Camera review

Panasonic's G1 was not only the first product of the Micro Four Thirds standard, it was also the world's first interchangeable lens camera to turn its back on traditional optical viewfinder designs and take a more compact-camera-like live view approach. The outward appearance may have been pure DSLR, but the G1 is likely to be remembered as the camera that marked the beginning of the end for the half-century-long dominance of the single lens reflex design in interchangeable lens cameras.

Whilst the G1 was praised for its feature set, handling and overall responsiveness, the lack of video recording capability seemed odd at a time when movie modes were starting to appear on conventional SLRs. The irony that conventional SLR designers wanting to add a movie mode have considerably bigger hurdles to jump than Panasonic with the all-digital, mirrorless G1 was compounded by the arrival of the GH1 and GF1 models a little later - both sporting movie modes.

But that was then, and this is now, and in March Panasonic announced not one, but two successor models (both with movie mode) to the G1, splitting the line into a budget version (the G10, to be reviewed later) and the model featured here, the G2. The thinking behind the decision is simple - cutting back on the expensive stuff like a super-high resolution viewfinder allows Panasonic to compete with the cut-price DLSRs that dominate the big box retailers' shelves. The G10 adds little to the G1 beyond a (MJPEG) movie mode, but loses several of the G1's defining features (big, high res EVF, swivel screen), so for us the G2 is by far the more interesting model. In both cases the physical design and the sensor inside are essentially unchanged in this upgrade.

The G2 is an evolutionary - but nonetheless solid - upgrade to the G1, that answers some of the criticisms of the original model, adding the aforementioned video mode (720P AVCHD lite or MJPEG) and tidying up and expanding the external controls. The other big news is that the G2 gets touch screen technology (seen on several Panasonic compact DSCs) - not exactly high on our list of ways in which the G1 could be improved, but in the era of the iPhone something that undoubtedly looks good on the marketing materials, if nothing else.

Touch screen cameras aren't a particularly new idea (it could be argued that they started appearing before the touch-sensitive technology or user interfaces were really ready), but this is the first interchangeable lens camera we've seen to add the feature. Crucially, the G2's touch-screen options are in addition to, rather than a replacement for, traditional controls.

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Olympus E-PL1 Review May 2010, by Richard Butler

As one half of the Micro Four Thirds consortium, Olympus was one of the originators of the mirrorless interchangeable lens or system camera. In a little under two years, this new breed has established itself as a credible alternative both to compact cameras and DSLRs. However, while manufacturers regularly talk to us about watching and wanting to exploit the gap between these two established types of cameras, all the models released so far have tended towards the DSLR-end of that space. So far we've seen models from both Panasonic and Samsung that have aped the functionality, handling and even appearance of entry-level DLSRs, while the small, rangefinder-styled MILCs (The E-P1 and GF1) have still behaved like DSLRs without mirrors, rather than compact cameras with large sensors.

Stepping in to fill this void is the Olympus E-PL1, a camera that brings a stripped-down body and simplified interface to the Micro Four Thirds format. This means no control dials (and therefore an awful lot of button-pressing the further away from the automated exposure modes you venture), but it also brings a simple results-orientated 'Live Guide' interface to allow you take control of the i-Auto for people happier to point-and-shoot (sorry Mr Spacey).

Its simplified, button-press based interface dictates that it'll be best suited to compact camera users who want to get better photos straight away and learn about things such as apertures in their own time. Experienced users who regularly want to take control of individual shooting parameters are likely to find themselves frustrated by the sheer amount of button-pressing induced by the loss of control dials.

The cost savings, which extend to a lower-cost, plastic mount version of the collapsible 14-42mm kit lens, means the E-PL1 comes to market with a suggested selling price some $200 (or €150) below that of the E-P1. The body manages to maintain styling cues from the E-P1, mixing them with hints of the company's fondly remembered 'C' series of high-end compacts. The I.S unit has also been simplified, with the company claiming only 3 stops of compensation, rather than the 4 ascribed to the E-P2.

