The tough camera body is only the beginning

Olympus is among the top contenders in the rugged compact market and over time have honed what works well. Unfortunately the lessons learnt are not applied to the whole range of cameras, case in point – the Olympus Tough 6020.
The overall design of the camera is lacking the stylish finish of other models, looking tough but tacky. The body itself though is still tough as nails with its water, freeze and shock proofing protecting it. It feels a comfortable weight and small enough to fit into a pocket.
From start up the camera is simple to setup and start shooting with although the icons on the buttons are hard to read and not totally self-explanatory for first time users. Switching off the welcome screen will improve the frustratingly slow start up times. The 2.7” lcd anti glare screen is perfect for this type of camera allowing you to view compose and view images in bright light from all angles and when the screen is wet.
The shooting menus revolve around 6 different main settings including iauto, program, beauty, panorama, scene and magic mode.
iauto will shoot in a full automatic mode but seems to ignore using the macro function and uses the flash in almost all situations resulting in average images. This camera works best when told what to do and using the scene or program mode often makes it easier to operate.
The lens is right at the top where you naturally rest your finger so holding the camera wrong means it will sometimes end up in shot. The 5x optical zoom is responsive and perfect for portrait and group shots but you will find yourself moving to compose landscape photos.
Being able to take wide panoramic shots is a welcome addition but the auto mode will only work in consistent good light. Shooting portrait photos in beauty mode will touch up a duplicate image on the fly smoothing skin tones and giving you the choice of the two. The Magic mode is a bit of gimmick but some of the filters are actually pretty effective, the pinhole and fisheye filters are especially fun to use.
There are plenty of useful features but the absence of a menu dial leaves you changing shot settings with the dpad. It works but is a chore to use and can be clunky having all the shooting controls in one place. The tap control can remove some of this and is almost essential when wearing gloves.
Image quality has never been a strong point of rugged compacts especially in low light and unfortunately this compact is no exception. In good light using the program settings you can capture some decent images. But in lower light images lack definition, look patchy and colours are dull. The flash lacks a softer function and can often drown out colour from images. One redeeming feature is when shooting light in pitch-black conditions, with a steady hand impressive photos can be achieved.
The fixed lens gives macro shots a sharp, natural, colourful look when the appropriate focus settings are applied. The super macro led is a nice feature and lights macro shots when in poorer lighting conditions.
One touch video recording at 720p is a good additional feature. The microphone is very poor but the video is quality is fairly decent if lacking in options.
Battery life is good, lasting around 200 shots with panoramic shots and a short amount of video taken. Charging works within the camera rather than in a battery cradle prolonging the life of the camera’s waterproof seals. This does take away the opportunity to have a spare battery charging for more demanding photographers.
The Olympus 6020’s build specs and tap controls make it a perfect camera for active sports like climbing, snorkelling, kayaking and snowboarding. Unfortunately it alienates beginners with poor automatic features and a cumbersome control system. Yet it doesn’t offer intermediate photographers enough manual settings and control over shots.
 

A solidly built compact that’s bursting with features but is let down by poor automatic modes and control system. For the money there are better alternatives available boasting similar specs.

Overall Rating 3 / 5

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Micro Four Thirds with touchscreen free-angle LCD

