The Canon PowerShot S90 was singing to us as soon as it was announced and from our first hands-on with the high-end compact, it was clear that there was something special going on. Having lived with the S90 for a couple of weeks, that special impression is still with us - it's a magnificent compact camera.

It doesn't quite come in as small as some of the other compacts on the market, with dimensions of 100 x 58.4 x 30.9mm, but it is still small enough to slip into the pocket of your jeans. The simple all-black livery brings to mind Leica and Ricoh models and of course the Panasonic Lumix LX3, giving the impression of a compact that is packed full of power.

The most distinctive feature of the S90 is the front-mounted Control Ring, which accounts for some of the depth. The Control Ring gets a corresponding button on the top plate named (rather amusingly) Ring Func, which gives you an extra control option, more on which later. On the side you have AV and (mini) HDMI connections.

Across the top plate you get the power button and the shutter release, ringed by the zoom controls, as normal. There is also the mode dial, letting you switch around from Auto, through Program, Shutter Priority, Aperture Priority, Manual and Custom (user defined) modes. The same dial continues to give you access to the Scene presets as well as a separate Low Light shooting mode and finally video.

Splitting out Low Light accepts that hunting through the preset Scenes isn't always the first thing on your mind, so is a real convenience for those less familiar with the advanced features on offer. By contrast, the additional Custom setting (and shortcut button on the back) means you can set it up for certain styles of shot or shooting conditions that you often encounter, something that will appeal to enthusiasts.

The back offers the normal direct controls over the likes of the flash and engaging the macro setting, but also delivers another surprise. The normal four-way controller (with central ok/Set button) is again ringed with a ridged scroll wheel. This offers direct control over exposure compensation in most shooting modes, another little touch that makes you feel a bit more in control of proceedings.

The Shortcut button on the rear can be set to toggle a number of useful features (face select, ISO, metering, white balance, custom white balance, servo AF, digital tele-converter, red-eye correction, i-Contrast, AE lock, AF lock, display off). Some of these functions are easily accessed elsewhere, but things like the i-Contrast toggle is well hidden in the menus. It's a useful addition with the likes of AF lock expanding your creative options.

The 3-inch LCD display on the back gives you 461k-dots, something of a bump over many rivals. The result is that image previews look spectacular on the display and given the control options this camera gives you, that's a good thing. Not only does the screen deliver, but the image playback is really slick, especially as you scroll through images using that ridged scroll wheel.

Sitting at the core of the S90 is a 10-megapixel CCD, backed by Canon's DIGIC 4 processor. It's commendable that Canon haven't just bumped up the pixels on the sensor – 10 megapixels is plenty for a compact and it means things run along at a fair lick, without giving you those huge image files blighted by noise.

Lets talk about that Control Ring. In Auto, you could almost forget it is there, as it gives you focal length setting, duplicating the zoom toggle around the shutter button. But flip into a more advanced shooting mode and it really comes into its own.

In aperture priority mode, for example, the Control Ring will allow you to change the F setting, supported by feedback on the screen. The neat thing is that as you change the focal length, the scale greys out over that part of the aperture range you can't use. This is a great visual reminder that the widest angle offers the largest aperture and draws you into experiment – recompose your shot to use the hardware to best advantage.

The Ring Func button, means that you can change the function of the Control Ring too, using the ridged scroll wheel on the back as a double act. Switch the Control Ring to change the ISO level and the scroll wheel will take over AV function. This sort of creative control really opens up the options the camera gives you and before long you'll be trying things you perhaps wouldn't normally. For enthusiasts it means it is really easy to get to settings and change them as you are shooting; for newcomers it means you can really experiment and any camera that encourages you to do that should be commended.

The same things applies to the shutter speed selection. Too many compact cameras will have you diving into a menu, moving it up and down. Here you can make changes on the fly, making the S90 a powerful compact from a creative point of view.

The flash hides in the body and powers out of the top of the camera when you need it. It has that "premium" look and feel to it, but you do need to make sure you're not gripping the camera at that point when it wants to deploy. We can envisage some will always get in a muddle with this.

If there was another minor design criticism, and we'll repeat minor, it's that we were forever pressing the mode dial over the shutter button in those fleeting point-and-shoot moments. Sure, part of it is a familiarity issue, but we’d have liked a touch more prominence on the shooting button.

The menus are typical of Canon compacts, giving you a main menu and quick access function settings, so you can dive in and change the options available to your shooting mode.

The 3.8x zoom lens gives you a 28-105mm (35mm equiv) range, with F/2.0 at the widest aperture, making this a better performer in lower light than some rivals. There is fairly severe barrel distortion at the wide angle of the lens, although this is effectively corrected by software in the camera. If shooting RAW then you'll have to allow for it and be prepared to change the focal length and recompose your picture, or use it to artistic effect.

