Canon Powershot As Web Camera

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Canon Powershot as Web Camera

As mentioned, the Canon PowerShot N design is a step away from the norm with the ring based zoom and shutter controls meaning the compact camera can be used no matter which way up you're holding it. What's more, thanks to its lack of a rigidly located ... at Apr 16, 2013 / No Comments. The BDP-150 is the cheaper little brother of the BDP-450, a Blu-ray player aimed at those more interested in movie playback and build quality than flashy web portals and more.

Canon Powershot as Web Camera

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Canon has expanded its PowerShot line at CES 2013, with the 12.1-megapixel Canon PowerShot N unveiled as an ultra-compact snapper that features a new, unusually boxy design that is a combination of enjoyable and frustrating to use in equal measures.

Switching up conventional controls between an increasingly popular touchscreen and the rather unusual pairing of ens-mounted rings, one for zoom, one for the shutter, the Wi-Fi capable Canon PowerShot N is, on first impressions at least, a device that is designed for the Facebook ages, quick, quirky and extremely compact.

As mentioned, the Canon PowerShot N design is a step away from the norm with the ring based zoom and shutter controls meaning the compact camera can be used no matter which way up you’re holding it. What’s more, thanks to its lack of a rigidly located single shutter button, the camera is as equally friendly to left-handed users as it is righties.

Unusual on most fronts, with a 78.6mm x 60.2mm form factor, which is a relatively slim 29.3mm thick, the Canon PowerShot N rocks an almost square shape.

A muddled device that excites at first but leaves a lot to the imagination following use, the 12.1-megapixel latest addition to the PowerShot line can be fiddly to use with its ultra-compact form and highly sensitive touchscreen display meaning accidental presses and unwanted snaps or floors and ceilings were an all too frequent occurrence, evening during our brief time with the camera.

That said, although the front mounted ring-based zoom and shutter controls are far from standard, they work well and with little confusion as to which of the identically coloured and similarly sized rings you should be using, assuming you manage to avoid a touchscreen triggered premature snap that is.

Playing host to a 2.8-inch capacitive touchscreen LCD panel that is further enhanced by a pull-out tilt mechanism and touch based shutter capabilities, the Canon PowerShot N screen, although impressive on paper, fails to live up to initial expectations.

Although the display’s hinge is useful for awkward shots, and of a sufficiently satisfying build quality, the Canon PowerShot N screen is, in large, a disappointingly low quality affair with grainy image playback spoiling one of the most enjoyable aspects of a modern digital camera, viewing your pictures.

Whilst this is not such an issue when utilising the screen as a live, LCD based viewfinder, when attempting to view recently captured shots, the Canon PowerShot N screen is a considerable let down and one which wholeheartedly inhibits the overall end user experience.

Although we have been unable to fully explore the photographic capabilities of the Canon PowerShot N, stay tuned for the full Canon PowerShot N review in the near future, first-impressions from our hands-on with the device are not wholly positive.

As far as we could tell on the snapper’s less than ideal display, some of the Canon PowerShot N captured shots were lacking in strong colour management with the compact unable to correctly balance what were in truth fairly challenging lighting conditions. Whilst this could be down solely to the image review options available to us, we would expect better from the camera’s 12.1-megapixel High Sensitivity CMOS sensor.

Further compounding the camera’s less than lustrous first-impression, attempting to make use of the 28mm wide angle lens’ 8x optical zoom saw results diminish rapidly with distinct graining and reduced quality apparent almost instantly. Unfortunately, due to the limitations of our hands-on, were have as yet been able to test the camera’s integrated Wi-Fi capabilities.

A more in-depth analysis of the Canon PowerShot N’s photo credentials will be offered up in the coming months when we once again get our mitts on the device around the April Canon PowerShot N UK release date that will see the sub-sized snapper touch down alongside a £269 price tag.

What do you make of the somewhat peculiar Canon PowerShot N form factor and design features? Revolutionary hit or muddled miss? Let us know via the Trusted Reviews Twitter and Facebook feeds or through the comment boxes below.

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Canon Digitale Camera Ixus

o

Canon Digitale Camera Ixus

The Canon IXUS 255 HS (also known as the Canon PowerShot ELPH 330 HS) is a stylish digital compact camera that, from the outside, appears to break the rules, sporting a comparably meagre 12.1 megapixel CMOS ...