The Lumix G2 is the latest in new breed of camera pioneered by Panasonic. Affectionately referred to as ‘hybrids’, these new cameras have effectively re-written the rule book when it comes to camera design.
Traditionally, DSLRs have offered photographers more creative manual control over settings but at a higher cost and within a heavier, bulkier body. On the other hand compact cameras offered a more simplistic approach to shooting, in a slim body, but often at the expensive of creative and manual shooting options. Hybrids aim to bridge this gap and cameras like the Olympus Digital PEN series, the Samsung NX10 and more recently the Sony NEX cameras have proved hugely popular with the buying public.
Announced earlier this year, alongside beginner model the G10, the Panasonic Lumix DMC-G2 has introduced some features from its older siblings, as well as a host of new innovations to create a package that’s bound to cause photographers to stop and look.
Out of the box the G2 is remarkably small and lightweight. The kit lens – a 14-42mm zoom – is also petite and comes with a handy lens hood attached. The battery grip fits well into the right hand, offering a large enough bulge to comfortably for your digits around. Designed much like a DSLR, complete with the ridge under the hotshoe where a mirror box would traditionally be found, the benefit of this camera system on a long day out and about with camera in tow is immediately obvious. All the functionality, non of the neck ache.
For users stepping up from a compact, the G2 might seem a little intimidating at first glance. The top and back of the camera are littered with buttons, dials and switches. Although all are clearly labelled. On the top left, users will locate a flash on switch, plus a dial for metering mode control and a lever below this to change focus modes. Both have a firm action and clearly click in and out of each selection. On the other side of the flash sits a mode dial with A, P, S, M and Custom modes, plus scene modes. Auto can be accessed via the iA button which switches the intelligent auto feature on and glows blue to let you know it is activated. The on/off switch, shutter release, drive mode lever and movie mode button are also on the top plate.
Round the back and the rear is dominated by the 2.7” vari-angle LCD. This can be flipped out for high or low-angle shoots, and rotated in on itself to keep the LCD tucked away and safe from scratches. The G2 also boast an electronic viewfinder. Whilst most agree that EVFs are not as good as their optical counterparts, they have come on leaps and bounds, and for times when composing with the LCD is not viable, the EVF is a definite bonus. Down the right hand panel uses will find the control dial for altering settings, Display, Quick Menu and Shutter Effect button, as well as the dpad, offering quick access to ISO, White balance, creative style modes and the menu.
Using the Display button users can choose the interface that best suits them. The traditional Live View option is there, with settings and icons displayed around the live image, but there’s also a shooting setup display that shows all the Aperture, shutter, exposure, white balance and other technical settings across the whole screen. The latter will suit DSLR shooters wanting a lightweight backup, whilst the former might be more suited to compact step up users.
As well as showing users the settings selected, the G2s 2.7” LCD serves another, more exciting purpose. The first of the hybrids to boast touchscreen technology, use your finger to select one of the 23 focus points, or use it in playback to scroll through and zoom in and out of each image. Ideal for the smartphone generation of users who’ll be used to altering key settings on other devices like this, the G2 looks like it could appeal to a broader market than any of its stablemates.
It is innovations like the touchscreen that make the G2 a real pleasure to use. Accessing features quicker than via the menu system, the touch controls mean that you’re less likely to miss a shot.
Another handy feature is the Control dials dual functionality. Use it to a) change the aperture whilst in AP mode and b) depress it once to access the exposure compensation feature. Positioned beneath your right thumb, all this can be done with your eye to the EVF, making adjustments feel more intuitive than ever.
Down to the nitty gritty and the image performance of the camera. Those photographers using the camera on manual settings will find features like the metering modes work very well. Changing ISO manually will show decrease in quality and increase in noise over 800, although this is a similar story on most low-mid level DSLRs too. White balance left on automatic did a good job for most images, as did the iAuto setting when this was selected and took over all settings for us.
The level of detail recorded on both high quality Jpg and RAW settings was good, with small fissures in rocks being clear and clean. Colours were generally faithful, if a little muted – although personal preference might favour this to the oversaturated look produced by some cameras.
Movies are produced at just short of full HD 720p, with a rate of 30fps and mono audio. Although there is a jack on the side for an external microphone to be attached – making it ideal for budding movie-makers.
On the whole, the Panasonic Lumix G2 was a joy to use, especially when out and about. The petite dimensions and lightweight really do make a difference and we’d be inclined to take out a camera like this on more occasions than a heavier DSLR. It’s quick to spring to life, easy to handle and produces some truly excellent images too. Price wise, the G2 seems to have conquered too, with a £600 price tag for both body and lens making this an affordable option.
There are still some who will argue at this price, those who want this many features should just invest in a DSLR system, which will offer more room to advance, more lenses, more accessories and are more tried and tested. However, we say, spend a day with the G2 and you’ll soon be persuaded!
 

There’s very little not to like about the G2. The new innovations coupled with the older features is a successful mix

Overall Rating 5 / 5

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A standout superzoom, but does it warrant the price tag?

Like the mad scientist Dr. Frankenstein, Fujifilm has taken all the best parts from recent models and sewn them together to create a superzoom like no other. Its advanced specs supersede the competition, being one of only two bridge cameras in the world to boast a non-interchangeable 30x optical zoom. Not surprisingly, the creator is pitching it as a ‘Jack of all trades’ kind of camera, but does this consequently mean ‘master of none’?

It’s certainly built to impress. Superzooms are often just slightly bigger than a compact, but the HS10 resembles an entry-level DSLR. It’s assuredly weighty, appearing like it could withstand a few knocks in the line of action. The design is ergonomically friendly too, with a large enough grip to satisfy both genders and a rubberised texture to aid comfort whilst shooting.

The controls reinforce the DSLR looks, with a ridged mode dial that sports the P, A, S, M modes that caters for all ability levels. Next door to this is a smaller command dial, which DSLR users will be familiar with. It enables you to flick through menu options, as well as images in Playback mode, which incidentally has its own dedicated button next to the D-pad. Both of these dials are slanted so that the photographer’s thumb can easily make adjustments whilst shooting.

The user’s other hand can be just as snug too, with the twist-barrel manual focus and zoom controls. Once newbie’s experience this style of shooting, they won’t want to return to rocker zoom switches. The tilting LCD, which could be further enhanced by making it fully rotational, is nevertheless a useful feature. It opens up possibilities of capturing daring angles; crowd shots at festivals will be easily attainable, as are candid images taken from inconspicuous low-angles.