The ISO range runs from 80 to 3200. Shadow noise creeps in around ISO 800 and above. Some pictures at ISO 2000 were acceptable however; at ISO 3200 things do look rather mottled, but if you only need a 6 x 4 print or a candid website shot, it should work out fine, which is impressive performance. It's worth acknowledging that the manual controls do at least mean you have other options besides turning up the ISO.

You get RAW shooting, something that enthusiasts will appreciate, where you'll be able to work out more detail if you are that way inclined.

Colour representation is good, if a little flat at times, but reds will sometimes come out a touch over-saturated, we like the punch that this brings so it isn't always a negative. High contrast scenes bring some purple fringing to edges, but this is relatively well controlled.

Shutter lag wasn't a noticeable problem, nor buffering. Start-up to first shot was around 3 seconds. Focusing was generally solid, but once a subject gets close, you'll have to deploy Macro, listed as working down to 5cm. If shooting in the Auto mode, the S90 identifies the scene and selects a setting, although it does tend to flip back and forth, so if you are set on using scenes, then you might want to set them manually. Some work nicely, like the fireworks setting, for example.

Autobracketing is offered, ideal for those who want to indulge in a touch of HDR photography with some post-processing, as well as continuous shooting, but only at around one frame a second. Focusing is limited to centre or face focus through the menus, and the AF lock is a little clunky, not offering a visual indicator of the focal point on the screen, so after the heady highs of getting really stuck into the creative options of offer here, you come down with a gentle bump. But the biggest bump is reserved for those interested in shooting video.

The S90 shoots video at VGA resolution, 640 x 480, which comes as something of a surprise in a camera pitching at this level. Canon explained this away as a pricing issue. However, the results are rather good. It doesn't compete with 720 or Full HD rivals, but there is VGA video capture from devices that is much worse. It holds a nice solid 30fps, so is good enough for passing video clips.

Video does get digital zoom, so best avoided, and the creative controls on offer elsewhere in the camera don't come into play here.

The battery will give you somewhere around 200 shots, which is fairly average performance for this type of camera. To prolong the battery you can turn down the screen brightness and turn off the screen without shutting the camera down, so you are ready to jump into shooting in an instant.

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Verdict:

The Canon PowerShot S90 brings some powerful creative controls in a package that fits right into your pocket. But it is a compact camera first, and as such, delivers impressive point and shoot performance. For those looking for a little more fun, then the S90 delivers it by the bucket load.

It isn't alone in this regard, with Canon taking some of the lessons from the popular G10 and giving you a tighter pocket-friendly (if not wallet-friendly) package. It joins cameras like the Panasonic Lumix LX3 which still stands as perhaps its biggest rival and on paper, perhaps the more attractive package.

But in the hand the S90 is an absolute delight, with the Control Ring flirting with the playful side of photography, putting controls literally at your fingertips. Yes, it costs a lot for a compact, but it really puts power in your pocket.

Tags: Cameras Compact cameras Digital cameras 10 megapixels Canon Canon Powershot S90

Canon PowerShot S90 digital camera originally appeared on http://www.pocket-lint.com on Tue, 17 Nov 2009 09:48:52 +0000

When we first heard what Ricoh was planning with the GXR we had to stifle a giggle. One of the things we like about using a DSLR is swapping components around to best suit your environment, but the idea of sliding off the front of the camera seemed a little odd to us.

But the Ricoh GXR system gives enthusiast photographers a degree of control over components that is missing from compact cameras. High-end compact units such as the Canon PowerShot G11 will let you add a flash, but you are restrained by the focal length on offer.

The Ricoh GXR goes up against Micro Four Thirds more directly, hitting not only a similar price point, but offering a similar principle of interchangeable lenses. The first Micro Four Thirds models we saw – the Panasonic Lumix G1 and GH1 – sit in a slightly different category with their mini DSLR appearance. But the recent Lumix GF1 and Olympus Pen models both compete in this compact enthusiast area.

Micro Four Thirds has a distinct advantage over the GXR, in that it uses a fairly conventional lens connection system, so you aren't depending on Panasonic or Olympus to launch a whole new range of lenses, as an adapter ring will give you access to existing system lenses.

One thing that Ricoh has in its corner is an existing range of compact cameras that reside in the higher end, so the GXR is likely to appeal to those who want a little more flexibility, but don't want the burden of a full DSLR rig.

The body of the camera measures 113.9 x 70.2 x 28.9mm excluding any protrusions. It won't compete in the pocketable stakes alongside many compact digital cameras, but it comes in smaller than the Micro Four Thirds options out there. The body, in effect, is the power and control for the camera.

Around the back is a 3-inch 920k-dot LCD display with the controls sitting to the right-hand side and across the top. At first glance it resembles Ricoh's GR models. The main controls fall under the right thumb without too many problems, although there isn't a great deal of space for your thumb to lie.

The grip is a decent size, however, and the first observation would be that depending on what lens you put on the front (and whether you add any accessories, such as a wide angle converter), the extent of your grip will change as the balance of the camera shifts.

