device from the list of usual Wi-Fi connections, and once passwords are entered it's just a case of loading up the app.

The app is slickly designed and enables you to connect and control your GoPro with selectable live feed and the ability to review footage and stills direct from the camera. When not connected to the camera and your smart device is online you can also get inspiration from other GoPro users through the GoPro channel.

Using the app is straightforward and compared to apps used by other action cameras such as the iON Air Pro it really shows the GoPro developers have a good understanding of how the camera and Wi-Fi connection will be used.

Options are large, settings are easy to find and there's enough within the app to make you feel that it's by no means an after thought.

The Hero 3+ upgraded the speed of it's Wi-Fi hardware and this speed is really apparent in the Hero 4 Black enabling the smooth playback of footage. Unlike some competitors that struggle with constantly dropping frames, pausing or loosing connection.

Video tasty

Video is of course what GoPro's is known for and to get started all you really need to do is switch on and hit the record button. But unlike many action cameras GoPro gives you choice and this is both a strength and weakness of the design.

For those who know about video and how the footage they're shooting will be used and edited, the wealth of capture options is an absolute dream come true, however for the average user the volume of options for resolution, frame rates can all be a bit bewildering.

For example there are 12 resolutions and a variety of frame rates to choose from, ranging from high resolution 4K (3840x2160) at either 24, 25 or 30 frames a second (fps) to low resolution WVGA (848x480) at 240 FPS.

Aside from the obvious size difference of the different resolutions the part that is of most interest to extreme sports enthusiasts is the frame rate. HD or 1080p resolution is at present the most popular choice and as such will probably be the most used option for the GoPro. Usually 1080p high definition video is recorded at a respectable 29.7 fps which provides nice smooth playback. The GoPro Hero4 enables HD recording at 120, 90, 60, 50, 48, 30, 25, 24 fps this means that with the highest frame rate selected for recording of, 120 fps when edited down to 29.7 fps for playback the footage will produce smooth slow motion, a feature that is becoming increasingly popular with the extreme sports sector.

GoPro Hero 4

You'll want a large capacity card for that 4K video

In order to select 1080P at 120 fps a short ritual of button pressing must be followed; video mode must firstly be selected, then the settings button on the side pressed. The mode button is then used to find the option, in this case the resolution that you want which is then selected with the top button. The mode button is then used to scroll through the resolution options and once 1080p is showing the top button is used to select. The same process is then used to set the frame rate or any other options that needs changing. All fine if you know what you're doing otherwise a little complex, but it's far easier than the similar but slightly different system of the Hero3.

The GoPro captures a 170 degree point of view and with an f/2.8 lens almost everything in front of the lens is captured, so as long as the camera is roughly pointing in the right direction you can be pretty sure that you're going to capture something.. There are options to change the point of view to narrow in some resolution settings, but for the best quality footage we found it was best to stick to the standard wide angled view.

Our test day proved to be a typical late autumn day, so despite aspirations to hit the surf, with temperatures just tipping zero and a light frost and later drizzle, we headed into the forest to test the camera with a bit of off-roading.

Setting the camera up and attaching to the bars of a mountain bike couldn't have been easier, even in the cold and wet when wearing gloves. Operation was simple and a flashing red light indicated that all systems where go.

GoPro Hero 4

The front LCD shows shooting information

The small LCD on the front gave a brief breakdown of the settings that were being used and the length of recording time that had lapsed, a handy indicator that reassures you that footage is being captured.

During the off-roading and later using the Hero4 on a quadcopter drone we switched between resolutions and frame rates to check on the quality of the footage.

Conditions where at best murky, so while the footage looked dull this was more due to the day than the quality of capture.

Switching between resolutions showed a high level of detail was captured in each setting, and despite the cameras sensitivity being pushed to ISO 1600, due to the low light, noise was apparent but handled well.

In the lowest of light conditions the colour rendition did suffer with the automatic white balance making changes quickly, but generally the camera captured natural and well saturated colour tones.

The GoPro has spot metering and exposure compensation options, but left to its own devices it does an excellent job. Moving the camera quickly from light to dark showed the exposure system was able to keep up with the changes in light, adjusting and making exposure changes smoothly.

Video quality

Looking at the 4K footage and comparing this directly against that of the GoPro Hero 3+ the improvement in quality from 15 to 30 fps is instantly apparent, with the videos motion looking far smoother than in the previous model and showing that in a camera of this size the 4K ability isn't just a novelty but a feature that could and should be used.

Using the more common resolution of 1080p at 30 fps, 50 fps and 120fps showed the most exciting results. The footage at each rate looked smooth on screen but the real revelation came when the footage was edited through the Final Cut Pro X and adjusted to a base frame rate of 29.7 fps, stretching the footage over four seconds.

The result of the 30 fps footage looked stuttered as you'd imagine, and there was only a slight improvement in the 50 fps clips. Looking at the footage capture at 120 fps and slowed to 29.7 fps showed smooth quality footage that retains detail and colour and most importantly smoothness of motion.

GoPro Hero 4

The lens is an improved one, with an f/2.8 aperture

The lens of GoPro was improved in the Hero 3+ and in the latest version the lens captures good quality footage with the distinct action camera look caused by the huge field of view and distortion.

However for a lens that captures 170 degree field of view the distortion isn't as pronounced as you'd expect ,with footage in the centre of the frame kept within acceptable limits of distortion and major distortion only effecting the edges.

Chromatic aberration at the mid to edge frame is apparent in high contrast situations especially in the footage when riding or flying through trees.

Sound and software

As with the GoPro Hero 3 and 3+ the Hero 4 features the high quality ProTune feature that gives you more control over the quality and output of your camera. An ideal tool if you're wanting to match up footage from several different cameras. We'll take a closer look at this is the near future.

The GoPro has a built in microphone which captures the ambient noise well. It's is by no means broadcast quality but does the job. There is the option to connect an external microphone through a USB which will be of interest to those wanting to buy the Music version of the GoPro Hero 4 Black. We have yet to test this feature but will bring you the results when we do.

The all new battery lasts for a good hour and half of shooting time, although make sure that the Wi-Fi connection is switched off as this will reduce operating times significantly.

The camera isn't the end of the story and one of the features that really makes GoPro stand out from the rest is the GoPro Studio software. This is available for Mac and PC and enables you to edit the footage that you've captured. The software itself is a direct free download from the GoPro website and once downloaded enables you to get stuck in and creating.

The organisation and edit tools are pretty simple but they let you get editing straight away. There are more advanced features that enable you to make the most from the fast frame rates by speeding up and slowing down footage, and as an editing package it's really a great place to start. It also supports most Canon and Nikon video files which is handy as neither company supply video editing software with their cameras.

Note that these are hosted on YouTube and won't display at their full size by default – use the YouTube Settings pop-up to change the resolution.

Filmed at 120fps in low light.

The Hero4 Black's exposure system handles transitions from shade to sun quickly and easily.

The previous clip was shot at 120fps – here it is played back at 30fps in 4x slow motion.

A slow panning shot showing the Hero4 Black's ability to deal with changing exposure.

This static shot shows the level of detail and dynamic range the GoPro Hero4 can capture.

A sample clip shot in a low-light high-contrast situation.

GoPro is the main player in the action camera market, and while the design strikes many as boxy and simplistic, when compared against other action cameras you realise there's a reason for GoPro's success.

GoPro Hero 4 Black

This is a small matchbox sized camera that can go anywhere and shoot broadcast-quality footage. The range of mounts that are available out there enable the camera to be mounted to just about anything, and the mount design while simple enables the camera to be attached firmly without play.

The navigation system overhaul makes settings and modes changes easier than ever, so there is never a reason to miss the action. The design might not have changed a great deal and the upgrades over the Hero 3+ might seem like refinements, but what the 120 frames per second and greater processing speeds mean is that GoPro has once again increased its desirability in an increasingly competitive action cameras arena.

We liked

The Hero4 Black is tough, adaptable and shoots really high quality video. The control interface has been improved over previous versions and it's now a lot easier to use – it's steady improvement like this that makes a great product, not just headline new features. Having said that, the ability to shoot 4K video at 30fps is an important step forward, but it's the ability to shoot full HD at 120fps that's perhaps the most amazing advance.

We disliked

Some will prefer 'bullet' style action cameras over the boxy GoPro. They're more discreet and, in a lot of cases, simpler to operate. The biggest flaw with the GoPro Hero4 Black is its slow startup time – you have to press and hold the power button for several seconds before the camera is ready to start shooting, and that could lead to some missed opportunities and a good deal of frustration.

Final verdict

Despite increasing competition from rivals, the GoPro is still the definitive action cam, and the Hero4 Black produces broadcast-quality video at a price even casual adventure fans can afford.

Extreme sports enthusiasts will love the out of the box usability of the GoPro Hero4 Black. You charge it, fix it on, record, upload it and you're done. Those who want more can delve into the settings to make the most of the new frame rates and resolutions, and creatives will love the versatility that features like ProTune promise.

Posted: November 17, 2017, 11:00 am

The successor to 2015’s EOS M3, Canon’s EOS M6 arrives with a handful of features inherited from its relatively new big brother, the flagship EOS M5. The two share similar intentions and are aimed towards a similar kind of user, but with a slightly pared-down feature set, the EOS M6 arrives with a more appealing price tag. 

Canon may have got off to a slow start with its mirrorless line, but it's made up for this in recent years. It now has four models in its EOS M portfolio, covering the full spectrum from beginner to enthusiast. This model in particular appears to be well suited to anyone who cut their teeth on the original EOS M or EOS M10.  

That said, it’s launched into a very competitive market. Price-wise it not only goes up against a slew of well-regarded models from other manufacturers, but also older, more advanced cameras whose age has allowed them to fall to temptingly low prices. 

The former camp includes Fujifilm’s X-T20, Sony’s A6300 and Panasonic’s Lumix GX8, while in the latter there’s the Olympus OM-D E-M5 Mark II and Fujifilm X-T1 Graphite Silver among others. You can even buy a full-frame Sony A7 kit for just a little bit more.

Features

  • APS-C CMOS Sensor, 24.2MP
  • 3.0-inch tilt-angle touchscreen, 1,040,000 dots
  • 1080p video capture

Like the EOS M5, the EOS M6 has been furnished with a 24.2MP sensor designed with Canon’s Dual Pixel CMOS AF technology. 

This allows the camera to perform full-time phase-detect AF to help keep focusing fast, as well as nice and smooth when recording video, and is one of the main changes from the older 24.2MP sensor inside the EOS M3, which offered Canon’s alternative Hybrid CMOS AF III system.

The sensor works with Canon’s DIGIC 7 processing engine, which is said to provide better subject detection and tracking over the previous DIGIC 6 engine. Another thing it allows is 9fps burst shooting, which drops to 7fps with continuous autofocus enabled, and the camera joins many other recent EOS models in allowing raw files to be processed in camera post-capture.

The EOS M6’s LCD screen is competitively specced, measuring three inches in size and bearing 1.04 million dots. It’s touch-sensitive and tilts downwards over a 45-degree angle, although you can also pull it right round to face the front. Unlike the flagship EOS M5, the EOS M6 doesn't incorporate an electronic viewfinder, although you can use one of two external models – either the tilting EVF-DC1 or the newer, fixed EVF-DC2 – by slipping them into the hot shoe. 

While a number of rivals are offering 4K video recording at this level, Canon has opted for Full HD video at frame rates up to 60p instead. This may disappoint some, although the presence of Canon's Dual Pixel CMOS AF system and a touchscreen that can be used to adjust focus during recording, together with the further option of using an external microphone, mean it’s still worth considering if video is your thing. 

If there’s one area where the EOS M6 shines it’s connectivity options

The fact that you can flip the LCD all the way around to face the front also means this camera is likely to appeal to vloggers, while the inclusion of five-axis digital image stabilization when recording video should help keep things a little steadier if you tend to shoot footage while moving around. 

Image stabilization for stills is not provided through the body, but via compatible lenses equipped with their own stabilization systems. If, however, such a lens is used when recording video, the two systems combine to provide a Combination IS system.  

If there’s one area where the EOS M6 shines it’s connectivity options. Wi-Fi, NFC and Bluetooth are all present, with the latter meaning you can keep the camera hooked up to your smartphone at all times. 

Canon claims you can get around 295 frames per charge from the EOS M, regardless of whether you’re using the LCD screen or a separate viewfinder. You can, however, boost this figure to around 425 frames by enabling the Eco mode in the menu system – when you do so the camera's screen will darken and turn off more quickly than normal when the camera isn't being used.

Everything is recorded to SD, SDHC or SDXC media, with support for the UHS-I standard.

Build and handling

  • Five separate physical dials
  • Integrated flash and hot shoe
  • Weighs 390g

In terms of the Canon EOS M6's design, there have been no great departures from the EOS M3 – and that’s no bad thing. With a sculpted grip and a range of buttons that can be extensively customized, there’s a great deal to love. 

There’s been some reshuffling of controls, although the only difference of any significance is the addition of a further dial on the top plate. This now means the top plate offers two command dials, together with mode and exposure compensation dials, which is in addition to a further control dial on the back of the camera. 

This brings to total number of dials to five, which is excellent for those who prefer to access things manually rather than via menus and touchscreens – though you’ll no doubt opt for touchscreen operation at many points when you see how extensively this can be used to operate the camera.

