D300SDSlR

OVE8£2000!
_- ital

WhyCanon's
rivals should
fear this DSLR
 WHAT IDIGITALCAMERA

CONTENTS
MAY 2OfO • ISSUE 161

elcome •••
to the May issue of Britain's favourite guide to digital cameras
and accessories, and how to use them. This month we test
Canon's new EOS 550D and discover that its really rather good!
Also on the testing bench are the impressive Sony Alpha 450
and Olympus E-PL1, along with a quartet of superzoom compacts
that are perfect for taking on holiday,
Top portrait photographer Trevor Yerbury shows just what
can be achieved with one camera, one lens and a feel for
natural light, while Jeremy Walker explains why no landscape
photographer should be without at least one Neutral Density
filter in their bag, See you next month!

Nigel Atherton
n igel_at herton@ipcmedia.com

IN THE ISSUE
06 OPENING SHOT
An in'Pirational image of Rannoch Moor in
Scotland, <:aptured by Jeremy Walker

08 UVEVlEW
Adobe's new Creative Suite. Pentax hatches
new medium form ..t pl'lns. plus much more

15 YOURVlEW
Got a \Irong opinion on one of the burning
issues of the day? Here's where to share it ..

17 OURVIEW
_.and here's where we'll be getting a few
thing, off Ou r chest too. Repl ie'< welcome!
130 , . :! II( I) 3:. 1'43 ·1 COMP£TmON!
Win a Nikon D300s package worth £1,5OO!

PHOTO TECHNIQUE
19 NUPOCrA
Your camera-buying quffiiom and technical
queries arnwered by our experts

14 PROfILE: TREVOR YERBURY

The top portrait photogr;,pher sho""5 what c;,n
be achieved with minim;,1equipment

30 MY DIGITAL CAMERA
Two more of our reade .... .how off their
exce llent portfoliO'S
J.It C· j: ": ! J'N'j ~ i l GUIDE TO: NDRLnRS
Top pro JeremyW;, lker explains why you
need NO tilte .... and how to use them

WWW.WHATDIGITALCAMERA.COM l
WHAT IDIGITALCAMERA
38 ,.):I, :!13 1'j;;! M£T£RING
0

We explain the various types and which you

Vlould use for different KenariO'l

.lt2 (' ) :'I: t(·(oi'j ; i l ~ZlNG

Pholoshop E~ments: Resizing your images
for web and email

4ft EVENING ClASS

PhOt05hop guru Martin Evening .. s...... ses more
of your photogr;,ph, and offers his expert advice
on how to give your images more imp<KI

EQUIPMENTTESTS
51 C.::I, DJ3· i '{ i jICANONE0555OD
The new ED'i in Canon's stable boast, ISMP and
some excel lent features, How does it fare?

58 SONY ALPHA 450

AI ,u\).(500. tile Sony A4SO looks like a barg<lin.
We put it through its PiKes
66 Coj:I, DJ 3· i'{i jl FOUR-WAY GRQUP T£ST:
.oX ZOOM COMPACTS
Superzoom creative compact! priced bf'llWen
£250 and £350: the (anon SX210 IS, Nikon SSOOO,
Panasonk TZ-,O, and Sony HX5. Which is the best?

12 tol: I,: J,!or.l ;;l OLYMPUSE-PU

With high.end features, this mlall Micro Four
Thirds model is certol inly tempting

T7 RlCOHCX3
With HO video c.lpture. what else does this \OM~
lOx zoom compact haVf' to offer?

79 tlKONUIO
How does this 28-42{)'nm su~rzoom ~rform?

79 CASIO EX·ns
Stylish. slim compact offering IOMP

79 OLYMPUS MJU 9OtO

Impressive spec indudes a 28-28Omm zoom

~ GEARED UP!
Apple A~rture 3 software. the MiFi. Sennheiser
MK£ 400 miaophone, Manlrotto 530 vid~o tripod
head, and more gadgets reviewed

86 LENS GROUP TEST:

. i

BUYER'SGUIDE
105 OSL.
Every current DSLR tested and rated

110 COMPACTS
Choosing a compact? Stop here first

116 UNSES
All lenses listed, with scores, prices and advice

120 F'LASN / TRIPODS

Al l the variables for choosing a flashgun and tripod

122 BAGS / STORAG£

Backpacks, shoulder bags, and storage options

124 PftINTERS / MULT1R1NCT1ONALS / SCANNERS

from printers to all";n·ones: output opt iorfs sorted

126 50nWARE
Your comprehensive guide to photo software

wdc@ipcmedia.com
Whatdigitalcamera.com
PHONE 0203 1484797
WRITE What Digital Camera, Blue fin
Building, 110 Southwark Street,
London SE1 OSU

4
 --
-
_._- ~

.. -
Rannoch Moor
By Jeremy Walker
Taken at SUlYIle in wint!'!; thiuOOI i7,'
JereflT)'WalkeI sIlows jusl I'dIaI IS ~
with NO like"- Ftw a fcjl maslfldasl hom
•
1----~""=~="""""= IlI'n to p34.

_. -
-
•
 · .

This Month••• Adobe steals the headlines wit h the new Creative
Suite, while Pentax hatches its medium format plans...

ADOBE
PHOTOSHOP CSS
PART OF NEW CREA11VE SUITE
Mobe announced the latest YefSlOfl of rts image and Raw image processing engine, reahstH: pamtJng and
video editing behemoth CreatM! SUite. mduellng brushes, automated lens correctIOn and Improved
Photoshop (55. The latest verSIOn of Photoshop black-and-white conversion through the lab.
features a host of new features. and looks set to As mentioned. Photoshop (S5 forms part of the
remain at the top of the unage-edltlng tree. wider CreatIVe SUite, With nE.W vefSI()I1S of Premier.
Amoog the new features IS the HOR Pro module. Bridge, InDesign. Illustrator, Flash and much more.
Improvmg upon the previous HDR image productlOf1 Pholoshop is eKpected 10 be available In the neKt
process, HDR Pro offers more control over the HDR fe\\' months and will be available In two verslOOS
merging process as v.tell as further control over the (normal and extended), as well as part of multiple
mapping of tones In an Image and the style of Creative Suite Collection packages.
output. The HDR Pro module also offers eKtended
controls WIth an enhanced dialogue bol( as well as
new algorithms to help reduce ghosting.
One of the real standout new fea tures In
Photoshop (55 IS Content-Aware Fill. Working
alongside the spot healing brush, or as an option in
the fill feature, Content-Aware Fill takes into
account the structure and detail of image elements,
promismg 'near-invisible' results when removing
unwanted objects.
Other Improvements to the software Include a nE.W

8 WWW,WHATOtGfTALCAMlRA-COM
 ADOBE
LlGHTROOM3
PUBUC BETA 2 AVAILABLE
Adobe has announced the immediate
availability of Its Lightroom 3 public beta
update. The beta, downloaded by some
350,000 photographers to date, IS currently
a labs release, and as such is subJect. to
constant improvement and feedback.
Lightroom 3 beta 2 offers Improvements
according to this feedback, and new features
include tethered shoot ing support for a
fange of Nikon and Canon cameras, the
ability to im!X)rt and manage video files from
a DSlR, and improved speed. Luminance
nose reduction has also been add ed to the
colour nOise reductIOn options. To download
Adobe Photoshop lightroom 3 beta 2, visrt
the Lightroom page on Adobe Labs.
PENTAX 645D MEDIUM FORMAT
CURR£NTLYJAPANHONLY
Pentax had one of the biggest stones of
the month as It announced ItS foray into
the world of medlum·format cameras.
The new 6450 features a 6:45 ratio
medium format sensor (larger than a full
frame 35mm sensor) designed by Kodak.
With a studio-friendly 40 milhon pl~els.
The camera also features Pentax's Real
Image Engine processing, a 14·blt AID
converter, and a new SAFOX IX+ II
point autofocus system.
The lens mount appears to be the
same original 645 mount that featured
on previous film medium format
cameras, therefore allowing compatibility
With older lenses. though Pentax has also
launched a new O·FA lens to accompany
the new body. This IS a 55mm f12.8
WWW.WNATDtGfTAlCAMERA.COM
WACOM
CINTIQ21UX
INmlAC1IVE 21IN DISPLAY
Wacom has introduced the newly
redesigned Clntiq 21 UX interactIVe
display. The device feat ures a range of
fl{W and improved functionality - rt
features 2,048 levels of pressure
sensitivity for better pen performance,
and also has t'NO 1"I€\N Touch StriPS for
quid:: access to pre-determmed controls,
As WIth other WitCom devK:es, the
Cmtlq 21 UX features eight ExpressKeys
located either side of the display which
allow quick access to commonly used
features, thus improving the workflow.
The 21m display comes complete wnh
patented stand, allCMting the stand to
reclme between 10" and 65°, whHe it
can also be rotated around 1800
The ( intiq 21 UX w ill hit stores from
late March J early April, priced
£1,799.90. For more information, visit
Wacom online.
(43.5mm in 3Smm equivalent) dust~
proofed and weatherproofed to match
the camera, and features Pentax's first
fully rounded diaphragm.
The 6450 is currently only bemg
launched in Japan from May, with no
Indication so far as to If or when ft will be
arriving on our shores. Prices are
expected to be around 850,000 Yen
(around £6,315) for the camera and
100,000 Yen (around (745) for the lens.
The Pentax fi lm 645 cameras have
been used and adored by many
professional fashion and portrait
photographers in the past and no doubt
Pentax will be hoping to tempt these
lapsed or film Pentax users back. into
their new digital verSion.
9
 •

NERO SOFTWARE
MULTIMEDIA sum 10
Nero has announced the latest version of the PC -001)' Mutilmedl3 Suite
10, which offers users the ability to import. edit and export files from a
wide variety of sources. This incarnatIOn also features a radically
overhauled interface and WindO\oVS 7-specific features. The StartSmart
utility simplifies the language, giving users five options of hcr.v to get
started. By basing these choices w ithin the likes of Video and Photo and
MusIC. the beginner should know immediately where to click. There's
also a powerful media player, which holds several editing tools for both
photo and video. The files can then be organised into a slideshow and
e)(ported to a number of devices, including to Blu-Ray disc. Windows 7
supports the likes of enhanced toolbar playback funct fons, which di5play
t he album art and current track when the program is minimised while
playing music. Nero MultllTl('(jla Suite lOIS available now for £59. More
InformatlOrllS at www.nero.co.uk