So on to those lens units. On the front of the camera you'll find a release catch which will allow you to disengage the lens unit. It slides away easily, but the catch is plenty secure. When in place, there's no rattle or movement – it feels like a complete one-piece camera. Aligning a new lens unit for the first time takes a few goes, but once you have the action, you can switch lens in a matter of seconds. The tracks on the back stop you from getting it wrong, so it is relatively simple.

The electronic viewfinder is excellent quality, as we've seen previously from the likes of the Panasonic GH1. We still prefer using an optical viewfinder, but the high-resolution 920k-dot EVF does give a 100% field of view. It is also vari-angle, so you can tilt it up to make those low-angle shots easier to compose. It's a shame it costs ?219 on top of the camera price.

One of the big elements that Ricoh is pushing with the GXR is its simple Direct menu, which gives you easy access to your most often used controls. Main shooting modes are controlled through the Mode dial on the top, however it doesn't have a movie mode on it, despite the camera offering movie recording (at variable quality depending on the attached lens).

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Verdict:

We didn't have long with the camera, and Ricoh wouldn’t let us take it out of the briefing room, so we weren't really able to give it a thorough testing. However they were happy for us to take away the memory card with a few test shots, as long as we declared that the software wasn't final, so there will be tweaks before the camera comes to market.

The Ricoh GXR seemed easy enough to use, however the focusing did seem a little slow in our tests with the 24-72mm lens. The camera is happy enough to snap away indoors without resorting to the flash, with acceptable results in Auto mode in the few test shoots we took. We've included a test shot below shot using the teleconversion kit and hood, handheld at F/2.5, 1/30sec exposure, ISO 400 and there seems to be a good deal of punch to blues on the bottles, and sharp reflection detail.

We'll have to wait until we get our hands on the Ricoh GXR to evaluate the true performance and image quality in a full review. From what we've seen from our initial hands-on, however, the idea of changing lens units no longer seems so laughable.

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Related links:

• Photos - Ricoh GXR hands-on
• News - Ricoh GXR interchangeable unit camera system launches
• News - Understanding the Ricoh GXR

Tags: Cameras Compact cameras Digital cameras Ricoh Ricoh GXR

Ricoh GXR digital camera - First Look originally appeared on http://www.pocket-lint.com on Tue, 10 Nov 2009 06:00:00 +0000

Panasonic’s first two Micro Four Thirds system cameras – last year’s G1 and this spring’s GH1, which added high-def video – based their designs on that of traditional digital SLRs. Even though technically they weren’t, having junked the integral mirror box mechanism in order to bring lens and sensor closer together.

In theory this promised more diminutive camera bodies and lenses, yet in practice neither G1 nor GH1 are much smaller than the latest entry-level DSLRs based around regular APS-C sized sensors.

But that aspect is about to change. As the advertising blurb runs, the new Micro Four Thirds Panasonic Lumix DMC-GF1 is like a DSLR – in that lenses can be changed and image quality is a step up from a bridge camera – only smaller.

Its styling is closer to a compact camera, albeit one that will be a snug fit for even the deep pocket of an overcoat; the busy top plate control layout recalling the look of a high-end rangefinder camera. It is the manufacturer’s answer to, and direct rival of, Olympus’ E-P1, otherwise known as the Pen.

While that camera’s hybrid nature was deemed revolutionary on release, it omitted a couple of fairly crucial features for the photo enthusiast – especially one spending ?600 on a body without lens.

Fortunately the similarly solidly built (but fractionally lighter) GF1 has shoehorned in one of its rival’s omissions – a flash of the pop-up variety to maintain the Lumix’s boxy lines – whilst, doubtless partly due again to size, still failing to deliver an optical viewfinder.

However it does offer an electronic viewfinder (EVF) like those incorporated on the G1 and GH1, as an optional extra that clips onto the vacant top plate hotshoe. This costs around ?160, compared to ?100 for an optional optical viewfinder for the Olympus Pen.

Photos are composed on the GF1 in its absence via the 3-inch, 460k-dot resolution LCD with Live View; double the resolution offered by the E-P1, which in our eyes makes for a much smoother, more life-like display image.

Headline resolution is otherwise nigh on identical, at 12.1 effective megapixels from a 13.1 megapixel LiveMOS sensor, and, like the Pen is basically a concertinaed Olympus E-series DSLR, so the GF1 squeezes the functionality of its G1 and GH1 forebears into a more manageable shape.

This includes a mono HD video mode with a dedicated recording button, and a choice of AVCHD or (more widely compatible) Motion JPEG compression, resolution being the lower 1280 x 720 pixels rather than the Full HD 1920 x 1080. A side mounted HDMI port is also provided for hooking the camera up to an HD TV, though the required cable costs extra.