Macro and landscape aficionados alike will adore the scope of the focal range. From 24-720mm, the user receives good wide-angle coverage as well as being able to lock onto your subject at a close 1cm. The image stabilisation performs admirably at the telephoto end of the zoom range and whilst recording video, which is HD at 1080p with stereo sound. This is rare for a superzoom and will undoubtedly be a bonus for anyone looking to take advantage of audio as well as visual opportunities.

The HS10 also possesses the ability to shoot RAW in addition to JPEG; however, the processing time is noticeably slower, taking a lengthy 30 seconds in total. The lens, on the other hand, is quick at either end and the features are easily accessible. Fujifilm has borrowed Sony’s panorama function and included it on the mode dial for speedy selection. However, it hasn’t been polished to Sony’s standard just yet. The process is simple enough with the user having to choose which direction they wish to begin sweeping from, and hold down the shutter release whilst panning the camera. This feature proved more suited to landscapes, as subjects in motion were recorded as ghostly entities. Also, the photographer must ensure not to pan too rapidly to avoid blurring.

Other features of note are the Multi Motion Capture, which steals up to five images of a subject in action and compiles them to create one image featuring the subject multiple times. This is great for sports or fast moving children and animals but if you’d rather eliminate moving objects from a frame, then the HS10 can tackle that too. The Motion Remover is an innovative function; ideal for holiday snaps of tourist attractions, minus the tourists.

Image quality is, as you would expect, not as detailed and sharp as a DSLR. Colours are true to life though, and chromatic aberrations are well controlled in high contrast scenarios. Noise holds out until ISO 800, which is suitable for low light fans. With its wide focal range, set of features, and a zoom so big you don’t need to change the lens, the HS10 could make a viable, cheaper alternative to a DSLR.

One of only two superzooms to offer a colossal 30x optical zoom, the Fujifilm HS10 stands out from its competition with a wide feature set and an attractive DSLR-like body.

Overall Rating 4 / 5

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20x zoom, vari-LCD and much more…

Styled like a DSLR but with ease of use and smaller sensors like compacts, superzoom cameras like the new Canon PowerShot SX20 IS have something to offer every photographer. Shoehorned into the hardwearing plastic body, is a massive 20x optical zoom, which offers users a 28mm wide angle and 560mm extreme telephoto reach. Following on from the SX10, the new model also add 720p

HD movie recording with stereo sound into the mix, helping to justify that £389 price tag.

Powered by four AA cells, the PowerShot SX20 is weighty (over 600g in total) but the battery grip gives photographers a firm hold and the dimensions still remain compact enough to slip into a large jacket pocket when out for a day trip with the family. And family friendly it is, with a Guide mode built in that flashes brief explanations of features selected along the bottom of the (rather small) 2.5” LCD. Perfect for new digital photographers or younger children to start learning the basics with.

That’s not to say this camera is aimed at beginners though, there’s plenty onboard for the more experienced user too. For creative opportunities, the hotshoe is found on the top plate, whilst round the back, a fairly clear electronic viewfinder can be located. The LCD with Live View is still present and correct, and although it is smaller than the standard 3” screens we have come to except, it does offer shooters a vari-angle flexibility which means that high and low shots are made easier, and the screen can even be rotated to lie flat against the camera back, preventing any scratches whilst in your pocket or bag. Switch between the LCD and EVF using the Disp button located on the rear of the SX20, which also toggles between different display options including framing lines and a histogram for aiding compositions.

On top of the camera, photographers will find the mode dial, which features a selection of modes for both advanced and beginner users. Included is Manual, Aperture Priority, Shutter Priority, Program, Custom as well as the usual range of automatic and scene modes. Rotate the dial and each selection has a clear demarcation with little chance of the dial accidentally being moved on.

The mode dial offers photographers access to the HD movie mode, although access can also be gained by pressing the dedicated button on the rear of the camera, labelled with a simple red dot. Press this to start and stop recording video clips. Video clips are of a good quality and the SX20 does take a few second to buffer these to memory, although this is to be expected.

Speed whilst shooting stills is excellent, with start up almost instantaneous and shutter lag minimal. The camera does not shoot RAW files (something some photographers may lament) however, this does mean recording speeds are fairly quick, and images sizes are kept manageably low.

Capturing images with the Canon SX20 IS is a pleasure, with tools like the MF (located on the top of the dpad) allowing users to determine focus manually, adding to the overall experience. The automatic modes all work well, with night and macro modes in particularly standing out. Manual modes are effective too and allow users to be as hands on (or off) as they want.