Canon Digitale Camera Ixus

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The Canon IXUS 255 HS (also known as the PowerShot ELPH 330 HS) is a small and stylish new point-and-shoot compact camera. The IXUS 255 HS' stand-out features include a 12 megapixel back-illuminated CMOS sensor, 10x wide-angle zoom lens, full 1080p HD movie recording, 3 inch LCD screen and built-in wi-fi connectivity. Read our in-depth Canon IXUS 255 HS review to find out if this tiny camera is worth the £199.99 / $229.99 price-tag.

The Canon IXUS 255 HS (also known as the Canon PowerShot ELPH 330 HS) is a stylish digital compact camera that, from the outside, appears to break the rules, sporting a comparably meagre 12.1 megapixel CMOS sensor with a DIGIC 5 processor and a 10x optical zoom, all housed in a slim body complete with a 3-inch LCD screen, 1080p video and built-in wi-fi connectivity. Priced at a moderate £199.99 / $229.99, the IXUS255 HS is available in black, silver and pink.

There are a number of interesting features on the IXUS 255 HS. The HS appendage denotes that the IXUS 255 uses Canon's High Sensitivity system. It's a combination of winning sensor technology and killer processor to make low light images (usually taken at high ISO with a lot of noise) look better quality. This could be a good indication as to the reason for the relatively low 12.1 megapixel resolution (by comparison). The less pixels on the sensor, the more space is available and so certain types of colour noise are avoided. These types of noise are created by pixels heating up while exposing and affecting neighbouring pixels.

The ECO mode is a battery saving system that you have to enable in the Main menu. It's in the setup tab and you simply switch it to the On position to use it. It reduces the battery power consumption by adjusting the brightness of the screen. Why this isn't a standard feature (ECO all the time) is a bit of a puzzler, but then we'd complain about not having the option to take it out of ECO mode.

We mentioned previously about how the processor can help with the HS system. The Canon IXUS 255 HS has been fitted with a DIGIC 5 processor. But what's different in the DIGIC 5 from the DIGIC 4? Quite a lot, says Canon. The 5 is a sort of light version of the 5+ which is seen in the top end DSLRs (the DIGIC 6 has only just been announced, so the 5 is current technology). According to Canon, it's 6x faster than the DIGIC 4, can efficiently run FullHD video, can manage faster frames per second (fps) at full resolution and – arguably more importantly – can handle image quality better, such as reducing noise.

More and more digital compact cameras are being produced with wi-fi connectivity, but there's not generally a great deal that can be done with it. Usually, you can only upload your pictures to another device or website. Canon have gone to town though and squeezed every last bit of use from it. For example, you can download Canon CameraWindow app from App Store or Google Play and connect the camera to your phone for wireless control. You can use your phone as a GPS service to geotag your photographs. You can back-up your photos to a website or computer, print directly with a wi-fi enabled printer as well as the previously mentioned uploading to social media.

All Canon digital compact cameras have two menus; one for quick access to frequently used features and one for more in-depth modes. The first is accessed by pressing the FUNC. SET button in the centre of the navigation pad. A small scrolling menu will pop up to the left. The colouring is orange on grey which wouldn't be our first choice, but does look quite nice. Here you can change the ISO, white-balance, resolution and shooting modes among other things.

The main menu is plainly signed on the button and pressing it opens up a dedicated window to it. There are only two tabs so that it doesn't overwhelm the beginner. Because of only using two tabs, the menu is extremely easy to use, but we need to cover a few of the features to give an idea of what the camera is capable of for the newcomer to photography. The Camera tab is for features that directly affect the way the Canon IXUS 255 HS takes pictures such as Flash settings, Blink detection and Focusing modes.

There's a nifty feature called iContrast towards the bottom which expands the dynamic range of the photographs. That means that if you're in a situation where there's a lot of contrast, the sensor normally will not be able to cope with the dark shadows and bright light. This will result in no detail in dark areas and burn out on the highlights. iContrast works to reduce the effect of this and balance out the exposure more. Flick over to the Setup menu and these modes will affect the camera in it's day to day operation such as noise control, date & time, power options and wi-fi settings. The previously mentioned ECO mode is found in this menu.

The Canon IXUS 255 HS is very well made. It has a weight to it that keeps you aware of it's presence while shooting or sitting in your pocket. The tripod bush is metal for added durability and the only thing we'd liked to have seen is a lock on the battery cover. It snaps open, so isn't easily jostled while in a bag or pocket but there's also no metal on it, so it's more flexible than we're comfortable with. The thin lithium ion battery slots in alongside the SD memory card. Up to and including SDXC can be accepted in the 255 HS.