Thanks to the design of the grip the M6 generally feels good in the hands, although those with larger hands may find it a little cramped, and prefer a model with a grip more akin to that found on a DSLR. The eyelet for the camera strap also interferes with holding the camera comfortably, but if you tend to keep your camera hanging from your neck you won't mind this.

Unlike some of its rivals, the M6 appears to use polycarbonate for its top and bottom plates

The Canon EOS M6 weighs just 520g with its memory card, battery and EF-M 15-45mm f/3.5-6.3 IS STM kit lens in place, and, thanks to the collapsible construction of the lens, it’s more compact than the average compact system camera at this level. 

While the focal range of the kit lens in 35mm terms equates to 24-72mm – that wide–angle figure being very compared to some other kit lenses – the fact that the lens only offers a maximum aperture of f/6.3 at its telephoto end is somewhat disappointing.

Unlike some of its rivals, the M6 appears to use polycarbonate for its top and bottom plates, although the four dials on the top plate are made of metal, and the bulk of the body is finished with a smart rubber that feels as good as it looks. It’s a shame not to see more robust magnesium-alloy paneling, but attention to detail is still strong and no corners have been cut.

Autofocus

  • 49-point AF system
  • Dual Pixel CMOS AF
  • Focus peaking with color and peaking level control

The camera’s sensor uses 49 areas to autofocus as standard, although you can also manually shift a point around all but the peripheries of the frame. You can also use the touchscreen to tap the subject on which you want the camera to focus, and employ the Smooth zone AF option to keep track of erratically moving subjects within a small portion of the frame.

Focusing speed is generally very good, though not quite as snappy as some rivals

Autofocus performance is generally sound. In good light the Canon EOS M6 is able to bring subjects to focus in good time; perhaps not quite as rapidly as some rivals, but certainly fast enough for static subjects. With its EF-M 15-45mm f/3.5-6.3 IS STM and EF-M 18-150mm f/3.5-6.3 IS STM lenses, it does this practically silently too.  

Thanks to its Dual Pixel CMOS AF system, the M6 is generally very capable of keeping track of a moving subject when set to focus continuously, although as with any such system, the extent to which it manages this is heavily dependent on what you're trying to track. For example, a runner wearing clothing that contrasted well with their background proved to be no issue for the system, but it wasn't quite as reliable when focused on a dog among grass that was only occupying a small portion of the frame. 

When using manual focus you can call upon focus peaking, with red, yellow and blue colours on offer, together with high and low peaking levels to choose from. The peaking outline isn’t quite as thick as on some other models, although this is arguably a good thing as it obscures less of the subject’s details, thus helping with accuracy.  

Performance

  • 7fps burst shooting
  • 295-shot battery life
  • Wi-Fi, NFC and Bluetooth

There’s only the briefest of delays after you flick the power switch, and if you already have an AF point selected the Canon EOS M6 generally finds focus very quickly. If you tend to leave the camera’s autofocus system on its more automated default option it may take a whisker longer to identify the scene, but it’s certainly still speedy enough for all but the most critical situations.  

With a fast memory card the camera manages 18 simultaneous raw+JPEG frames before slowing down, and 28 JPEGs when tested in the same way – perfectly respectable figures for such a model. It takes around six seconds to clear the former and less than two for the latter, and while the camera locks up as this happens – which means you can't enter the menus – this is potentially only an issue in practice if you're using a slower card, which would lengthen these times.

You're able to browse the menus and captured images without any lagging, and even when zooming into images there’s virtually no lag as you use gestures to zoom and swipe around, while if you make use of the freely rotating rear control dial you can zip through a series of images at great speed. 

Thanks to the combination of physical controls, the touchscreen and the camera’s general responsiveness, once you get used to the layout of controls and functions you can operate the EOS M6 very fluidly. The fact that you can customize so many of the camera’s controls, and place so much within a custom My Menu, only makes it better. 

The tilt-angle touchscreen allows you to shoot from a range of angles

The EOS M6's LCD screen responds very well to touch, and while some of the virtual controls are on the small side, you’re unlikely to want to control everything via the screen (the main menu, for example). Should you find the screen isn't bright enough outdoors you can easily boost its brightness through the menus, although one strange issue is that the top plate renders some of the screen’s touch controls inaccessible when the screen is flipped through a 180-degree angle.

Another oddity is the lack of a selectable electronic shutter, a feature that’s pretty much standard on such models. Its absence means you can't shoot as discreetly as you can on rival models, as there’s essential no way to silence the M6's mechanical shutter (which is a shame, given the quiet AF performance from the two aforementioned lenses). This also means you can't access shutter speeds faster than the 1/4000 sec limit imposed by the mechanical shutter, although this is arguably less of a concern here, when you consider the lack of wide-aperture lenses in the current EOS M portfolio.

Image quality

  • Four metering patterns
  • In-camera raw processing
  • 5-axis IS during video recording

The Canon EOS M6 offers evaluative, centre-weighted, partial and spot metering options, and left to the default first of those settings it manages to cope well across both balanced and tricky lighting conditions. It’s a good idea to keep the Peripheral Illumination correction option enabled, as this helps to lift the slight darkness that can form around the peripheries of the frame, and the Auto Lighting Optmizer also proves useful in high-contrast situations.

The EOS M6's evaluative metering does a very solid job

The default Picture Style is Standard, although a comparison with the Auto Picture Style shows the latter to do a much better job of reproducing most colors. Greens and blues in particular appear somewhat undersaturated on the Standard option, so Auto is perhaps a better choice if you’re shooting outdoors, particularly if the scene contains skies and foliage.

The EOS M6's Auto Picture Style does a better job of producing greens and blues than the Standard setting

The auto white balance system appears to be nice and accurate under both natural and artificial sources, and even when these are mixed, although it can remove some of the warmth of incandescent sources. Many recent cameras  feature an option that allows the user to keep white balance on Auto while preserving this warmth, but it's not present here. Still, there is enough control through the various options to allow for all the tweaking you need.

The camera's Auto White Balance does a sound job in both natural and artificial light

One of the strengths of the Canon EOS M6 is just how much you can do with images post capture. In-camera raw processing allows you to edit files and save them as new JPEGs, and while it would be good to see this functionality fleshed out and expanded, the fact that you can control everything through the touchscreen makes the process very quick and easy. On top of this, options to resize images, adjust their aspect ratio and crop finely means you can achieve a fair bit without needing to go anywhere near a computer.

While the M6’s video capabilities fall short of delivering the same kind of detail and clarity as some rivals, it records perfectly decent Full HD video. The ability to use the touchscreen to shift focus between different parts of the scene is particularly useful, with the Dual Pixel CMOS AF system moving smoothly and discreetly as you do this.

Verdict

In isolation, the Canon EOS M6 has plenty going for it. It’s small and light, responsive in use and blessed with a focusing system that’s very capable across both stills and video capture. 

Image quality is decent straight out of the box, and once you acquaint yourself with the camera’s behaviour you can improve on this. There’s also plenty of physical control on offer, and plenty of ways in which you can customize the controls to better serve your shooting, while the many post-capture options that are available help you output your images easily and quickly.

Still, it’s difficult to identify exactly what it the M6 offers that places it ahead of its very capable rivals. 

With no 4K video, no viewfinder, no electronic shutter and a build quality that falls short of what's offered elsewhere at this price point, the M6 has a hard time justifying its asking price – and when you add in the separate viewfinder, this comes to a figure not far off the cost of the viewfinder-equipped EOS M5, which makes you wonder why you’d want to opt for the separate combination when you can just get everything in one.

Competition

Posted: November 16, 2017, 9:30 am

For a long time the top slot in Nikon's APS-C (DX) format DSLR line-up was occupied by the popular D300S, but that camera dates from 2009 and production ceased ages ago, leaving a vacancy that Nikon photographers have been wanting to see filled for years.

During that time there's been plenty of rumour and speculation, but at the Consumer Electronics Show (CES) in Las Vegas last year, the D500 was announced alongside Nikon's new flagship, the D5

The D500 is aimed at serious enthusiast and professional photographers who want a smaller, lighter camera than a full-frame (FX) model such as the D810 or D5. It's also designed for pros who want the focal length magnification of the DX-format sensor.

Features

  • APS-C CMOS sensor, 20.9MP
  • 3.2-inch tilt-angle touchscreen, 2,359,000 dots
  • 4K video capture

One surprise about the D500 is that its APS-C sensor has 20.9 million effective pixels, less than the company's other recent (24MP) DSLRs of the same format; this is to enable the photosites to be bigger, to improve low-light performance.

Interestingly, the D5 announced at the same time has 20.8 million pixels on its full-frame sensor, and the two cameras use the same sensor architecture, built to Nikon's specification; if the D500's sensor was scaled up to match the D5's it would have 48.6 million effective pixels.

The EXPEED 5 processing engine also brings a maximum continuous shooting rate of 10 frames per second (the D5 can hit 12fps) for up to 200 14-bit lossless compressed raw files, as well as the ability to record 4K UHD movies. It all adds up to a pretty enticing package for sports and action photographers.

In addition to the imaging sensor there's a new 180,000-pixel RGB sensor to handle metering and white balance, as well as informing the automatic scene recognition system to help improve autofocusing with better subject detection.

Having the same pixel count as the D5 but on a smaller sensor means the D500's photo receptors are smaller, and this naturally has an effect on their light gathering power and low-light performance. Consequently the D500 doesn't have quite the same outlandish sensitivity range as the D5: its standard range is ISO100-51,200, with five expansion settings taking it up to the equivalent of ISO1,640,000 – a stop lower than the D5's maximum of ISO3,280,000, but still an incredibly high figure.

Whereas the D5's 4K shooting capability is limited to three minutes, it's possible to shoot 4K UHD (3840 x 2160) 30p/25p/24p video for up to 29 minutes and 59 seconds with the D500. As usual there are lower-resolution video modes, and Full HD footage can be shot in 60p for slow-motion playback. In addition, 4K UHD time-lapse movies can be created in-camera, and there's electronic Vibration Reduction to reduce the impact of camera shake when shooting movies hand-held.

Like the D5, the D500 has a 3.2-inch 2,359,000-dot screen that's touch-sensitive. Unlike the D5, however, this can be used to set the AF point – the D5's is limited to use when reviewing images and inputting text for copyright information and the like.

Nikon D500 review

Another feature that distinguishes the D500 from the D5 is the presence of Nikon's new SnapBridge technology, which enables the camera to stay permanently linked to a smart device over a low-power Bluetooth connection (or via Wi-Fi). This means that after the first connection has been made images can be transferred automatically to your phone whenever you shoot, and they should be ready to be shared via the internet when you pick up your phone.

As befits a camera aimed at professionals and serious enthusiasts, the D500 has two card slots: one accepts SD-type media while the other is for the faster XQD cards. Although they've been around for quite some time, XQD cards haven't become commonplace yet, with most cameras only accepting SD-type media, but this could be set to change.

Build and handling

  • Magnesium alloy body
  • Comprehensive weather sealing
  • Weighs 860g / 1Ib 14.4oz

While the D500 doesn't have a full metal body like the D5, its metal chassis is more durable than the D300S's. The degree of weather sealing is also greater, so the camera can be used in harsher conditions. Nikon has also omitted a pop-up flash to make the D500 sturdier, and the hotshoe is supplied with a weatherproof seal to protect it when a flashgun isn't mounted.

The camera certainly feels solid and durable, without having the weight of its full-frame sibling. On the front there's a decent grip with a textured coating, while a ridge on the back marks the thumbrest, making for a comfortable holding experience.

All the direct controls you'd expect are present, along with a ridged mini-joystick controller for selecting the AF point quickly when the camera is held to your eye; this sits just to the left of the natural resting position for your thumb on the back of the camera, and is within easy reach. A little lower down is the familiar rocker-style navigation pad with central button, for scrolling through the menu and making settings selections.

It's worth noting at this point that settings can't be selected, nor the menu navigated, using the screen's touch control. However, as mentioned earlier, it is possible to input text (for example for copyright information), set the AF point or scroll through and zoom into images with taps and swipes on the screen. The screen is responsive, and it would be nice to have the option to use it a bit more than Nikon has allowed here.

The screen's high resolution means images are very sharp, with plenty of detail visible. The tilting bracket is one of the most rugged-feeling that I've used, and has clearly been made with durability in mind.

As the D500 is an DSLR it has an optical viewfinder, and, as usual with a high-end camera, Nikon has opted for a pentaprism version for the D500. This provides a 100% field of view when shooting in DX format, or 98% when shooting with the 1.3x magnification option selected. The view is nice and bright, and when shooting at the maximum frame rate the blackout time is very brief, so it's easy to keep up with fast-moving subjects.

Autofocus

  • 153-point AF, 99 cross-type AF points
  • User-selected array limited to 55 points
  • Impressive coverage across the frame

Autofocus is one of the key reasons why the D500 is such an exciting proposition, packing in a brilliant 153-point Multi-CAM 20K autofocus system with 99 cross-type points. 

As on the D5, the D500's AF central point is sensitive down to -4EV while all the other points are sensitive down to -3EV, potentially making this a very capable camera in low light.

Sports and action photographers are unlikely to be disappointed by the D500's autofocus performance; it's very fast, and very accurate. It adjusted focus quickly when we shot skateboarders in London's gloomy Undercroft on the Southbank, and kept track with them effortlessly.