Images straight out of the camera are of a good quality, with noise and some distortions and softness becoming apparent at the longer end of the zoom and at mid to high ISOs (around 400 sees an incline on out Imatest charts).

Overal the Canon PowerShot SX20 IS is a likeable, quick and easy to use camera with many features on board to appeal to a broad spectrum of photographers. The anti-shake technology works well to ensure that hand held shots are possible, even with the mammoth 20x zoom in operation, and the bonus of HD movies will suit families who want the best of both the stills and video world.

Packed full of features, there’s something for everyone onboard, although the price might be high these arguably justify it

Overall Rating 4 / 5

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We review the Leica M9 - the latest digital rangefinder to join the prestigious Leica line-up

Three years after the introduction of Leica’s first digital rangefinder – the M8, closely followed by the M8.2 – the prestigious German brand announced its newly honed successor: the M9. Crowned the ‘World’s smallest full frame format digital camera’ the Leica M9 is based upon Leica’s iconic M-series of film cameras, combining retro looks with up-to-date digital technology.

For the uninitiated, a rangefinder features a completely different design to a DSLR, which comes with its own set of pros of cons. Obviously these cameras are smaller and more compact, making them more discreet when out in the field. They also have fewer moving internal parts and no mirrorbox, so it’s easier to hand hold a rangefinder at slower shutter speeds than is possible with a DSLR. Like the hybrid cameras filling up a significant portion of the camera market at the moment, rangefinders also support smaller lenses which sit closer to the sensor, making them a great choice for those who prefer to travel light.

On the other hand, some find the focusing mechanism tricky – there’s no autofocus with a rangefinder and you have to get used to using a Bright-line focusing screen, however this is a skill that’s quickly mastered with practice.

The Leica name has long been synonymous with superb build quality, and – holding the Leica M9 – it’s clear that it upholds the reputation set by its predecessors. Little has changed on the outside of the M9 in comparison to its former incarnations, but on the inside, it’s a whole different story.

A new UV/IR cover glass filter offers a marked improvement over the old M8’s design, which featured a very thin UV/IR filter in front of the sensor, and proved to be less than successful when it came to scrutinising images for quality. The later M8.2 introduced a few tweaks to the design, notably a quiet metal shutter, snapshot mode, and a new sapphire crystal glass cover on the LCD, to name a few, but no improvement to the UV/IR filter, so Leica enthusiasts will be pleased to hear the issue has been rectified in the M9.

This is only the tip of the iceberg: the Leica M9 is bursting with innovative features that offer a significant improvement over earlier versions, not least a larger 36x24mm (full-frame) 18mp CCD and dual processors – compared to the M8’s single processor. The M9’s sensitivity range covers same native settings as the M8/.2 (ISO 160-2500) but can now also be expanded to include an equivalent to ISO 80.

Also new to the Leica M9 is exposure bracketing, allowing the user to shoot 3, 5 or 7 images, 0.5-2.0 EV apart, and the camera features new Bright-line frames too: 35 and 135mm, 28 and 90mm, 50 and 75mm. There are also 4 user profiles available for programming now, compared to the M8.2’s 3, increasing the M9’s versatility even further.

A couple of changes to the Leica M9 have resulted in some slight reduction in functionality in some respects, notably a slower maximum shutter speed of 1/4000sec compared to the M8’s 1/8000sec. Continuous shooting is also a tad more restrictive than it was with the two older digital M’s – the Leica M9 will still shoot at up to 2fps, but only for 8 images now, compared to the M8/.2’s 10, but this is a negligible loss considering the introduction of the new full frame sensor.

In the hand, the Leica M9 feels incredibly solid, with its attractive brass top and bottom plates (finished either in black or steel grey) lending a robust feel and reassuring weight to the body. In terms of design, very little has changed on the M9: you still have everything you need right at your fingertips. The main switch surrounds the shutter release and allows you turn the camera on/off, as well as selecting from Single shot, Continuous shooting or Self Timer mode.

The shutter release has three pressure points by default: a brief button press activates exposure metering and viewfinder displays, a further, harder press to the second pressure point saves the exposure metering value in aperture priority mode and pressing it all the way down takes the shot. You can modify the way the shutter release operates however, via the Advance option in the main menu.

If you’re in a situation that calls for a bit more discretion, you can turn on the Leica M9’s Discreet shutter release mode. This lets you suppress the sound of the shutter cocking temporarily, by holding down the shutter release until you’ve had the chance to move to an area where it’s safe to release it, at which point the shutter will cock. The delay time can be any length.

Another option – Soft – means the shutter is released at the second pressure point, rather than the third, making it easier to keep the camera still when taking a shot. This is handy when you’re working with longer shutter speeds, but it’s a bit odd working without the normal resistance there at first, which can lead to accidental ‘misfires’ until you get used to it.