However, it's would be a mistake to assume from this that the E-PL1's specification is commonplace - although the body, screen, lens and interface have been pared-back, there are a couple of areas in which this entry-level/beginners model trumps the more stylish, more expensive PEN models. Most obvious is the addition of a built-in flash, which was one of the most glaring omissions from the E-P1 and EP-2. There's also a revised version of the TruePix V image processor, that's been tuned to take account of the lighter low-pass/anti-aliasing filter fitted in this model. The L1 also features the EVF/accessory port under the flash hot-shoe - a feature it shares with the E-P2 but absent from the E-P1.

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Here's another review of the new Sony Camera. This is a little more comprehensive than the DP preview as the Imaging Resource reviewers have been out shooting and have images and more complete impressions available. 

Reviewed by Dave Etchells, Shawn Barnett, Zig Weidelich, and Mike Tomkins

As the fourth major manufacturer to enter the market for small, mirrorless digital cameras with interchangeable lenses, Sony had to make a big impression. We think they'll do just that with the new Sony NEX-5 and NEX-3, two cameras they're calling "alpha compact interchangeable lens digital cameras."

The promise of mirrorless digital cameras has been high image quality without all the bulk, and the photographic versatility of interchangeable lenses. The Sony NEX-5 delivers that better than any model so far, and does it with style and a sturdy build.

There are so many interesting innovations in the Sony NEX-5 and NEX-3, that it's difficult to know where to start. Easily the biggest news, though, is that the Sony NEX series are the first interchangeable lens digital cameras designed to tackle continuous autofocus and exposure adjustment while recording video, something few other cameras have handled as well as the average camcorder can achieve. Video is indeed the one major area, aside from size, where the two new cameras differ: The NEX-5 supports 1080i AVCHD video recording, while the NEX-3 is limited to 720p video capture.

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Well, the micro four-thirds standard introduced by Olympus with the EP-1 PEN camera and followed up by Panasonic Lumix GF-1 now has a competitor, the Sony NEX-3 and NEX-5. Neither of these new Sony cameras use the micro four-thirds standard, instead taking advantage of amazing Sony engineering and an APSC chip for much bigger image quality. DP Review has a preview of both cameras. If you are interested in getting a smaller camera to compliment your DSLR, then you really should have a look at these previews and consider these two incredibly small but feature-packed cameras. 

As expected, Sony has unveiled the NEX-3 and NEX-5 mirrorless interchangeable lens cameras. The two cameras are both built around the 14.6 megapixel Exmor APS HD CMOS sensor announced at the PMA 2010 exhibition in February and the new, mirrorless E-mount. Both offer high-resolution tilt/flip screens, fast continuous shooting and HD video capture, with 720p from the NEX-3 and 1080i, AVCHD from the NEX-5. Also announced are three E-mount lenses: a 16mm F2.8 pancake, offering a 24mm equivalent field-of-view, a standard 18-55mm F3.5-5.6 stabilized kit zoom, with a 18-200mm F3.5-6.3 stabilized superzoom to follow. We've been using both NEXs for a while and have delved beyond the raw specifications to prepare hands-on previews of both models.

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Reviewed by Dave Etchells, Shawn Barnett, Zig Weidelich, and Mike Tomkins , Imaging Resource

Panasonic's update to the first Micro Four Thirds digital camera is the Lumix DMC-G2, a close approximation of the G1, but with a few key changes that mostly improve the function of the original while maintaining the $799.95 price point.

Most of the Panasonic G2's basic specs remain the same, including the 12.1-megapixel sensor, the 3-inch LCD with 460,000 dots of resolution, and the electronic viewfinder's 1,440,000-pixel resolution is also maintained, as are the shape and size. Panasonic added a new processor to the G2, though, the Venus Engine HD II, which is expected to improve both videos and still images. Maximum ISO sensitivity notches up one stop, from 3,200 to 6,400.

New is the touch screen, which is integrated into a few basic functions, like focus point selection. It's a surprisingly useful feature in the Panasonic G2, which we'll explore in more detail in the User Report below.