The contrast detection AF system that operates when the camera is in live view or video mode seems a little better than the ones in Nikon's other DX format cameras, but as this uses the imaging sensor it could be down to the improved noise control. Even in bright light there are some backwards and forwards adjustments before the subject is sharp, but it doesn't get much worse in low light.

It's not as fast as systems in most compact system cameras, but it's reasonable, and it can be used when the camera is handheld, although moving subjects are best avoided. The visible adjustment means that manual focus is still going to be the preferred option for video shooters who need to adjust focus while recording.

Performance

  • 10fps burst shooting
  • 200 shot raw file buffer
  • 1,240-shot battery life

The D500's automatic white balance and metering system didn't throw up any unpleasant surprises during my testing. The general-purpose Matrix metering system also put in a solid performance, recommending balanced exposure values in a wide range of situations. It copes especially well with bright subjects, rarely causing the underexposure we might traditionally anticipate; with that in mind it's worth keeping an eye on the histogram view and the brightness of the screen, because it's easy to misinterpret what you're seeing and dial in unnecessary exposure compensation.

Image quality

  • ISO100-51,200, expandable to 50-1,640,000
  • Strong dynamic range
  • Attractive colors

Scrolling through the images we've shot on the Nikon D500 confirms that it does most things well most of the time. The vast majority of images are well exposed, have attractive, accurate colours and are sharp. Video quality is also high.

Examining images in more detail reveals that low light performance is very good within the native sensitivity range. Images taken at the lower sensitivity settings have lots of detail, achieving excellent scores in our resolution tests. This starts to drop off at ISO6400, but the results at ISO12,800 are still very good, with just a hint of chroma noise in raw files viewed at 100% on screen.

This coloured speckling becomes more obvious at ISO25,600, and more so again at ISO51,200 (the highest native value), but it's well within acceptable limits. Beyond this value the expansion settings are there if you need them, but they deliver results that Nikon doesn't consider entirely satisfactory.

Results using the first of these settings, Hi 1 (ISO102,400) are actually pretty good for such a high value, but banding starts to creep into images shot at Hi 2 (ISO204,800), and is visible in the darker areas of images sized to A4.

It's not really worth using the values above these two settings, as there's lots of noise and subjects become increasingly lost in the murk. Don't be deceived by the results you may see taken in good light; in the dark conditions that demand these settings it's a different story, and we struggled to recognise objects shot at Hi 5 (ISO1,640,000).

The D500 is an excellent camera, and one that will serve many enthusiasts well, giving them the first-rate systems they desire in a smaller, more affordable body than the D5.

While some may be a little disappointed that the D500 doesn't have 24 million pixels on its sensor like Nikon's other recent DX-format DSLRs, don't be, as the small sacrifice in resolution is worth it for the payoff in sensitivity performance.

Noise is controlled well throughout the native sensitivity range (ISO100-51,200), and even the results at ISO102,400 look pretty decent. The top expansion setting, however, is largely pointless; its results look much better in reasonable light, but in the dark conditions that really demand such a setting there's lot of noise in raw files and smearing of detail in JPEGs, making subjects hard to identify.

The D500 packs in a pro-spec specification that's very impressive, and it's likely to prove particularly attractive to sports and action photographers

The D500 packs in a pro-spec specification that's very impressive, and it's likely to prove particularly attractive to sports and action photographers. The autofocus system is especially enticing, capable as it is of getting moving subjects sharp in difficult lighting conditions.

The D500's robust build means it's more capable of withstanding heavy use than Nikon's existing DX cameras, and it can be used with confidence in poor weather. It's also great that Nikon enthusiasts now have a high-level camera they can upgrade to without having to opt for a full-frame model – that's especially important for those who have an extensive collection of DX-format lenses.

Many will be mulling over whether to go for the D500 or a full-frame camera like the Nikon D750. The D750 is a good all-rounder that controls noise a little better, but if speed and/or durability are key concerns, the D500 is the one to go for. It's also a better choice if you have a collection of DX-format lenses and no FX (full-frame) optics – although it has the chops to resolve plenty of detail, so don't be tempted to use inferior glass.

Competition

Posted: November 15, 2017, 2:30 pm
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So you want to get into photography and are looking for a decent camera that you can build a system around?  

A few years ago that was easy question to answer – you had to buy a DSLR. But then in 2009 Olympus launched its first mirrorless camera, the Pen E-P1, and everything changed.

Like DSLRs, mirrorless cameras (also known as CSCs or compact system cameras) allow you to change lenses, but as the name might suggest, the don't feature a complex mirror system like DSLRs do. 

This means that they can in principle be smaller, lighter and mechanically simpler. They can also just like super-sized compact cameras to use, whereas DSLRs are a bit of a jump from a regular compact.

With no mirror, there's no optical viewfinder, with models either relying on the rear screen or featuring electronic viewfinders

Enthusiasts and pros, however, have taken a bit of convincing on the merits of mirrorless cameras. With no mirror, there's no optical viewfinder, with models either relying on the rear screen or featuring electronic viewfinders, while there have been concerns over image quality, features and handling.

Perhaps most importantly, compared to established DSLR systems, the lens ranges of these mirrorless systems isn't as extensive. 

With a raft of new mirrorless cameras and growing lens ranges, have mirrorless cameras done enough to be genuine DSLR rivals or, more to the point, are they already better? To help you decide, here are the key differences and what they mean for everyday photography.

  • DSLR: Can be big and bulky, though this can be a help for big lenses (and big hands)
  • CSC: Yes, they are smaller and lighter, but the lenses in some cases can be just as big as a DSLR's

Small size is one of the big selling points for mirrorless cameras, but it doesn't always work out that way because what you actually have to take into account is the size of the camera body and lens combination. 

This is a problem for mirrorless cameras with either full-frame or APS-C sized sensors because you can get a nice slim body but a fat, heavy lens on the front. Some models now come with retractable or power-zoom 'kit' lenses, but that doesn't help when you have to swap to a different type of lens.

Panasonic and Olympus cameras have an advantage here. The Micro Four Thirds sensor format is smaller (which many photographers don't like) but this means the lenses are smaller and lighter too (which many do), delivering a much more compact system all round.

Interestingly, some higher end mirrorless cameras are now growing in size as they take on more features and manufacturers respond to feedback from photographers who want larger grips, while entry-level DSLRs are shrinking to compete with the smaller footprint of similarly priced CSCs.

  • DSLR: Canon and Nikon have a massive lens range for every job, while Sony and Pentax are not far behind
  • CSC: Olympus, Panasonic and Fujifilm have good ranges, Sony is catching up, others are patchy

If you want the widest possible choice of lenses, then a Canon or Nikon DSLR is possibly the best bet thanks to their huge range of optics - they both have an extensive range of lenses to suit a range of price points, as well as excellent third party support from the likes of Sigma and Tamron. 

Mirrorless cameras are gaining ground though. Because Olympus and Panasonic use the same lens mount and have been established the longest, the range of Micro Four Third lenses is the most comprehensive. 

Fujifilm's lens system is growing all the time, with some lovely prime lenses and excellent fast zoom lenses. Even the 18-55mm 'kit' lens is very good. Sony offers some really nice high-end optics, but it could do with introducing more glass, especially at focal lengths beyond 200mm.

  • DSLR: Many still prefer an 'optical' view for its clarity, natural look and lag-free viewing
  • CSC: Others prefer to see a digital rendition of the scene as the camera will capture it

All DSLRs, even the cheapest, come with an optical viewfinder because it's an integral part of the DSLR design. However, quite a few compact system cameras don't have viewfinders at all, so you have to use the rear LCD to compose photos, which doesn't always work so well in bright light.

Compact system cameras with viewfinders cost more, and these are electronic rather than optical viewfinders – they display the image direct from the sensor readout and not via an optical mirror/pentaprism system.

Electronic viewfinders are advancing in leaps and bounds, so the latest rarely show any pixelation or 'granularity', though there can often be a slight but visible 'lag' if you move the camera quickly.

The advantage of electronic viewfinders is that they can display a lot more information than an optical viewfinder, including live image histograms, for example. They can also simulate the digital image the camera will capture, so you don't get any horrible surprises when you review your image.

This simulation is not always perfect, however, and many photographers prefer to see the world with their own eyes as they compose the image and check the digital version on the LCD straight after it's been captured.

This will come down to personal preference - get one of the latest high-end mirrorless cameras with a large magnification, large resolution electronic viewfinder, and you'll be hard pressed to find fault with it.

  • DSLR: Still better, on the whole for tracking fast subjects, but weak in live view mode
  • CSC: Full time live view AF means faster shooting when using the LCD screen

DSLRs use fast and efficient 'phase detection' autofocus modules mounted below the mirror in the body, but these only work while the mirror is down. If you're using a DSLR in live view mode, composing a picture or video on the LCD display, the mirror has to be flipped up and the regular AF module is no longer in the light path. Instead, DSLRs have to switch to a much slower contrast AF system using the image being captured by the sensor.

The latest Canon DSLRs (such as the EOS Rebel T7i / EOS 800D, EOS 80D and EOS 5D Mark IV) though include the company's Dual Pixel CMOS AF that uses phase-detection pixels built into the sensor. This is designed to give faster autofocus in live view mode to close the gap on CSCs.

CSCs have to use sensor-based autofocus all the time. Most are contrast AF based although, but these tend to be much faster than equivalent contrast AF modes on DSLRs, partly due to the fact the lenses have been designed around this system. 

More advanced CSCs have advanced 'hybrid' AF systems combining contrast autofocus with phase-detection pixels on the sensor, with the likes of the Fujifilm X-T2 and Olympus OM-D E-M1 Mark II really impressing with not only their speed, but with the accuracy at which they can lock on and follow a moving subject – the one area where DSLRs have, until now, had a clear advantage.

  • DSLR: The best DSLRs can no longer match the speeds of the best CSCs
  • CSC: The mirrorless design makes it easier to add high-speed shooting

You need a fast continuous shooting mode to capture action shots, and compact system cameras are streaking ahead here, partly because the mirrorless system means there are fewer moving parts and partly because many models are now pushing ahead into 4K video – this demands serious processing power, which helps with continuous shooting too.

To put this in perspective, Canon's top professional DSLR, the EOS-1D X Mark II, can shoot at 14 frames per second, but the mirrorless Olympus OM-D E-M1 Mark II can shoot at staggering 60fps. 

That's not quite the full story though - while the Canon will blitz away at this rate with continuous focus tracking in action, the Olympus will use an electronic shutter to achieve this and the focus will be fixed. That said, activate the mechanical shutter on the Olympus and 10fps is possible with full focus tracking. 

Panasonic, meanwhile, is pioneering the use of 4K video to capture 8-megapixel images at 30 frames per second.

  • DSLR: Massively popular with pros but, arguably, only because DSLRs got there first
  • CSC: 4K video becoming more common, better live view AF – this looks like the future

DSLRs were the first to offer professional HD and Full HD video, together with a vast range of lenses and other accessories, and pros prefer systems with solid, long-term support.

This means that most pros shooting video use a DSLR, but that's changing as mirrorless cameras advance and offer a wealth of video features that match DSLRs or in some areas, better them.

4K capture is a more common feature for starters on mirrorless cameras, while DSLRs have been slow to offer this functionality. There's also the efficient live view autofocus and processing power, while there's a growing range of adapters and accessories out there to offer users a complete system.

Panasonic has carved out a niche for itself with the Lumix GH5, offering a hybrid stills/video camera that's loved by enthusiast photographers and professional cinematographers, while Sony has opted for a similar approach with the Alpha A7S II

  • DSLR: Even entry-level models have full manual controls, and DSLRs are powerful cameras
  • CSC: They match DSLRs feature for feature, often going a step or two further

In terms of photographic features and controls, DSLRs and CSCs are hard to split here. 

They all offer full manual control over exposure and focusing and can shoot raw files as well as JPEGs, allowing you to get the best image quality possible. In any one sector, such as entry-level cameras, enthusiast or pro models, the control layouts and capabilities are pretty similar. Entry-level DSLRs tend to hide away the manual controls under a layer of automation, but it's the same for CSCs.

Keep in mind the point about viewfinders, though – all DSLRs have viewfinders, but often cheaper compact system cameras don't.

  • DSLR: DSLRs use the latest and best state of the art APS-C or full-frame sensors
  • CSC: They use the same sensors, but there are also smaller formats for even smaller cameras

There's nothing to choose here either. Currently, the highest resolution is in a DSLR, the 50MP chip nestled inside the Canon EOS 5Ds, but the 42.5MP Sony Alpha A7R II isn't far behind.

It's not just about megapixels, though, because the main factor in image quality is sensor size. Full-frame sensors are the biggest and offer the best quality, while cameras with APS-C sensors are almost as just good and much cheaper – and you can get either of these size sensors in both DSLRs and CSCs.

But the compact system camera market offers smaller formats too. The Micro Four Thirds format used by Panasonic and Olympus is smaller than APS-C, but so are the cameras and lenses, so you need to weigh up what's most important to you - size or ultimate image quality.

Nikon uses a 1-inch sensor in its Nikon 1 series cameras, but this is a much smaller sensor size that's yet to cut much ice with experts. That is for interchangeable lens cameras at least, as the 1-inch sensor has proved incredibly popular in premium compact cameras like the Panasonic Lumix LX10 / LX15.