If you really want the most compact camera solution, then opt for the 20mm non zoom "pancake" lens we had on test, equivalent to 40mm in 35mm terms, which, when bought in conjunction with the Panasonic body, will set you back a not-so-cool ?800. We found it works best for shooting portraits and close ups, where a shallow depth of focus, blurring distracting backgrounds, proves a specific aid to creativity.

If we’ve one true criticism it's that the blocky, rectangular GF1 lacks anyway in the way of a decent grip, with only a thin raised strip on the front providing purchase for the fingers when shooting handheld. Still, it’s also possible to use the camera as a gloried point and shoot courtesy of Panasonic’s reliable intelligent Auto (iA) mode, whereby it recognises common scenes and subjects and adjusts settings automatically, saving the user otherwise fiddling around with controls and dials to achieve similar results.

With the GF1 powering up for action with DSLR-approximate swiftness in just over a second, other built-in aids to creativity include its "My Colors" modes that come across as Panasonic’s re-interpretation of the Olympus Pen’s Art Filters. They even include a pop art style "Dynamic Art" option.

We also get film simulation modes "borrowed" from its G1 and GH1 siblings and a Peripheral Defocus Mode that blurs potentially distracting backgrounds – even when you’re not shooting with a 20mm lens. Left on standard default settings colours are rendered beautifully natural and life-like with a crispness few standard fixed lens compacts could match. Impressive stuff – though of course it comes at a price.

Verdict:

So does the GF1 beat the Pen as the best, most affordable DSLR/compact hybrid to date?

Of course the answer depends on your personal requirements, but used as a tool for general purpose photography, the clearer, smoother LCD for shot composition and review, plus built-in flash inevitably take the Panasonic up a notch.

It therefore gets our vote as the current most successful marriage of DSLR functionality with compact portability and usability. But with further incarnations of the Pen promised very soon by Olympus, it’s unlikely to stay that way for long.

It’s also worth noting that for the near ?600 UK asking price for the GF1, one could buy a very capable APS-C sized DSLR with lens included.

PHOTOS: Panasonic Lumix GF1 digital camera

Tags: Cameras Micro Four Thirds Compact cameras DSLR cameras 12 megapixels Panasonic Panasonic Lumix GF1

Panasonic Lumix DMC-GF1 camera originally appeared on http://www.pocket-lint.com on Tue, 03 Nov 2009 12:00:00 +0000

We’ve not come across many – if any – digital camera upgrades that have taken a step back in terms of "specification".

But, on perusing the enthusiast targeted G11’s headline features, when compared with the G10 it appears that is exactly what has happened: 10 megapixels instead of its predecessor’s 14.7, a smaller LCD screen at 2.8-inches rather than 3, battery life at 390 shots from a full charge falling short of its forebear’s 400, and even a reduced burst mode of a lowly 1.1fps rather than 1.3fps.

At least the stabilised optical zoom has stayed the same at 5x, with a broader than average focal range of 28-140mm, making it as well suited to landscapes and group portraits as paparazzi-style close ups.

So what gives? Well, while reducing pixel count, Canon has kept the same size 1/1.7-inch CCD sensor as the G10, the inference being that less pixels crammed into the same space may produce a better performance in terms of reduced noise/grain when shooting in low light and at higher ISO settings.

This theory is born out upon discovering that maximum user selectable ISO has been raised from a previous ISO 1600 to ISO 3200, with a further ISO 12,800 equivalent option now achievable via a low light mode on the camera’s top mounted shooting dial – albeit with resolution dropping to 2.5 megapixels at this expanded setting.

The smaller LCD is also explained away by the fact that it is now of the vari-angle, rotate and twist variety, rather than the G10’s standard fixed display.

This is a boon for those who want to experiment with shooting from creative angles where it would be otherwise impossible to get an eye level with the optical viewfinder directly above – and the manufacturer claims its implementation was the result of customer requests. It can further be folded screen inwards to the body to provide an added degree of protection.

Worry not though, as the overall construction of the G11 is, as expected, reassuringly rock solid with chunky lithium-ion rechargeable battery and optional (yet essential) SD media card inserted. Its ruggedness practically matches that of an entry-level DSLR that you could alternatively buy for this compact’s ?569 UK price tag.

Weight without such accessories is a manageable 355g, though its shape – not too dissimilar to Panasonic’s similarly priced rival in the new GF1 – means it is one for slipping into the deep pocket of an overcoat rather than your skinny fit jeans.

Indicating that this camera is aimed at the more advanced user, even if it does feature the usual full auto options, are the array of rangefinder-like dials and controls festooning the top plate.

These allow the manual adjustment of exposure (+/- 2EV), the aforementioned ISO settings, plus the choosing of shooting modes. On the G11 we have the usual program, shutter priority, aperture priority and manual modes, plus 17 pre-optimised scene settings and a video mode, though sadly recording in standard definition 640 x 480 pixels rather than the increasingly ubiquitous high definition. The optical zoom can’t be used either when shooting video, which is a pain.

