Update: We've added the latest great CSCs and updated the listings with current selling prices, including Australian market prices.
The popularity of compact system cameras (CSCs) has exploded over the last year, due to the quality images and flexibility of use they deliver.
If you like to keep up with the latest advances in camera technology, you will have had your hands full for the past year, since the popularity of compact system cameras has resulted in even more new models being released and more manufacturers jumping on the bandwagon, including Nikon and Fuji.
Although choice is generally a good thing, the vast array of CSCs on the market today can make choosing the right one a daunting prospect.
The popularity of these cameras can be put down to a number of factors. Being able to change lenses increases creative possibilities, plus the large image sensor (when compared to compact cameras) in many helps to improve noise levels at high sensitivities and boost dynamic range.
Recent advances in sensor technology have also helped to close the gap in image quality between these cameras and bulkier DSLRs.
Above all else, the compact size means that compact system cameras are not left at home due to their bulk, which, for many, can bring the fun back into picture taking. Models range from those best suited to snap-shooters, right through to cameras with professional-level controls and features.
We've taken a good look through the CSC ranges each manufacturer has to offer and taken each model's strengths into account, to help you to find the camera best tailored to your particular requirements.
Prices listed are typical selling prices for standard packages with a basic zoom lens included, in the UK, Australia and the US. We've grouped the best compact system cameras by brand and ranges, to help you to find your way around the best CSCs on offer now.
This year has been a very exciting year for those lusting after a full-frame DSLR, with several new cameras either being announced or becoming available in 2012.
Nikon has introduced two full-frame cameras, the first being the 36 million pixel Nikon D800, which was revealed in the early part of the year.
More recently, the company unveiled the Nikon D600, which at the time of launch was claimed to be the world's smallest and lightest full-frame DSLR.
Featuring 12 fewer megapixels than its older sibling, the Nikon D600 has significantly lower recommended retail price. So, the question on many people's minds will be which camera to invest in. Here we take a look at the key differences between the two to help you make that decision.
Nikon D800 vs Nikon D600: sensor
While both are full frame CMOS sensors, only the Nikon D800 offers a whopping 36 million pixels. It's important to remember that more pixels isn't necessarily a good thing, however.
More pixels increases the chance of noise, and our lab tests show that the Nikon D600 is actually a better performer in terms of signal to noise ratio and dynamic range.
At the lowest sensitivity settings those extra pixels really come in handy, though, if you're looking to crop into the image and still retain quality. Or if you're shooting landscape or studio shots where low light isn't generally an issue.
Nikon D800 vs Nikon D600: autofocus
Both the Nikon D800 and the Nikon D600 use phase detection autofocusing when images are composed in the viewfinder, but the D800 offers an extra 12 autofocus points. Because on both cameras these autofocus points are all clustered towards the centre of the frame, it's likely that the average user won't feel disappointed by fewer points.
Nikon D600 vs Nikon D800: memory
Dual memory card slots is something we're used to seeing in high-end DSLRs. Whereas the Nikon D800 uses one CF card slot and one SD card slot, the Nikon D600 features dual SD slots.
Although CF cards generally perform better than SD cards, it's likely that those upgrading to a Nikon D600 from DX (APS-C) format cameras in Nikon's line will already have a stash of SD cards ready to go.
Nikon D600 vs Nikon D800: Wi-Fi connectivity
Unlike the Canon EOS 6D, neither the Nikon D800 nor Nikon D600 have inbuilt Wi-Fi connectivity. However, this is one area where the D600 trumps the D800, since it is compatible with the low-cost Wu-1b Wi-Fi transmitter that can pair the camera with a smartphone for internet access and remote control.
Nikon D600 vs Nikon D800: construction
As you might expect from the more expensive model, the Nikon D800 has a more premium construction, having an all-metal body. The Nikon D600, meanwhile, uses a magnesium alloy for the top and back panel, with plastic elsewhere. Both the cameras will be fairly rugged, but the D800 is likely to be just that little bit better protected.
Nikon D600 vs Nikon D800: weight
Both the latest full-frame offerings from Canon and Nikon claim to be the world's lightest DSLRs. The Nikon D600 does indeed weigh significantly less than the Nikon D800, at just 760g (850g with battery and memory card), compared with 900g (1kg with battery and memory card). It may not sound like a huge difference, but if you're looking for a relatively light camera that still offers high quality images, the D600 would probably be the best option.
Nikon D600 vs D800: verdict
Choosing between these two cameras can be a little tricky, especially since the now established Nikon D800 has been around for a while and the price difference isn't too marked. However, as the Nikon D600 settles into the market and the price drops, it will be a much more significant difference.
In some respects, probably due to the lower resolution, the D600 performs better in our lab tests, so it may come down to what you wish to shoot with your camera. It's also worth bearing in mind that you need to tighten up your shooting technique - use a tripod and mirror lock-up for example - to get the benefit from the D800's extra resolution.