Overall, then, there's no intrinsic image image quality advantage in a DSLR, given that the same sensor sizes are available in compact system cameras too.

  • DSLR: 600-800 shots is average, better models can shoot over 1,000 shots on a charge
  • CSC: Much weaker, and typically around 300-400 shots. You'll need spare batteries

Battery life comparisons might not be exciting, but they are important when the differences are as great as this. The Nikon D7200 DSLR, for example, can take 1,100 shots on a single charge, while the Fujifilm X-T2 CSC, a close match on paper, can only shoot 340 photos before the battery expires. This pattern is repeated across the range of DSLRs and CSCs.

It's not clear why. DSLR batteries are sometimes larger, though not always, and you might have thought that driving the mirror up and down for each shot would consume more power, and that that LCD display would be used just as much.

Apparently not, though, and this is one area where DSLRs do often have a substantial practical advantage. You'll certainly need an extra battery or two with most mirrorless cameras.

  • DSLR: You get more for your money with a cheap DSLR than a cheap CSC
  • CSC: Cheap CSCs don't have viewfinders; those that do cost a more

You might hope that the simpler design of a compact system camera would make them cheaper to buy, but that's not necessarily the case. 

If you want a fully-featured, 'proper' camera for the least money, then a DSLR is still the cheapest option...but it's getting a lot closer between the two.

For example, the 24MP Nikon D3300 DSLR has just about the best APS-C sensor currently on the market, an optical viewfinder (of course), decent manual controls and 700-shot battery life.

Its nearest rivals on price in the compact system camera market can't match its resolution or its battery life and they don't have viewfinders, but for only a little more the Sony Alpha A6000 packs in an almost identical 24MP APS-C sensor and features a built-in electronic viewfinder. You'll still need to get a second battery though. That said, it's only that cheap because it's just been superseded.

Once you get into enthusiast and pro market, however, the differences largely disappear – for any given amount of money you get broadly the same features, performance and power.

  • DSLR: Sturdy, good value cameras offering old-school handling and top image quality
  • CSC: Smaller, technically more advanced and arguably the way forward

The technical differences between DSLRs and CSCs aren't the only things you need to consider, and may not even be the most important to you. 

The only way to decide once and for all is to pick them up and try them out to see which you prefer. You might prefer the fat, chunky feel and optical viewfinder of a DSLR, or you might prefer the smaller bodies and more precise feel of a compact system camera. It'll really come down to what you like to shoot and what the camera can deliver - and pay attention to the lenses offered and accessories available as well.

For novices and those on a budget, a cheap DSLR gives you more than a cheap compact system camera. Further up the price range, it's a close call, but you'd have to say that while some might prefer their handling and their viewing system, there are fewer and fewer technical reasons why a DSLR should be considered the best option for photographers.

Posted: November 17, 2017, 4:32 pm

Once upon a time, keen photographers bought a DSLR – it was the established order of things. But the mirror mechanism of a DSLR is complex and noisy and adds to the weight of the camera, and that's where the mirrorless camera, or compact system camera comes in. They keep the big sensors and interchangeable lenses of DSLR cameras but ditch the mirror to produce a smaller, lighter and simpler camera.

In fact, there are still pros and cons to both designs. If you want to find out more, read this: Mirrorless vs DSLR cameras: 10 key differences.

Some mirrorless cameras have a compact, rectangular body, some are styled like DSLRs with a 'pentaprism' on the top – though this houses an electronic viewfinder rather than the optical viewfinder you get with a DSLR.

Be aware, too, that cheaper mirrorless cameras don't come with viewfinders at all – instead, you compose the photo on the rear screen, just as you do with a compact camera or a smartphone. (If you're still not sure what kind of camera you need, read our easy to follow guide: What camera should I buy?)

No two photographers are exactly the same – we're all looking for slightly different things, so we've ranked the 10 best compact system cameras you can buy right now based not just on specs, handling and performance, but size, simplicity and value for money too.

Don't forget, with Black Friday just a few weeks away, the savvy buyer can expect to find some great deals. 

Fuji X-T2

Fujifilm's update to the X-T1 may look similar at first glance, but there have been some big improvements and perhaps the biggest of all is the autofocus system. It's a huge leap forward compared with the system found in the X-T1, with AF tracking of moving subjects now much more precise and swift, while the level of sophistication and customisation is impressive too. Add in 8 frames per second burst shooting, a clever double-hinged rear display, bright EVF, Fuji's excellent 24.3MP X Trans III CMOS sensor and plenty of body mounted controls that's all wrapped-up in a tactile body, and you're left with one of the best cameras available today.

Read our in-depth Fujifilm X-T2 review

Sony Alpha 7R II

The Alpha A9 doesn't fail to impress. The AF system Sony has blessed its flagship camera with is not only incredibly quick, the tracking performance needs to be seen to be believed. Partner that with incredibly fast 20fps burst shooting, and a large and bright EVF that doesn't blackout when you're shooting, and you've got a camera that can mix it with the best that Canon and Nikon have to offer when it comes to shooting action.

Read our in-depth Sony Alpha A9 review

Olympus E-M10 II

The OM-D E-M10 Mark III might not be a massive leap forward over the Mark II, with much of the camera's specification remaining the same. However, Olympus has refined and tweaked one of our favorite mirrorless cameras to make it an even more tempting proposition for new users and enthusiasts alike. Some will criticise the smaller Micro Four Thirds sensor format (roughly half the area of APS-C) but the effect on image quality is minor and it means that the lenses are as compact and lightweight as the camera itself. Sporting a 5-axis image stabilization system, decent electronic viewfinder, an impressive 8.6fps burst shooting speed and 4K video, it's no toy – the E-M10 Mark III is a properly powerful camera.

Read our in-depth Olympus OM-D E-M10 Mark III review

Fuji X-t10

Like the look of the X-T2 at the top of our list, but don't quite want to shell out that much for it? Fuji has the answer in the shape of the X-T20, which manages to distill many of the key features of the X-T2 including the excellent 24.3MP sensor and advanced AF system, but into a slightly more compact and affordable camera. The X-T20 feels very similar to its bigger brother in terms of build quality, while the tactile controls and polished handling make it a very satisfying camera to shoot with. The X-T20 will certainly hit the sweet spot for many photographers. If you like the look of the X-T20, but want something a little more compact, take a look at the X-E3. Sharing virtually the same specification, it has a more compact design. 

Read our in-depth Fujifilm X-T20 review

While not quite perfect, the G80’s (G85 in the US) feature set and performance make it one of the most compelling mid-range mirrorless propositions around. Autofocus is very good, whether you’re using it for static or moving subjects, and processing speeds are fast, while the image stabilisation system is very effective whether you’re recording stills or movies. Image quality is generally very good, with the removal of the low-pass filter making a positive difference overall, and this is matched by strong 4K video quality, with plenty of video-related options. Together with a great EVF and LCD partnership, plenty of options over customisation and a broad range of compatible lenses, the G80 is a smash on a number of levels.

Read our in-depth Panasonic Lumix G80 / G85 review

The Lumix GH5 is the latest in the line of Panasonic's top-of-the-range GH series of mirrorless cameras, which over the years have carved out a niche for themselves among videographers thanks to their breadth of movie-making features. It's certainly one of the best 4K camera solutions out there, if not the best, before you start considering dedicated professional video cameras, and that video capability is backed up by a great set of features for the stills photographer.

Read our in-depth Panasonic Lumix GH5 review

Sony A6300

You don't have to go full-frame to get the benefit of Sony's great camera technology and this APS-C format model makes a great choice for enthusiasts looking for an alternative to big, heavy DSLR. One of the challenges for CSC manufacturers has been to make their autofocus systems as good as the ones in DSLRs. The A6500's comes very close, especially in bright light; it's able to track moving subjects around the frame and as they move towards or away from the camera. There's also an excellent electronic viewfinder that makes it easy to see when the subject is sharp and correctly exposed. Image quality is very high and there's built-in Wi-Fi and NFC connectivity to allow to share images via a connected smartphone.

Read our in-depth Sony Alpha A6500 review

Pen

While the design follows that of the original film Pen-F camera from the 1960s, that's pretty much where any similarities stop, with this modern-day Pen-F featuring Olympus's latest 20MP Micro Four Thirds sensor. Unlike previous Pen models we've seen which rely solely on the rear screen for composition unless you want to invest in an optional attachable electronic viewfinder, the Pen-F incorporates a high-quality OLED EVF integrated into the body with with a resolution of 2.36m dots. There's also an advanced 5-axis image stabilisation system built in to combat camera shake, while no Olympus CSC could be complete without a selection of Art Filters - the Pen-F has 28 to choose from. Offering plenty of customisation and a host of clever features, there's also built-in Wi-Fi connectivity to boot.

Read our in-depth Olympus Pen-F review

GX80

With the GX80 (known at the GX85 in the US), Panasonic's taken the well-liked GX8 and streamlined some of the features to end-up with an appealing alternative that's more competitively priced. Despite sacrificing the clever tilting EVF, resolution is actually improved on the fixed EVF on the GX80, and while it also forgoes the 20.3MP Micro Four Thirds sensor and replaced by the older 16MP chip, the AA filter has been removed for sharper images. The GX80 also comes with 4K video capture, with the ability to capture 8MP stills from recorded footage - it's like a ultra-fast 30fps burst mode). Handling could be a bit more polished, but AF is fast and accurate, compact body and lens combination, very effective in-body anti-shake control and 4K video make this a very well-rounded camera.

Read our in-depth Panasonic Lumix GX80 review / Lumix GX85 review

Sony Alpha 7II

With 24 million pixels the A7 may not be able to able to capture quite the same amount of detail as its high resolution sibling, the A7R II, but as it has the same sized sensor you get the same level of control over depth of field. That means you can make your sharp subject stand out from a blurred background, while the level of detail is excellent. This second-generation model benefits from a number of improvements, including 5-axis image stabilisation, an all-magnesium body and a wide selection of supported video formats.

Read our in-depth Sony Alpha A7 II review

Posted: November 17, 2017, 4:30 pm

Whether you're getting up before dawn to hike up mountains for that one special sunrise shot, or commuting with your camera in tow, every photographer needs to keep their kit safe and protected, and from backpacks and day-sacks to holsters and rollers, photographers can now carry their kit, accessories (and even some lunch) in all kinds of luggage.

Most of bags featured here are for DSLR cameras, whose interchangeable lenses, some of them mighty in size, demand some thought when you're mobile. Most also now find room for a laptop – as big as 17 inches in some cases – or at least a tablet; with post-processing so integral to digital photography, who wants to wait until they get home to see how a photoshoot turned out? 

1. Thule Aspect DSLR Backpack

As well as a DSLR, various lenses and flashes, the long, slim Aspect can house a giant 15.6-inch laptop in a side-opening sleeve, as well as an iPad. It has the premium look and feel of a hiking backpack, and while it’s not a top hiking pack per se, it’s hard-wearing enough for all kinds of photography expeditions.

Sensibly, the camera can be accessed from a side pocket, there are lots of dividers that move easily and fit securely, and zips feature large plastic tags that can be easily tugged open with cold hands – handy for sunrise sessions or a northern lights hunt. 

2. Manfrotto Advanced Camera and Laptop Backpack

This backpack zips up a 13-inch laptop and a tablet in a front pocket, while the main compartment for camera gear is accessed under a padded, zipped lid on the back-facing side. It fits one DSLR body and three lenses, including a 70-200mm, and there are some useful design flourishes – as well as a roomy top section for accessories (and perhaps even a packed lunch), there’s a pull-out rain cover in the base, and an expandable tripod pocket. It's also sized to house a DJI Mavic Pro drone.

3. Case Logic Kontrast KDH101 DSLR Zoom Holster

Despite there being some great backpack out there, no-one has yet produced a decent curved-back backpack for high-grade hiking that also stores a DSLR. The Kontrast doesn’t quite fill that niche, but it does act as a stop-gap – large enough to take a reasonably big lens (a 105mm fits fine), it can be stuffed into a backpack or slung over a shoulder while out on the trail.

Inside there’s a ‘hammock system’ halfway down for cradling and securing the lens, while the sides also have pockets for accessories and memory cards. Solid and good value, the Kontrast impresses. 

4. LowePro Streetline 140

This pocket-packed shoulder bag somehow manages to squeeze in both an 11-inch laptop and a tablet, as well as camera gear, while the padded kit compartment flat-packs when empty. Inside, three snap-shut pouches spring open to grip a compact mirrorless camera or DSLR (though it's best for smaller entry-level models).

It’s probably not rugged enough for landscape photographers, but it does well around the city – and it makes for a great carry-on bag for flights. It's even got a pass-through for a telescopic handle, so it can piggy-back on rolling luggage at airports. 

5. Moshi Arcus multi-function backpack

There’s something exceptionally streamlined about the Moshi Arcus. It's Japanese-inspired to the core in its neat, compact and modular design, with some discreet zippered body-facing pockets that are ideal for travel documents. However, you need to add the optional camera insert to allow it to store and protect DSLR camera gear – it can then take three lenses and one DSLR body (with handy side access), while without the insert the Moshi Arcus can store a 15-inch laptop. With additional padded pockets sized to take a smartphone and tablet, and with microfibre used throughout, this is a compelling proposition.  