A large metal shutter speed dial – as with the Leica M9’s predecessors – provides a direct method for setting the camera’s shutter speed. You can opt for the M9’s Auto setting instead, which puts it into Aperture Priority mode, allowing you to concentrate solely on setting your aperture and ISO.

The rest of the controls are on the back of the camera, which are all the same as with the M8/.2, save one. A seemingly small change leads to a not insignificant improvement in the interface: a dedicated ISO button alongside the other main buttons to the left of the LCD means there’s no more delving into the main menu system to alter this key setting, speeding up the way in which the M9 handles.

The menu system isn’t the most streamlined we’ve used - there are no ‘tabs’ to condense the options into organised sections - rather everything forms a long list, with each option in turn providing access to further sub-menus.

Within this menu system, you’ll find a few hidden gems that offer further improvement over the M9’s former incarnations. For example, the Leica M9 features the Lens Selection Database seen in earlier versions of the camera, although you now have the option of automatic lens detection or manual entering of lens models. Once the camera has identified which lens is attached to it, automatic vignetting correction is applied to lenses that are known to generate this problem, cutting down on the work required to process images in post. The Leica M9 also adds another new Vintage B&W mode to the existing B&W option.

You can opt to shoot JPEGs at various quality settings – either on their own or in combination with DNG (Digital Negative) files (or DNG alone). DNG files can be opened in a range of different image editing programs, so you’re not restricted as you would be with other manufacturer’s ‘own-brand’ Raw formats, and Leica has had the foresight to include a free download of Adobe Lightroom for M9 purchasers too.

There’s the choice of either Compressed or Uncompressed DNG files, which are of benefit if you want to control just how large the files you want to record are, according to the amount of space you have on your memory card / the purpose of your shoot. A one-to-one session with photographer and Leica consultant Brett, revealed that – contrary to what you might think – it’s rarely necessary to use the uncompressed setting, since the compressed DNGs don’t actually lose all that much information and save a lot of space on your memory card. Looking at the level of detail in compressed DNGs from the M9, we’re inclined to agree: there’s more than enough detail and dynamic range captured to keep even the most scrupulous pixel-peeper satisfied.

If you’ve never experienced working with a rangefinder before, there’s a bit of a learning curve to assault at first, but we were surprised at just how quickly operating the Leica M9 became intuitive. Having learned on film cameras initially, the idea of having all of the controls – a shutter speed dial and aperture ring on the lens – at our fingertips felt remarkably comfortable very quickly. The focusing was a lot easier to master than we’d expected and – as we learned through out session with Brett – you don’t actually need to be as entirely accurate as you might think.

It’s a different way of working compared to that of a DSLR, but a bit of practice was all that was required to sharpen our reflexes when out shooting street candids. Brett taught us how to anticipate your distance from your subject, using the clear demarcations on the lens to select roughly the right focusing distance before you’ve even lifted the camera to your eye. Once you’re looking through the viewfinder, all you have to do is quickly fine-tune the focusing and take your shot: instead of relying on fast burst modes and AF to get your shot, it’s down to you and your own skill as a photographer.

Once you adapt to this way of working, you certainly won’t be disappointed with the shots the Leica M9 allows you to capture. The level of detail in converted (compressed) DNGs is simply stunning, and there’s something special about the way in which the M9 records high contrast scenes lit with natural light: you can’t quite put your finger on it and the only way we can begin describe it is to say ‘It’s a typical Leica image’. There’s always been something distinctive about a photograph shot with a Leica – film or digital – and the M9 succeeds in continuing this trend.

If you’re a Leica enthusiast then the new features sported by the Leica M9 will delight. The build and image quality this camera produces makes it earn its price tag

Overall Rating 5 / 5

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2View has never looked so good, but is this a façade?