In contrast to the busy top plate, which also throws in a hotshoe for optional flashgun, the G11’s front plate looks rather spare. It’s dominated by lens with automatic cover that slides open on activation as its barrel extends to maximum wide-angle setting in just over a second. A filter thread is provided for the attachment of supplementary lens converters, while a subtly sloping padded ridge to the front provides purchase for the fingers.

Oddly though, we couldn’t find anywhere identifiable to place our thumb at the G11’s back plate when gripping for a handheld shot, leaving it to wander over the operational controls, one of which is the delete button.

Once you’ve lined up a shot via the adequately clear LCD or optical viewfinder above, press the shutter release button encircled by the zoom lever, and, with no noticeable shutter lag, a maximum resolution JPEG is committed to memory within 2-3 seconds.

The camera offers maximum quality, unprocessed RAW file capture too, selectable via a L-shaped toolbar on screen. Take a further shot in this mode and any difference in writing speed is barely noticeable, suggesting operational speed and image quality need not always be separate bedfellows.

Verdict:

So is it really worth spending as much, or more on the G11 than an interchangeable lens camera such as Panasonic’s GF1 or Olympus EP-1, or a full-blown digital SLR with standard APS-C sized sensor?

If the choice is a straight one, arguably not: we’d prefer the ability to swap lenses any day. But everyone’s requirements are different and the G11 does present photographers with a rather neat all-in-one solution, so there will be those thinking "so what that you can’t change the optic in use? What’s there is as much as I need".

It’s worth noting however that despite Canon trumpeting that with the G11 it has greatly improved low light photography, reducing noise and delivering a two-stop advantage, the camera has to first find a subject bright enough to focus on – in spite of its admittedly powerful AF assist lamp.

Even when it does, at maximum ISO 12,800 setting resultant images take on a watercolour effect, detail smudged. However, stick less ambitiously at ISO 3200 on the dial, and you get a result comparable to lesser compacts at ISO 800; much more impressive.

Shooting in less challenging daylight conditions the G11’s focus remains sharp with just a touch of barrel distortion at max wide angle and pixel fringing upon close inspection. We welcomed the ability to add punch to colours via a vivid "My Colours" option, plus apply a neutral density (ND) filter setting to preserve detail in landscapes when shooting images with contrasting dark foregrounds and bright backgrounds.

Taking all of the above into consideration however, unless you regularly shoot in low light and/or low to the ground or over the heads of a crowd whereby that flexible LCD screen might aid composition, sticking with the 14.7 megapixel G10 – identically priced at the time of writing – seems the sensible option.

But for those who do prefer that extra flexibility to "push" the image without resorting to the use of flash, the G11 is a solid contender in every sense.

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PHOTOS: Canon PowerShot G11

Tags: Cameras Digital cameras Compact cameras Canon Canon PowerShot G11

Canon PowerShot G11 digital camera originally appeared on http://www.pocket-lint.com on Mon, 26 Oct 2009 09:00:00 +0000

Joining Fujifilm's current F200EXR and S200EXR models comes an attractive, largely metal build, pocket compact incorporating the same innovative "switchable" Super CCD EXR sensor and, for the first time in the series, marrying it to a 10x optical zoom (27-270mm equivalent in 35mm terms). It does this whilst maintaining a depth of a relatively slender-for-the-spec 22.7mm, and all for a price that, on initial inspection, suggests very good value.

Aimed, apparently, at "the gadget lover who likes to be in control", as we noted in our review of the DSLR-styled S200EXR, Fujifilm's unique EXR sensor technology allows the user to utilise the F70EXR's chip in three different ways. To kick off, photographers can shoot maximum resolution JPEGs - here 10 effective megapixels - or, secondly, capture images with increased dynamic range. The camera does this by taking two shots in quick succession - one at a high ISO (light sensitivity) setting, the other at a low ISO setting - combining them as a single 5 megapixel image.

The third user-selectable EXR option aims for high sensitivity but low noise; achieved by coupling together same colour pixels to achieve larger light gathering pixels. Again final resolution is 5 megapixels.

Can't decide which setting best suits? Well, in addition there's an auto EXR option that allows for point-and-shoot operation, the camera comparing the scene before it with six pre-programmed settings and deciding which EXR mode fits. Like rival intelligent auto modes, Fujifilm's offering gets it right most of the time, allowing the user to concentrate on subject rather than settings if so desired. Anti-shake is offered in the form of CCD shift to cancel out any effects of hand wobble shooting in low light or maximum zoom.

With the camera powering up in 2 seconds, in the main, the F70EXR's buttons and controls are of a decent size and similarly responsive, though we found the zoom lever a tad loose. Images are composed via an adequate 2.7-inch, 230k dot resolution LCD monitor at the rear, while EXR and regular auto shooting modes are selected via a dime-sized mode wheel set into the top right hand corner of the camera's back plate, where it naturally falls under the thumb.