One area of the build we really like is the size and sturdiness of the zoom lens. A 10x optical zoom in a little body such as this one isn't seen a lot, but it's great. There's very little movement in it when waggled from side to side. We also like the screen that Canon have fitted to the IXUS 255 HS. It's a little bit too big for the body and sticks out but it's much better to see a large screen. It's bright, colourful and contrasty.

Continuous shooting on the Canon IXUS 255 HS is great. In the first second, the camera rattles off three pictures before slowing to a steady two fps therein. We captured 21 pictures in a ten second period indicating a 2.1fps performance. Download time to the card is fast too at only a couple of seconds for all those pictures. This shows what the lower resolution and faster processor does for you and is great for a little compact. Should you find yourself needing the camera on quickly, from the off position, the 255 HS can turn on, focus and take a picture in two seconds. That's half a second faster than a typical digital compact camera.

The Canon IXUS 255 HS can be switched on to review pictures whether it's powered up or not. If it's off, simply hold the button down a bit longer and it will come to life. Pictures are shown full screen as default but pressing the DISP. button will scroll through the options of information you want to have on screen. For instance, you can have no info, basic info such as the resolution, date & time and file number or you can go the whole hog and have all shooting information displayed with a thumbnail of the picture and even a histogram. There's a Function menu in playback and brings up features such as the delete button (for that one image you're on), favourite, lock and rotate. There's also an Image search feature which will look for pictures using their date, favourites – if you have any or people – using face detection among others.

Directly under the box opening is a small card tray which holds the software and manuals. The booklet is only a brief manual with the full manual being stored electronically on the CD. The CD also contains a picture viewing suite which offers basic editing and tagging. Beneath this is the camera with a battery, charger, wrist strap and USB cable.

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Reviews Canon Powershot Sx50 Hs

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Reviews Canon Powershot Sx50 hs

It's hard to ignore the Canon PowerShot's SX50 HS's 50x optical zoom. Never before has a superzoom laid a 24-1200mm equivalent lens on the features table - something that, in terms of maximum focal length, leaves all ...

Reviews Canon Powershot Sx50 hs

It's hard to ignore the Canon PowerShot's SX50 HS's 50x optical zoom. Never before has a superzoom laid a 24-1200mm equivalent lens on the features table - something that, in terms of maximum focal length, leaves all other superzooms in the shade. But does SX50 HS overreach by focusing on big numbers rather than big performance?

Holy moly, that's one big lens. But the SX50 HS really isn't all that big in the hand. It might not be a compact compact, which is a given really, but it is a similar size to its nearest competitors.

The secret here is, in part, the lens's more limited maximum aperture than its SX40 predecessor. Not by loads, mind, but the f/3.4-6.5 maximum isn't the impressive f/2.8 that the Panasonic FZ200 offers throughout is full zoom range. Different cameras, different ideas, but one thing is clear - the Canon is all about that mega focal length, which is twice that of the aforementioned Panasonic.

But there's a lot more to like besides the lens. The SX50's inclusion of a standard hotshoe - it's not covered up like the one on the SX40 - means it's easy to attach accessories, such as an optional Speedlite flashgun, while a deeper grip makes holding the camera feel more natural and steady than previous SX-series models.

The camera's 2.8-inch, 461k-dot resolution, vari-angle LCD screen is useful to reposition for waist-level or overhead shots and can be twisted into pretty much any position to the side of the camera or stowed screen-in for protection. We used it a whole lot in our testing and it coped well in bright sunlight too.

If the sun does get too much then there is a 0.2-inch electronic viewfinder also built in, although it's a small window on to the world and therefore not the most comfortable to the eye. Viewfinders tend to be short of the mark in any given superzoom camera, as is the case here, although the SX50's offering is no worse than the similar competition and it still has plenty of use when trying to steady up those longer focal length shots. So in many respects it's an essential.

Shooting modes also cover a broad range: Smart Auto heads up the point-and-shoot options, but the mode dial on top of the camera also comes equipped with the usual array of manual shooting modes.

These can be controlled using the rear d-pad which doubles up as a rotational dial. The lack of a second thumbwheel to the front of the camera is a bit of a shame, and we'd also like to see some function buttons added as the camera's layout is somewhat sparse. Unlikely to be purchase-breakers, but these more DSLR-like controls would help the SX50 HS feel more complete.