Samsung's 2View range came onto the scene in 2009, with the ST500/ST550, wowing buyers with impressive dual LCD screens. Hoping to maintain the interest, and the momentum from its popularity, the company has expanded its range with the PL150, boasting improved inner-workings and creativity. However, unlike the ST range, which has touch screen technology, the PL150 series takes pride in trusty buttons instead.
The PL150 is filled with some exciting new shooting modes within the front 1.5 LCD. For example, self-portrait have never been more interesting, as you can spin the camera around to use the front LCD to capture a well-composed picture of yourself, and also with other people in Couple Shot mode. This mode is made to detect multiple faces, and even goes so far as to incorporate motion capture; a nod of two heads fires the camera automatically. Children mode is the third and final option for the front LCD, producing an animation to keep the child’s interest, along with audio as a bonus. Additional sounds can even be downloaded from Samsung's website (www.samsung.com/uk).
There are aspects of the PL150 which help to instill levels of confidence and reassurance about its quality. For example, the on/off times happen at blink-speed, and using the optical zoom is smooth and easy to control if you need to adjust in small increments. The in-camera menus can be cycled through quickly, and the same can be said about cycling through images in playback. Subtle tweaks to the design of the camera have been made to help with shooting self-portraits with its front LCD. The camera has a bevelled bottom along its back edge, which allows you to lean it back and aim it at head height.
 The mode dial provides you with all the functionality needed to capture most situations. There is a dedicated Beauty Shot mode, with the choice of adjustments: Face Tone and Face Retouch. However, closer inspection of the retouching quality, it failed to impress. The PL150 has a Perfect Portrait System, consisting of Face Detection, Smile shot, Blink Detection and Smart Face Recognition, the latter is ideal for larger groups.
As well as using the camera's OIS (optical image stabilization) system, which constantly steadies the shot, there is also the dedicated 'Dual IS' mode for using as well. These combined makes for an ultra-steady shot, just in case you find yourself shooting on uneven grounds. We found that simply using the OIS alone, the camera coped well with reducing shake and potentially blurry images.
The PL150 uses a wide-angle 5x optical zoom that is equivalent to 27-135mm. This versatile range makes it capable of shooting all sorts of scenes, from landscapes to portraits, and to 5cm Macro. The camera is comfortable in lowlight conditions too, and handles shadows well with a powerful flash above its lens. The overall dynamic range of highlights to shadows, however, couldn't handle bright skies in landscapes and loses essential details in the blue hues and white clouds. Using higher ISO settings, such as 800, and the camera manages to disguise noise, although ISO 1600 proved dismal in its attempts. We enjoyed the PL150's P (program) mode, which allowed for personal configuration of exposure and quality settings. They include ISO settings (80-3200), white balance options, exposure adjustments and AF options, such as Tracking for shooting moving subjects. This is also where the camera holds its creativity, with both the Photo Style and Smart Filter options. The latter gives your images an impressive vignette effect. Fish-eye filters will also bend your image in or out, depending on preference. Samsung has forged a camera that not only looks smart but also handles your everyday situations extremely well. For portrait enthusiasts, the PL150 is a top contender.
 

It's not without its faults, but is an impressive compact for its asking price. The front LCD screen solves many potential problems shooting portraits.

Overall Rating 4 / 5

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Tougher than tough and waterproof, too

If there’s one problem with taking your compact camera on holiday, it’s the prospect of sand and water coming near your expensive gadget. The [mju:] Tough-3000 is set to counter such peril. The camera is rated waterproof to a depth of 3m thanks to covering the controls with a plastic overlay, sealing the battery/memory card compartment with rubber and ensuring the lens stays firmly inside the body. That isn’t to say there’s no optical zoom, but it’s no real surprise given this physical limitation that it’s just 3.6x from a 28mm start point. Also, if you are intending to actually photograph underwater then perhaps the Tough-8000 would be better, as it’s rated to 10m rather than the 3m here.
Realising that fewer controls make sense in a grubby environment, the functionality of the 3000 is also stripped down to basics. You won’t be fiddling around looking for manual program modes, as it’s a choice of which automatic mode to use. The standard is Program, which allows for plenty for adjustments, while iAuto is completely automatic. In between there’s Magic mode, which performs various gimmicky post- production effects that are better left to the computer, Panorama mode for stitching images, Beauty which is a portrait enhancement mode and lastly 19 scene modes. Beauty mode is notable for softening the background and lightening the face, though it’s quite subtle. Handling the camera isn’t great because the controls are fiddly to start with and this is compounded by the waterproofing.
Most of the fun is to be had in Program mode, because here macro, super macro, white balance, ISO and exposure compensation can be altered. The Macro mode is nothing to write home about at 10cm, but the Super Macro mode does get closer to the action. The exposure compensation is going to get a lot of use however, as the metering really doesn’t care about keeping detail in the sky at all. It’s entirely orientated to the ground/people, but the latitude doesn’t appear great either, with what should be straightforward shots requiring lots of adjustment to successfully capture. There are other performance issues for this 12MP compact. There’s face recognition of course, and this works reasonably well but isn’t infallible. When it comes to fast shooting though, the 3000 managed a pathetic three shots in a ten-second test. Focusing is okay in the first place, but tracking anything is impossible and combined with the burst rate, you aren’t going to capture much action. There is better capture rate if you drop the resolution down to 3MP, but why would you want to? The other area of disappointment is the flash. Expectations for flash on compacts is never high, but this is pretty weak.
The camera can take a few knocks and does look nice – though the burgundy and shocking pink version is perhaps a little lurid for some. Menu access is simple, given the reservations about actually using the controls to access them. If you do want to stick the camera underwater then there’s a specific mode for that, as trying to focus would be a waste of time. The Water mode uses a fixed aperture and focus distance to get things sharp enough. It’s good to see some thinking has gone into the fact that you might fill up your memory card while on the beach and be reticent to change it. Enter the 1GB internal memory, and even though only 600MB of this is usable, it’s still a handy backup.
There’s an impressively low ISO rating of 64 to start with, but even on this detail in shadow areas is limited. When the rating is pushed up it rapidly gets noisier and detail disappears, so that by the time it hits ISO 1600 the effect is noisy and a blotchy painting. There’s no ISO 3200, which is surprising.
The Tough-3000 flatters to deceive. It’s fine if you want something for the beach or taking pics of the kids in camera-threatening environments, but otherwise it’s quite limited.