THINK TANK BAG

LOGISTICS MANAGER
Think Tank Photo has announced Its latest
gear-canymg solutIOn. The logIStICS Manager IS
the manufacturer's first roiling equipment case
for lighting and photographic gear, and IS
specified to shoulder the burden wrth ease.
The LogIStICS Manager features endless
interior layout optlOflS, SO it's adaptable for a
range of equipment configuratlOf'lS, ....mIle Its
large size means vast quantities of gear can be
easily transported.
When transporting large amounts of
elq)ensive gear around, secUrity IS ImperatIVe,
and as such the logiStICs Manager offers a
three-tier security solution. A TSA combinatIOn
lock features to secure the main Zipper, a
security cable and combination Jock are on the
rear to secure t he bag to an immovable object
while an ID plate allQIAIS lost gear to be
identified and returned to the owner.
Various other features are In place to make
the bag user-friendly - an extendable handle
allQINS easy transport, at tachment points
feature on either side for tripods and stands,
and a stretchable lower outer pocket is present
for storage.
The logistics Manager is available nQIN for a
list price of S599 (£400). For more information
and a full specificatlOl1, viSit
www.thinktankphoto.com
- -- ...
BOSTON
BIG PICTURE
WWW.BOSTON.COM/BIGPICTURE
The internet is a fanl~tic resell.nce for photographer\
hartxluring evelYfhing from buying advice to tedmical
expertise. Or.e of its best uses. however, is as a place
from....-hid! yaJ tan be impired. Endless galleries
s~ just what's possible with a ame!"a, and one
of the very best is The Sig Picture blog on Boston.com.
The Sig PictlJ"e is pan of the Boston Globe website,
run I:rt website dewIoper Alan Ta)b.1he bIog !¢ates
every Monday, Wednesday and Friday. Taylor cites his
inspiration for the bIog as being publicatioos 01 old
v.tlere the focus was 00 high.quality, amazing imagerv,
with a subjea mane!" locus on 'aJITent events, Iesser-
known stories and Just about anytl¥l"(j that rolTleS
across the wire that looks really interesting'.
Companies such as the AP, RPlIte!"s and Getty
Images - under license to the Bostoo Globe - supply
images. with other images also from public domain
sources and private photographers.
The subject maner can at times be tough viewing -
a gallery of more than 50 images from the Haiti
earthqua~e now has numerous missing images. no
doubt removed after complaints. However. more often
than not it's a one-stop website to vif!w stunning
images from some of the world's best pIlotographer\
and well wortl"tj of a OOokmal1:..

10 WWW.WHATOtGfTALCAMlRA.COM
\

EVE-FI Xl FAMILV
Wl-R ENABLED MEMORY CARDS
The next generation of WIreless Wi-Fi
enabled memory cards have been
announced, (ourtesy of Eye-Fi, The new
range, labelled the X2 series, offer 'faster-
than-ever' upload and download speeds,
according to Eye-Fi.
Incorporated into the range is the
Connect Xl, offering a 4GB capacity and
automatic upload to a ra nge of online-
sharing sites. The Explore X2 offers much upload either JPEG or Raw files. All the new
the same, but w ith an 8GB capacity. cards offer class 6 802.11 n Wi-Fi
Completing the range is the Pro X2, a card performance. meaning images can be
with an 8GB capacity and the ability to uploaded faster than in previous incarnations.

WWW.WI-IAlOIGiTALCAMERA.COM 11
 Canon
Take more than pictures.
Take stories.

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--~
 WOC IN FOCUS
Lesley Banks
I stopped by your stand at Focus
On Imaging, and your team were
so helpful in giving me advice on
my prospective purchase of a nEW
camera. I even managed to buy it at
a favourable price from one of the
vendors at the show. Having had it
for a week, I'm delighted with it
This was my first Focus and I
thoroughly enjoyed it. Iwas surprised
by hooN busy it was, considering
there's a recession on. I can only
assume that people's passions are
the las! things to be cut back on
when economies must be made.
As for myself. I was spending my
redundancy money!
IN PRAISE OF PAUL
"OOChiggsOO"
Regarding your Sony A850 preview
video, in which you inlerviE"lNed
Sony's Paul Genge. I met Mr Genge at
Focus 2010. 1had just purchased an
A850 and although he was busy at
the show he took time out to give me
advice and tips, and congratulate me
on my choice. He knows the market
well, from ne"oMJies right through to
pro loggers. He's a lovely guy, very
genuine and he know.; his stuff. He
believes in his products and this really
comes across in his presentations,
I'm on my second Sony, havilg slirted
with an A200, and believe me the
A850 is an awescme camera. The f1fN.I
28-75mm fuji frame lens issuperb
ll1E CRUEL HAND OF FAIT
Benjamin l awson
Last year I bought a Panasonic 177
to take 00 holiday. During the trip it
was accidentally dropped from our
balcooy ooto the 1Cl'M1 two flool>
bekMr, To my amazement the camera
stililNOrk~ periectly. My son was so
impressed by this that he bought one
for his wife. Last week their daughter
knocked it off the arm of the sofa
ooto a thick pile carpet and it broke -
the lens no looger retracts back into
the body. Was I just lucky or are they
unlucky?
Send your letters to wdc@lpcmedl8comorto iYhatOlgtlillCameramagallfle
WWW.WI-IATOIGtTALCAMERA.COM
Guy Barker
There seems to be a lot of people
out there, especially 00 internet
forums, who are rYlO!e interest~
in the technical data associated
with cameras than in actually
taking pictures. They possess an
encyclopa~ic knowledge of e-.lery
figure in the specificatioos, agonise
over microscopic differences in ndse
or resolution between cameras and argue m.Jt the
merits of ooe type of internal component over another, They aggressively
assert ~r opinions that one moot>! is better than its rivals, despite (I'm
fairly sure) not having personally used them themselves, and their tribalism
toward their favourite brand wouk!n't be out of place on a football terrace,
Yet where are th e pictures to back up their sel f-prodaimed expertise? Do
they actually use their cameras, or just talk about them) In the few cases
that they publish a gallery link, their pictures are almost invariably without
any artistic merit.
Magazines such as yours, and websites like dprevi€:w, pander to these
people by writing off cameras as second rate f<x the most trivial of flJ'WS
that in real-work! use would sek!om be noticed, Pemaps people should
spend more time exploring their creative side and less time obsessing
about the equipment.
WE SAY Photography is a marriage of art and science so it's no
surprise that some people come to it with a technical interest
and others as purely as an art form. Like you, I'd happily pick up
pretty much any DSLR and be happy with the pictures I got, but
many enthusiasts do care that one ,.,oe,. n,'l!'
,h"w .5%
chroma noire at ISO 1600 than another,
and it's our job to point this out to them.
WE SAY A bit of both, Isuspect' Armstrong took to the moon.
Sounds like the camera fell onto its They've gone digital nOV{, of
extended lens, whkh is a scenario course, and feature a much larger
thilt rarefy has a happy outcome. . rensor than you get in 35mm style
Hopefully it will be covered by their;
household insurance. I DSLRs, with between 3D and 50
million pixels, depending on the
model. Prices start at around £10k.
;
FASHIONABLE CAMERA
laura Branson
I'm a fan of America's Next Top
Model and especially enjoy the photo
shoots, Many of the photographel>
seem to use the same type of camera
but it isn't one that I recognise - it
certainly isn't a Canoo or a Nikoo,
Wouk! you know wilat it is)
Would you want to go pro?
WE SAY As an occasional viewer
myself, I'm pretty sure you're
~
refem'ng to the Hasselblad, a
medium format SLR. The 'Blad facebook
has been a favourite camera in WNW.FACEBOOItCOMfNltATDIGITALCAMERA
many sectors of the pro market WNW.TWITTER.COMll'tltATDIGCAMERA ~
for decades, and is what Neil Join us 011 FacebOO<. and Twitter and
get exclusive r.ews a~d updates!
BI~ FinBUI/dlllK, IIGSouthwark street london, Sfl 8511 -OR VISIt our forums online atwwwwhaidlgltalcameracom/forums
15
PENTAX TRIPLE
WHAMMY
After several years of relatIVely low
act:Mtv and nol a huge amount of
1I11lO11ation, Pentax has managed
to surpnse me three times In the
past c~1e of months with some
genulne~ onglnal thlllkir.g.
First, the bad rxw.;. Vv'hile Sony
grves us etght different DSLRs. Pentax
grves us the same DSLR (the K-x)
In eight different colours. I doubt
that many BritJ~ hobbytsts have
been sitting at home thinking, 'If
onty DSLRs came In pink, brown, or
tUrqUOISe: I may be IfIII"OI"Ig of course,
and we mustn't forget the strange
tastes of the Japanese markel, but
let's JUst say they're not for me.
an a more positive note, the
company's new 1- 10 compact g<Ne
me an anack of de~ vu 'Nhen I
saw the PICture. because It takes rts
design from Pentax's Auto 110 SLR
system of Its 19705 heyday. For those
too ~ng to remember. It was a tJny
SLR that fined in the palm of )<lUr
hand (see Image, ab>Je) and took
110 film. There was a range of tlny
lenses, a t11'Ty' flash and even a tiny
motordnve for rt. It looked like an
ActIon Man accessory but was a true
functioning SLR. The 110 gained a
cult 10IIOOn9 and still has rts own
.......ebsite (WVv"N,pentaxl10.co.uk).
For a moment I thought Pentax
had pro:luced a digital version and
lei! a !TlOIT\eI"Itary rush of exdtement
until I discCNefed that the 1- 10 is a
fixed-lros point and shoot - albert an
eye<atching one. But perhaps Pentax
really could produce a proper digital
vefSIOfl. After ai, the aver~ digtal
sensor is no bigger than 110 film. It
could even accept the same lenses
and accessories. It 'MXJId go dcmn
a stoml, and would make the Moo
Four Tl'lIrds system look. JX)SitiveIy
gargantuan. Come on Pentax, bbN
the coI:J'Nebs off those Auto 110
moulds. - you must have them in a
cu~rd~re.
Final~, years after shoMng the
prototype of a dfgital version of
its 645 medium
format camera, and
INhat seems like an etemity
of 'will they. ""'""01"1'1 they'
speculation, Penw: has finalty decided to
laurch II (see page 9). Hallelujah!
The new 645D is a 4O-rnegapor.el,
0,(0) beast that ~ fills the gap
bel\M:!en the tcp Canon and Nikon DSlRs
and HasseIbIad, and as such should find
a reactt market The mere fact of the
~ of a pro meditnl format Pentax
Wli bestCM' more prestge and credbility
on the rest of the I\>ntax r..-ge, wtoch can
on~ be a goocIttwlg for them.
The on~ negatM> IS that so far they're
on~ Ia\rld"JII"lQ rt Ifl Japan, oot If the
camera IS arTf goocI, and 11. prDJeS popular,
It wi on~ be a matter of time before 11.
~ these shores - ether offioal~ or
thrcugh the back d;x(.
SIGMA

liz O. Baylen: Born In 1979. Graduated from Ohio University's School 01Visual Communications In

OUR 200 1 and Degan working for The Washington Times. She has covered assignments around tile
world and was selected as a finalist for the Pulitzer Prize while with The Washington Times. Most
recentty, her Images have appeared In The New Yor1< TImes arid los Angeles Times.