When we first saw the SX50 HS the huge zoom range got us a little worried. A 1200mm equivalent is massive, which introduces issues with hand-holding the frame steady. Canon's lens-based image stabilisation system has worked well in previous SX-models and while it continues to operate to a very high standard in the SX50, that 1200mm equivalent is still very tricky to use. The slightest of movements can see half the subject fly out of the frame, while any slight knee-jerk reactions will send the stabilisation system into overdrive - to the point where it can't help. The focal length is one of those "nice to have" things, but a brighter maximum aperture would have been preferable, as the f/6.5 maximum at the top of the zoom range limits the results that are possible yet further.

Used up to around 40x, however, and the whole experience is that much more manageable. It's not as though this Canon has quite bitten off more than it can chew, though, as we must admit the full 50x range impressed us more than we had anticipated, despite the various limitations.

At the wider-angle settings this Canon can really show off in close-up macro mode. Any camera that has a 0cm minium focus distance (yes, zero centimetres, that's no typo) at its widest-angle setting is going to be pretty impressive.

Popped into an Auto mode and the SX50 HS does a good job of focusing fast, though the auto-area focus system can get a little "overexcited" and focus on some strange areas of the image rather than the primary subject. The face detection system can find "imaginary faces", for example, so we found using the manual options and variety of user-defined focus options was preferable. The 1-area mode's focus area still can't quite be moved to the very edge of the frame, but the selectable area - which can be shifted between small and medium sizes - can be positioned across the majority of it.

There's a burst mode that can whirr off 10 shots in under a second, but the camera will fix focus and exposure when doing so. Outside of this specific mode the 2.2fps burst is limited to 0.9fps should autofocus be used. The tracking focus option, which highlights a subject and "follows" it to maintain focus, works ok but this kind of continuous focus isn't nearly as quick nor capable as the single autofocus mode. It's fairly standard compact camera stuff.

Why hello camera raw, we've been expecting you. That's right, the SX50 HS includes not only JPEG capture but bolsters its imaging roster with 12-bit raw file capture. That'll get more-demanding users champing at the bit.

The PowerShot SX50's ISO 80-6400 sensitivity gives a broad palette to work from in all manner of conditions, though we'll say it straight off the bat: the ISO 6400 sensitivity is one step too far.

High ISO settings are important for superzoom cameras for a number of reasons. The SX50's more limited maximum aperture at its longer focal lengths means less light can reach the sensor and therefore, in many situations, a higher ISO setting will need to be used when shooting handheld. That long focal length also introduces greater sensitivity from physical movement, and the general rule of thumb is that a shutter speed should be equal that of the equivalent focal length - i.e. 50mm at 1/50th sec, 1000mm at 1/1000th sec and so on - in order to maintain optimum sharpness. But at the 1200mm setting, shooting at 1/1200th of a second at the maximum f/6.5 aperture even in daylight is going to take some doing, and the camera's auto mode all but ignores matching up to such settings. Lower ISOs take preference, and for good reason.

The 12.1-megapixel 1/2.3-inch CMOS sensor looks to be the very same as the SX40's sensor on paper. Canon has put some work into image processing though and so, from an overall quality point of view, we think that the SX50 is a step up. It's up there with the best of them, though the small sensor does have its own limitations.

In our tests we found that ISO 80-800 were of practical use, each able to resolve a good amount of detail without levels of image noise compromising shots' overall quality. Quality does quickly decrease thereafter, however, with ISO 1600 the top sensitivity we'd opt for using.

ISO 3200 pushes the limits as image noise is a problem and sharpness lacks, while the ISO 6400 option suffers excessively from these issues - indeed it's this top ISO sensitivity will be of little use.

The SX50's massive zoom range also means the lens shows up some compromises too. There's presence of chromatic aberrations - those red, blue and purple "edges", also known as colour fringes - in many images, and edge softness is also prevalent. We're not surprised given how much this lens is trying to do though - anything that can offer up both 24mm and 1200mm equivalents is going to have to compromise somewhere.

Despite some critical comments here, the SX50's image quality is top-drawer stuff when taken in context. Think about it with realistic expectations because this isn't a DSLR, after all, and this latest superzoom is good enough to knock its SX40 predecessor from the top spot.

That, of course, is assuming that the low ISO settings can be made use of, as high ISO sensitivity isn't this camera's strong point. It's this last point that, in our opinion, puts the shorter zoom of the Panasonic FZ200 one step ahead. Saying that, just flick your eyes over the bright, punchy and detailed images in the gallery and there's a lot of good to say for the Canon's images direct from camera.