If you're looking for a general camera for shooting a wide variety of subjects, and are looking to save a little money, the D600 is probably the more sensible choice.
However, if you're looking to step into the professional arena, have a particular hankering for that high resolution or need a slightly more rugged camera, the D800 wins out.
The wait for Samsung's Galaxy Camera may soon come to a close as the manufacturer has finally found a home for the Android-powered snapper.
AT&T will offer the Galaxy Camera in the U.S., though at the moment there aren't any details on where international customers can get their hands on one.
Revealed in August, the Galaxy Camera runs Android's latest OS, Jelly Bean, and comes with a 16MP lens, a 4-inch screen and 21x optical zoom.
4G-network enabled
In addition to offering Wi-Fi compatibility, the Galaxy Camera will also be able to connect via a 4G connection.
Strangely, it won't be via AT&T's LTE network, but rather the carrier's HSPA+ network.
Even though the camera will work across the AT&T network, the carrier hasn't revealed any data pricing plans for the Galaxy Camera just yet.
In fact, AT&T hasn't discussed pricing for the camera of any sort, promising to reveal such information in the coming weeks.
TechRadar learned the Galaxy Camera should come in around £399 when it hits the U.K. in mid-October, putting it at about $630 (AU$615), but AT&T hasn't confirmed that pricing as of yet.
As for data, there's more than a slight chance the Galaxy Camera will follow suit with its smartphone brethren the Galaxy S3 and Galaxy Note 2, and work within AT&T's shared data plans.
TechRadar has reached out to AT&T, and will update this story if and when a request for comment is returned.
The wait for Samsung's Galaxy Camera may soon come to a close as the manufacturer has finally found a home for the Android-powered snapper.
AT&T will offer the Galaxy Camera in the U.S., though at the moment there aren't any details on where international customers can get their hands on one.
Revealed in August, the Galaxy Camera runs Android 4.1: Jelly Bean, and comes with a 16MP lens, a 4-inch screen and 21x optical zoom.
4G-network enabled
In addition to offering Wi-Fi compatibility, the Galaxy Camera will also be able to connect via a 4G connection.
Strangely, it won't be via AT&T's LTE network, but rather the carrier's HSPA+ network.
Even though the camera will work across the AT&T network, the carrier hasn't revealed any data pricing plans for the Galaxy Camera just yet.
In fact, AT&T hasn't discussed pricing for the camera of any sort, promising to reveal such information in the coming weeks.
The Galaxy Camera was believed to fall in the $630 (UK£399, AU$615) range when it was first announced, but AT&T hasn't confirmed those prices as of yet.
As to data, there's more than a slight chance the Galaxy Camera will follow suit with its smartphone brethren the Galaxy S3 and Galaxy Note 2, and work within AT&T's shared data plans.
TechRadar has reached out to AT&T, and will update this story if and when a request for comment is returned.
Olympus is running a new promotion, giving customers purchasing an advanced compact system camera a free 45mm lens.
Customers purchasing an Olympus OM-D in the UK will qualify for a free 45mm f/1.8 portrait lens.
Both the OM-D and the 45mm lens have gained great critical success this year, with the OM-D being launched at the CES trade show in January.
Featuring a 16 million pixel Live MOS Four Thirds sensor, a tilting touchscreen and a high resolution electronic viewfinder, the OM-D sits in the premium compact system camera market.
Olympus was one of the first companies to produce a compact system camera and shares the Micro Four Thirds format with Panasonic.
Portraits
The 45mm f/1.8 lens gives an equivalent focal length of 90mm in 35mm terms. With a wide f/1.8 aperture, the lens is particularly useful for shooting portraits but is also good for a variety of other subjects.
To claim the lens, which is worth around £250, customers need to purchase an OM-D between October 15th and December 31st 2012.
The offer will only be valid in the UK and Ireland through authorised Olympus sellers. Customers can reserve a camera for pick-up on the 15th to qualify for the promotion now.
The purple flare that appears on some iPhone 5 camera shots is perfectly normal, according to Apple.
A Gizmodo reader complained to Apple about the purple fringing that was appearing on his shots, and received a response from AppleCare representative 'Debby', who told him it was perfectly normal behaviour.
"Dear Matt," the response reads. "Our engineering team just gave me this information and we recommend that you angle the camera away from the bright light source when taking pictures. The purple flare in the image provided is considered normal behaviour for the iPhone 5's camera."
Debby then gave her contact details if Matt wanted to follow up the matter.
Replacement handsets
But Apple hasn't been consistent on the matter. One user complaining in a thread on Apple's Support Communities webpage was offered a new handset in return for his old one. Though it's not known if Apple will make good on this promise for all affected.
This purple fringing was suspected to be caused by the new sapphire lens cover found in the iPhone 5. But it's more likely a normal distortion of light caused by a chromatic aberration. This skews towards shorter wavelength violet light, which is tricky to correct with larger prime lenses, let alone the smaller ones found in the iPhone 5.