The Panasonic G2 ships with a different lens than its predecessor, the 14-42mm f/3.5-5.6. It's a 3x zoom rather than the 14-45mm 3.2x zoom on the G1. The new lens lacks an O.I.S. switch, but it still has optical image stabilization built in; only now it's controlled from the Panasonic G2's menu.

Other changes on the Panasonic G2 include a new location for the Control dial: it goes from the front grip to the rear thumbgrip area. And a dedicated Movie button now appears on the G2's top deck, right behind the Shutter release button. Movie mode is limited to 720p, not rising to the 1080i level of the GH1, so there's still room for another model should Panasonic see fit, but the Panasonic G2 does include a new stereo Mic jack.

The Panasonic G2 ships from late May 2010, with a suggested retail price of US$799.95 including the kit lens.

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DP Review has just posted a quick review of the recently released Olympus PEN E-P2. 

Olympus E-P2 Quick Review April 2010, Richard Butler
Review based on a production E-P2 with firmware 1.1

This is the second of our new 'Quick Reviews.' We will be using this format for cameras that are operationally similar and identical in terms of output to models we've already reviewed. We test to confirm the image quality is identical (noise tests and shots of our 'compared to' studio scene at all ISOs), then concentrate the review on the differences between the two cameras. To learn everything about the camera you are interested in we recommend reading not only the Quick Review but also the full review of the sister camera - in this case the Olympus E-P1.

I don't usually post reviews of compact cameras here because they aren't really relevant for people interested in doing serious digital photography. They are compromised by the size of the image sensor, the fixed zoom, the poor f/stops, lack of full control, one mode of output (usually jpeg) and, these days, the lack of a viewfinder. 

There are two cameras though which most pros I know will carry in absence of a DSLR so they have a camera "just in case." They are the Panasonic Lumix LX1 and LX3 (the updated LX1). Both come with full manual controls, have multiple outputs (jpegs and RAW), a variety of shooting widths (16:9 and 4:3), HD video and are on the inexpensive side of things (less than $400).

Now Canon (well, not Nownow, but recently) Canon has jumped into the fray with the updated PowerShot S series camera, the S90. Smaller than the LX3 but with many of the same features, the S90 is definitely an option for those who want to continue with Canon quality (I always have a canon point-and-shoot on me) and don't want to learn a new system (the LX3 for example). Below is the DP Review of the camera: 

Canon PowerShot S90 Review, by Simon Joinson, April 2010

Review based on a production Canon PowerShot S90

The arrival of the 'affordable' digital SLR saw most manufacturers slowly withdrawing from the high end compact camera market, but recently models like the Canon G9/G10/G11 and Panasonic's LX3 have shown that there is still demand for pocketable cameras with real photographic controls. And it is the Panasonic LX3 that Canon has in its sights with the latest in what was, for a long time, presumed to be a dead line of cameras that goes back to almost a decade. The S90 may not look much like the S80, S70 and all its earlier predecessors, but it has been conceived in much the same spirit; a smaller, more stylish alternative to the G series, offering key enthusiast features (such as raw capture and manual controls) in a compact body.

It was way back in August 2005 that Canon launched the last in the line of its S-Series compact photographers' cameras, the S80. And though you can see traces of the S60/S70/S80's DNA in the S90 it is a very different beast to those cameras; the S90 is smaller, sleeker - and in many ways more sophisticated, but it's lost the optical viewfinder and the lack of anything to really get hold of will undoubtedly impact on handling.

Perhaps the most impressive aspect of the new design is the new Control Ring built around the lens, which can be set to control exposure (i.e. aperture or shutter speed), AE compensation, step zoom, manual focus and a selection of other functions. Finding a way of offering usable manual controls has proved surprisingly difficult for the normally ingenious designers of ultra compact cameras (although we've suggested a traditional 'aperture ring' like this on many occasions); this seemingly simple addition has a transformative effect on the utility of the S90's extensive manual controls.

As with the Panasonic LX3, Canon has chosen to incorporate a relatively large (1/1.7", 0.43 cm²) CCD sensor which has been designed with high sensitivity, rather than just higher megapixel count in mind, to make the most of the bright lens. This 10 megapixel sensor is then mated with Canon's latest Digic 4 processor to offer what the company describes as a dual anti-noise system.