W 0 R L D Photo data: SIGMA APO 120-400mm F4.S-S.6 DG as HSM, "2500 second at f5.6.

LIZ O. BAYLEN SHOOTS THE WORLD NEW

WITH A SIGMA LENS. NEW

Even land sca pes like the Lincoln Memorial can be seen in a playful light.
A dud.. settle!> on Lhe Il.'nl'C\ing pool in front of Ihe Lincoln Memorial. TIlis amusing mOIllt:nt was
cuplured by a telephoto loom lens thai incorponllcs Sigma's original OS (Optical SlabiliM:r) function .
Sigma has imroUut'Cd IWO new OS lcicLoom1cnscs compat ible wilh digit:11 SLR camcnls. TIlelit' lenses

-
N'O 120·4OOnTI APO 150-5OOTm
arc primarily dCl> igncd for extremc lciephOlo worl bUl re\'callhcir additional streng th when taling f4.s-56OGOS 1'5-6.3 OG OS tEWAf:
close·up ~holS. SLD (Special Low Dispersion) coatL-d g lu;.s eITL"Ctive1y correets chromatic abcrr.lt ion~ tEW/Ji ca.. rnaII:hed ca.. JTa::te:l_
lind Super Multi. Layer Coating red uces narc and g ho~tin g . 1l1(~ USM (Hyper Sonic Motor) provides
silent. respons ive autofocus nelion lLnd full · time manual focus o\crridc.
lens hIXld. $h:JuIder
suap. a/"Id ~ adlptOl
(TS-31) InctJded .......
hood. sha.Jtjer sIriP.
(Ts..31)~

• oWaitabie lor Sip. canon. Nikcl1, Sony.., I'lrVax 0WIIl!IaS

Two telephoto zoom lenses incorporating Sigma's origina l Optical Stabiliser function.
SIGMA APO 120-400m F4.S-S.6 DG OS HSM I SIGMA APO lS0-S00m FS-6.3 DG OS HSM UIoioij......
ESigma Imaging (UK) Ltd. 13 Little Mundclls. Welwyn Garden City. Herts . AU I EW. Tel: 01707 329 999 Fax: 01707 327 822
www.sigma-imaging-uk.com E-mail : sales@sigma-imaging-uk.com
Photo Advice
For the quickest response, send your pr~ems t o our online forum at
www.whatdlgltakamera.com/ forums oremailto wdcCipcmedla.cam

What's tile
difference
between
my metering
modes?
GEMMA BRACKNEU VIA EMAIL
I've finally upgraded my ageing (asia

~ • l75 and bought a Canon 5000,

whim Jam really enjoying using. So
far I have set this to evaluative metering, as I
am unsure as to the difference between the
other spot and partial metering options.
Could )OU explain how these differ please?

~
Matt G replies: The two lNOfk on a
l similar principle of metering only a
5fll<J1I proportion of a scene, bur they
differ in the size of the area they meter. Spot
metering rovro a comparably smaller area
(around 4% in comparison to partiiJl's 9%).
and so is better suited when the subject ()('
the midtone of a particular subject ocrupi5
a small percentage of the frame. As partidl
metering extends this drefe a little further, it
can be used when the subject occupies a
little more of the frame and;s set agJinsr a
particularly brighter or darker background,
which you cJa,n'1 want the GiIffief.. 10 l.iiIke
;'10 coosid!!tam. Outrtxx portraitutP
v.ouId be one ~~01;;":"-;;:~~1.

•
, ,-

WWW.WHATDIGITAlCAMERA.COM 19
 WHAT IDIGITALCAMERA

LCD SCREEN LOUPES

lURHS AN leD SCRIIN INTO AVlIWHNDIft
HOOOlOUPE 3.0 CINEMA KIT
lEI The HoodLoope
can be worn aroond
the ned:. and just used
fOf ched:.ing image
sharpness, or by using
the optional Cinema
Kit can be fixed 10 LCD
screens up to 3inche for
use when shoo tirg video.

lCOVF
IlITIJ The LCDVF
is a simple device
that attaches to your
camera's LCD screen
via a magletic frame
that is fixed to the
screen via adhesive
(easily remo~eI;ij.

mD The pro choice,

this heavy~uty model
fealures focusable
Schneider optics, a 3x
magnification and +1·3
dioptre correction.

Fast zoom required

ISlANDOREAM VIA THE woe FORUM F"lShing for advice
CHAR1IE75 V1A tilE woe FORUM

~
I have a Nlkon D300s WIth various lenses, and I

• want to buy a standard fast lens which I can use
for weddings, portraits and some landscapes. My
18·200mm has served me well in good light but Isn't
suitable in low-light situations or for portraits. I know the
50mm is a great lens for that but I do want a lens that I
am not gOing to continually have to be changing. I have
read loads of reviews about the Nikon 17-55mm 112 .8
~
I'm looking for a small camera that I can
• use to take self-ponraits when I'm fishing
and that has a swivel LCD screen so I can
see and cha:k the pictures before putting the
fish down. I have a budget of up to £250.

~
Nigel replies: It seems that swivel LCD
but can't afford it, so I'm now looking at the Tamron • screens have been quietly disappean'ng
17-S0mm tn.B Vc. Do you have a View on this lens? from compacts in your pn'ce range and I
can't find anything that has one close to your

~
Nigel replies: We tested the Tamron 17-50mm
• fl2.B in the last issue against the similar Sigma
17-70mm fl2.8-4. Both lenses turned in
exceptional performances and can be heartify
recommended. In the end it comes down to whether you
want the constant aperture of the Tamroo or the slighlly
longer reach of the Sigma. Also, the Tamron was slightly
better than the Sigma at smaller apet1ures while the
Sigma was marginally ahead at the wider ones,
budget. Some of the chunkier bn'dge-rype
cameras such as the Nikon P90 and Sony HXl
have swivel sClt?ens but are bigger and cost over
£300. Your best bet is the Samsung ST500 or
ST550. Although they don't have swivel screens
they have a second LCD screen on the front,
which VrIOuld suit your purpose. The ST550 has
a great 3in touchscreen LCD on the back and
would be my pick,

20 WWW.WI-lATDIGITALCAMERA.COM
 EXPERTADVICE

CAMERA SKIUS
Portraits in
the home
JASON HARPER EMAIL

~
A serviceman friend of mine w ill
• shortly be returning to duty in
Afghanistan and has asked me to
take some portraits of him, and of his
w ife, in their home. I'm a bit nervous
be<ause I want them to be creatively and
technically good (so I can put them in my
ow n portfolio), but don't have any studio
lighting or backgrounds, just an SB600
Speed light for my Nikon 080, w hich I
seldom use. Do you ha ve any advice?

~
Nigel repli es: Studio portraits on
• white backgrounds are fine but the
fashion these days is for more natura/-
looking portraits in realsunwndings. You can
shoot great portraits using just a window as
your light source. Shoot with your back to the
window, or an open doof; iMth your models
faong you, and you'll get a kNely diffused light
on them. Set a WIde aperture to blur any
distracting biJckground details. If you need extra
illumifl<Jtion bounce your flashgun off a wall to
the side of your subjects, but don't use it direct.
I'm sure there must be an armchair or sofa you
can use as a posing aid. Failing that use a shaggy
rug, or the bed as your set, or even use a mirror
as a prop. You might find that converting your
image to mono afterwards gives your shots a
more ar1)l look and helps stop any background
colours in the room becoming a distraction.
The image above was taken at home using
fl<Jturalllght with an 8Smm lens set to fl2.8.

Waterproof on a
tight budget
LAUREN SAINBRJDGE VIA THE FORUM

~
We're going on a beach holiday and want
• a camera we can take snorkelling. But we
only have aoout £120 to spend, whICh is
less than any of the waterproof digital cameras
that I've seen. Is there anything out there?

Nigel replies: Fujifilm has a ve/}'good

~ l waterproof compact called the Z33wp,

which you can buy for around £/20. It's
small, comes in a range of funky colours, and has
big chunky buttons which makes it easy to use in
water. It's cheaper than its rivals because it isn't a
Tough' type camera and doesn't feature their
hedl1' duty shock-proof, drop-proof build But it's
as rugged as any normal camera and the results
are pretty good too.

WWW.WHATDtGITALCAMERA.COM 21
 WHAT IDIGITALCAMERA

Whyismy
lens clicking?
DANNY WESTON VIA £MAIL

~
I recently bought a secondhand Canon EF
• 70·200mm lens form Ebay, which I use on ooth my
Canon 400 and 50 bodies. I am a little concerned
that something may be wrong w ith it - although my
images look fine, when I focus I sometimes hear a clicking
sound coming from the lens, which I've never heard from
any of my other lenses. Do you know if this is a common
problem w ith this lens?

Matt G replies: If your 'ens has image

B • stabilisation (some of Canon's 70-200mm lenses

are stabmsed, while some aren't). the sound you
hear is most likely to be the operation of the image
stabilisation system. This uses sensors inside the lens to
notice any movement that would otherwise blur an
image, which instruct the relevant lens group to shift in
order to compensate for this. As this form of image
stabilisation is lens-based, you should be able to check
whether this is working correctly by looking through the
viewfinder as you half-depress the shutter release button;
thiS is what effectively unlocks the stabilisation system and
puts it into action. If you can't see any difference, or if
your particular lens doesn't feature image stabilisation, it J 111111111
will require the manufacturer's attention.