Apple marketing supremo Phil Schiller previously responded personally to another iPhone 5 owner who complained of scuffing on his black handset. Schiller replied that the marks were to be expected.
"Any aluminium product may scratch or chip with use, exposing its natural silver colour," he wrote. "That is normal."
Sigma's recently announced USB dock is intended to enable Sigma lens owners to adjust the accuracy of the autofocusing and upgrade the firmware of your lenses via a computer, but it could also enable you to customise the focus distance and how the optical stabiliser (OS) operates.
Speaking to TechRadar at Photokina 2012, Sigma CEO Kazuto Yamaki explained that the details of the USB dock have yet to be finalised, but it may enable Sigma lens users to choose whether the OS operates full-time to create a steadier view through the viewfinder, or at the point of capture to enable maximum correction.
Using your computer, you may also be able to specify the distance range that the AF system operates within. This could prove useful in a wide range of circumstances.
Macro photographers could set the lens to only focus very closely, while sports photographers could specify a fairly restricted, but more distant range. This would reduce the chance of the lens focusing on the wrong subject when something passes across the frame and having to refocus on the subject again. It should also reduce the amount of lens hunting with close subjects.
Size matters
Using the USB dock enables Sigma to give its lenses extra functionality without the need to add switches on the barrel, and thus keep the optic's size and weight down.
According to Yamaki, front and back focusing - when a camera and lens combination results in the focus being just in front or behind the intended target - is a significant issue for manufactures.
This is something that needs to be corrected for individual lenses and camera bodies, and it's why some cameras such as the Canon EOS 6D and Canon EOS 5D Mark III enable AF micro adjustment.
The new Sigma USB dock will enable you to adjust the lens to correct any focusing inaccuracy experienced with your camera. However, since the adjustment is made to the lens, photographers with two camera bodies may find that you need to correct the focusing each time you swap cameras, which is hardly ideal.
Perhaps in the future the lens firmware will be capable of storing two or more sets of adjustments, and will recognise which to use depending on the camera that the lens is mounted on.
As yet the price of the dock hasn't been set, but Yamaki says it will be kept low and is considering including it in the box with some of the more expensive lenses. The availability date has not been decided yet either.
The Sony Cyber-Shot DSC-W690 was announced in February as part of a trio of stylish and slim compact cameras.
Although it's not quite as slim as the Sony Cyber-Shot DSC-WX100, the Sony W690 is no porker, cramming in a 10x optical zoom lens in its 21.7mm deep body. Not only that, it also has a 16 million pixel 1/2.3-inch CCD sensor.
That lens starts at an equivalent focal length of 25mm and rises up to 250mm at the telephoto lens. Unlike some of Sony's other compact cameras, it doesn't feature Clear Zoom technology to digitally boost the zoom capability of the camera.
Other features on this tiny camera include a Bionz processor, face detection, smile shutter and an in-built guide to using the camera.
Pretty squarely targeted at casual users, a number of creative options have been included to attract the Instagram crowd.
First up we have four digital filters, or 'Picture Effects', to use Sony's parlance, such as Toy Camera, Pop Colour and Partial Colour.
Secondly, Sony's Sweep Panorama enables super-wide images to be captured by sweeping the camera across a scene and then stitching the resulting images together in one picture.
There's not a great deal of manual control available on the Sony Cyber-Shot WC90, though a Program mode does give some flexibility.
HD video recording at 720p is available, with minimal control over recording settings. Videos can also be shot in VGA mode, which is more suitable for uploading quick videos straight to the web.
A 230k dot resolution, 3-inch TFT Clear Photo screen can be found on the back of the camera, on which you can watch slideshows of your images accompanied by music that you load into the camera.
Scene Modes including High Sensitivity, Night Scene, Night Portrait, Landscape, Soft Snap and Pet Mode are also available, as is Intelligent Auto for automatically detecting the optimum shooting settings.
The Sony W690 has a full retail price of £149 in the UK or $179.99 in the US, putting it in the same price bracket as the Nikon Coolpix S6200, Canon IXUS 220HS and the Panasonic SZ1.
Over the next four or five years Sigma plans to refresh its entire lens range, according to CEO Kazuto Yamaki.
Speaking exclusively to TechRadar at Photokina 2012, he explained that the new design philosophy and new categorisation, which is intended to make it clearer what each lens is best suited for, will be rolled out across the lens lineup.
Photography tips
He went on to explain that the company has developed a new MTF testing machine that uses a 46 megapixel Foveon sensor, and this will be used to measure the sharpness and resolving power of every new lens that Sigma manufactures.
This machine has a much higher resolution than the two older machines that Sigma uses, and it therefore enables Sigma to better assess the quality of its optics. Some of Sigma's current lens lineup already out-resolve the existing machines, so they don't test the lenses fully.