 

Nice build quality and can take a knock or two. Ideal for taking to the beach or on holiday where there’s water, but fairly limited for general photography

Overall Rating 3 / 5

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Sharing your life just got simpler

Released earlier in the year alongside three other Easyshare compacts, the M530 boasts a 12.2MP CCD and Kodak-branded 3x optical zoom lens.
Designed to be a stylish accessory for avid photo bloggers, the Easyshare M530 comes in a range of funky colours and sports attractive styling that doesn’t look out of place among the existing range of compacts that are targeted at this market sector.
Slim and lightweight, the body combines a metal and plastic case with a tactile rubberised finish on the area where your fingers grip the camera, which combines with a sweeping curve on the back where your thumb rests to provide a firm purchase.
On the top, three small buttons sit flush to the body, allowing you to power the camera on/off, access the menu for the built-in flash unit and switch between shooting stills and movies.
Around the back, the 2.7” LCD takes centre stage, flanked by some little buttons down the right-hand side. These give dedicated access to the Delete, Playback, Info and Main menu options, while a small silver four-way d-pad surrounds an OK button, for easy navigation of the menu system and other functions. A silver rocker switch lets you activate the optical zoom, and a dedicated red
Share button completes the
user interface.
The 3x optical zoom lens provides a focal range equivalent to 36-108mm on a 35mm camera. While this is fine for general photography, it prevents the M530 from excelling in any particular area. 36mm is a little narrow for the wide end of a zoom lens, making it less than ideal for capturing sweeping vistas, or – as the intended user is most likely to want to photograph – group shots of more than a few people. Likewise, the telephoto end of the zoom range is fine for candids at fairly close quarters, but if you want to fill the frame with a subject across the room then you’ll need to zoom with your feet instead.
Of further note is the time it takes the lens to zoom to either end of its range: considering how short a distance it has to cover it’s pretty slow, and you may find yourself missing key moments while you wait for it to catch up.
In operation, the camera is fairly responsive. The M530 takes a couple of seconds to power up and the LCD to come to life. Half depress the shutter release and – in good light – the AF system performs well, finding a lock quickly and accurately most of the time. Once the camera’s located your subject, keep the shutter half depressed and you’ll see a green box appear around it. Move the camera around to re-compose your shot and that green box will stay locked onto your target: an impressive feature at this price that works pretty well.
The headline feature is the ability to tag shots (using a virtual keyboard on the LCD) before uploading them. Connect your M530 to a computer, press the Share button and away it goes.
In addition to the very accurate smart capture, which determines what it is you’re shooting and adjusts the settings, there’s a Program mode if you want to take a bit more control. The face recognition feature does a fine job and comes in handy when tagging images post-shoot, too.
Image quality is pretty good, but nothing to write home about. The colours captured are vivid, but zooming into frames reveals a fair degree of oversharpening occurring in-camera. Crank up the ISO and – although usable up to about ISO 400 – beyond that things aren’t pretty.
As an affordable entry-level compact for daytime snaps, the Kodak Easyshare M530 delivers. In low light and as a good all-rounder however, it falls short.

As a point-and-shoot-and-share device the M530 performs well for the most part, but the 3x optical zoom is a little restrictive, preventing it from shining

Overall Rating 3 / 5

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An affordable and well-specified compact

Until recently, low in price meant low in features. Not any more. Although very affordable, the Pentax Optio E90 boasts a useful 10.1MP sensor and a host of shooting modes, including Movie. The little camera also includes face recognition and has plenty to please casual and more serious users alike.

The body is neat and functional, if somewhat anonymous. The rubberised finish with metallic trim gives the camera a classy and rugged feel that belays the price, and there’s a choice of black or red versions.

The camera is powered by AA batteries, which is no doubt a cost-saving measure. They may not be eco-friendly, but they are readily available and you could always use rechargeables. We did find the batteries lost power suddenly and without warning, rendering the camera unusable, so it’s worth carrying spares.

The LCD is reasonably bright and large, and next to it are the usual controls which are clearly marked and easy to operate.

Press the Power button and the camera comes alive in a reasonable two seconds. Once on, the green button on the back shortcuts you straight to Basic mode, which overrides all other settings and makes the camera near-idiotproof. In this mode, the camera picks the most suitable shooting mode, while face detection ensures that the camera focuses and exposes for faces in the frame.