:
SDXC
~ The humble SD card ha5 prevailed as
~ the recording format of choice for
most camera manufacturers, though it too
has to evolve if it is to keep up with new
technology_The fim generation of SO
cards offered capadties up to 2GB, which,
g iven the more modest pixel
counts of cameras at the
was seen as sufficient_
As pixel counts grew and
video recording crept into
more cameras, the SOHC
variant arrived with increased
capacity (up to 32GB) and
faster transfer speeds. And
now, with the SO format
supported by many DSLRs
and camcorders, and with
high-definition video
recording a staple feature of
both, the SOXC format
represents the next step in
high<apacity storage.
SDXC cards have already become
available with a minimum capacity of
32GB, but theoretically they are claimed to
support upto 2TB of storage. As well as an
increase in capacity, the format increases
transfer speeds, meaning data may be
written to it and read from it faster than
with previous cards. The SO Association
predicts that current maximum transfer
speed of l04MBisec may soon escalate to
300MB/sec - three times the speed of the
fastest available CompactFlash card.
While some people may see such high
capacities and speeds as being surplus to
requirements, manufacturers have already
begun supporting the new
f ormat in their recent
models. canon's latest IXUS
and PowerShot cameras
joined the EOS 550D in
supporting SOXC media, as
have Panasonic's recent
additions to its Micro Four
Thirds cameras.
Support for the
t echnology is set to spread
t o laptops and satellite
na vigation systems among
other common appliances,
while a 'micro' version will
typica lly be employed in
smaller devices, such as
mobile phones which already use micro SO
and micro SOHC media. While these cards
don't offer backwards compatibility for use
THE MONTH
in older cameras, support for standard SO
and SDHC cards has been maintained in
such models, so there's no need to invest in
them just because your camera supports
the format. With street prices starting at
about £200, it's perhaps just as well.

22 WWW.WI-IATDIGITALCAMERA.COM
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.." NIKOH BIHOC\AAIIS
 WHAT IDIGITALCAMERA
PREVIOUS PAGE: Taken by Trevor on a Nikon
0700 with his 8Smm fl1.4lens, and lit entirely by
naturallighl assisted by a folding reflector

in the professional photography industry. This

has enabled them to run a programme of
photography workshops all over Europe. which
they promote with stands at shaws such as
Focus On Imaging.
In recent years they have also been shooting
fine art nudes for books, magazines, calendars
and exhibitions, which they both find creatively
rewarding. 'My grandfather did it in the 1930$;
it was his work: that inspired me: says Trevor,
This has led to a successful sideline in boudoir
photography - artistic nude and glamour work,
usually commissioned by the subject, or their
partner. An essential ingredient in this strand of
the business, hOW'ever, is the presence of Faye.
'We 3MJays explain to male photographers
that they MUST have a female with them for
this sort of work: insists Faye. 'Firstly a woman

Trevor uses just one

lens on his Nikon
D7oo: an 85mm f/ 1.4
can help direct the subject and show her how to
pose. But it's also safer, for both photographer
and client, to have a woman on set, and it gives
her reassurance'
She says that many male photographers have
a lot to learn when it comes to photographing
nudes, whether it's in their personal presentation,
~ud io environment or 'bedside manner"
'Many men don't know how to talk to
women: she says. 'Some make inappropriate
rema rks when the girl is lying then~. When we
do ~ho\oVS I look at $Orne of the men and think,
.. A woman wouldn't want to be photographed
ABOVE: Trevor took this stunnirlQ portrait in the bar of the Novotel Hotel in london, USing just da~ ighl coming in through the
by you." Hopefully we' re helping to teach them.'
windows, and a gold rellector to liJi in the shadows. It was taken on the Nikon D700 and BSmm 112 .8 lens
TRAYELLING L1GIIT
Although the Yerburys have their Edinburgh
studio they like to shoot as much as possible on
location, and for this work their methods are
refreshing simple. No bags of lenses, no cases of
lights. Trevor uses only one prime lens on his
Nikon D700: an 85mm f/l .4.
'Its lovely for portraiture,' he says. As well as
the flattering perspective it prod uces, the fll.4
maximum aperture lends itself to great shallow
depth of fie ld effects as well as creating a super
bright vielNfinder image.
Faye uses a D300 with J U~ a single 24·70mm
112.8 lens - so she does the group shots at
weddings. Most of their locat ion work is lit
solely with natural light. but they are masters at
using it and moulding it to their needs.
'Back in film days I used a Hasselblad w ith just
a prime lens for most of my work, so I've gone
back to that method of working: says Trevor. 'I
take just one camera, one lens and perhaps a
refleder. I don't use a tripod -I didn't even use
one 01 those when 1had the Hasselblad.
'But the most important part of being a
photographer is not the kit, it's the ability to
visualise an image in your mind, and then be
able to create it. The camera ISsimply the
method of capturing it : ABOVE: An example of the Yerburys' Boudoir photography, taken by Faye at the couple's Edinburgh studio using the
The Yerburys went digital about three » Nikon D700 and 85mm fll.4lens. The light was provided by a single 80wens stooio flash head fitted with a large softbox

26 WWW.WNATOIGITALCAMERA.COM
 TREVORYERBURY INTERVIEW

WWW.WHATDIGITALCAMERA.COM 27
 WHAT IDIGITALCAMERA

ABOVE: This fashion pomail by Trevor w;r; lit by just the light from a window to the ABOVE: Trl'JOftook this dlJ"ing an outdoor lighting WJfkshop, usir.g his 0700 and 8Smm lens.
mooel's right, with a gold refll'Ctor on the other side. Nikon D700, 8Smm fll.4len$ He faVOJrS p:>rtabIe, battl'l)'-poM'rro Quantum flash arid packs for this 'iO!1 of IMlrk

years ago. 'At the time I took the prevailing

advice and bought a Canon EOS 50, but when the
0700 came out I switched back to Nikon. Nothing
\\lfong with Canon, but I'm more used to the
Nikon way of doing things, having DINned the F3,
F4 and FS film cameras, so it felt like coming
home, in a way.'

We shoot everything
in manual eXiXlsure
Despite the 0700 and 0300'5 resolution of just
12 million pixels, they regular ly produce 30x40inch
prints from images taken on both cameras and
have no issues wit h the Image quality. Everything is
shot in Raw using manual exposure, though
there's no set formula as to the choice of exposure
settings.
They use Photoshop to process their work, in
conjunction with a small selection of plug-in filters.
'Some of Kevin Kuoota 's filters are wonderful,
especially the b&w ones: enthuses Faye. 'We have
Kuoota dashboard which has hundreds of filters.
though we only regu larly use a fevv of them.
Totally Rad is good too. But we don't do to much
Photoshop work. We like to keep it simple all the
way through the process - if the photo is good to
start with everything aher that should be simple
too' WOC
• Trevor and Faye Yerbwy will be sharing their
wedding photography tips next month, 50 don't
miss i(l To see more of their IM'Jrk visit \o\MIW.
yerburystudio.com and WINW.
ABOVE: TrMr shot this on the Bowens stand during a lighting demo at Focus On Imaging 2010,
yerburyweddings.com
just weeks ago, using a softbox on a single Bowens head. Nikon 0700, 85mm.

28 WWW.W1-IATOlGlTALCAMERA.COM
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---
Neutral
Filters
WORDS AND PICTURES: JEREMY WALkER
Welcome to the mysterious world of Neutral
Density filters, a land of black magic and
alchemy, combinations, improbable
mathematical formulae; a land with a language
all of its own: NOs, Grads, Big Stoppers, Hard and
Soft edges, point threes, sixes or nines, and so
the list goes on.
Actually It isn't that scary. Mastel)' of this useful
accesscry can Impr~ your pICtures, ar.d requires no
more than SOfI'Ie very Simple malhs, honestlyl
Pro landscape snapper and
ND addict Jeremy Walker
explains why you need them
So what IS a Neutral DenSity filter and what does It
do) Why have one in your camera bag? Read on and
all will be revealed.
Neutral Density (or ND) fi lters are grey in
appearan ce and are designed to reduce the amount
of light entering the camera, thus creating the need
for an increase in the overall exposure tinle, but giving
no change in the colour or hue of the image.
Vv'hy shookl you want to increase the e~posure
time? Well, because It will enable the creatIVe use of
movement and blur In an image, For example,
you may wish to prcxluce a bluny mISty effect on
a waterfaU or the sea but the sun is too bnght
and even at a sman aperture the exposure may
not be long enough. By applying an NO filter, the
exposure ......11 be Increased and enough tIme ...... H
be- creatNlior" the water to move dunng the
exposure. The longer the elqX)SUre, the more silky
blur IS created.
Not only IS uSU"lg an NO great for creatrve
water shots but also for any image where there is
movement. such as crtyscapes WIth people and
traffic movJng or where clouds are movIng
through an image. Using an NO filter will open
up new- and exciting ways of lookIng at the world
around you.
Neutral Density filtffi come m a range of
denSIties or 'stops'. They are usually avaIlable In
t>M>, three or four stops - or. more technICally,
point six, point nine and one point t>M>. BasIcally
.6 = two stops, .9 = three stops, 1.2 = four stops.
H you are using a .6 NO you increase the
exposure by t>M> stops - for example. a
ooe-second exposure becomes four seconds.
NDGRADS
A Neutral DenSIty Graduated filter (also known as
an ND Grad) is very similar to a Neutral Den51ty
filter but has one majOl" difference.lrtStead of
co.-enng thev.tJole filter and therefore affecting
the WlOIe of the image and exposure, it""';l1
run from a dear filter end gently fade into a
neutral densrty, almng only part of the Image
to be affected.
NO Grads are used pnmarily to control the
exposure be~ the foreground and sky of an
mage. usually the sky will be the bnghtest part of
the Image and the foreground the dal1::est. Meter
for the foreground and the skywill be massivety
CNel"exposed; meter for the sky and the
foreground v.ill be too dark. The soiutJoo is to
meter for the foreground (the darker area), »
Neutral Density filters are ideal for adding a ~it of ~Ktra
oomph to a shot which may otherwise be a bIt boring.
It gives the shot more energy and dynamism. As a ~o
it's also great to be able to give the client more chOICe.
 meter for the sky (the brighter area)
and note h(MI much brighter the
sky is- prcbably two, three or four
stops. Set the camera to the
exposure reading for the foreground
and use an t.() Grad of the
~opnate strength (two, three or
four stops) to dalten the sky, thus
balanong out the exposure
foreground and sky. After a little
practice, the procedure of metering
for the foreg round, metering for
the sky and applying an NO Grad
v.i ll become seccnd nature

lIARD OR SOFT?
No.v just to complicate things. NO Grads are
available In Hard and Soft gradatIonS.. I use the lee
Filters S"f.'tem and I find that despite the name,
Hard Edge Grads are JUSI perfect for landscape
pho(ography and don't grve ~ a hard line or
edge running through the image. Ninety-nine
limes out of 100 I will use a Hard Edge Grad for
my landscape Images. OccasKlna11y though, a Soft
Edge Grad can be indispen<;ab\e. When working
in woodland INhere the trees are top-lit and you
Just want to hold the exposure back In the upper
!X)rtion of the Image, a Hard Edge Grad will
proouce too much of an exposiJe difference and
~ v.il end LJl WIth tree trunks going from light
to dark. With a Soft Edge Grad the gradatIOn IS
very subtle and less pronounced, ......twch IS Ideal
when ~ have subJeCt matter running into the