Yamaki believes that the new machine is the highest (or one of the highest) resolution MTF measurement machines in the industry.
Launch trio
Sigma's new design philosophy was unveiled at Photokina 2012 with three new lenses from each of its new categories, Contemporary, Art and Sport.
As a Contemporary lens, the Sigma 17-70 f/2.8-4 DC Macro OS HSM is designed for general purpose photography and gives the equivalent focal length range of 25.5-105mm on a 35mm camera.
Sigma introduces new lens lineup
The first lens in the Art category, the Sigma 35mm f/1.4 DG HSM, has a very wide maximum aperture for extensive control over depth of field. And the Sports category's Sigma 120-300mm f/2.8 DG OSM lens is dust and moisture-resistant, and covers what Sigma has found to be a popular focal length range for sports photographers.
All three lenses have a high quality feel and a more minimalist black and white livery than Sigma's earlier optics.
Originally introducing a Fisheye camera back in 2005, Lomography's Fisheye No 2 brings with it a number of upgrades, most notably in the form of a bulb mode – which enables you to capture longer exposures – and an 'MX' switch, which enables you to set multiple exposures on the same section of film.
Like its predecessor, the Lomo Fisheye No 2 features an almost 180 degree field of view, and takes 35mm film. This is still relatively easy to come by in many supermarkets, chemists and so on. Lomography also produces its own range of films, which we used during this test. Processing on the high street is also relatively easy to find, but again you can use Lomography's own lab, which we used here.
For those not in the know, Lomography is the company that has brought back many incarnations of analogue photography. It is proving extremely popular with its unique designs in many different styles.
Buying GuideBest compact camera 2012
Lomography cameras are well known for their erratic behaviour. This can include light leaks, ghosting, flare and other unusual properties, which most users believe to be part of the charm.
The Lomography Fisheye No 2 camera - priced at around £79 in the UK and $75 in the US - comes with an optical viewfinder that can be attached to the camera's hotshoe, enabling you to more accurately judge composition than you could with its predecessor, which didn't come bundled with the accessory.
A fixed aperture of f/8 is available on the camera, while shutter speeds are limited to 1/100 second in standard, or as long as you need in Bulb mode. The approximate focal length of the lens is 10mm.
Build quality and handling
As with most Lomo cameras, the Fisheye No 2 is not for shy and retiring types.
You might also like... Best rugged compact camera
Available in a variety of fun designs - including Python, Faded Denim, Vibrant Orange and others - probably the most striking aspect of the camera is the bulbous fisheye lens on the front of it.
Again like many Lomography cameras, the Fisheye No 2 is very light, because it's constructed from plastic. However, it also feels relatively robust and able to be chucked into a bag ready to be taken anywhere.
Controls on the camera are few and far between, leaving you free to concentrate on composition. The only switches you'll find on the Lomography Fisheye No 2 are those to go from the standard shutter speed of 1/100 second to Bulb mode. Handily, there's also a Lock mode, which stops you accidentally switching into Bulb mode.
On the back of the camera there's also the "MX" switch, which stands for multiple exposure. Like many other Lomography cameras, the Fisheye No 2 is capable of creating unlimited multiple exposures on one frame of film, enabling you to use some fun, creative, but unpredictable effects.
The camera comes with a rubber lens cap that can be attached to protect the fisheye optic. However, on our review model at least, this didn't fit very snugly, and fell off at almost every opportunity – especially when the camera was floating around in a handbag.
A circular viewfinder on the top of the camera is designed to give you a rough guide as to how the composition of the image will turn out. Although you have to remember that it won't be exactly as you see through the viewfinder, thanks to parallax error, it's a useful addition to the original Fisheye camera.
A dial at the back of the camera is provided for winding on the film after each frame is taken. Although this can be a little frustrating for those used to automatic (and of course digital) cameras, it does at least help prevent wasted shots, because the next image can't be taken until the film is wound on.
Once the film is used up, you will need to rewind the film using the gear at the top of the camera. The gear can be a little fiddly to use, so you may find this takes longer than anticipated.
Speaking of the film, loading it is pretty easy, especially if you have worked with 35mm film cameras in the past. If not, it's pretty quick to learn, and you can insert a new film in under a minute.
The Canon PowerShot A4000 IS is a 16MP camera that sits at the top of Canon's A-series of affordable, beginner-level compacts. And It really is a compact camera: viewed from the front, the Canon A4000 is not much bigger than a credit card. It's only around 24mm deep too, but still manages to squeeze in an 8x optical zoom with an equivalent focal range of 28-224mm.
Coming from Canon's PowerShot line, the A4000 IS favours functionality over fashion - although you could be forgiven for missing that detail at first glance. The A4000's minimalist metal body certainly wouldn't look out of place in Canon's more stylish range of IXUS point-and-shooters.