Other options include the more regular program AE and manual modes, plus video capture (disappointingly at a standard definition 640 x 480 pixels, whereas HD would have really helped this camera to shine), scene modes (including pro focus and pro low light modes alongside the regular pre-optimised beach, snow and firework settings), along with Fujifilm's separate natural light and natural light with flash modes. Take a shot and the camera commits a full resolution image to memory - here a 47MB internal cache or removable SH/SDHC media - in less than 2 seconds.

Worth singling out for further attention are those pro focus and pro light options, as Fujifilm is claiming the F70EXR can deliver a "DSLR-like" performance in these modes. The first is, effectively, a focus bracketing mode that takes several images and combines them into a single shot to deliver a shallow depth of field effect, blurring distracting background detail and therefore making it best suited to portraits.

To get it to work properly you need both subject and camera to stay completely still, therefore use of a steady surface or tripod is a must. Ditto when selecting pro low light mode, which itself combines four frames taken at high ISO.

As on the S200EXR, helping the F70EXR to stand further apart from the pack - and make the most of its manufacturer's analogue heritage - are additional eccentricities such a trio of film simulation modes located by pressing the quick-access "F" (for "Foto") at the rear, as are the essentials of image quality and ISO settings - here up to a whopping ISO 12800 equivalent on offer.

With an identical range of offerings to its sibling, F70EXR photographers can aim to match the look of shooting with the naturalistic Provia (the camera's default setting), the warmer, flattering Velvia, or smoother, softer Astia film (Slightly wishy-washy for our tastes), plus more commonly found black and white or sepia colour effect options.

Use of the F70EXR will be intuitive for anyone who has previously handled a Fujifilm compact - there are many common family traits - whilst, for new converts, point and shoot operation will ease them in gently.

To our eyes, images straight out of the camera were naturally coloured if a little flat looking when left on default Provia setting. We welcomed the in-camera Velvia setting therefore for capturing the first colours of autumn. If, inevitably, the lower resolution shots look a little soft and almost painterly in comparison when downloaded and viewed on the desktop, a subtle application of Unsharp Mask in Photoshop can add the missing crispness.

Shooting at top ISO 12800 equivalent setting similarly delivers results more closely resembling a watercolour than photograph, but that said cheaper digital compacts deliver comparable results at a much lower ISO 1600. On this Fujifilm, users can shoot up to that ISO 1600 setting with surprisingly minimal amounts of noise. Plus you have all the additional features to tailor your images in camera we've already outlined.

Verdict:

More than most of its ilk, the F70EXR suggests itself as an ideal travel companion best suited to spur of the moment snaps. That said the broad focal range and EXR and film simulation modes do provide a wealth of creative possibilities, ably allowing the photographer to take in everything from landscapes to candid close ups. With the F70EXR suggesting excellent value even at its top UK recommended price of ?260, the ultimate winner here is the consumer.

Tags: Cameras Compact cameras Digital cameras 10 megapixels Fujifilm Fujifilm FInePix F70EXR

Fujifilm FinePix F70EXR digital camera originally appeared on http://www.pocket-lint.com on Tue, 20 Oct 2009 12:00:00 +0100

It is probably safe to start this review by saying that the Nikon Coolpix S1000pj is the one with the projector. A bold move by Nikon, perhaps, launching a device that mashes together the trend for pico projectors with a regular 12-megapixel camera.

If you are really wondering how you combine a camera and a projector, then it is worth glancing at the iFixit teardown of the camera that lays out its innards. It's probably not as exciting as you'd expect, it simply adds the small projector into the mix.

This does of course mean that the camera carries a little weight, making it larger than other 12-megapixel compacts. So you do make something of a compromise for your pocket projector but it's not devastating. The measurements swell to 99.5 x 62.5 x 23mm, average dimensions for compacts a few years back, but well above the likes of a comparable modern camera. It will still slip happily into your jacket pocket and it isn't as though it is wasted space – there's a projector in your pocket after all.

Build quality is good and the S1000pj feels solid in the hand, free from creaks as you manipulate it. Controls are logically laid out, with most of the options sitting to the right of the 2.7-inch display on the back, where they fall neatly under your right thumb.

Across the top of the camera you get the usual shutter button surrounded by the controls for the 5x zoom. You also get a dedicated projector button and a slider so you can get the thing in focus depending on your distance from the surface you are projecting on to.

The extra bulk of the camera means the 5x optical zoom is housed internally, without the need to slide out the lens as is common on smaller models. Startup is reasonably swift and zooming is fast, if a little noisy. You get a 28-140mm (equiv) range from the lens and when out of use it sits behind a lens cover. No protection is offered to the projector lens, however, which sits in the centre of the camera under the flash.

Menus are easy to navigate using the four-way controller and ok button on the back. Although no manual control is offered, the Auto mode does offer you the likes of limiting the ISO range, or indeed picking the option you want, right up to the top ISO 6400, albeit accepting a drop to 3 megapixels at this setting, and the 3200.