shot~.--;;:~:~=::===
graduated portlOfl of the picture.
One important JXlint is to set the camera to ABOVE: Alee Big Stopper was LJSed fO( tlls
manual exposure before shooting. H' you have the
Vuflkh rm ted in an exposure time of 10 minutes.
camera set on a Program mode, the meter v.ill

think the sky has gone dark v.t-.en you a~~ the
NO Grad and v.il \Iy to compensate and make
KNOW BEFORE the Image bnglter, thus negaung the use of the
Grad and Ieavmg you bad: to square one.
YOU GO! , The more you stop dcmn a lens, the more a
graduation becomes apparent. With dig:tal
. / 1lM1IIIISIIIIS" cameras, unless you need a huge depth of fJeld,
CRU1t MOVDIOR Use an ND Grad \0 balance you should normal~ be wo::nll"lg at about fI8 to
Use an NO filter to reOJce the brightness level between
fill as these apenures v.i ll be Usfng the ~t
the cr.oerall expostn! so >pJ sky and fOTegl'OlKId to retain
CM use 9DN shutter speeds doud (\eta'1 SIXlt for sharpest results from the lens. These
irlclayliglttobU"water, more I. , apenures are ideal for Hard Edge Grads as they
cIcOOs Of action , KARa OR SOfT " will shoN no line or edge through your Irl"'IQge
Grads can come ~th
at all, 00t you do have to be wary of your
COMBIME.Rl1tRS "
add NO and NO harder or softer lines of focal length. The wider the focalleogth of
~~together for a stronger l}"acWtion. A soft-edged your lens, the sharper a Hard Edge Grad may
____ ._~;.y, effect Grad ~ ideal for ISlE!YeI'I be, so you may WISh to S\NIIch to a Soft Edge
~~'"" , horizonS,orvb:!nelemen~ Grad to counter thIS. Certarltj once you are
ROO18011SQUMl " """""'''''' ... .". worktng WIth extremely 'Mde lenses a Soft
WIlh solid NO filt~ it doesn't , Edge Grad will be a must
really matter whether yen; AftRlURE. " Once you stan to play WIth Neutral
filterS are rOU'ld or square, The smaller yt::JJ chosen Density filters and Grads you'll rea lise hoN
but for Grads get sq.Jilre ones aperturE!. and the more simple It is, and you'll soon Ix! able to stan
that you can Il"ICM! ~ and wideanglethe \er6,~ combining the two. Use the NO Grad to
00M1 in the holder to line ~ shaIpef the ~aduatlOI"\ control the exposure difference betweef1
with the horizon. of a Grad filter will appear,
the foreground and sky, and apply the
overall NO to Increase the exp:lSlIre of the
whole image, as to create subject blur Of
rno.<ement. woe

36
KNOW YOUR CAMERA

Metering
Modes
WORDS MAT GALLAGHER
Metering is something most of us probably
take tor granted in modern cameras but it
is essential for evelY single shot you take,
whether you're shooting in full Auto mode or
completely manual.
The meterrng system measures the light
eotemg the Glmefa - throu9'l the lens (TTL) in the
case of digital SLRs- and It then translates thIS
information into relatIVe shutter values. aperture
values or stops. So when expos.ng manually ~
can use the digtal reading to match Vvtlat the light
meIer deems IS wei exposed; a when shooting system and strives to achieve bener ways of strong baddightlng, the metenng system is forced
In Auto It ""';0 prO'JIde the Cilmera With the evaluating the light coming through the lens. to moose between shadoN and highlight areas,
Information to select the appr~te shutter and Most cameras will prc.Mde you with a choice of as the dinamic range 01 the sensor cannot record
aperture values. modes fa your metemg as. ~h the system to the same extremes that we can see WIth the
VoJhen It comes to malang a camera, and to is deYer ~ to 'M)rk: out ho.N to expose the naked ¥. By chalgmg the metenng rncde, you
testng it, the metering system is as much an image, it cannot predict If you want to get creatrYe can choose whether you meter univroalt-,< from
integ"aI pan as the fOCUSll"lg. processor and sensor. with your exposure tY bnng detail out of certain the scene, gIVe priority to certain areas, tY sifTllt-,<
Each manufacturer has rts OM'\ unique metering areas. lfoIhen there IS high contrast in the scene or select an area of the scene.

_ _ This is the metering system at its
I'... IIt.... most inventIVe and in full SWIng.
1..... .,... The name can vary between
_ _ manufacturers but is commonly
known as Evaluatrve, Malnx or Multi·zone
metenng. For this the camera uses the entire
image to detefTTllr.e the exposure. PrimitM'
sy;tems 'MXIfd just have taken a straight
average, but today'sadvanced systems break
the image down into smaller sections (01"
zones) and combine this Information to make a
more informed chOIce as to the exposure. This
means th<!t It can detect v.rt.ich areas are likely
to be the ITlO'it important and v.rt.ich to Ignore
for the cJq)OSure, so even with the sun directt-,<
in your image the camera can avoid making
eYeI)'thlng else too dark. Evaluative mode is the
best selection /Q( the majority of your images,
and ont-,< for eKtreme cases, difficult lighting or
specific effects shoukl you ever need to stray
too far from it.
 C".....,;g,led mel""";',
<! D
•
VIable alternatrve to the ~aluatM>
optIOn as It also uses the \M'IoIe
of the scene to meIer but, as the
name suggests. places a greater weighting to
the IIglt coming from the central area. It is the
second most common mOOe, behind
If your subjeCt IS tile on~
thing that matters, or you are
dealing WIth extreme contrast
or backhghting. use spot
metering. This mode allow's you to specify
a very small area of the irr..:lge. typical~
bet'\oVeefl3% and 5%, wtllch makes it
~ when the elq)OSUre IS aitJc.a1 on
certain parts of your image. Spot metering
evaluative, to feature in any metenng selection OOJe(tS ma scene. IrVhere the SLbject is the
and makes use of the same secoons of the
image as the evaluatIVe mode does.
Centre->Jv'eghted metenng IS often preferred
t7t those wantlll9 to photograph a partICUlar
focus but you also want to sI'la.v its
surroundings.
Altematrvett It can be U5eful ......neo you have
a pa~ bnght sky that could otherwrse
thing, rath!>r than the scene as a v.t.oIe, and silhouette your subject. or fOf photographing a
can \r'v'Crl: well for photographing people or group of people In a scene.
is very popular with portrait photographers
who are kx>king to concentrate on skin
tones. It can also be effect;"'e for wildlife
shots of a subject In the undergrowth,
Spot metering is also suited to bright
subjects such as the moon vvt1en you want
to bring out its detail. The spot metering
zone is an Important ~gredlent to the
evaluative and (entre-weighted mill.
CAMERA SKillS

Leading
Lines
WORDS AND IMAGES PAUL NUTTALL
Leading lines is one method that depends
upon util ising scenic surroundings in a format
to literally lead the eye following a subject
through the image. It can be an addition that
takes an image to that meaningful next level.
Lines are capable of leading the viewer's eye
through the frame in different directions, usually
either towards or away from a point of interest.
When you open a novel, for example, your eye has
been trained to read from left to right from top to
bottom. Imagery is different as the eye will grab at
certain contrasting areas, yet still follow and 'read
through' the image.
Composition should consider viewpoint as
this may provide a 'look down' onto natural lines
such as pathways that wouldn't be seen from
ground eye level. Arranging natural lines also
requires consideration of where you wish to place
emphasis in the frame, as a line can lead to a key
subject. Multiple lines can provide a more complex
effect that leads the eye back and forth, though
complex compositions can become unpleasant to
look at. Lines often lead from the bottom of an
image, leading into the centre or key thirds.
Splitting a composition with a line can also have
an unusual yet appealing effect. By dissecting one
area from another, a line can have a significant PAnERNS
impact. Central lines can act as divisions or pointers Leading lines don't strictly have to be single, defined
from one area of an image to another too. lines. Shooting at the right angle on a pattem, for
example, can create real drama in an image and draw
the eye through the frame.

PLACEMENT
Don't always concentrate on placing the leading lines
in the conventional position. Introduce the line from
off-centre, and have it exit the frame at a differing
position.

EMPHASIS
With a low angle and close-up to a leading line, you
can add real impact to a shot. While leading lines are
a great tool to draw the eye through a frame, they
can themselves be the focus of a shot.

MULTIPLE
Don't always concentrate on just a single leading line
in a shot. Introducing more than one can create a real
dynamism, though don't overcomplicate things.

SHAPE
Remember, leading lines don't have to be straight. A
meandering stream or winding road creates a sense
of harmony within the shot.
The NEW interactive
online magazine

Download issue 2 FREE at•••


WCMtDS AN) PICTURI.S ""1(1 LOWt
Here's the hypothetical: you've shot a
bunch of images using your 12-megapixel
compact camera and want to email them
over to your family. But the catch is that
at full resolution and finest quality, each
of the JPEG files from the camera are
around 5MB each - physically far larger
than required and too big to transmit
using a regular email account. As obvious
as it may seem, downsizing and
compressing these images is the answer t o
the conundrum - and it's easy to do using
Photoshop Elements or a variety of other
photo-editing software.
Of course, with the rise of social media suffers and a sharpening method is
websites such as Faceboci:: out there, it is recommended where possible. There are
possible to share your pJdures In other many things to consider, including how long
ways. Facebook has a clever widget that resiZing can take - ",,"ether you need to resize
auto-resizes and compresses images to a SIngle image, a batch, change their names,
conform to Its standards - however, these make multiple ~ available and so forth.
aren' t especially large on screen and are Here's our Quid: 51ep-by-51ep on how to
fairty compressed too, so the Quality resize for web and why each process is
decreases. Plus, if you're uploading 100
SIngle 5MB files, that's the same as
streaming 500MB via your Internet
connection and 'Mil take a long trme. A
more sensible solution is to have already
downsized your images' physical
proportions, resaYing as smaller files.
There are things t o consider with
resizing, however. First, eflSure the Oflglnal
file is saved, and the smaller version saved
as a copy with an easy-to-understand
naming convention t hat \o\IOn't confuse
you. Second, w hen viev,ling images via the
web it's important to have them in the
correct resolution, at a sensible size and in
the correct sRGB colour space to vie\'.'
properly. Also, as wi th any form of
resizing, you're entirely adjusting the
original image and, as such, sharpness
 ..,.
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Tel: 0845 257 5552 Website: www.picstop.co.uk Email: enquiries@picstop.co.uk