Just like its predecessor, Canon's not skimped on the movie mode either. The camera can capture 1080p clips at 24 frames per second for that cinematic frame rate, while 30fps is available for the lower 720p HD capture option.

The camera adjusts focus and exposure during recording and the lens can be used to its full extent during recording, though shooting at the longer focal lengths handheld will as good as guarantee wobbly footage. Exposure can also occasionally "jump" up a level, which shows in playback.

Fast movement introduces skew/wobble that's also an issue, but not uncommon in stills cameras' movie modes. The "silent" lens barrel also isn't quite silent to our ears, so it's a shame that there isn't a 3.5mm microphone jack included in the camera's design.

The Canon PowerShot SX50 HS lands one big punch with its 24-1200mm lens. But it's not all 100 per cent rosy: the limited aperture at the longest focal length will force use of higher ISO settings and the lens is trying to do so very much that some softness and colour fringe issues can't be ignored. But considered in context and, for a superzoom, the SX50 HS's low ISO images and raw capture puts it right up there among the best. It's a high standard for a superzoom camera.

We love the vari-angle LCD screen and how well it performs in bright conditions, the fast autofocus is a step beyond its SX40 predecessor and the image stabilisation system is really impressive too - even if the longest of focal lengths stretch this last feature a little too far.

At £449 the SX50 HS is far from a budget camera, but it does dangle the 1200mm lens carrot and that's a feature no other compact camera on the market can offer. It's hard not to be impressed and even if the longest of focal ranges have their limitations, but it's how this camera feels as a whole that makes it such a cracker. It feels great in the hand and delivers plenty of bang for the budget.

 

Canon Powershot Sx50 Hs Reviews

o

Canon Powershot Sx50 hs Reviews

It's hard to ignore the Canon PowerShot's SX50 HS's 50x optical zoom. Never before has a superzoom laid a 24-1200mm equivalent lens on the features table - something that, in terms of maximum focal length, leaves all ...

Canon Powershot Sx50 hs Reviews

It's hard to ignore the Canon PowerShot's SX50 HS's 50x optical zoom. Never before has a superzoom laid a 24-1200mm equivalent lens on the features table - something that, in terms of maximum focal length, leaves all other superzooms in the shade. But does SX50 HS overreach by focusing on big numbers rather than big performance?

Holy moly, that's one big lens. But the SX50 HS really isn't all that big in the hand. It might not be a compact compact, which is a given really, but it is a similar size to its nearest competitors.

The secret here is, in part, the lens's more limited maximum aperture than its SX40 predecessor. Not by loads, mind, but the f/3.4-6.5 maximum isn't the impressive f/2.8 that the Panasonic FZ200 offers throughout is full zoom range. Different cameras, different ideas, but one thing is clear - the Canon is all about that mega focal length, which is twice that of the aforementioned Panasonic.

But there's a lot more to like besides the lens. The SX50's inclusion of a standard hotshoe - it's not covered up like the one on the SX40 - means it's easy to attach accessories, such as an optional Speedlite flashgun, while a deeper grip makes holding the camera feel more natural and steady than previous SX-series models.

The camera's 2.8-inch, 461k-dot resolution, vari-angle LCD screen is useful to reposition for waist-level or overhead shots and can be twisted into pretty much any position to the side of the camera or stowed screen-in for protection. We used it a whole lot in our testing and it coped well in bright sunlight too.

If the sun does get too much then there is a 0.2-inch electronic viewfinder also built in, although it's a small window on to the world and therefore not the most comfortable to the eye. Viewfinders tend to be short of the mark in any given superzoom camera, as is the case here, although the SX50's offering is no worse than the similar competition and it still has plenty of use when trying to steady up those longer focal length shots. So in many respects it's an essential.

Shooting modes also cover a broad range: Smart Auto heads up the point-and-shoot options, but the mode dial on top of the camera also comes equipped with the usual array of manual shooting modes.

These can be controlled using the rear d-pad which doubles up as a rotational dial. The lack of a second thumbwheel to the front of the camera is a bit of a shame, and we'd also like to see some function buttons added as the camera's layout is somewhat sparse. Unlikely to be purchase-breakers, but these more DSLR-like controls would help the SX50 HS feel more complete.