Menus change based on whichever shooting mode you have currently selected and once you dive out of the regular Auto mode you find your options are limited, usually to the overall resolution and nothing else. Direct controls through buttons let you selection flash firing mode, self-timer, exposure compensation and macro mode (good from 3cm) however.

The usual scene selections are in here, as well as a Smart portrait mode which combines all the technical gubbins to try and eke out a good shot: face detection, skin softening, smile timer and blink detection. Why this isn't simply bundled into the Scene options too we don't know. You also get Subject tracking which is a neat focus lock, whether you use it to track a subject across the lens or to reposition a focal point to aid composition.

Video capture is supported at an average top setting of 640 x 480 (which holds a fairly solid 30fps). The results are good in daylight, but even in shadow or shade outdoors does pick up a lot of noise bands, with lower light video very noisy overall. The front mounted mic is relatively good though, giving good results, but exposed to wind noise and the like outdoors.

As a camera the S1000pj gives you results you'd expect from an experienced company like Nikon and it is good to see that image quality hasn't been compromised to deliver the novelty of the projector.

Colours are well represented, with nice punchy blues, giving great rich skies. Reds can be a little over-saturated at times, but not to a degree that detracts from the overall image and you do get colour presets in the menu if you want? something different. Exposure and metering is good, with clear on-screen symbols of when camera shake is likely to occur, when the included vibration reduction tries to help out.

Low light performance is reasonable, with the ISO 6400 taking on something of a mottled appearance. It won't stand 100% views or cropping, but if your plan is sharing online, then it works well enough. With the lens packing a max aperture of F/3.9, it isn't as versatile as some rivals in low light. However the best results come out of restraining the ISO range through the menu to stop Auto running wild, something we like a lot. High contrast scenes are handled relatively well with purple fringing kept under control and certainly no more of a problem than in other compacts out there.

We did notice some darkening in corners when using the camera at the widest angle with some barrel distortion too, but once you know it is there it can be used to artistic benefit – see the Cenotaph sample image.

Sitting at the left-hand end of the top plate is the projector button. Press it once and the projector fires up and you have your image beamed out the front. It is rated at 10 lumens, so best results come in a darkened room. Daylight with the lights off is certainly possible, but you really need to pull the curtains or close the blinds to get the greatest impact. Outdoors, in daylight, you won't get a visible image.

The throw is from 26cm (5-inch image) up to 2m (40-inch image) and the slider on the top will help you get it in focus across this range. Resolution of the projected image is 640 x 480 which is to be expected from a projector this small. It supports zoom however, so you can zoom in on parts of a photo to see more detail if you wish.

Options are limited, but you can set-up slideshows so you don't have to keep pressing the buttons and it even comes with music tracks. In the box you'll also find a small stand, giving the camera an angle to raise the projection off the end of a table. You also get a remote control, so you can show your images with ease, or use it for remote capture, a much preferred option over the usual self timer, with zoom controls too.

You can only project those photos and videos you have taken, you can't use it as a giant Live View option – you'd be looking at what you were projecting, so you'd be left with a feedback loop and little else anyway. It isn't designed for playing back media from other devices, but it did project other image files we had on our memory card.

Battery life is rated at 220 shots, although using the projector cuts this drastically and we found with mixed snapping and projecting we managed nearly 100 before we got a battery warning: some of this can be put down the excitement of having a projector to show off though.

Verdict:

So the camera delivers decent results and the projector works too. But the real question is what you are going to do with it. We guess that if you are interested in the camera you can already see the benefits of having projection in the same device.

If you spend your time taking shots and then instantly plugging into a computer to show them off again, then this saves that step for sure. We don't know who might do this, but the S1000pj makes it possible. But then we've all been in that situation when someone shows you a shot on the back of a camera. Give yourself a darkened room and you'll be able to entertain wedding guests or party goers with shots of the day. Kids love it too and there seems to be limitless entertainment in taking photos or video and projecting it onto the wall or ceiling.

Nikon have stuck to their principles and delivered a compact camera which performs as you would expect it to, so you don't lose out in opting for the S1000pj, except in pocket bulk.

If you've never been in the situation where you need to instantly share your images you'll get the same imaging quality in a smaller package for less money elsewhere. You do pay a little over the odds for the camera, but what price do you put on novelty?

Tags: Cameras Digital cameras Compact cameras Nikon Pico projectors Nikon Coolpix S1000pj 12 megapixels

Nikon Coolpix S1000pj digital camera originally appeared on http://www.pocket-lint.com on Mon, 19 Oct 2009 10:30:48 +0100

The most striking feature about the Canon PowerShot D10 might well be the range of funky colour choices you get, from blue through to camouflage. Pitched directly to action fans, the D10 is battling it out alongside the likes of Olympus' Tough cameras.

In that vein, one of the defining features of the D10 is it's environmental sealing. Yes, the D10 name is matched by waterproofing down to depths of 10 metres and the promise of operating in minus 10 degrees too. It also features shock resistance, so will take the odd bash.