6. ONA The Camps Bay

It's luxury choice for sure, but this retro-styled waxed canvas-and-buckles backpack is both outdoorsy tough, and has an incredible capacity for holding – and disguising – a lot of camera gear. The main compartment can store a DSLR with a 70-200mm lens attached, itself a rarity, but has room for six or seven additional lenses if the moveable dividers are carefully placed. There’s even space for a 17-inch laptop, it has a leather undercarriage for setting it down outside. However, with all that kit plus 2kg of canvas, The Camps Bay could get pretty heavy.

7. LowePro Pro Roller X200 AW

Ideal for professional photographers or anyone flying off on a landscape photography expedition, a safari or an eclipse-chase, this TSA-approved roller can take two DSLRs and up to eight lenses sized up to 600mm. Its MaxFit padded dividers are adjustable, and there are plenty of pouches for accessories, including a 17-inch laptop. It’s got a tripod clasp on one side, and a couple of wheels so to roll through airports on, but this one is nevertheless best used for when you have a vehicle to take you to your next shoot.

8. Thule Perspektiv M Toploader

Wearing a DSLR on your back has distinct disadvantages when it comes to extracting a camera quickly, so Thule has come up with this top-loading protective tube that's worn almost like a harness. Rigid and completely waterproof, including the zips (but also with an additional raincoat in a pouch on the undercarriage), it can hold a high-end DSLR camera with a 70-200mm lens, but no other accessories. However, there is also a waterproof pouch for a phone, and a couple of handy stash pockets on the outside that could be used to attach a reasonably small tripod. Great for an outdoors expedition in dodgy weather.

9. Manfrotto Holster XS Plus

Designed for compact mirrorless APS-C cameras like the Sony A6500, Fujifilm X-T2 and Panasonic's Lumix G85/G80, this holster-style case makes good use of space. A camera fitted with an 18-50mm lens can easily fit inside the main compartment, while there’s a zip-around section attached to the bottom for another lens. It’s compact, sturdy and offers a lot of protection, but it's worth trying it out with your specific camera and lens to make sure it all fits neatly. As well as a shoulder strap and belt loops, the Holster XS Plus includes a few zipped pockets for SD cards and accessories. 

10. LowePro Taho BP 150

Looking more like traditional urban luggage than a camera bag, this bug-shaped backpack has a hard yet padded front lid that zips all around, and drops down for easy access. The dividers inside are easy to move and secure, and make it simple to configure for a DSLR and four or five lenses.

If used in that configuration there's just a small zipped area for other items, but an UltraFlex divider can be used to make the bag half for camera gear and half for other stuff, making the Tahoe BP 150 handy for anything from street photography to a serious hike. There's also an organizer area in the lid with a tablet pouch, and a couple of mesh side pockets. 

Posted: November 17, 2017, 3:44 pm

For decades, the DSLR (digital SLR) has been the top choice for anyone who wants to take their photography to the next level. Whether you're a beginner or a pro, a DSLR offers three key ingredients: manual controls, excellent picture quality and interchangeable lenses.

Mirrorless cameras are another option of course. They're smaller, mechanically simpler and, like DSLRs, they take interchangeable lenses. If you want to know more about how they compare, read this: Mirrorless vs DSLR cameras: 10 key differences. Or, if you want to know more about different camera types in general, check out our step-by-step guide: What camera should I buy?

In between entry-level and full-frame DSLR are a whole range of models aimed at different users

A DSLR is still the cheapest way to get a camera with interchangeable lenses and a viewfinder (entry-level mirrorless cameras don't have viewfinders) and, at the other end of the scale, almost all professional sports, press and wildlife photographers choose full-frame DSLRs over every other camera type. 

That said, there are some mirrorless cameras out there like the Fujifilm X-T2 and Sony Alpha A7R II that are taking the place of DSLRs in pro photographer's kit bags.

In between entry-level and full-frame DSLR are a whole range of models aimed at different users, different levels of experience and different budgets. Here's our pick of the standout DSLR cameras you can buy right now:

If you're looking for the ultimate DSLR right now, then the Nikon D850 is it. This full-frame monster of a camera might be pricey, but for the cash you get a stunning camera. The huge 45.4MP sensor delivers images with stunning detail and noise performance, while the sophisticated 153-point AF is borrowed from Nikon's flagship D5. Add in 7fps burst shooting and a host of advanced features, wrap it in a durable magnesium alloy body and you've got a camera that's pretty much at the top of its game for any subject you want to shoot. A brilliant piece of kit. 

Read our in-depth Nikon D850 review

Canon's EOS 5D series of cameras has a rich heritage – the original EOS 5D bought full-frame photography to the masses, the Mark II unleashed Full HD video capture for the first time on a DSLR, and while the Mark III became a firm favourite amongst photographers. The EOS 5D Mark IV pretty much tweaks and improves on everything before it, with a new 30.4MP sensor and advanced 61-point AF system. A brilliant DSLR that was until recently our top pick, but the arrival of the D850 means it slips a place.

Read our in-depth Canon EOS 5D Mark IV review

Nikon D500

Nikon has taken its flagship D5 DSLR and most of its high-end features and distilled all of this into a smaller, but still very durable metal body. The full-frame sensor is replaced by an 20.9MP APS-C sized chip that allows the D500 to shoot at a rapid 10fps and deliver a great high ISO performance. A brilliant all-rounder with a brilliant 153-point AF system means it excels at fast action like sports and wildlife photography, but still has the chops to shoot landscapes and portraits. If the cost is a bit steep, then take a look at the D7500. It sits below the D500 and inherits many of its tech, including the 20.9MP sensor.

Read our in-depth Nikon D500 review

Nikon D7200

Cheaper than the D500 and while it doesn't offer quite the same pro-spec performance, the Nikon D7500 packs in the same excellent 20.9MP sensor, but in an even more compact and affordable body. The new camera may not get the 153-point AF system from the D500, but the enhanced 51-point system in the D7500 still puts a lot of rival systems in the shade, while the 4K video capture, tilt-angle touchscreen display and 8fps burst shooting are some of the highlights. The D7500 is bound to be a tempting prospect for both new and existing users. Alternatively, take a look at the 24.2MP D7200 - it may have been surpassed by the D7500, but it's still one of the best enthusiast DSLRs out there.

Read our in-depth Nikon D7500 review

Canon EOS 7D Mark II

Just like D500 above, the EOS 7D Mark II borrows much from its big brother, the EOS-1D X (that's now been replaced by the EOS-1D X Mark II), bringing 10fps shooting and a professional autofocus system to the amateur market. Now you can shoot action and sports like the pros, but at a price within the reach of enthusiasts. The EOS 7D Mark II isn't just a high-speed specialists, it's a terrific all-round camera. It's tough, with an alloy body and weather-sealed controls, it has a great sensor with an advanced dual-pixel hybrid autofocus system, and it's a powerful video camera too.

Read our in-depth Canon EOS 7D Mark II review

Nikon D750

Like the looks of Nikon's D810 further up the top, but don't want to shell out quite that much, then look no further than the 24MP full-frame D750. It doesn't have that magnificent 36-megapixel sensor that the D810 does, but its 24-megapixel alternative still delivers top quality results, especially at high ISO settings. The D750 is also a bit more versatile than the D810, with a faster 6.5fps continuous shooting speed, a handy tilting screen and a lower price – and you still get the enhanced autofocus system and Picture Control 2.0 options of the D810.

Read our in-depth Nikon D750 review

Nikon D3300

At the opposite end of the spectrum to some of the full-frame DSLRs here, the D3400 is cheap as chips, has one of the sharpest APS-C sensors there is and a neat retracting kit lens. It's proof that you don't have to pay a fortune to get a great camera, and we say its sheer value for money makes it just as impressive as much more advanced (and much more expensive) alternatives. It has a great 24MP sensor and although the controls are designed to be simple for novices, in the right hands the little D3400 is a match for cameras costing far more. A great DSLR for the first-time user. 

Read our in-depth Nikon D3400 review

EOS 750D

Costing a bit more than the Nikon D3400, but offering quite a bit more in the way of features, the Canon EOS Rebel T7i (known as the EOS 800D outside the US) is a great entry-level DSLR. The new sensor impresses, as does the 45-point autofocus system backed up by excellent live view AF, while the newly designed graphical interface will certainly make this camera even more appealing to new users. The absence of 4K video and the quality of the exterior materials disappoint, but this aside, if you're looking for a well-rounded and easy to use camera for your first DSLR the EOS Rebel T7i / EOS 800D is certainly a very good bet. 

Read our in-depth Canon EOS Rebel T7i / EOS 800D review

Nikon D810

Now overshadowed by the D850, the D810 is still a great buy. It's built like a tank, it handles beautifully and it doesn't cost the earth - well, when compared to competition that is. While the 36.3MP resolution has been eclipsed by the Canon EOS 5DS and Sony Alpha A7R II, it still delivers stunning results with huge amounts of detail. If you're into sports, action and wildlife photography, the modest 5fps burst shooting might be a bit restrictive, but otherwise, the D810 is still a great DSLR that's now better value than ever.

Read our in-depth Nikon D810 review

Pentax K-1

The K-1 offers a rugged build and a full-frame sensor at a relatively affordable price. It's not cheap, but it compares favourably with the likes of the Nikon D810, Canon EOS 5D Mark III and Sony Alpha 7R II. Pentax's Pixel Shift Technology is clever, and it's great that the company has managed to produce a mode that can be used when the camera is handheld, although the impact is subtle. Less of an all-rounder than the 5D Mk III, the K-1 makes an excellent camera for landscape, still life and portrait photography, or any genre that doesn't require fast autofocus and which benefits from a high pixel count for detail resolution.

Read our in-depth Pentax K-1 review

Posted: November 17, 2017, 3:39 pm

Want to buy a decent camera, but don't want to break the bank? The good news is that there are some cracking cameras out there if you're on a tight budget, including some great entry-level DSLRs, sleek-looking mirrorless cameras, advanced high-end compacts, bridge cameras with huge zoom lenses, not to mention travel zooms and pocket compacts.

And while some of these cheap cameras may not be the latest and greatest models available right now, they still deliver the goods.

We've compiled a selection of the best budget cameras going, so whether you want something to simply slot in your pocket for the odd snap that will be better pictures than your smartphone ever can, or a camera you can get a bit more creative with, you'll find it here.

If you need a bit more help figuring out what kind of camera you need, then read this article: What camera should I buy?

And if you want to spend a little more money, then check out our other camera buying guides below:

RX100

Sony's latest camera in its RX100 line, the RX100 V, is one of our favourite compact cameras right now, but there's no getting away from the fact that it's a pricey option. The good news is that the original RX100 is still available new (as well as all the other iterations we've had since then), and while it might not offer some of the latest features it's still a great compact at a bargain price. The large 1.0-inch sensor delivers excellent levels of detail, with the broad and fast range of the zoom lens making it a versatile travelling companion. Okay, there's no built-in viewfinder or tilt screen as we've seen on the Mk V, but the monitor delivers excellent clarity, and the RX100's controls offer plenty of options for those who like to get hands-on. Take into account the sleek, premium finish and it all adds up to a great compact camera at a great price.

Read our in-depth Sony Cyber-shot RX100 review

If you're looking for your first DSLR, then Nikon's D3300 is hard to beat when it comes to price. While not the cheapest DSLR out there, the D3300 is probably the best value and despite the arrival of the D3400 in the Nikon DSLR line-up, the D3300 is still our top pick. Why? Simply put, it ticks a lot of boxes for first time users - the 24MP sensor delivers great images, it's easy to use, has an impressive battery life and is backed-up by an impressive array of lenses and accessories. 

Read our in-depth Nikon D3300 review

Panasonic TZ70

Panasonic's ZS / TZ series of compacts has long dominated the compact travel zoom market, and that's still the case with the ZS50 (known as the TZ70 outside the US). While it may be eclipsed by its larger-sensor sibling, the ZS100 / TZ100, the TZ70 has the advantage of packing a huge 30x zoom into a pocket-sized body. There's even space for a (modest) electronic viewfinder, ideal for when the lighting makes it tricky to compose or review shots on the rear screen. You can use the camera like an advanced point-and-shoot compact, simply leaving it in auto for the camera to take care of settings, or you can shoot high-quality raw files, and make your own decisions about aperture and shutter speed.

Read our in-depth Panasonic Lumix ZS50 / Lumix TZ70 review

EOS 1200D

The EOS Rebel T6 (known as the EOS 1300D outside the US) is Canon's most affordable DSLR in its line-up and while it doesn't share the same latest tech as newer models, it's still a great a solid choice for first time users. The 18MP sensor is starting to show its age a little, while the AF in live view is a bit on the slow side, but when you consider you're getting a DSLR for the price of an average compact, then it doesn't look too bad at all. 

Read our in-depth Canon EOS Rebel T6 / EOS 1300D review

The D5300 was around for little more than a year before the D5500 technically replaced it, which has in turn been replaced by the D5600. It shares the same 24.2MP sensor with an identical maximum ISO25,600 sensitivity as the D5500, whilst the D5300's EXPEED 4 image processor and 39-point autofocus system have also been carried over to its replacement. Whilst the D5300 doesn't sport fancy touchscreen control, you do get GPS instead. The D5300's 600-shot battery life has since been beaten by the D5500, but it'll still outlast a Canon EOS Rebel T6i / 750D. All in all, it may not be the latest entry-level DSLR, but the D5300 is still a smart buy.