When we first saw the SX50 HS the huge zoom range got us a little worried. A 1200mm equivalent is massive, which introduces issues with hand-holding the frame steady. Canon's lens-based image stabilisation system has worked well in previous SX-models and while it continues to operate to a very high standard in the SX50, that 1200mm equivalent is still very tricky to use. The slightest of movements can see half the subject fly out of the frame, while any slight knee-jerk reactions will send the stabilisation system into overdrive - to the point where it can't help. The focal length is one of those "nice to have" things, but a brighter maximum aperture would have been preferable, as the f/6.5 maximum at the top of the zoom range limits the results that are possible yet further.

Used up to around 40x, however, and the whole experience is that much more manageable. It's not as though this Canon has quite bitten off more than it can chew, though, as we must admit the full 50x range impressed us more than we had anticipated, despite the various limitations.

At the wider-angle settings this Canon can really show off in close-up macro mode. Any camera that has a 0cm minium focus distance (yes, zero centimetres, that's no typo) at its widest-angle setting is going to be pretty impressive.

Popped into an Auto mode and the SX50 HS does a good job of focusing fast, though the auto-area focus system can get a little "overexcited" and focus on some strange areas of the image rather than the primary subject. The face detection system can find "imaginary faces", for example, so we found using the manual options and variety of user-defined focus options was preferable. The 1-area mode's focus area still can't quite be moved to the very edge of the frame, but the selectable area - which can be shifted between small and medium sizes - can be positioned across the majority of it.

There's a burst mode that can whirr off 10 shots in under a second, but the camera will fix focus and exposure when doing so. Outside of this specific mode the 2.2fps burst is limited to 0.9fps should autofocus be used. The tracking focus option, which highlights a subject and "follows" it to maintain focus, works ok but this kind of continuous focus isn't nearly as quick nor capable as the single autofocus mode. It's fairly standard compact camera stuff.

Why hello camera raw, we've been expecting you. That's right, the SX50 HS includes not only JPEG capture but bolsters its imaging roster with 12-bit raw file capture. That'll get more-demanding users champing at the bit.

The PowerShot SX50's ISO 80-6400 sensitivity gives a broad palette to work from in all manner of conditions, though we'll say it straight off the bat: the ISO 6400 sensitivity is one step too far.

High ISO settings are important for superzoom cameras for a number of reasons. The SX50's more limited maximum aperture at its longer focal lengths means less light can reach the sensor and therefore, in many situations, a higher ISO setting will need to be used when shooting handheld. That long focal length also introduces greater sensitivity from physical movement, and the general rule of thumb is that a shutter speed should be equal that of the equivalent focal length - i.e. 50mm at 1/50th sec, 1000mm at 1/1000th sec and so on - in order to maintain optimum sharpness. But at the 1200mm setting, shooting at 1/1200th of a second at the maximum f/6.5 aperture even in daylight is going to take some doing, and the camera's auto mode all but ignores matching up to such settings. Lower ISOs take preference, and for good reason.

The 12.1-megapixel 1/2.3-inch CMOS sensor looks to be the very same as the SX40's sensor on paper. Canon has put some work into image processing though and so, from an overall quality point of view, we think that the SX50 is a step up. It's up there with the best of them, though the small sensor does have its own limitations.

In our tests we found that ISO 80-800 were of practical use, each able to resolve a good amount of detail without levels of image noise compromising shots' overall quality. Quality does quickly decrease thereafter, however, with ISO 1600 the top sensitivity we'd opt for using.

ISO 3200 pushes the limits as image noise is a problem and sharpness lacks, while the ISO 6400 option suffers excessively from these issues - indeed it's this top ISO sensitivity will be of little use.

The SX50's massive zoom range also means the lens shows up some compromises too. There's presence of chromatic aberrations - those red, blue and purple "edges", also known as colour fringes - in many images, and edge softness is also prevalent. We're not surprised given how much this lens is trying to do though - anything that can offer up both 24mm and 1200mm equivalents is going to have to compromise somewhere.

Despite some critical comments here, the SX50's image quality is top-drawer stuff when taken in context. Think about it with realistic expectations because this isn't a DSLR, after all, and this latest superzoom is good enough to knock its SX40 predecessor from the top spot.

That, of course, is assuming that the low ISO settings can be made use of, as high ISO sensitivity isn't this camera's strong point. It's this last point that, in our opinion, puts the shorter zoom of the Panasonic FZ200 one step ahead. Saying that, just flick your eyes over the bright, punchy and detailed images in the gallery and there's a lot of good to say for the Canon's images direct from camera.