CHECK WEBSITE FOR LATEST PRI ES PRICES SUBJECT TO CHANGE TRAD MARKS ACKNOWLEDGED
1"1 \Allst MUS1·\lA\lI
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12;[I[I I )fu'/,!iiil IWlllCANONCO UK
• 18MP APS-C SENSOR
• ISO 100-6400 (H, 12,800)
• 3.7FPS BURST MODE
• FULL 1080P HOMOVIE
• 63 POINT iFCL METERING
• EXT MICSOCKET
HIGH RESOLUTION
AI 18MPthe [OS 5500 offefs the
highest resolution of all of the
beginnef-leveIOStRs.
ISO ANO METERING
Tile 63-I00e metering is similarlo
the system empl(11ed in tile [OS
70. and atop ISO 0112,800.
HDVIDEO
]()80p lesolulion andthe potential to
a~erthe frame ralemeans the [ OS
5500 should produce superb footage.
EXTERNAL MICPORT
Adirectiooal or lavalier mic can be
connected to the external mic port,
vastly improving the recotded sound.
QUICK CONTROL MENU
Tile touch of a bulton at tile rear of
the EOS 5500 turns the display into
an intelactive menu.
WWW.WHATOtGITALCAMERA.COM
~ Canon's EOS 5500 is the latest
r.c..- addition to the stable of beg inne r-
t o-amateur level DSLRslooking to capture
the imagination of users stepping up from
advanced compacts or bridge models. The
EOS 5500 improves o n the previous model,
the EOS 5000 , by increasing the megapixel
count. continuous shooting and screen
resol utio n as w ell as improving t he movie
mode and microphone compat ibility.
I'£ATURfS
Stepping up from 15 to 18MP puts the EOS
5S00 resolutely above its Nikon rival, the
05000, which sits at 12.3MP. Much of the
chasing pack fa il to even come close to this
impressive resolution, w ith the 142MP Sony
Alpha A450 and A550 being a few to get
close. The 5500's OIGIC 4 processor is carried
over from the previous EOS 500D. as is the
nme-point AF focus system, but the metering
system has taken an impressive Jump from a
35 to a 63-zone iFCL system, similar to the one
used in the EOS 70. The ISO range remains
unchanged, although now the Auto setting
does make up to 6400 available instead of
needing to be accessed manually.
The burst mode sits at 3.7fps, which is
relatively impressive for the price range,
alt hough the large fi le sizes produced by the
18MP CMOS chip reduces the burst capaci ty
to either 34 maximum resolution JPEGs or
six Raw files. One of the most significant
featu res on the EOS 550D's spec list concerns
the movie mode. The top 1DSDp HD movie
resolution now has the choice of 30, 25 and
24fps capture so the frame rate of traditional
camcorders and cine cameras can be
replicated, as well as a hi-speed rate for the
lower 720p mode to capture faster-moving
action, at eit her 60 or 50fps. This means the
overall motion should be smoother than the
EDS 5OO0's 20ips, giving the likes of fast
CANONEOS 550D
action a more natural appearance when being
recorded. Having a mic port means a more
focused manner of recording sound can be
used via a 3.5mm jack and is connected Ilia
the hotshoe. The AF system will only focus on
a button press rather t han constant ly when
filming, so it's far better to rely on the manual
focus_Full manual control is also available
Wit hin t he movie mooe, as is the ability to lock
exposure to prevent unwanted changes.
The 3in. l,040k-pixel screen is superbly
detailed in both live view and basic menu
mode, and the viewing angle of 160 degrees
matters little in real-world usage, in spite
of being marginally narrower t han its rivals.
The alternative to the screen is the 95%
approximate coverage viewfinder complete
Wit h light sensor to ensure the LCD isn 't adive
when not being used.
The Creative Auto mode allows the likes of
depth of field and exposure to be changed
using sliding scales via the rear display. and
benefits hugely from being based in a primarily
visual manner as It gives those unfamiliar
with depth of field and exposure an easily
understandable system . Standard. Portrait.
Landscape, Neutral, Faithf ul, Monochrome,
and three User Oefined Picture Styles are also
available, accessible via the interactive display
on the rear screen.
D£SIGN
In terms of looks the EOS 5500 is very much
a traditional OSLR design, although the body
looks a far cry from some of the boxy. brick-
like models of yesteryear. The mode dial gains
a No-Flash mode and a colour change but is
otherwise the same as the EOS 5000, being
chunky enough for larger hands to grip and
possessing an assured location when changing
between modes. The ISO button is close
by as well, alongside the on/off switch and
adjustment dial, making it extremely »
53
 I
WHAT DIGITALCAMERA

simple to up the simulated film speed via the

adjustment dial without moving away f rom the
viewfi nder.
The back of the EOS 550D offers a brand
new layout. with the Live View button no
longer sharing functionality with the Direct
Print button and being far closer to the
viewfinder In its place is the Quick Control
button, which turns t he rear display interactive,
allowing any value to be changed via the
d-pad or scroll whee l. This simplistic method of
altering the likes of shutter speed and aPl"rture
isn't new to DSLRs, but is represented in a
suitably basic manner for the beginner on the
EOS 550D by having a large ex.planation at the
bottom of the screen alongside the control
method used to alter that value.
For those not yet comfortable with
utilising the dials the Quick Control menu
may be a slight ly better fit, offering an
instantly vi~ual way of controlling the images
without trawling through menus. Each of
the buttons are reasonably recessed into the
body giving it a sleek appearance without
sacrificing functionality, and each is reasonably
straightforward to locate w ithout needing
much fami liarity w ith the camera. The only
slight annoyance, which hinges around the
menu ~ystem, is that the d-pad often doesn't
always work in a multi-directional manner,
instead only moving left to right, regardless
of the button being pressed. ThiS is especially
apparent in the Quick Control menu options
for Picture Styles and ISO. Otherwise the
controls rema in simple, not relying too much
on menus to alter settings nor putting the
funct ionality among a disparate set of buttons
dotted around.
Fortunately the ~i ze and shape of the 550D
hasn't been overtly scaled back to adhere
to the 'compact DSLR' trend, still possessing
a reasonable-sized grip. Even better is the
placement of the PQlNer switch and Uve View PrnroRMANCE blown highlights to a minimum, even in
button : both are close enough fo r the right Having the largest reso lution in its range longer exposures on a cloudy day. In fact, the
hand thumb to activate without the need puts a fair amount of pressure on the EOS exposure control was excellent in numerous
for the hand to be re-adju sted. ThiS gives t he 5500 to comfortably blow the opposition sit uations, and the low-light performance »

THE EXPOSURE CONTROL WAS

EXCELLENT IN NUMEROUS SITUATIONS
How does ( anon's 550D
camera a far more versatile feel, because most away. The 18MP CMOS sensor makes a

-
sibling?
of the important settings can be altered on the fai rly sizeable impression as far as file size
fly. This extends to the likes of the Quick Menu is concerned, which had an obvious impact
E055500
button, AV and Picture Styles, all of whICh
are placed intelligently so as not to be an
obstruction and barely a finger stretch away.
on the buffer, but ot her than the increase in
potential magnification not a huge amount
more is gained. The nine-point focus system
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The weight and build of t he camera is also offers selectable areas across t he frame, and
YlEWFIIliER
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a major benefit, as even w ithout a lens even when swapping between these zones COYEllAGE:
attached the body feels as if it could survive the focus speed remained impressively rapid
BURSTRAlE: HIllS HIps
a reasonable fa ll without incurring severe and, when left to the automatIC offering, was
damage. Even the connection covers and superbly quick even in low light. Only when AfSY'STEN: ~p:lIlt
.'"
card slot are sturdy enough to stand up to
repeated use. Both of these locate into position
in a satisfying manner, and the raised area
of the card slot becomes extremely useful
the live view was in use did the EOS 5500's AF
slow, as the selectable focus area took a long
time to manoeuvre into the correct position
using the d-pad. The metering functionality,
..
LCD:
,
LMVlEW:
3in, 92tM<
100-12.800
Y.
3i1l, I,04Ok
100-12.800
Y.
when trying to access the SDISDHC card with which almost doubles the metering points MOVIE MOllE: I080p 12Qfps) 1080p(Z'.1.97,Z5,
wet hands. The small grip patches at the rear from 35 to 63, has a less obvious impact when 23976 fps)
and around t he front perform a similar task, shooting, but prOVides an impressively balanced SIZE: 128.8.97.5. IZS.8.97.3.
making the 550D far less likely to slip in damp exposure overall. In brighter conditions the 5L9mm 62mm
conditions. EOS 5500 successfully kept the amount of
~"
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WEl61fT:

54 WWW.WlIATOIGITALCAMERA.COM
~~~________________________-.~~CA
~NONEOS550D

ISMPCMOSCNIP
The 22.3 x 14.9mm
APS-C CMOS senMlf
outputs 5184 x 3456
images. resulting
in some impressive
27MB Raw files.
The burst mode
doesn't slow down
as a result, although
the buffer call take
fewer images in a
continuous stream.

63-ZONE
METERING
SYSTEM
By utilising a similar
iFCl63-zone metering
system to the EOS 70
semi-pro OSLR, me EOS 5500 is capable of
CANON550D
some very accurate readings, leading to an FUU SPECIRCAnONS
impressive all-round level of exposure in PRII ________________ tlIIII
most conditions. SENSDI ___________ .____ I8IIP APS-C CMOS
IlITPUTSI2L __________ 5184 x3456jixe1s
SELECTABLE VIDEO
FRAMERATES FOCN..LENGTHtNlIL _ _ U'
)r,creasing the frame rate for video lDCS KlIIT____________ 1JIoo EF,u-s
capture can make the motion appear FUFteW _____________ JIEG. Raw. toIOV(H.264)
that much smoother, or 9M! the video 1lM'I5SIIlI_______ ____ YEI$,~
a 'cinematic-look' as pel" traditional 1lllUI9'ACE ______ _____ sRGB, M:Qe ReB
film cine-cameras. The S1t/T1ERTtPE.. _______ .____ EIIIctrJD: IDIIniIId ~

EDS SSOD can shoot in S1t/T1ERSPEEIlS _________ I~ IlJb

24, 2S or 30fps to cater
for all tastes.
EXnRNAL MlC INPUT
The addition of a lSmm audio input
socket means a variety of mkrophooes
can now be connected to the EOS 5500,
irKluding a directional mic to record the
source directty in front of the camera or
wireless tie mic for recoo:ling dlaklgue
from a distilrxe.
1M)( RASHS1I«:._____ ll21Dh secmd
BW-II Mr«SLIWSA1DI _No
IlIST 1IEIllI:TDI .. _________ Yes
ISO-____ ______ ____ lOIJ·12.8l1
EXPOSlIIEIIIUS ____ ____ M. A. Sop. CA
IlElIRlNGSYSIEM ________ 63·lIIleiFCI.
EXPOSlIiE elM' _____ .____ +1- 5EV il l!.!, Ioi. EV
YI1lITIIWMCL ________ .ItJto. 7p:esets.ll1\alJ31p:eset
stcqe.WB~oo
YI1lITIIWMCEIIIAIlEf ____ 3 hines +/. 31eYe1s
IlllUIlUf'C£IIIR(l _____ Yes
IIIMMll_ ------ ---- srcIe. contilIous. seII..-.er
LNEIGlE __ ______ _____ YEI$, lUck na.nll.iloe mode If
Ull ____________ .____ 3i'I Ilea"*w 1FT 1ll4!ll-1lol
VlWFHlR"M'E-___ f'eI:DJitu"
FIlD CFYlW .______ 95%
DD'JREAIlllSThlHT _ _____ -3w+l1/m
....
FInlSINGIGlEL _______ ())e Shd. AI Sento.. AI Focus.

NPOIifS __ ______ ____ 9 pj1tM.6 = ~. certre.

extra SIIIISiIMty. Vl.8)

[If F'REY1EW________ .____ Yes

PC RASH SOCIEl________ No
BW-II RASH _____ v.
c.taIREWSE ___________ Yes [RemoteS'llitdl RS-QlJ,
l16nd:eRC-Q
1oDIJ1rtCARD. ______ ____ SD,SDtt::
POWElL _________ .____ ~u.mLP--E8

1DIIE1MIY________ .____ USB. HDIIl ffillIIl,lok-iJ

WEIGHT --------53Il
DHDISDCL ______ l28..8 x91.3 x62rrm

FOR MORE PRICE COMPARISONS

IN OUR BUYER'S GUIDE
ruRN TO PAGE 106
WWW.WHATDIGITALCAMERA.COM 55
 WHAT IDIGITALCAMERA

- SHARPNESS The nilll! autofocus areas not

only made the EOS 5500 imJXe5sively rapkl at find·
ing a focal point, but impressively accurate as well.
The 18MP sen~ certainly came into its own here.
and even the JPEG managed exceHen! darity. (anon
18-55mm at 24mm, 1116, 1125rh, 150 100, AWB

RAW/ JPEG Th~ £OS 5500 IS (ap.lbl~ of SMolmg Slmu ltanHllls R,]w and )PEG
fi les and these two example-; <JJow thaI the JPEG does start to show signs of smoothing at
aroooo the 200% m~ndlCatlon mark, where the Raw I, ~uperb up dose Canon 18 55mm al
18mm fl8 11/6Orh ISO 100 AWB

56 WWW.WlIATOIGITALCAMERA.COM

TONE &- EXPOSURE
The beoef~s of a 63-zooe meteri1g system is dearfor
all to see, offerirKj an impressfie en:! pro:luct in spile of
mixed lightirg cornitioos. ~ the mele!irg <;)'Stem
brooght across frrrn the ~ EOS 7D medrlS the EOS
550D can prOOuce some 1'i1tUa1~ semi-pro M inages.
rare!)' bbMrlg CXJt tijllights ....tile fll<l intainirKJ a k.wI of
detailwithin shaOOwe<J areas. EI'eI'IWlen tested against
aseverei)' shaOOwed erMl'CM1€Ill irMlMng some harsh
spotliJhts the resuks 'M:fe SlJIPisingy impressiYe, CCfJing
well urm strenuoos conditioos.
COLOUR &- WIiITE BALANCE
Left to the alltOmatic setting. the EOS 5500's wille
balance I:et>ps the torleS iiTll'tessNe/y in cheO:.Theh!'s
00 majcr fa\-Ql..lirg of art( partioJlar hJe, prodllCing a
far wore neutral end proiJct. O::casiooal ~ this reql.ired
slight a/teram via the Picttre Styles, espedal ~
when takilXj lXlfIraits, but for the most part the end
product I'.eS b.3lanc:ed I'IlOl.gh across the tooal rar¥Je
to ~e coosistent images. The Pkture St)1es offer
a few 11)((1' choices, irduding a roorochrome Cfltion
and two aJStomisabie ~ albMng for contrast ard
brightness to be altered ~~,
SIIARPNESS &- DETAIL
The 5S0()'s APS.( sensortunsoot superbly shaJp
images despite such a high resolution. VVnen slegJir;;!
I.lp'MIrd tImuijllhe ISO settings, the shi3~s rare~
drq>s to LOaCCept<ble k:w/s.
ISO SENSmVlTY &-
IMAGE NOISE
Left totheAuto settir.g. ~ the EOS 550D.-.eemed
\0 be averse to tqlirKJ the ISO, whidJ resufted in some
unma~e<;hutterspeedsonoccasioo. l mage
in general was impressively minimal for the most part,
oMth oriythe top ISO 12,8OJ, or Hsetting. ~g ir;;l on
being LflLJSabIe. Attmt.g1 an amount of roise slaned 10
beoome IIisilIe in the 3200 sening it isn't CI\IeIty c:OVous,
meanh] the EOS SSOD is perledlyusable in ItM'er Ighl
IWh the likes of lI"f' kit lens anacOO:!.
RAWj JPEG
JPEG smoothing is on~ eW:Ient at the 200%
ma!]lification mark, v.tlerea5 tfie Raw files are St.fleIbIy
w!P to (1"1 irrpessive ~ree.
WWW.WHATDIGITALCAMERA.COM
was a particularly impressive example of that.
There was very little to pick between the
higher ISO settings in terms of noise, w ith
only an extreme amount of magnification in a
photo editing program capable of showing the
differentiat ion outside of the EXIF data. Leaving
the camera on the auto ISO setting did produce
some mixed resu lts and lengthy shutter speeds.
which can heavily compromise the focus when
off tripod due to camera shake, but manually
upping the settings to 3200. 6400 or even the
H 12,800 mark resulted in fa r sharper shots.
Unlike re<:ent Micro Four Thirds models the EOS
S50D isn't overrun w ith preset picture modes
offering such niche settings as Tilt And Shift
rrise
or Pinhole, instead sticking to more traditional
offerings such as Portrait and Monochrome.
On the basic settings there was no evidence
of over-saturation, which has occasionally
blighted Canon DSLRs, and colour quality in
general was impressively balanced, keeping
reds in che<:k w ithout dulling the entire image.
The 3.7fps frames per second rate IS quite
impressive when in JPEG shooting, and in spite
of the quoted numbers went well beyond 34
images before slowing down, slowing In pace
at around the 60 images mark. Involving Raw
led to a more noticeable drop in pace as the
buffer quICkly fills after a couple of seconds.
One of the major improvements in terms of
image quality over the EOS SOOD isn't related
to the st ills. With the video having 24fps and
30fps frame rates available. The result is fa r
smoother motion overall, espe<:ially when
panning and re<:ordlng rapid motion. Alt hough
the whirr of the AF is still noisy in terms of
being picked up by the internal microphone, a
dire<:tional mic at least max.imises the potential
for cutting out unwanted environmental
noise, even if it requires the extra ex.pense.
Although not quite up to the standard of its
more professionally-aimed sibling, the SD Mk
II, the video outputted by the EOS 550D was
extremely impressive for the price range.
VAWE.
One st umbling block for the EOS S50D will be
the price, as the RRP is high for a beginner-
CANONEOS 550D
aimed DSLR. Sitting at £900 SRP With the
18-55mm kit lens. the EOS 550D is already
almost BOO more than the SRP of the Nikon
DSOOO, one of its close rivals. For the extra
cash both the increased resolution and Full HD
movie mode are the only real benefits over the
chasing pack, so those unfussed by the larger
fi le size or higher quality HD video needn't shell
out the extra cash . Comparing a number of
shots and results side-by-side, the SSOD comes
out favou rably against the competition . Those
with an eXisting stock of Canon lenses are
likely to embrace the fu ll functionality of the
EOS 550D. so the extra few hundred pounds
shouldn 't be too much of a stretch . woe
VERDICT
The E05 5500 is an excellent camera,
offering a beginner similar specs to an
E05 70 semi-pro model at a fraction
of the price. The low-light and video
performance are a superb bonus to the
excellent overall image quality. The
18MP resolution may mainly make the
files larger, but the sharpness and detail
are top-notch regardless. The most
impressive new addition on the stills
side is the 63-zone metering system, as
it seems to be capable of coping with
almost any lighting condition and still
turn out a decent shot. The 150 range
may be verging toward unusable at
12,800, but below that the noise was
minimal enough to make it difficult to
tell the shots apart. The price may be a
touch high compared to its rivals, but
the Canon E05 5500 is well worth the
extra cash.
SCORES I
LIKES IlSI5M 11
,.,..,
very """,tile,
fanla!.!i<. quali~ !;!]!!'!!il!!!~~~?"'
Iigll1 and
irrIIIgt
DtSUkES 11
A loom 1"" ~.pen'>ive TOTAL
91%
5/

SONY
J'
-. .."
_~ '
.
.....
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• . "
I from the rest of the AI pha range. Is this
f II. .
',.
KEY " range to tempt potential buyers by Sony's
SPECS
t2'linlWillmHii VNM'.SONY.CO.UK
• 14.2MPCMOSSENSOR
• 18-55MM F/3.5-5.6 KIT LENS
• 2.7IN,230K-OOTLCO
• 9-POINT AUTOFOCUS SYSTEM
• 7FPS SPEED PRIORITY MODE
• ISO 200-12,800 EQUIVALENT
u.l~2:u@~nfJ
IN-CAMERA HDR AUTD
By shooting two images in SlJCces-
sion tile HDR mode merges shadow
an d highlighl delail in Olle image.
UP TO ISO 12,800
for eliremely low light shooting
the A450 has ISO sensitivity to a
. . . . . . whopping 12,800 at foil resolution
IN-CAMERA STABILISATION
As per all Sony DSLR cameras, Super
SleadyShot INSIDE minulely mol'es IIIe
sensor to coontercamera shake.
7FPS SPEED PRIORITY MODE
Aspeedy snapper, in Speed Pliority
mooe it's possible to fireofi up to
se~en frames per secon d.
HIGH RESOLUTION
Wrth its lUMP CMOS sensor
the A450 can output 4592 ~ 3056
pixel images
WWW.WHATOtGITALCAMERA.COM
~ Sony's laten Alpha model sits at the