Read our in-depth Nikon D5300 review

The Alpha A7R II is one of our favourite mirrorless cameras, packing in a stunning 42MP full-frame sensor. It's a pricey option though, which is why we've picked out the older Alpha A7R - packing in a stunning 36MP full-frame sensor, you'd have to pay over double that to match its resolution on a rival camera. Autofocus can be a bit slow and performance can be a bit sluggish, but if you're prepared to overcome those issues, you'll be rewarded with great images.

Read our in-depth Sony Alpha A7R review

Despite being well over two years old, the Alpha A5000 is still a great buy for those looking for a simple to use mirrorless camera. Not only that, but it's also incredibly compact - even the 16-50mm lens isn't that large considering the focal length. There's a decent-sized tilt-angle screen, but the resolution is looking a bit behind the times now, while there's no viewfinder. That said, it's easy to use, while the Wi-Fi connectivity only adds to its appeal. 

Read our in-depth Sony Alpha A5000 review

The PowerShot SX710 HS is appealing to both absolute beginners and to those with a little more experience of photography. On the back is a small mode dial which enables you to quickly switch between different exposure modes, including full manual and semi-automatic modes for those who want to take control, plus fully automatic and scene modes. The 30x optical zoom covers an excellent range of focal lengths and gives plenty of flexibility for the average holiday shooter. There's no touchscreen however, but you can't really complain at the price. A nicely capable camera for those who just want a point and shoot compact with a long focal length zoom range.

Read our in-depth Canon PowerShot SX710 HS review

Sony WX220

If you're wanting a compact camera that can do a better job than your smartphone the Cyber-shot WX220 ticks a lot of boxes, especially when you consider the extra flexibility offered by the 10x optical zoom, running from 25-250mm. Images are bright and punchy, with decent detail – ideal for sharing online or printing at typical sizes – while it's nice to see Wi-Fi connectivity included as well. The 2.7-inch screen is a little on the small side, but that does help to keep the dimensions of the camera to a pocket-friendly size. The WX220 may not have lots of bells and whistles, but what it does do, it does well.

Read our in-depth Sony Cyber-shot WX220 review

Panasonic FZ72

Despite it being one of the cheapest bridge cameras available, you still get a lot of camera for your cash with the Panasonic Lumix FZ70 (known as the FZ72 outside the US). Let's start with the lens. The Lumix FZ70 packs in a staggering 60x optical zoom, running from an impressively ultra-wide 20mm-equivalent to 1200mm, so you won't have any excuses for not filling the frame. You also have the option of full manual control (as well as a host of helpful auto modes), raw format shooting, and decent image quality from a sensor this size. Downsides? While there is an EVF, it's not the best quality, and there's no touchscreen functionality or wireless connectivity.

Read our in-depth Panasonic Lumix FZ70 / Lumix FZ72 review

Posted: November 17, 2017, 3:30 pm

A Telephoto zoom lens is probably the next lens you'll look to buy once you've got your DSLR, and its easy to see why. 

Telephoto lenses are great at making distant objects fill your frame, allowing you to add real impact to your shots, but they can be equally useful for capturing closer subjects. With long focal lengths comes a shorter depth of field and creamier background bokeh blur, which is just the ticket for isolating a nearby object of interest.

Telephoto zooms can be picked up at relatively low prices and often have a decent zoom range like 70-300mm. However, you'll need to up your budget to get something with a wide aperture that stays constant throughout the lens's focal range – this gives you much more flexibility when you're shooting in low light and generally means better image quality too.

Optical image stabilisation is practically a must-have when using telephoto lenses

Fast, near-silent autofocus systems are worth paying for because they make the lens smoother to use, while fancy glass elements reduce aberrations like distortion and color fringing, and weather sealing protects your lens in bad weather. Optical image stabilisation is practically a must-have when using telephoto lenses, and you do without it at your peril.

The maximum focal length of the lenses in this roundup is 300mm, and this is fine for most sports and some wildlife photography. If you need more magnification than this, though, you're into super-telephoto photography, which you'll find in a separate guide.

Canon EOS 7D Mark II

Most consumer DSLRs have APS-C size sensors, but these will still work fine with telephotos designed for full frame cameras

APS-C versus full frame

DSLR sensors come in two sizes. Most use APS-C size sensors roughly half the size of the full frame cameras by professionals, and this has an impact on the effective focal length and magnification of the lens.

So if you've got a 70-300mm telephoto, that effectively becomes a 105-450mm lens on an APS-C format DSLR. That's rule number 1.

Rule number 2 is that some lenses are designed solely for APS-C cameras. You can't use them on a full-frame model (well you can with Nikon DSLRs, but only in an APS-C 'crop' mode which defeats the object). 

With some lens types, like wide-angle zooms, you have to get a lens made for your camera's sensor size, but with telephotos it's a lot simpler. Almost all of those we recommend are designed for full frame cameras so they'll work on APS-C models too. This is ideal because it means you can keep your lens if you upgrade to a bigger camera later. There are a couple of lenses designed only for APS-C cameras - these are marked EF-S on Canon lenses, DX on Nikon, DC on Sigma and Di II on Tamron. 

Canon lens names start with 'EF', 'EF-S' and 'EF-M', and this tells you which camera models they're designed for. EF lenses are designed for full frame Canon DSLRs, but they also work perfectly well on smaller APS-C Canons too. All but one of the lenses in our list are full frame, so they'll work on any Canon DSLR.

'EF-S' lenses, however, are designed solely for the smaller APS-C DSLRs in the Canon range from the EOS 7D Mark II downwards – they can't be used on full-frame Canon DSLRs. Only one of the lenses in our list is an EF-S lens, and that's the EF-S 55-250mm f/4-5.6 IS STM. It's a good value lens for an APS-C Canon DSLR, but it's no use later on if you upgrade to a full frame model.

'EF-M' lenses are designed solely for Canon's EOS M mirrorless cameras. You can't use them on any of the Canon DSLRs, so we don't include them in this list.

Canon EF 70-200mm f/2.8L IS II USM

It's easy to see why our winner is a firm favourite amongst pro shooters. The design features top-grade fluorite glass and five UD (Ultra-low Dispersion) elements, a virtually circular eight-blade diaphragm, and a dual-mode Image Stabilizer giving a four-stop advantage. An ultrasonic ring-type autofocus system provides super-fast focussing, even under dull lighting conditions. Everything's wrapped up in a tough, weather-sealed magnesium alloy shell sporting control rings and switches which all operate flawlessly. Image quality is razor-sharp throughout the zoom range, even at f/2.8, while distortions, vignetting and colour fringing are all very well controlled.

Tamron SP 70-200mm f/2.8 Di VC USD

Can't quite stretch to our winner? Tamron's direct rival is very nearly as good, yet noticeably easier on your pocket. Four LD (Low Dispersion) and one XLD (Extra Low Dispersion) elements maximise image quality, as do multi-layer coatings and a nine-blade diaphragm. The magnesium alloy construction feels robust and is fully weather sealed. Extra attractions include a focus limiter switch and impressively fast, near-silent USD autofocus. There's also Tamron's high-performing four-stop Vibration Correction system, which helps ensure terrific sharpness throughout the zoom range, even at maximum aperture. Overall, a really excellent lens at a competitive price.

Canon EF 7-200mm f/4L USM

This lens comes in two flavours, and we've gone for the stabilised version which also comes with weather sealing, though costs around twice the price of its sibling. Despite this, it still makes it exceptionally good value considering this is an L-series (Luxury) lens with premium quality optics. The constant f/4 maximum aperture may be a stop smaller than our top two choices, but it helps keep weight down to just 760g. Impressive, given the reassuringly rugged build quality. The ring-type USM autofocus system is very fast and whisper quiet, whilst image quality is just as impressive thanks to spectacular sharpness and contrast, along with minimal distortion and fringing.

Tamron SP 70-300mm f/4-5.6 Di VC USD

If you'd rather have a bit more reach than a constant aperture, this 'Super Performance' Tamron really stands out from the budget crowd with its high-end feature set. There's an impressive ring-type autofocus motor which is fast and whisper quiet, as well as an advanced four-stop VC (Vibration Compensation) system that's a match for Canon's latest IS offerings. At 765g, it's quite chunky and weighty for this class of lens, but feels solid and handling is refined. Image quality doesn't disappoint either, as sharpness and contrast are very good throughout the zoom range. Colour fringing is also well controlled, even into the corners of images.

Sigma APO 70-200mm f/2.8 EX DG OS HSM

Like the second place Tamron SP 70-200mm, this is another lens that's gunning for the winning Canon optic, but ultimately it loses out to Tamron's superior build quality and weather sealing. Optical performance is almost as strong though, with five Low Dispersion elements and Sigma's Super Multi-Layer Coating to reduce ghosting and flare. It makes for respectable centre sharpness throughout most of the zoom range, but the Tamron lens edges ahead on corner sharpness and handles fringing and distortion marginally better. However, this Sigma still offers outstanding value thanks to its fast, super-smooth autofocus system and four-stop, dual-mode image stabiliser.

Canon EF-S 55-250mm f/4-5.6 IS STM

Most people buy their first telephoto lens to compliment an 18-55mm kit optic, and with its 55mm minimum focal length, this is an ideal second lens for an APS-C Canon. It won't be a burden either, tipping the scales at a featherweight 375g, despite packing a 3.5-stop image stabiliser and a modern 'STM' (Stepping Motor) autofocus system with full-time manual override. Autofocusing is silent and works very well for both stills and video shooting, with the latter benefitting from smooth focus transitions. Image quality is good throughout the entire zoom range, improved by a new optical layout with more elements than the preceding version of this lens.

Sigma APO 70-300mm f/4-5.6 DG Macro

It's not just distant objects that this Sigma can get you closer to, as it's also designed for close-up work, with a 95cm minimum focus distance and a 0.5x magnification factor in Macro mode. Other attractions include three SLD (Special Low Dispersion) lens elements to minimise chromatic aberrations, however you don't get optical stabilisation and the internal autofocus motor is fairly basic. There's little to complain about with image quality though, as sharpness is high, whilst distortion and fringing are low. The only noticeable issue is a lack of contrast in images taken under dull lighting, but the rock-bottom price easily compensates.

Sigma 120-300mm f/2.8 DG OS HSM S

It may be last on our list, but that's not because this big beast falls short on image quality. Sharpness is excellent throughout the entire zoom range, even at f/2.8, and impressively for a zoom kens, distortions and fringing are absolutely minimal. Inside is Sigma's dual-mode image stabiliser for static and panning shooting. The lens is even compatible with an optional USB dock which lets you customise focus range limiting, autofocus speed and stabilisation attributes. Bulletproof build and weather seals further help justify the serious price, but they do contribute to the lens' massive 3.39kg bulk, and this can make prolonged handheld shooting a pain.

Like Canon lenses, those designed for Nikons fall into two groups – most are designed for full frame Nikons and will also work on the smaller format APS-C models in the range, from the D500 down. But a few are designed solely for the smaller format, and these have 'DX' in the name.

You can use these DX lenses on a full frame Nikon, but the camera has to switch to a 'DX crop' mode that uses a smaller, APS-C size area of the sensor. This means you lose a lot of the sensor's native resolution, so that a Nikon D810 has 36 million pixels in its regular full frame mode, but this shrinks to just over 15 megapixels in DX crop mode. So although you can use smaller DX lenses on a full frame Nikon, it's a makeshift solution.

Nikon AF-S 70-200mm f/2.8G ED VR II

AF performance is first class and there's a sophisticated VR system which works a treat and features both normal and active modes, plus automatic panning detection. The quality continues on the outside, with a tough, weather-sealed magnesium barrel and wonderfully refined handling. But it's the lens' image quality that ensures it comes out on top. Sharpness and contrast are excellent throughout the zoom range and at differing apertures, whilst the rounded nine-blade diaphragm maintains pleasant bokeh. We loved the older AF-S 70-200mm f/2.8G ED VR II, but this new version is simply stunning. 

Tamron SP 70-200mm f/2.8 Di VC USD

Can't quite stretch to our winner? Tamron's direct rival is very nearly as good, yet noticeably easier on your pocket. Four LD (Low Dispersion) and one XLD (Extra Low Dispersion) elements maximise image quality, as do multi-layer coatings and a nine-blade diaphragm. The magnesium alloy construction feels robust and is fully weather sealed. Extra attractions include a focus limiter switch and impressively fast, near-silent USD autofocus. There's also Tamron's high-performing four-stop Vibration Correction system, which helps ensure terrific sharpness throughout the zoom range, even at maximum aperture. Overall, a really excellent lens at a competitive price.

Sigma APO 7-200mm f/2.8 EX DG OS HSM

Like the second place Tamron SP 70-200mm, this is another lens that's gunning for the winning Nikon optic, but ultimately it loses out to Tamron's superior build quality and weather sealing. Optical performance is almost as strong though, with five Low Dispersion elements and Sigma's Super Multi-Layer Coating to reduce ghosting and flare. It makes for respectable centre sharpness throughout most of the zoom range, but the Tamron lens edges ahead on corner sharpness and handles fringing and distortion marginally better. However, this Sigma still offers outstanding value thanks to its fast, super-smooth autofocus system and four-stop, dual-mode image stabiliser.