Just like its predecessor, Canon's not skimped on the movie mode either. The camera can capture 1080p clips at 24 frames per second for that cinematic frame rate, while 30fps is available for the lower 720p HD capture option.

The camera adjusts focus and exposure during recording and the lens can be used to its full extent during recording, though shooting at the longer focal lengths handheld will as good as guarantee wobbly footage. Exposure can also occasionally "jump" up a level, which shows in playback.

Fast movement introduces skew/wobble that's also an issue, but not uncommon in stills cameras' movie modes. The "silent" lens barrel also isn't quite silent to our ears, so it's a shame that there isn't a 3.5mm microphone jack included in the camera's design.

The Canon PowerShot SX50 HS lands one big punch with its 24-1200mm lens. But it's not all 100 per cent rosy: the limited aperture at the longest focal length will force use of higher ISO settings and the lens is trying to do so very much that some softness and colour fringe issues can't be ignored. But considered in context and, for a superzoom, the SX50 HS's low ISO images and raw capture puts it right up there among the best. It's a high standard for a superzoom camera.

We love the vari-angle LCD screen and how well it performs in bright conditions, the fast autofocus is a step beyond its SX40 predecessor and the image stabilisation system is really impressive too - even if the longest of focal lengths stretch this last feature a little too far.

At £449 the SX50 HS is far from a budget camera, but it does dangle the 1200mm lens carrot and that's a feature no other compact camera on the market can offer. It's hard not to be impressed and even if the longest of focal ranges have their limitations, but it's how this camera feels as a whole that makes it such a cracker. It feels great in the hand and delivers plenty of bang for the budget.

 

Which Camera Is Best

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Which Camera is Best

The bigger the sensor size, the larger the lenses and, usually, the camera's body too. But also the bigger the sensor size the better - again, usually - that image quality will be. Your classic trade off, really: which is largely what ...

Which Camera is Best

Compact system cameras. No, wait, mirrorless interchangeable cameras. Or is it digital single lens mirrorless? It's no wonder that the onslaught of this relatively new camera market has caused its fair share of confusion.

The announcement of the Canon EOS M has seen the final major manufacturer reveal its CSC cards. But that means there are no fewer than eight of them in the running, producing kit that encompasses seven different lens-mount standards. And that's why we're here at Pocket-lint to help sift the wheat from the chaff so that you can figure out which CSC is best for your needs.

Hello. Nice to meet you. First, a bit of housework. What is a CSC? It's a near-compact-sized camera with a larger-than-compact-camera sensor that includes an interchangeable lens mount.

There are a few mainstays to consider when buying into a compact system camera. You'll want to think about the size of the body and lenses that you want to carry around, and this is something that's dictated by design and, importantly, sensor size. The bigger the sensor size, the larger the lenses and, usually, the camera's body too. But also the bigger the sensor size the better - again, usually - that image quality will be. Your classic trade off, really: which is largely what the CSC represents - a trade off between your DSLR and compact camera.

And yet image quality isn't the be all and end all of a camera experience. You might want good quality, but not care if a camera's scored slightly lower on some boring chart on a foreign website if such results can't really be seen in the real world. You might just want an easy-to-use camera that suits your needs for family snaps and is built to last a long time.

On the other hand, you might be a more capable photographer that's all but done with taking that huge, professional DSLR camera kit out on the town. Here you'll want to think about future-proofing, largely based on available lenses and accessories, how responsive and accurate a focus system is, and whether the sensor is up to the job in standard and low-light conditions.

Bearing that in mind, decide whereabouts you fit on the user spectrum and read on for our compact system camera round-up arranged in sensor size order from smallest to largest.

The smallest of the bunch, the Pentax Q is a bit of an oddity. It's got a sensor no larger than you'd find in a basic point-and-shoot camera, and that helps to explain why its teeny form factor looks rather toylike.

Indeed Pentax has even released what it calls "toy lenses" to accompany the release. Although they're cheap to invest in, the manual-only focus and poor resulting quality don't make them all too attractive a purchase. You're better off sticking with the better-quality zoom and 8.5mm prime lenses. But that's all there is available, a paltry five lenses in total.

Cons: Teeny form factor, poor lens selection, small sensor, poor overall image quality (though better than a compact amera, it can't match up to the competitors listed in this round-up)

The Nikon 1-series has been backed up by a wash of TV advertising and squarely aimed at the modern family. Which is the best place for it really. The J1 and V1 models are laid out with point-and-shoot snappers in mind.