A 3-inch 230k-dot screen swallows up much of the rear of the Canon PowerShot A4000 IS, with a set of small control buttons dotted down its right-hand side. There are no dials here - just push-button controls - which could potentially make it slower to move between settings and make adjustments.
However, there is at least a one-touch movie button for instantly recording HD video. The Canon PowerShot A4000 IS shoots 720p at 25fps, with full-time Intelligent Image Stabilisation to help kill camera wobbles and keep footage smooth.
Newcomers to digital photography will no doubt appreciate the level of hand-holding the Canon PowerShot A4000 IS offers. The Intelligent IS system automatically adjusts the optical Image Stabilizer between six different modes in order to reduce blur.
There's also a dedicated Help button, plus a Smart Auto exposure mode that analyses the scene you're shooting and selects one of 32 different camera set-ups accordingly.
Canon PowerShot A4000 IS at a glance Sensor: 16.6MP (16MP effective) 1/2.3-inch CCD Lens: 5.0-40.0mm f/3.0-5.9 (28-224mm equivalent) LCD Screen: 230k dot, 3.0-inch TFT LCD ISO range: ISO 100 - 1600 Dimensions: 95.3mm x 56.3mm x 24.3mm, 145g (including battery/memory card)
In a further nod to keeping it simple, the Canon A4000 IS comes with Live View Control. This mode doesn't dirty itself with talk of 'apertures' and 'white balance', but distills camera control into three simple on-screen sliders for brightness, colour and tone.
While it isn't exactly bristling with semi-automatic and manual exposure modes - Program mode is the closest you'll get - the Canon A4000 does at least enable you to set a custom White Balance and adjust exposure compensation up to +/- 2 EV in 1/3 stop increments.
Buying GuideBest compact camera 2012
Elsewhere, the Canon A4000 IS's Face Detection system can pick out 35 faces in a scene and adjust focus and exposure appropriately, while Face Detection White Balance automatically optimises the colour for accurate skin tones.
Further highlights on the compact camera - priced at £169 in the UK and $199.99 in the US - include a Macro mode that can focus as close as 1cm, and six creative modes. These include Miniature, Monochrome and retro Poster Effects that can be applied to HD movies as well as stills.
This week we've got plenty of new reviews for you. As well as Apple's new iPhone 5, there's the Galaxy Mini 2 at the following end of the price spectrum.
Then there's Adobe's brand new version of Photoshop Elements, which is sure to be a big seller in the run-up to Christmas.
We've also got a full review of Nikon's new D600, which will slot in nicely between the professional Nikon D800 and the enthusiast-level Nikon D7000.
Check out everything we've reviewed this week below.
Samsung Galaxy Mini 2 review
The 105g Samsung Galaxy Mini 2 slides in at the lower end of Samsung's range and can be picked up for around £150 ($200) SIM-free. It's also available for free on contract starting at just £10.50 per month. The Galaxy Mini 2 isn't Samsung's entry level handset - that accolade goes to the Galaxy Y – which means it lines up against the likes of the Nokia Lumia 610, HTC Desire C and Sony Xperia U.
Pick up the Galaxy Mini 2 and you're met with that undeniably plastic finish which graces Samsung's whole range of smartphones from the quad-core Galaxy S3 flagship, all the way down to the likes of the Galaxy Ace 2 and Galaxy Y. There's a 3.27-inch TFT display with a 320 x 480 resolution. It's a good looking, budget handset with a strong build quality and manageable size – and the bright colour option for the rear cover will probably resonate with fashion-conscious teens.
LG 50PM670T review
Having developed its own passive Cinema 3D system and stuffed its TV ranges largely with Edge LED screens, you'd be forgiven for thinking that plasma tech is a low priority for LG. And you'd probably be right, but the 50-inch, Full HD and thoroughly feature-packed LG 50PM670T plasma TV represents - at least on paper - an increasingly tempting trend on the part of a handful of TV manufacturers of issuing low-key but huge plasma screens at startlingly low prices.
Elsewhere, the LG 50PM670T is a typical example of an all-round living room TV, strapped with an extensive array of smart TV apps and LG's excellent new networking-friendly user interface called SmartShare, plus a Freeview HD tuner and a Full HD resolution. For a mid-range TV priced at £749.99 (around $1,214), that's not at all a bad haul of features.
Adobe Photoshop Elements 11 review
Adobe Photoshop CS6 may have gathered all the attention, but its baby brother Photoshop Elements has been quietly growing up. Now at version 11, it's a mature, sophisticated image-editing program that provides 90 per cent of the functionality of the full Photoshop, at a fraction of the cost. Pricing for new Photoshop Elements users is £79.10, or £119.14 for an Elements & Premiere Elements bundle. If you're upgrading from a previous copy of Photoshop Elements, it will cost £64.81, or £98.16 for the bundle.