Other shooting modes are accessed by pressing Mode and using the control wheel to navigate through clear on-screen icons, with written captions explaining what each mode does. There are all the usual subject modes that we’ve come to expect, including Portrait, Landscape, Snow and Sunset. In addition, Frame mode gives a choice of gimmicky surrounds for your pictures, which kids may enjoy. Digital SR (shake reduction), meanwhile, sets a higher ISO to reduce the risk of camera shake.

Another button controls the Face modes. You can scroll through face detection, smile capture and off. Smile capture fires the shutter the moment the subject smiles at the camera. It works well and is less of a gimmick than you’d think – it ensures you capture a happy face and is also a handy way of taking self-portraits.

If you like to take your photography more seriously, then Program mode allows you to control ISO, exposure, flash and drive mode. The latter offers one-shot and continuous (1fps) plus 16 Frame mode, which takes 16 low-res (640 480) shots over 2 secs.

There are some basic editing features built-in, ranging from the useful (exposure correction, cropping and red-eye reduction) to the gimmicky (star highlights).

The 10.1MP sensor promises reasonable results and, on the whole, it delivers. Images are acceptably sharp, although there is a slight softening at the telephoto end. Head beyond that into the digital zoom, and image quality drops noticeably to a point where it’s unacceptable. You also have to watch the Auto ISO feature, as image quality drops noticeably as ISO creeps above 200. Fortunately exposure metering is consistent and copes well with a variety of lighting conditions. The flash gives good results within its range and red-eye reduction is also effective. Finally, video capture is a useful bonus, with 640p resolution giving acceptable results.

The Pentax Optio E90 has the looks, feel and features of a more expensive compact and represents good value for money. A well-featured camera whose rugged looks and feel belay its low price. There’s nothing groundbreaking about its design and features, but it’s good value

Overall Rating 4 / 5

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GPS technology, sweep panorama… is this the ideal travel compact?

For the non-pro photographer on their travels, a compact point-and-shoot model is a sound investment. The Sony Cyber-shot HX5 has been designed specifically for travellers or those planning a trip. On-board travel GPS mode incorporates a compass with pinpoint tracking system. The camera will record the exact location of every shot and video taken, including which direction the user is pointing. This clever technology will attract any keen traveller, as images and videos can be plotted in a fun and interactive online map upon return. This entertaining way of displaying treasured memories is ideal for gap-year students or young travellers wanting to showcase photos and movie clips in an alternative manner, and is a great souvenir to keep after the trip.
Other impressive features on the HX5 include Sony’s advanced sweep panorama and HDR Backlight Correction mode. The panorama technology works by gliding the camera across the scene in the direction of the arrow, while the camera stitches the image together. The HDR Backlight Correction mode also comes in handy in high dynamic conditions, although this wasn’t effective 100% of the time.
The HX5 supports a Sony Exmor sensor with a ten-megapixel resolution, convenient for the person on the move as images only measure 3,648 x 2,736. This means more memory space is available for storage and images can still be enlarged to a reasonable size before the quality deteriorates. Images produced were to an excellent level, however some strong colours did oversaturate in bright light. Across the spectrum there were no issues with colour balance, although the magenta tones did appear slightly stronger, giving images a warmer appeal.
After years of collaborating with Carl Zeiss it is good to see Sony branch out into its own brand of lens, and the Sony G lens appears to be producing some excellent results. 10x optical zoom is a great feature, and teaming this with a 25mm wide angle makes the HX5 ideal for landscape shots. The Sony G lens is large for a compact, meaning it performs at a higher level than many rivals on the market and is able to cope in low light.
The Cyber-shot HX5 supports a large ISO range that stretches between 125-3200, however in very low-light conditions, noise levels were unavoidable. The Handheld Twilight and Anti-motion Blur mode did aid this type of shooting, although at 3200 the image quality was very grainy and images were blurred.  
The HX5 is easy to use and having quick access to all features through the top dial makes it effortless to select the appropriate shooting mode. Manual controls are also available, for those wanting
to progress.
After rigorous testing in a variety of lighting conditions, the LCD screen performed to an excellent level even in harsh sunlight, which again is handy for those going to places where the sun is guaranteed to shine. The HX5 is available in black or silver and its box-like traditional design appears nicely understated.
It is clear to see why the HX5 is priced so highly, as the built-in technology is impressive. However, if GPS technology is not needed, then the Sony Cyber-shot H55 is £100 cheaper and a great alternative. This model incorporates similar specs and a larger sensor resolution. 
 

An excellent feature-packed compact, though the retail price is rather expensive. If you don’t want the GPS then opt for a similar, cheaper Sony compact

Overall Rating 4 / 5

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