Nikon AF-S 70-200mm f/4G ED VR

This lens may be an f-stop slower than our top trio, but that's not necessarily a bad thing. It means it's more compact and lightweight, improving comfort for long periods of handheld shooting. You won't need to worry much about camera shake, either, thanks to a particularly well implemented VR (Vibration Reduction) system that also features automatic panning detection. The lens isn't weather-sealed, but it does at least get a rubber ring on the mounting plate. Three ED (Extra-low Dispersion) elements and one HRI (High Refractive Index) element, along with Nano-Crystal coatings, help deliver very good sharpness and contrast within negligible ghosting and flare.

Nikon AF-S 70-300mm f/4.5-5.6G IF-ED VR

Okay, so it's still not exactly cheap, but this lens does offer top quality build and plenty of high-tech finery for a relatively modest outlay. The ring-type ultrasonic autofocus system is super-fast, practically silent and comes complete with full-time manual override. You also get an impressive four-stop VR system with an Active setting designed for use when shooting from a vibrating platform like a car or helicopter. Focusing is fully internal, so the front element neither moves nor rotates during focusing. It all topped off with pin-sharp image quality and excellent contrast courtesy of two ED elements which also keep colour fringing to a minimum.

Tamron SP 70-300mm f/4-5.6 Di VC USD

Nikon's 70-300mm optic packs unbeatable punch for the money, but this Tamron alternative is almost as good thanks to its high-end feature set, quality optics and solid build. There's an impressive ring-type autofocus motor which is fast and whisper quiet, as well as an advanced four-stop VC (Vibration Compensation) system that's a match for Canon's latest IS offerings. At 765g, it's quite chunky and weighty for this class of lens, but feels solid with refined handling. Image quality doesn't disappoint either, as sharpness and contrast are very good throughout the zoom range. Colour fringing is also well controlled, even into the corners of images.

Nikon AF-S DX 55-300mm f/4.5-5.6G ED VR

Despite being the cheapest Nikon lens in our shortlist, it still sports Nikon's latest-generation Vibration Reduction system which gives a four-stop advantage in avoiding camera shake. There is some evidence of cost-cutting though, like the conventional autofocus motor that lacks the full-time manual override facility of ring-type ultrasonic systems. Even so, handling feels assured and, despite this being a budget lens, it still feels reassuringly robust. Image equality is another pleasant surprise, with very good sharpness throughout the zoom range and low levels of colour fringing. Our only slight criticism is the fairly large zoom range does seem to push distortions up a bit.

Sigma APO 70-300mm f/4-5.6 DG Macro

It's not just distant objects that this Sigma can get you closer to, as it's also designed for close-up work, with a 95cm minimum focus distance and a 0.5x magnification factor in Macro mode. Other attractions include three SLD (Special Low Dispersion) lens elements to minimise chromatic aberrations, however you don't get optical stabilisation and the internal autofocus motor is fairly basic. There's little to complain about with image quality though, as sharpness is high, whilst distortion and fringing are low. The only noticeable issue is a lack of contrast in images taken under dull lighting, but the rock-bottom price easily compensates.

Nikon is the latest manufacturer to jump on the stepping motor bandwagon: it’s used for autofocus in this AF-P (Pulse) lens. It’s available with or without VR (Vibration Reduction); the edition without stabilisation is a little cheaper to buy. Both are fully compatible with D3300/D3400, D5300/D5500/D5600 and D500 bodies, but completely incompatible with many older Nikon cameras like the D7000, where autofocus and even manual focusing are unavailable. If you want to switch off VR, it relies on a camera menu to disable this, though it can’t be done in some ‘compatible’ Nikon cameras, even after a firmware update. In our tests, the non-VR version of the lens proved slightly sharper than the VR edition. However, the four-stop stabiliser is particularly effective in hand-held shooting, with the VR lens yielding more consistently sharp images.

Posted: November 17, 2017, 3:06 pm
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Major Camera Manufacturer’s News

pentax camera - Google News

Google News


imaging resource

Pentax 645Z sensor reviewed at DxOMark: Three years old and still delivering fantastic performance
imaging resource
To see the full test results, head over to DxOMark's Pentax 645Z Review. For more information on the Pentax camera, read our Pentax 645Z Review. Hopefully DxOMark tests the Fujifilm GFX 50S soon so we can see how that camera's sensor performance ...

Posted: November 16, 2017, 4:41 pm

Times LIVE

Be brave: It's time to stand up to entities more powerful than you
Times LIVE
In March 1975 Hampo, a Premier Milling subsidiary that had the Pentax camera agency in South Africa, was fined the princely sum of R300 for fixing the price of Pentax accessories — 150 items ranging from lenses to flash guns and binoculars.

Posted: November 13, 2017, 3:02 am

imaging resource

Firmware Friday: Canon 6D II, Cinema EOS C200, Pentax K-1 and Fujifilm XP120 all get updates
imaging resource
Our Firmware Friday roundup this week includes five cameras from three manufacturers, four of them interchangeable-lens types. From Canon, we have the EOS 6D Mark II updated alongside the Cinema EOS C200 and C200B. Pentax, meanwhile, has an ...

Posted: November 11, 2017, 1:05 am

Pentax K-1 firmware update corrects stability issue in movie mode
Camera Jabber (press release) (blog)
Ricoh has announced a new firmware update for its full-frame Pentax K-1 that corrects a stability issue reported by users. Firmware version 1.43 resolves what Pentax says is an unstable performance that some users reported occurring occasionally in the ...

Posted: November 10, 2017, 4:01 am

imaging resource

Ricoh Pentax updates K-mount lens roadmap, what's coming next for Pentax camera owners?
imaging resource
It seems like we haven't heard a lot about new Pentax K-mount lenses lately, but Ricoh has updated their K-mount lens roadmaps for their general K-mount lineup and also their full-frame lineup. Pentax APS-C camera owners have a new HD Pentax-DA ...

Posted: October 27, 2017, 3:33 pm

PR Newswire (press release)

Ricoh Announces Next-Generation, High-Performance PENTAX ...
PR Newswire (press release)
NEW YORK, Oct. 26, 2017 /PRNewswire/ -- Photo Plus Expo 2017 - Booth #845 -- Ricoh Imaging Americas Corporation today announced a new generation of ...
Ricoh shoots for the stars with new high-end Star series lens lineDigital Trends
Ricoh launches HD PENTAX-D FA 50mm f/1.4 SDM AW, 11-18mm f/2.8 lensesCamera Jabber (press release) (blog)

all 5 news articles »
Posted: October 26, 2017, 2:03 pm

canon cameras - Google News

Google News


3D Insider

Canon Camera Black Friday Deals Released
3D Insider
Beginners and advanced photographers alike are likely to be thrilled with this year's Black Friday deals on Canon cameras. Various stores have started to roll out their deals for the upcoming Black Friday, which includes both DSLR and point-and-shoot ...

Posted: November 17, 2017, 9:33 pm

CNET

The 10 best Black Friday camera deals we've found so far
CNET
Though several generations old and not the fastest camera, the Sony Alpha ILCE-7, aka the A7, is a full-frame model for less than $1,000. Plus, it's far more compact than Nikon and Canon's newer and a lot more expensive dSLR versions. You'll also want ...

Posted: November 17, 2017, 7:09 pm

International Business Times

Black Friday Camera Deals, Bundles At Amazon, Best Buy, Target, Walmart
International Business Times
Sony - Alpha α6300 Mirrorless Camera, $999.99, save $380. Comes with 16-50mm and 55-210mm lenses, a free 32GB memory card, 24.2-megapixel Exmor CMOS sensor, built-in Wi-Fi and records movies in 4K HD. Canon EOS Rebel T6i DSLR Camera, ...
Best camera deals UK: Top camera deals ahead of Black Friday 2017 from compact to DSLR and even 360Expert Reviews

all 2 news articles »
Posted: November 17, 2017, 1:30 pm

The Verge

Canon finally made a retro mirrorless camera... flash drive
The Verge
Canon may be the leader in DSLRs, but it's dearly behind Sony and Fuji when it comes to small, portable, and exciting mirrorless cameras. For years, all we've wanted is for Canon to mine its heritage for a cool, retro design and offer a compact ...
Canon retro rangefinder camera revived as an 8GB flash driveSlashGear

all 2 news articles »
Posted: November 16, 2017, 9:54 pm

Digital Trends

Canon EOS 77D review
Digital Trends
Based on our experience and long-term testing with these cameras, we were confident this new midrange DSLR would at least be a capable machine, and that's what we found in our Canon EOS 77D review. But does Canon really need this in its lineup?

and more »
Posted: November 13, 2017, 6:57 pm

The Verge

Sony's new A7R III is a direct shot at Canon's full-frame throne
The Verge
Sony surprised the camera world this morning when it finally announced the new Sony A7R III, the long-rumored third iteration of one of the company's best digital mirrorless cameras. It ships in November, and will retail for $3,200, according to Sony ...
Comparing the Sony A7R III vs the Nikon D850, Canon 5D Mark IV & Fuji GFXimaging resource
α7R III with 35 mm full-frame image sensor | ILCE-7RM3 | Sony USSony

all 74 news articles »
Posted: October 25, 2017, 4:21 pm

Samsung cameras - Google News

Google News


gizmochina (blog)

Samsung W2018 Flip Phone Will Launch December 1, Camera To Have F/1.5 Aperture
gizmochina (blog)
Although the Samsung W2018 won't sport dual rear cameras, rumor has it that it will be the first smartphone to have a camera with a F/1.5 aperture. The rear camera is said to be a 12MP sensor and a 5MP front-facing camera is available for selfies. From ...

Posted: November 17, 2017, 7:14 pm

TmoNews

Samsung Galaxy S8 Active, LG V30+, and T-Mobile Revvl Plus launch at T-Mo today
TmoNews
The LG V30+ is largely similar to the LG V30 that launched earlier this year, offering specs like a 6-inch 2880×1440 display, 16MP standard rear camera with f/1.6 aperture and 13MP wide angle camera with f/1.9 aperture, Snapdragon 835, and 4GB of RAM.

and more »
Posted: November 17, 2017, 6:34 pm

BGR India

Galaxy S9 Could Get Three Models, Big Camera Upgrade
Tom's Guide
The feature, which is typically found in digital-SLRs exclusively, reduces glare and reflections on the camera lens to create better-looking images. The move appears to be part of a broader effort by Samsung to make one of the most powerful and capable ...
Samsung Galaxy S9 to feature anti-glare cameras, Bluetooth AKG headset: ReportBGR India
Samsung Flip Phone Leaked On A Social Media SiteValueWalk
Phone Comparisons: Samsung Galaxy Note 8 vs LG G6Android Headlines
3G.co.uk -SlashGear -International Business Times, India Edition
all 207 news articles »
Posted: November 17, 2017, 2:00 pm

WTOP

Comparison: Google Pixel 2 XL vs. Samsung S8+
WTOP
16, 2017, photo, shows a Samsung Galaxy Note 8 on display, in New York. Samsung is trying to move past last year's explosive Galaxy Note 7 launch with a successor sporting a dual-lens camera, animated messages, expanded note-taking and lower battery ...
How the Google Pixel 2 XL compares to the Samsung Galaxy S8+ smartphoneAZCentral.com
Google Pixel 2 XL Review: Making the best camera phone better in every wayInternational Business Times, India Edition

all 123 news articles »
Posted: November 17, 2017, 3:39 am

Forbes

Yi 360 Is A Xiaomi-Backed 360 Camera That Can Shoot In 5.7K Resolution
Forbes
The biggest selling point of the Yi 360 VR Camera is that it's priced at the consumer price point ($399) but has specs better than consumer grade: while most 360 cameras in this price range, including Samsung's Gear 360, can only shoot in 4k resolution ...

and more »
Posted: November 17, 2017, 3:35 am

The Verge

OnePlus 5T announced with bigger screen, new camera system, and a headphone jack
The Verge
The Samsung-made display also impressed me. Having suffered through the tribulations of LG's OLED screens on the V30 and Pixel 2 XL, I was delighted to hear OnePlus had secured some of Samsung's superior panels for its new device. I like the color ...
How the OnePlus 5T Stacks Up to Its Smartphone CompetitionLifehacker
OnePlus 5T hands-on: Love the screen, good cameras so farCNET
The OnePlus 5T is here with a larger screen and even better dual camerasMashable
TrustedReviews -USA TODAY -TNW
all 444 news articles »
Posted: November 16, 2017, 5:08 pm

Fuji cameras - Google News

Google News


Digital Trends

Fujifilm X-E3 review
Digital Trends
Fujifilm's X-E-series cameras have always been the affordable alternatives to the flagship X-Pro models, and with the new X-E3, we finally have a proper sidekick to the X-Pro2. The $899 rangefinder-style camera is actually the fourth in the series ...

Posted: November 17, 2017, 10:49 pm

The Verge

Canon finally made a retro mirrorless camera... flash drive
The Verge
Canon may be the leader in DSLRs, but it's dearly behind Sony and Fuji when it comes to small, portable, and exciting mirrorless cameras. For years, all we've wanted is for Canon to mine its heritage for a cool, retro design and offer a compact ...

and more »
Posted: November 16, 2017, 9:54 pm

Sports Video Group

NBC Sports Confident With SkyCam as Primary Game Camera for TNF
Sports Video Group
From a tech standpoint, each SkyCam WildCat system is equipped with Sony P1 camera and Fuji 18X5.5 zoom lens, and NBC Sports has worked with SkyCam and SMT to integrate SMT's 1st & Ten line into the SkyCam angle that viewers will see. Behind the ...

and more »
Posted: November 16, 2017, 8:02 pm

Ubergizmo

Possible Schematics Of The Fujifilm X-A5 Revealed
Ubergizmo
Last year Fujifilm announced two new flagship mirrorless cameras that are top of the range as far as the company's X-series of cameras are concerned. This included the X-Pro2 and the X-T2. Both cameras have since receive some high praise, but ...