This time around, there are only a handful of new features - although these are very much worth having - since Adobe has concentrated on the look and feel of the program. Gone is the dark, grey-on-grey look of previous versions; in comes a bright, fresh livery with much more readable text, clear tool icons, and a far fresher and more appealing look overall.
Crucial v4 128GB review
While every man and his dog is throwing SATA 6Gbps interfaced SSDs at us as if there's no tomorrow, where does that leave everyone that are still packing SATA 3Gbps systems? Surely they deserve some modern SSD love too? This is the premise behind Crucial's latest v4 family of drives: build a 3Gbps SSD at a good price so people with 3Gbps systems don't have to buy expensive 6Gbps models with features and performance they can't tap into. Seems vaguely sensible, right? While that would have been a sound idea when 6Gbps drives were relatively expensive, real life has dealt the Crucial v4 a kick where it hurts. The SSD market has become a little more cut throat sooner then most people expected and more than many ever thought possible.
Nikon D600 review
Nikon has been rather busy over the past year, having already released the D4 and D800 in quick succession. But the company isn't taking a break just yet. The Nikon D600 aims to fill the gap between the hugely capable and professional Nikon D800 and the enthusiast-level Nikon D7000. The D600 is Nikon's first 'accessible' full-frame DSLR. Its £1,955.99/$2,099.95 price tag comfortably undercuts the full price of the Nikon D800 or Canon EOS 5D Mark III, while the size and weight of the Nikon D600 are only a marginal increase over the cropped-sensor Nikon D7000.
At the heart of the Nikon D600 is a new 24.3-million pixel, FX format CMOS sensor. It may seem quite a reduction from the 36.3MP chip in the Nikon D800, but it's still enough to outdo a Nikon D4 or Canon EOS 5D Mark III in terms of outright resolution. But has Nikon cut any corners to produce its smallest and least expensive full-frame offering?
Sony introduced the HX10V in February 2012 to sit in its latest range of superzoom travel compacts.
The Sony Cyber-Shot DSC-HX10V features very similar specifications as the Sony HX20V, but comes with a shorter zoom range, at a still impressive 16x optical zoom.
Housing an 18.2 million pixel 1/2.3 inch CMOS sensor, the camera also features the latest Bionz processor, Full HD video recording, inbuilt GPS and full manual control.
Buying GuideBest compact camera
The 16x optical zoom lens is equivalent to 24-400mm in 35mm equivalent terms, and is also boosted to double that by Sony's Clear Zoom technology.
Working in the same way as digital zoom, Sony claims that its By Pixel Resolution Technology is of a higher quality than standard digital zooms.
On the back of the camera is a 3-inch, 921k dot XtraFine TruBlack TFT LCD screen. There's no viewfinder, and no port or hotshoe to incorporate one either.
Unlike the premium Sony RX100, the Sony HX10V doesn't have the ability to shoot in raw format. It does come with a number of other advanced controls, though, such as Program and Manual mode.
Other interesting features, probably designed to attract holidaymakers, are a number of Picture Effects, or digital filters, sweep panorama, 3D shooting and intelligent Auto modes.
There's also an impressive sensitivity range, starting at ISO 100 and rising all the way up to ISO 12800.
The Sony HX10V has a full price of £299 in the UK and $329.99 in the US, putting it in the same price bracket and category as the popular Panasonic TZ25, which also features a 16x optical zoom.
Despite its own well documented financial woes, Sony has coughed up $645 million (UK£400,AU$621) to become the largest shareholder in Olympus.
The deal givs Sony a 51 per cent stake in the company, whereas Olympus will maintain 49 per cent of the pie.
The investment, it seems, is less about Sony wanting a slice of Olympus' digital imaging expertise and more about taking a foothold in the medical supplies business, where Olympus is a big player.
"By combining the know-how and products Olympus has developed in its medical business with Sony's strengths in audio visual solutions, the two companies aim to establish a comprehensive systems integration business that offers high value-added solutions for operating rooms and other medical arenas," the new best friends said in a joint statement.
Camera collaboration not forgot
The investment was dubbed a "business alliance agreement" and "capital alliance agreement," according to a press release, language that points to a mutually beneficial relationship moving forward.
Sony CEO Karzuo Hirai stated that the two Japanese giants aren't forgetting about each other's respective strengths in the camera business.
"We also believe there are many potential opportunities for collaboration between Olympus and Sony's digital camera businesses and are confident that by building on our respective strengths we can also enhance and grow our presence in this market," he said.
The deal follows a year in which Panasonic, Samsung, and Fujifilm were all linked with significant investment in Olympus.
Tsuyoshi Kikukawa, Olympus's former chairman, pleaded guilty earlier this week to charges of falsifying accounts in order to cover up $1.7 billion (UK£1.05, AU$1.63) in losses.
We first reported on Sony's interest back in June, but back then it was only thought to be after 10 per cent share.
Bucking the manufacturer's recent trend for adding subtly tweaked compacts to the burgeoning travel zoom area of the camera market, Fuji has instead gone for a complete design overhaul with the FinePix F770 EXR - its latest addition to the popular F-series.