We are quite taken with the looks; with action heroes in mind, the butch styling is something to admire, but it won't be the most pocketable camera around. Essentially, given the 12-megapixel sensor backed by the DIGIC 4 processor and the 3x optical zoom (35-105mm equiv.) it is a similar offering to some of the recent IXUS models from Canon.

With the styling giving a little more scope for external features, you'll find a neat twist lock attachment points on each corner. It looks good, but does limit you to buying the official accessories, rather than just using a normal anchor point.

The biggest bulk, however, is in the housing that covers the lens, giving the D10 a distinct bulge to the front, but allowing all the lens zooming to take place in a sealed environment. Fewer moving parts on the outside means less to go wrong when it gets covered in mud or sand.

Minimalist isn't the word, with a rich collection of buttons and controls arranged around the body. The top gives you a power button adjacent to the shutter button - perhaps not the best placing, but it does mean you can power on and shoot with one hand. The zoom buttons which often sit in the top move down to the back, which makes them easy to see, but they are too small to use with gloved hands.

Further controls lie both to the top of the 2.5-inch 230k-dot display and to the right-hand side. The top row gives you - perhaps rather randomly - the print controls, playback and the shooting mode selection. Selecting shooting mode needs the use of the four-way controller and the Func/Set button, which generally makes it a two-handed operation.

However, the Auto mode is pretty smart and will identify the scene it is looking at and pick out the best settings for you. It works pretty well too, as we've found in other Canon models using the same technology. The menus, however, are typical Canon fare, and easy to navigate and pick out the settings you want using the Func button and menus.

There's no sign of manual controls, so you'll have to make do with the Program mode, which gives you control over ISO, white balance, metering and colour tints, but that's about it. For those wishing to use it underwater, there is a dedicated Underwater "scene" mode. This camera doesn't float, so make sure you use a strap of some sort.

The ISO range runs from 80 up to 1600 in Auto modes or via selection in P mode. An ISO 3200 mode is also selectable for those must-have low light shots, although it only shoots at 2-megapixels. Noise races into shadows at ISO 800 but shots remain usable, while at ISO 1600 noise blights most aspects of the image. The ISO 3200 mode still suffers high noise, but perhaps makes the better choice for candid indoor shots for sharing online, if you want to avoid the flash.

Aiding the low light performance is image stabilisation, which takes some of the shake out of longer exposures or the far end of the zoom and a fairly typical F/2.8 max aperture on the lens. Combined, they provide good scope for capturing indoor shots (in daylight) without having to deploy the higher ISOs.

The 2.5-inch display is wonderfully bright and gives colours real punch, making the D10 a great camera for shooting and showing to friends. The screen is a little small by current standards, shrunk to fit in with the design. There is no optical viewfinder.

Video capture comes in at a rather miserly 640 x 480 max, but does give you a nice solid 30fps with good, rich, colours. Audio is not so good, with noticeable noise from hand movements and also struggling to cope with wind noise.

Overall performance for still shooting is very good, with nice bold colours leaping out. Beautifully rich greens are perhaps offset by a tendency to over-saturate reds, but these things are easily adjusted post-shoot and it doesn't mar the images overall.

High-contrast scenes are handled rather well, with a small amount of purple fringing around edges and the occasional blow-out of light tones in bright conditions, but it copes as well, if not better than many other compacts out there. Barrel distortion is easily noticeable at the wide end of the zoom.

The flash is unusually placed over the top of the chunky lens housing and does seem to be a little under-powered. It's location, however, does mean that you can have a nice solid right-hand grip on the camera without the risk of obscuring it with a wayward finger.

Startup is relatively fast, flashing on in about a second and giving you your first shot about 2 seconds later. Continuous shooting gives you about 1 shot per second, not the fastest, but it will happily chew through plenty of shots without buffering being a problem. Shutter lag is not a noticeable problem either.

The battery gives you a recorded 220 shots, which we found to be about right.

Verdict:
As Canon's first foray into the world of pocket bomb-proof cameras, it's a compelling offering. It is a little more bloated than Olympus rivals, but it does give you something to grip onto when using it in more remote locations, such as diving or climbing, where it sits nicely in the hand when you want to grab it and shoot.

The price, although at the upper end of compact cameras, is reasonable considering the versatility of the D10. The performance is very much in line with models from the top of the IXUS range, which is a good thing: imaging hasn't suffered to give you the weatherproofing.

Those hitting the slopes might want something more compact, but for those who want something easy to grip and happy in all weathers, the Canon PowerShot D10 is well worth a look.

Tags: Cameras Compact cameras Digital cameras Canon 12 megapixels Canon PowerShot D10 Sports Fitness Canon PowerShot D10

Canon PowerShot D10 digital camera originally appeared on http://www.pocket-lint.com on Mon, 28 Sep 2009 12:00:00 +0100