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Samsung has gotten into the small camera market with their new NX10 which rivals the Panasonic Lumix G10 in price and the G2 in features. The main difference between the G10 and the NX10 is the NX10 is actually an APS-C sensored camera, not a micro four-thirds which means the sensor recording the light is actually twice as big as in the smaller chipped cameras. How Samsung does with the camera though, well, that's another story. Here's the review from DP Review:

Samsung NX10 Review March 2010 
by Richard Butler and Simon Joinson (lens section by Andy Westlake)
Review based on a production Samsung NX10 with firmware v1.05

The idea of a mirrorless interchangeable lens camera had been circulating for many years before Panasonic and Olympus announced the Micro Four Thirds camera system in August 2008, so it's not surprising that they didn't have the market to themselves for very long. Back when there was still only one Micro Four Thirds camera on the market, electronics giant Samsung showed a prototype of what was to be the first mirrorless interchangeable camera with an APS-C sized sensor. Ten months later that prototype has evolved into a finished product in the form of the NX10.

While other large manufacturers are starting to talk about launching mirrorless systems, Samsung has become the third manufacturer to actually to turn talk into tangible product. However, while Samsung is only the third party to enter the fray, enough time has passed for the other mirrorless makers to have moved on to their second-generation of cameras, including the newly-launched Panasonic G2 and G10. Between them these two cameras (which like the NX take many of their styling ideas from DSLR designs) are likely to make life pretty difficult for the Samsung. The G10 doesn't match the NX's spec but is aggressively priced while the G2 offers smarter video compression and touch-screen cleverness, which will be attractive to some. And they have the advantage of being second-generation products, with the enhanced level of refinement that this tends to bring.

The big distinction is that Samsung has decided to use the larger APS-C sensor of the type that is the de facto standard size in DSLRs. This offers the potential of good low-light performance (its sensor has a 50% greater surface area than those used in Micro Four Thirds and that means more light for any given exposure) but the lenses are not likely to be smaller than those used on DSLRs.

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Finally the new Canon Rebel has reached the hands of the reviewers and instead of previews we now have full reviews of the camera. This is the review from the highly reputable DP Review: 

Canon EOS 550D (Rebel T2i / Kiss X4 Digital) In-depth review April 2010,
Barnaby Britton and Simon Joinson

The Canon EOS 550D is a difficult product to categorize. Ostensibly designed to appeal to first-time DSLR buyers and enthusiasts, it offers a lot more technology, and at a higher price, than we might expect for a camera aimed squarely at this sector. Although it might seem logical for the 550D to replace the EOS 500D, the older camera is set to continue in Canon's lineup, which leaves the 550D pinched between its entry-level (represented by the still-current EOS 1000D and the 500D) and nominally enthusiast (the EOS 50D) peers. Confusingly however, apart from build quality (which is all but identical to the EOS 500D), the 550D has more in common with the prosumer EOS 7D, and - perhaps even more confusingly - it out-specifies the EOS 50D in many areas.

Central to the impressive specification of the EOS 550D is a high-spec movie mode which offers full HD capture at up to 30 fps, manual control over exposure, and the option to use an external stereo microphone. The new camera also inherits the EOS 7D's sophisticated metering system (which brings it a lot closer to similarly positioned Nikon SLRs).

by Lars Rehm and Simon Joinson

This is the second of two reviews of the GXR; as each module is effectively a completely different camera we've decided to treat them as such and produce separate reviews. This review covers the GXR with the S10 24-72mm equiv (10Mp 1/1.7" sensor) module, the previous one had a look at the GXR/A12 50mm f2.5 equiv (12MP APS-C sensor) combo. The first half of both reviews is the same, covering the GXR camera body and system.

In the short, frenetic history of the digital camera it has often been the smaller, less high profile manufacturers who have taken all the risks and experimented with more unconventional designs and solutions. For despite all the technological advances in the last decade the majority of digital cameras have designs that follow the same basic blueprint as their analog predecessors: they're essentially the same cameras with a sensor in the place of film.