Boasting far more than just a few small enhancements and updates, the new model boasts a very sophisticated feature-set, headlined by a 20x optical zoom lens that offers an equivalent focal range of 25-500mm on a 35mm camera.
As well as bettering the 15x zoom offering found on its predecessor - the Fuji F600 EXR - this move brings the new Fuji F770 EXR into line with its direct competitors: the likes of the Canon SX260 HS and Panasonic Lumix TZ30, for instance.
Additional noteworthy features include Fuji's latest 16MP EXR back-side Illuminated CMOS sensor, Full HD (1080p) movie recording capability with high speed movie capture at 320fps and raw file capture, plus built-in GPS functionality and fast 11fps continuous shooting (8MP) - with more besides.
The powerful performance that the Fuji FinePix F770 EXR promises is made all the more appealing when you factor in its price tag. With a launch price of £329.99 in the UK and $479.99 in the US, and a street price of around £299/$330, Fuji looks to have come up with a competitively priced camera that offers a number of advantages over its rivals.
Build quality and handling
With little difference between the Fuji F770 EXR's overall shape compared to the older F600 EXR that it replaces, Fuji seems to have stuck with its tried-and-tested design, saving the bigger changes for the internal components and features, instead.
A few subtle tweaks to the Fuji FinePix F770 EXR's profile include an enhanced front grip that provides a secure and comfortable grasp on the camera, coupled with an all-over soft-touch rubber finish that further augments this feature.
Available in understated black or more striking red, white or blue, the Fuji F770 EXR is slim and stylish, with a well-designed interface that keeps its operation blissfully simple.
Like its predecessors, the F770 EXR boasts a well-stocked mode dial that's mounted on a slant, abutting the top and back panels of the camera. Falling neatly under the thumb, the dial is a very welcome feature that provides a far quicker and more intuitive way of working than menu-based systems tend to offer, dispensing with the need for multiple button presses and scrolling through menus to find the setting you want.
A dedicated movie button also gives fast access to the Fujifilm F770 EXR's Full HD movie recording feature, with softkey access to key functions provided by the scrolling four-way d-pad, plus Fuji's 'F' button offers a concise on-screen menu that presents you with additional important functions for fast tweaking on the fly.
Both the latter contracted 'F-mode' menu and the main menu system are clear, easy to read and logically laid out, with the number of options available for adjustment expanding or contracting according to the exposure mode you're working in at the time.
Stick to the automatic shooting modes and you'll have fewer options to change, while switching to any of the more advanced modes broadens the level of scope for manual control over settings.
Photography Week, the new digital magazine from the makers of TechRadar, Digital Camera World, N-Photo, PhotoPlus and Practical Photoshop, is celebrating its launch by offering all readers five free issues.
The cutting-edge magazine for enthusiast photographers has been designed from the ground up for tablets, and is initially available for iPad via Newsstand, Apple's digital magazine download store.
Anyone who downloads the free Photography Week app can get their first five issues completely free as part of a no-obligation trial.
Each issue of Photography Week features video guides to show you the latest techniques and gear, slideshows of stunning photography and special interactive articles.
Watch the video to see Photography Week in action on an iPad:
Get involved
The tablet-only magazine also integrates with social media, offering you the opportunity to share articles via Facebook and Twitter, and featuring reader photos on its cover and in its gallery pages.
"Photography Week is a cutting-edge magazine in every sense of the word," said editor Paul Grogan. "We hope every photographer with an iPad will find the combination of tablet-focused design and interactive features an essential addition to their kitbag."
Photography Week is on sale now. Get a free UK trial copy or a free international Photography Week trial copy now.
Adobe Photoshop CS6 may have gathered all the attention, but its baby brother Photoshop Elements has been quietly growing up. Now at version 11, it's a mature, sophisticated image editing program that provides 90 per cent of the functionality of the full Photoshop, at a fraction of the cost.
Pricing for new Photoshop Elements users is £79.10, or £119.14 for an Elements & Premier Elements bundle. If upgrading from a previous copy of Photoshop Elements, it will cost £64.81, or £98.16 for the bundle.
This time around, there are only a handful of new features - although these are very much worth having - since Adobe has concentrated on the look and feel of the program.
Automatic fixes in Organiser are take-it-or-leave-it single button effects
Gone is the dark, grey-on-grey look of previous versions; in comes a bright, fresh livery with much more readable text, clear tool icons, and a far fresher and more appealing look overall.
But the refurbishment is far more than just skin deep: in Photoshop Elements 11, Adobe has gone out of its way to make the tools more intuitive, with intelligent walkthroughs and easy quick adjustments.
Camera Raw uses a slightly stripped-down version of the Photoshop Raw engine
Organiser
Photoshop Elements 11's Organiser is the tool for cataloguing, retrieving, printing and filing your images.