The small, 1-inch sensor size is capable but, ignoring the Pentax Q, also the weakest overall performer of this group. If you're gung-ho about your image quality and want something more DSLR-like, then look further up the range. But if you want a simple, point-and-shoot style camera with interchangeable lenses and the ability to capture frames before even firing the shutter (yep, the ads are true!) then this could be up your street.

Where it all began and, arguably, the category leader. The Micro Four Thirds (MFT) range - which is shared by both Panasonic and Olympus, so lenses from both manufacturers are interchangeable - doesn't have the biggest sensor, but this translates to sensible body and lens sizes.

As both companies have had plenty of time to explore and advance their ranges, however, the latest MFT cameras are extra quick off the mark. The likes of the Olympus OM-D, for example, is among the fastest contrast-detect autofocus system of any on the planet.

The amount of choice may seem a little confusing, however. Panasonic has its G-series, which is sub-divided into GF, G and GH, while Olympus has its PEN range and the latest - and higher-end - OM-D E-M5. That does mean that there's something here for everyone, whatever your ability, and plenty of prospect for lens and accessories expansion too.

It's here. It has arrived. Canon has been tight-lipped about its compact system camera reveal, but what it has announced was no big surprise. Our first impressions are that it's a lot like a Canon EOS 650D DSLR compressed into a PowerShot-like body size. In fact it's rather like a Sony NEX-5N.

The EOS M's at your fingertips. However, we've not yet got our hands on one for an extended play, so we can't comment on just how good this system will be, nor how well it will stand up against the competition. On spec, though, we're quite excited.

Pros: Flash included in the box, image quality should be DSLR-matching (much like Sony's NEX series), super-high resolution touchscreen.

Cons: No built-in flash, it sounds rather pricey to us, new lens mount means a lack of EF-M lenses (initially, though we're sure this'll change), touchscreen won't suit all tastes, not yet clear how the shallow flange-back distance (18mm)

We tend to think of Samsung's NX-series as the most DSLR-like of all the compact system cameras. It's not big by any means, but it's less shrunken than many of its competitors.

This is, in part, down to the camera's design. The flange-back distance (ie, the distance from the rear of the lens to the sensor) is 25.5mm - deeper than any other system listed in this round-up. While this means it might make for slightly larger models in the case of the NX20, for example, that's not always a negative: there's plenty of room to get your hands around without it feeling too small. Should you want a more compact, stripped-down version then the latest NX210 will do you justice.

But the Samsung-made sensor is its unsung hero and the range of lenses coming out of Samsung's doors is nothing short of impressive. If high resolution is what you're after, then the Samsung NX series certainly delivers. It's a serious DSLR alternative, but the battery life needs to be improved.

Cons: Battery life tends to be poor, larger than its competitors, less support via online and retail stores, built-in Wi-Fi a little cumbersome (nice idea though)

Sony was one of the first to start firing in the compact system camera war and managed to cram a DSLR-sized sensor into a smaller form factor before any other company had.

The NEX system is great for less knowledgeable snappers for simple point-and-shoot work, but does also offer full manual control. The problem is, with the exception of the high-spec NEX-7, you'll need to do a fair amount of menu-digging for manual shooting. Sony has released software updates to make the cameras more user-friendly, but the NEX-series' one big downside is its user interface.

Ignore that and this small package has a great bunch of lenses on the market, an accessory OLED electronic viewfinder that's among the best going, and captures fantastic image quality whatever your level.

The clue here is in the name. Fujifilm's retro-styled system is built on not only top-glass prime lenses (no zoom lenses to date, though there will be at least one added to the range), but it's also got some seriously clever technological engineering.

First up is its hybrid viewfinder, similar to that found in the X100. This fusion of optical and electronic viewfinder is unlike anything else out there. It feels a little different from a normal camera, and does suffer from what's known as parallax error that you'll need to learn to correct for. But that's how traditional cameras worked, and Fujifilm embraces that here.

Without going too deeply into the nuts and bolts, the X-Pro1 doesn't have a usual colour grid pattern over its surface to decode accurate colour. It has one that's far larger, which means a layer in front of the sensor - known as the anti-aliasing filter - isn't necessary in its design. The result? Extra sharp, tip-top image quality that, the company has claimed, will match a full-frame sensor DSLR. We don't disagree.

Pros: excellent image quality, great prime lenses, revolutionary viewfinder, super-high-res rear LCD screen, luxury build quality, classic Fujifilm film "emulsions", forthcoming Leica adapter means compatibility with insanely good (and expensive)