Posted: November 16, 2017, 11:15 am

Independent.ie

Tech Review: Canon's EOS M6 mirrorless camera is a good all-rounder but lacks the pizazz of rivals
Independent.ie
This is what Fuji, Panasonic, Olympus and Sony mirrorless cameras offer: all have an excellent lense range for their small mirrorless models. There is one other compromise that the EOS M6 makes, which is that it has no viewfinder. People who are used ...

Posted: November 16, 2017, 2:32 am

Camera Jabber (press release) (blog)

Is Fujifilm soon to announce three new cameras?
Camera Jabber (press release) (blog)
Fujifilm could be set to announce three new cameras, according to recently filed registration records. The Japanese blog Nokoshita, which typically scans such agencies for new filings, found three new camera registrations from Fujifilm in Asia. No ...

Posted: November 12, 2017, 8:04 am

Panasonic cameras - Google News

Google News


The Indian Express

Panasonic
NDTV
The Panasonic P91 is powered by 1.1GHz quad-core MediaTek MT6737M processor and it comes with 1GB of RAM. The phone packs 16GB of internal storage that can be expanded up to 128GB via a microSD card. As far as the cameras are concerned, the ...
Panasonic P91 launched priced at Rs 6,490; from features to specs ...Financial Express
Panasonic: News, Photos, Latest News Headlines about Panasonic - The Indian ExpressThe Indian Express
Smartphone: Latest News, Videos, Slideshows & Photos | Gadgets NowGadgets Now

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Posted: November 16, 2017, 8:30 am

IllinoisHomePage.net

Businessman gets companies to donate cameras
IllinoisHomePage.net
"Really, in my time with the company, we haven't." But, after a school shooting at Mattoon High School, Razberi Technologies and Panasonic are giving the school cameras and storage. Regional Panasonic rep Wendy Stemic says asking her bosses for the ...

Posted: November 15, 2017, 4:54 pm

4k

Panasonic's New Lumix G9 4K Camera Offers 80MP Photos & Is An Absolute Beast
4k
Panasonic has just introduced the new Lumix G9, their latest flagship model that boasts a combination of speed, extremely high-resolution pictures and durability. The Lumix G9 camera provides photographers with the ultimate combination of image quality ...
Panasonic's Lumix G9 packs big images into a smaller bodyPickr (blog)

all 5 news articles »
Posted: November 14, 2017, 8:36 am

Forbes

Panasonic's New Lumix G9 Super-Fast Wildlife-Friendly Camera: Hands-On Review
Forbes
When Compact System Cameras, also known as mirrorless because they replaced the mirror prism that give Single Lens Reflex cameras their name with an electronic viewfinder, the new system was regarded as an inferior upstart. The CSC was smaller and ...

Posted: November 12, 2017, 11:30 pm

HuffPost

Panasonic Lumix G9 Announced | A High End Stills Camera
HuffPost
Panasonic just announced the Lumix G9, an entirely new micro four thirds camera aimed at high end photographers. While it shares quite a bit in common with the Panasonic GH5, the G9 brings some new features, some very similar to the Sony A9, for what ...
Panasonic Lumix G9 hands-on review: A blisteringly fast camera packed with advanced featuresThe Independent
Panasonic's Lumix G9 is a promising Sony lookalikeThe Verge
iPhone X 4K Video Tested Against the Panasonic GH5Fstoppers
TechRadar -CNET -9to5Mac -YouTube
all 88 news articles »
Posted: November 9, 2017, 4:31 pm

PetaPixel (blog)

Panasonic Unveils the Leica DG Elmarit 200mm f/2.8 Power OIS
PetaPixel (blog)
The system can work hand-in-hand with the 6.5-stop in-body stabilization in Panasonic's Lumix mirrorless cameras as part of a Dual I.S. system. Specs of the lens include 15 elements in 13 groups, a triple linear motor with a 240fps sensor drive, and a ...

and more »
Posted: November 8, 2017, 7:22 pm

Sony cameras - Google News

Google News


Sony RX0 review
Camera Jabber (press release) (blog)
Sony has been a dominant force in the broadcast industry for decades, and when it joined the digital imaging market the company carried on its tradition of innovation. The Sony Alpha 7S was the first camera from Sony to really blend the worlds of ...

Posted: November 17, 2017, 9:43 pm

CNET

The 10 best Black Friday camera deals we've found so far
CNET
This is Sony's seasonal price for the camera, and it's a pretty sweet deal. Though several generations old and not the fastest camera, the Sony Alpha ILCE-7, aka the A7, is a full-frame model for less than $1,000. Plus, it's far more compact than Nikon ...

Posted: November 17, 2017, 7:09 pm

Fstoppers

Sony Releases Imaging Edge: Software to Support Sophisticated Creative Work
Fstoppers
You can check Sony's list of supported devices to see if your camera will work with any or all of the programs that come in the software suite. Right now, the only Sony camera that supports all elements of this technology is the Sony a7R III as noted ...

Posted: November 17, 2017, 12:25 am

SlashGear

Sony H3213 “Avenger” spotted on GFXbench with dual cameras
SlashGear
Despite the strong trend of smartphones with dual cameras, there are still some major OEMs that refuse to give into the hype, including Google, HTC, and Sony. That, however, might soon be changing, with HTC practically teasing its return to dual ...
Sony H3213 Avenger appears in benchmark with dual selfie camerasPhone Arena
Sony H3213 Avenger Benchmarked With Dual Front CamerasAndroid Headlines
Mysterious Sony smartphone spotted on GFXBench with dual front-facing camerasFirstpost
Deccan Chronicle -Digit -Android Authority (blog) -GFXBench
all 24 news articles »
Posted: November 15, 2017, 9:17 am

TechRadar

Sony Australia's new Xmas promo offers $500 gift cards with its best camera gear
TechRadar
It's sale season, with Black Friday and Cyber Monday just around the corner – a great time to get your Christmas shopping done. Sony Australia, however, is not waiting for those big sales to come round and has already launched its Christmas campaign.

and more »
Posted: November 15, 2017, 1:10 am

PetaPixel (blog)

Sony a7R III: The Star Eater is No More
PetaPixel (blog)
Sony's latest mirrorless cameras have incredible specs and glowing reviews, but astrophotographers have been complaining about a “star eater” issue in which stars are mistaken for noise and removed from long exposure photos. There's some good news, ...
Sony A7R III Full-Frame Mirrorless Camera Launched in India: Price ...NDTV

all 9 news articles »
Posted: November 14, 2017, 7:19 pm

nikon camera - Google News

Google News


Best Nikon Black Friday & Cyber Monday Deals for 2017: Black Friday Dealer Publishes List of Top Deals
GlobeNewswire (press release)
Nikon manufacture a range of popular DSLR cameras and compact digital cameras. Their entry level Nikon D3400 is an update to the popular Nikon D3300 and is noted for its ease of use. With a 24.2MP CMOS sensor, 1080p video capability and a fixed 3" ...

and more »
Posted: November 17, 2017, 10:03 pm

CNET

The 10 best Black Friday camera deals we've found so far
CNET
This is Sony's seasonal price for the camera, and it's a pretty sweet deal. Though several generations old and not the fastest camera, the Sony Alpha ILCE-7, aka the A7, is a full-frame model for less than $1,000. Plus, it's far more compact than Nikon ...

Posted: November 17, 2017, 7:09 pm

Digital Trends

29-year company vet takes the reins as Nikon Inc.'s Americas region president
Digital Trends
Nikon says the president and CEO is responsible for leading efforts in marketing, customer satisfaction and product development for the region. The global company is currently restructuring to create a more stable organization as camera sale trends ...

Posted: November 16, 2017, 8:58 pm

PetaPixel (blog)

10 Nikon D5 Cameras Just Arrived on the ISS - PetaPixel
PetaPixel (blog)
Earlier this year, NASA ordered 53 unmodified Nikon D5 DSLR cameras. Now, 10 of them have just landed at the International Space Station as part of the OA-8 ...
NASA Launches Ten Unmodified Nikon D5 Cameras to Resupply ...Fstoppers
10 Nikon D5 cameras to reach International Space Station today ...Camera Jabber (press release) (blog)
Nikon D5 takes its first journey into space: First of the 53 D5 cameras ...imaging resource

all 4 news articles »
Posted: November 14, 2017, 10:26 pm

imaging resource

Fashionable film: Stylish Elbaflex Nikon-mount 35mm analog SLR ...
imaging resource
If you have any old Nikon-mount film lenses you'd like to get more use out of, a new Kickstarter campaign from Ihagee may well be of interest. The German and ...
Ihagee Elbaflex is a New Nikon F Mount Film Camera ...PhotographyBLOG (blog)

all 3 news articles »
Posted: November 14, 2017, 8:04 pm

Nikkei Asian Review

Nikon Coolpix W300 Review: Best Deep-Diving Waterproof Camera
Tom's Guide
Nikon's waterproof camera can dive as deep as 100 feet, twice as far as the competition.
Nikon exits Brazil as digital camera cutbacks continue- Nikkei Asian ...Nikkei Asian Review

all 3 news articles »
Posted: November 6, 2017, 8:56 pm
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Darren Miles: My Top 5 Favorite Photography Related Websites

 

By: Darren Miles

http://www.DarrenMiles.com – Southwest Florida – Bonita Springs based, Family, Portrait, Wedding and Real Estate Photographer.

Links to the websites mentioned here:

www.PhotographyBlog.com

www,PetaPixel.com

www.Strobist.com

www.ThePhoblographer.com

www.FredMiranda.com

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Fuji film Camera News

Fuji cameras - Google News

Google News


Digital Trends

Fujifilm X-E3 review
Digital Trends
Fujifilm's X-E-series cameras have always been the affordable alternatives to the flagship X-Pro models, and with the new X-E3, we finally have a proper sidekick to the X-Pro2. The $899 rangefinder-style camera is actually the fourth in the series ...

Posted: November 17, 2017, 10:49 pm

The Verge

Canon finally made a retro mirrorless camera... flash drive
The Verge
Canon may be the leader in DSLRs, but it's dearly behind Sony and Fuji when it comes to small, portable, and exciting mirrorless cameras. For years, all we've wanted is for Canon to mine its heritage for a cool, retro design and offer a compact ...

and more »
Posted: November 16, 2017, 9:54 pm

Sports Video Group

NBC Sports Confident With SkyCam as Primary Game Camera for TNF
Sports Video Group
From a tech standpoint, each SkyCam WildCat system is equipped with Sony P1 camera and Fuji 18X5.5 zoom lens, and NBC Sports has worked with SkyCam and SMT to integrate SMT's 1st & Ten line into the SkyCam angle that viewers will see. Behind the ...

and more »
Posted: November 16, 2017, 8:02 pm

Ubergizmo

Possible Schematics Of The Fujifilm X-A5 Revealed
Ubergizmo
Last year Fujifilm announced two new flagship mirrorless cameras that are top of the range as far as the company's X-series of cameras are concerned. This included the X-Pro2 and the X-T2. Both cameras have since receive some high praise, but ...

Posted: November 16, 2017, 11:15 am

Independent.ie

Tech Review: Canon's EOS M6 mirrorless camera is a good all-rounder but lacks the pizazz of rivals
Independent.ie
This is what Fuji, Panasonic, Olympus and Sony mirrorless cameras offer: all have an excellent lense range for their small mirrorless models. There is one other compromise that the EOS M6 makes, which is that it has no viewfinder. People who are used ...

Posted: November 16, 2017, 2:32 am

Camera Jabber (press release) (blog)

Is Fujifilm soon to announce three new cameras?
Camera Jabber (press release) (blog)
Fujifilm could be set to announce three new cameras, according to recently filed registration records. The Japanese blog Nokoshita, which typically scans such agencies for new filings, found three new camera registrations from Fujifilm in Asia. No ...

Posted: November 12, 2017, 8:04 am

Ubergizmo

Fujifilm Thinks The 1-inch Sensor Camera Market Is 'Overcrowded'
Ubergizmo
Thanks to technology we've seen how companies like Sony have managed to take 1-inch sensors and cram them into compact camera bodies, which we suppose in a way sparked a race and revolution as more companies started to do it too. Unfortunately for ...

Posted: November 8, 2017, 10:39 am

PDN Online

Camera Review: Fujifilm X-T20 Mirrorless Camera
PDN Online
The X-T20 is an example of what Fuji does best. It's a sharply styled, functional and high-quality mirrorless camera. But the competition at the $900 range is intense, with equally solid mirrorless rivals in the Sony a6300, Olympus E-M5 Mark II and ...

Posted: November 7, 2017, 4:57 pm

LetsGoDigital

New Fujifilm camera registered for Bluetooth certification
LetsGoDigital
The Fujifilm camera registered for Bluetooth certification has model number FF170003. This is remarkable, as two other model numbers have already been found in the past few months. In August Fujifilm registered the FF170011 with Bluetooth and last ...

Posted: November 2, 2017, 9:10 pm
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