It offers a range of techniques to make the process easier, from facial recognition to geo-tagging to straight calendar searches; unfortunately, the facial recognition is hit and miss (we were frequently asked to identify bits of building).
Face recognition can get out of hand - we were asked to put a name to that window
You might also like... Adobe Photoshop CS6 review
You can perform some routine image enhancement tasks with Photoshop Elements 11's Organiser, but you have no control over the process: it's an all-or-nothing approach with single buttons to enhance sharpness, contrast, colour and so on. It's almost always worth opening selected images in the Editor to get to grips with them properly.
An entirely separate application, files are transferred from the Organiser to the Editor to work on them, and this is a fairly straightforward process. Even tasks that are offered directly by the Organiser, such as creating calendars and photo books, are in fact processed by the Editor.
Refine Edge creates perfect cutouts, with far greater ease than ever before
Editor
This is where the main body of Photoshop Elements 11 resides. It's divided into three different working sections, each of which caters to a different level of user: Quick, Guided and Expert.
Although the three modes are capable of acting independently of each other, you can move smoothly between them - and this pays huge benefits, particularly when moving from Guided to Expert mode.
Modify cutouts with the Selection brush. Parameters are at the bottom of the screen
In all three modes, the Options bar that shows tool settings has moved from the top to the bottom of the screen, and it shows all the parameters in a clear, understandable way.
Together with the tool panel and the side panel, this does of course take up a lot of screen space, but they can all be slid out of the way, and there's even a floating panel mode for those who prefer it.
Operations such as aligning layers are now easier, thanks to bolder, clearer panels
Quick mode
In this stripped-down view, there are only a handful of tools - selection, redeye, tooth brightening, text and healing. The Smart Fix, Exposure, Colour and other buttons that were one-click effects in the Organiser now pop open to reveal a 3 x 3 grid of variations, each showing the target image.
There are other simple controls as well - so the Colour adjustment, for instance, can target Saturation, Hue or Vibrance, as well as having an Auto button.
In Quick mode, adjustments are simple, but with a wide degree of user control
While the panels have been pared down, the menus still offer the full Photoshop Elements 11 experience, with access to all the filters, adjustments and techniques. For the beginner, though, Quick Mode will provide much of what you need to do on a day-to-day basis, without scaring you off.
Guided mode
Buying GuideBest printer 2012
In this mode, all the tools and panels are hidden, save for a single panel that presents you with a series of options - Touchups (skin tone correction, colour enhancement, scratch and blemish removal, and so on), Photo Effects (depth of field, Orton effect, and now featuring tilt-shift, high key and low key effects) and Photo Play (out of bounds, pop art, picture stack and reflection).
Selecting any one of these guides you through the process, holding your virtual hand as you make adjustments, invoke filters, and apply enhancements - all without reaching for a tool or menu option.
The Lens Blur filter has a striking range of controls for photographically authentic blurs
It's almost foolproof, demonstrating that nearly anyone can create spectacular effects with ease; and there's enough potential for customisation here to enable many types of image to be processed in the way that suits them.
Guided mode is a terrific learning experience, because it shows the power of Photoshop Elements 11 without frightening the horses.
When creating an effect in Guided mode, simple controls take you through each step
Expert mode
The biggest surprise comes when you create an effect in Guided mode, and then switch to Expert. You'll find that the image you've been working on is now presented as a series of layers, masks, adjustments and filters, exactly as if you'd created all the effects directly in Expert mode in the first place.
This serves two main functions: it enables you to edit the images you've created, fine-tuning the results, adjusting layer modes and repainting masks as required; and it also enables new users to learn a lot about how the effects have actually been created.
Switching to Expert mode shows all the effects as multiple layers
Apart from the cleaner, brighter look, Expert mode benefits from a few new filters. As well as a powerful Lens Blur effect, there are new Comic, Graphic Novel and Pen and Ink filters, all of which create variously hand-drawn looks. But they do so with a tremendous sense of realism, and frankly are far better than anything Photoshop itself can produce. A real pleasure to work with, these are hugely entertaining filters.
You'll certainly benefit from Photoshop Elements 11's new Refine Edge dialogue, which has now been fully updated to provide sophisticated cutout tools - not just smoothing edges, but isolating tricky areas such as hair from difficult backgrounds.
The Comic filter creates striking drawn effects that you can fully customise
Verdict
It's also far easier to add presets in this release than it was in Photoshop Elements 10 and others, and it's the first Elements version to support Actions, the automation system that enables you to execute complex series of effects with a keystroke. Except that you can't create them - you can only use Actions that have been built in Photoshop (and not all effects work).
Adobe Photoshop Elements 11 is a mature, thoughtful program that has eschewed flashy new features in favour of a genuinely more approachable interface. That said, the Refine Edge tool in itself is enough to warrant the upgrade; the extra filters are the icing on the cake.