~ lower end of its mid-level range.
Splicing together the speedy continuous
shooting mode as found in the AS50, but
lacking the class-leading Quick AF live view
.. . new model a fine balance of user demand
- at an affordable sub-£500 price-point, or
more a play to further bulk out the Alpha
sheer mass-presence in the marketplace?
FEATURES
Sat in the range between the lower-end Sony
A380 and marginally higher mid-level ASSO,
the Sony A4S0 offers the majority of the
ASSO's spec at a sub-£SOOprice point. There
are some key differences, however: the rear
screen is a 2.7in, 230k-dot LCD version that
cannot be free ly tilted as per the ASSO's larger
31n, 920k-dot t ilt-angle version. The other
significant omission is that the top-performing
Quick AF live view capability lacks - where
ot her Alpha models have a dedicated live view
image sensor, the A4S0 doesn't, so Manual
Check liveview is the only method available.
Apart from these changes, the A4S0 is very
much like the ASSO found above it in the
range. The high-resolution 14.2-megapixel
CMOS sensor outputs large images as eit her
JPEGs or using Sony's ARW Raw format. Steady
Shot INSIDE image-stabilisation technology
featu res as standard, Wit h the sensor capable
of countering a claimed two to four stops of
shake, whichever lens is attached to the front.
The Bionz processor provides images up to
an extended ISO setting of 12,800 and there
is even an Auto HDR featu re that takes two
images in quick succession and auto-combines
in camera for a single image w ith edended
shadow and highlight exposure captured.
The A4S0's Priority Speed Mode also offers
the same high speed continuous shooting of
SONYA450
steven frames per sE'(ond, as per the ASSO.
When not in this specific mode an ample
Sfps is offered o r a potential4fps when In live
view. The nine-point AF system keeps things
up on the speed-front, including an Eye-Start
activation that readies the AF system when
you r eye nears the 95% viewfinder.
DESIGN
The A4S0's body design is the same as the
other mid-level Alphas, bar the LCD wh ich is
fixed to the rear, meaning a solid and sizeable
grip is on offer and the camera feels good in
the hand. However, the exterior doesn't feel
entirely polished and is somewhat 'plasticky',
though not fl imsy. Saying that, the overall
layout is welcome when compared to the
lower-end Alpha models with their sunken-
grips that make fo r less-comfortable use.
A variety of one-touch buttons around
the A4S0's body provide ease of control.
Most funct ions are quick-accessed using the
Fn button on the camera's rear, avoiding
any excessive menU-digging among myriad
options in the full menu. One-touch D-range
(Dynamic Range Optimiser), Drive mode and
ISO buttons each sit just beh ind the shutter
release atop the camera . Further exposure lock
and exposu re compensation control buttons
featu re on t he camera's rear, accompanied by
the usual d-pad layout for general cont rol and
playback. Interfaces are displayed in an easy-to-
understand format that's designed to visually
inform about exposure, presenting the shutter
value change when adjusting aperture, fo r
example. This visual prompting is great for new
users getting to grips with manual controls but,
and importantly, doesn't slow down a more
advanced user's use in any way.
The provided 18-SSmm kit lens has a
set-forward front fOCUSing ring that makes
accidental touching of the front element
common when manually focus ing - a »
59
 I
WHAT DIGITALCAMERA

How does Sony's A450 compare to its

other models?
A550 ASOO A450
SENSOR: 14.2MPExmor 12.3WExmor 14.2MPExmor
CM1S CMOS CMlS
LCD: 3in.921k-oot 3in.2n-dol 2.7in.2n-OOl
ti~-ang~ ti~-ang~

ISO SENSITIVITY: 200-12.800 200-12.800 200-12.800

LIVE VIEW: Yes. Quick Af liw Yes. Quick Af I~ Yes. Manual Rlcus
";ew &Manua l v'ew & Manual Cileckmodeoo~
Focus C!Jeck mode Focus C!Jeck mode (no autoiocus)
available available

VIEWFINDER 95' 95% 95%

FIELD Of VIEW:
AF-POIHTS; 9-poinl 9·point 9-poinl
DRIVE MODE: 51ps (7fps Speed 51. SIps (71ps Speed
I'riooty I.b.le) Priooty MOOe)
STEADYSHOT Yo Yo Yo
INSIDE:
DU~ Y. Y. Y.
REDUCTION:
WEIGHT, 59S11 app!'\»: 597gap)ttD:. 520gapp!l»:.
DIME NSI ONS: 137x l04xMmm 137x l04xMmm 137 x 104 x81mm

WHICH IS THE MOST ALPHA?

If you're out for an Alpha camera but not sure wIlich one to grab,
you may notice subtle differences between one model and the ne)(l
- particularly in the mid-level market spot. The quick referef1ce table
above makes light work of fiashing between the differences and
similarities of the three most recent mid-level Sony OSLRs.
The A4SO maintains the rapid-fire seven frames per second of the AS50
above it, so is ideal fOf users shooting fast action shots. However. as
well as the price being lowest of tire three, so is its feature set - there's
no Quick AF live view available, nor a tilt-angle capable LCD. Yet, at
14.2MP its sensor captures higher resolution images than the ASOO.

focus ring further set back In t he lens would
have made fo r better use.
PERFORMANCE
For a 5ub- f SOO DSLR the A450 is a decent
performer, despite its lack of a more
comprehensive live view system that
even Sony's lower-spec mooels and many
competitors' entry-level models have. Manual
Check Livevlew featu res, wh ich IS qulCk-
accessed from a button on top of th .. camera,
but this mode is e)«lctly as described - manual
focus only. Of course, for those users unfaled
by the presence of live view, this is a good
compromise: save money buying a more
affordable model with high speed features as
per the Alpha ASSO above it in the range.
When using the 18-55mm kit lens in
manual focus it's easy for a drift ing digit to
get in the way of the front glass element, as
there's little distance to grab at Also, the lens
makes notable volume in autofocus mode. For
optimum results there are plenty of other Sony-
compatible lenses out there. and future lenses
penned for release too.
The M50's nine-point autofocus system
is relatively nippy. though w ith no AF-assist
lamp as such it will struggle to attain focus
in low light. Attempting to take an ISO 3200
60
portrait at lJ2Sth in a dimly ht pub one
Saturday afternoon was a struggle - and with
the capacity to shoot up to a sensitivity of ISO
12,800 (i.e. In yet lower light) this seems to be
a bit of an anomaly to get to use the high-ISO
THE A450'S SPEED PRIORITY MODE TROUNCES
MOST COMPETITORS' CONTINUOUS SHOOTING
settings appropriately. The pop-up flash does
act as an illuminator by pre-flashing the subject
for focus, though flash isn't always desirable
and a dedicated lamp would have provided the
option of variety_ There are three AF options
- the usual AF-S for a single focus; AF-C for
continuously adjusting focus; and the AF-A
option providing a combination for initial single
focus then re-focuslng if the subject moves.
Compared to entry-level models. the A450's
Speed Priority mode trounces competitors'
continuous shooting modes by offering up to
seven frames per second. However, outside of
this specific mode it's a Sfps maximum or 4fps
when in Manual Focus Liveview.
The LCD screen is 2.7in, 230k-dot and not a
free-angle t ilting type - the same as found in
the entry-level Alpha A230 model. Most DSLR
cameras these days come with a 3in screen
minimum, and this one does feel small; further
emphasised by the black borders and space
around the screen placement.
In-camera HDR (high dynamIC range)
and D-Range Optimiser (DRO) features also
provide options for ways of exposing images,
without the need for any post-production.
The In-camera HDR mode takes two f rames
in quick succession and 'threads' them
together to render one single image w ith
suitable highlight and shadow exposure t hat
would not be possible in a single standard
exposure . Although Sony is currently the only
manufacturer to provide such a mode that
can be used handheld. it won't always be
successf ul in lower light with some image
ghosting on occasion. In general though it's
a good option to have, with user-defined
control of a 1-3EV difference (in 05EV values)
between first and second exposures. Results
are reasonably subtle and useful for real-world
use, though it would be preferred to see more
creative control, as per the depth of light
smoothing. saturation and other »
WWW.WlIATOIGITALCAMERA_COM
 SONYA450

surpasses the former

(CD sensors found in
the lower-spec entry-
level Alpha models.

15012,800
The Bionz proce!.SOr
inside me A450's
body is adopted from
the ultimate full-frame
Sony Alpha - the A900.
As such, expect a high·spec image
processing engine.
SONYA450
2.7IN LCD SCREEN FULL SPECIFICATIONS
PRCE _________ ._ _____
The A450 opts for a fixed screen on
the rear for reviewing your images. . . . ._ _ _ _ _ _ 14.2WCMlS
OOIPIIISIZE..__________ 4!i!I2l:mli piKfts
FOCIiUMmlIMGMfOO(II _l.5x
LENSI.UIJ.. __________ SOO)' .kDrt!l"Mobrt Mi"dIN'

_
II/:Iic;I Mi"dLJ lenses
FU f1JWN ________ J'EG. Raw(MN(J. Raw+1'EG
ClM'RESSDL __ .______ fhl/stnla1l ft6
____ ._ ._____ sRGB. oIdobe RGB

..... ...
CllOl.II~

SllllTIRIYPL _________ Eleclnricaly-arb1jed.l'!IItica-

SllllTIRSPmIS.________ :Il- II4IDlII SllCttll,I*/SIlAI

MAXRASHS'r'Il: ____ ._ ____II19lh sec
BULHlIM\GE STIIIUSAJDI._ Yes. Sleai:t,'SID Insi:Ie
OOSI"REJU:IDI.__ ._____ oIRistD: coaIil , _ sIiII
1SD _____ ._____ ._____ BI29ll
"""""""" ____ p. U 111, Ni&ft I'1miI. SIItset.
Sp;r1skli:n.Macro. ~
I'1miI. Flash on,Auto
IIElERI4GSYSIIM._._ ._____ 4O-st.e:~ SPC
EXPOStH elM' .__ .______ 100 Step UEV
\'MIrE 1WAll:E.. _________ o\Jo I Da)t&t1I I ChJti 1Shad!! I
~I Flashl toIngI 00.
HaIlnI CID" RIel: Custm1
I'MlIEIWAll:E I!RACIa _____Yes. 31r;wnes,seIectaije 2 _
CllOl.IITfM'COORO... _____ 29Il- 9!Ol1lelW1
GRIP ORr.'EIIDI: .. ____ .______ ~ CdUIIIIIsID*(4Ips
Unlike the entry-level Alpha DSlRs .~
..... i¥e~~
in me range with sunken·style cmu.us (ab'S 11psl. SeII-tiner.
grips, the A450 has a chunky grip ,
that makes for comfortable use.
I SONY ~AEIncke\iIt
WB ~ Remcte ronm;nl
')
.~
.=.,....
, • U't'E 1IIl1E ___________ MaIIaI MF Cbrd! LMMIM 1liiy
LCD _. ____ .__________ 2.1i12lJl-tkJI
A-MOUNT - ;,. 'o'EWFHJERlYPE ________ fD:1lI peID-IIacIHrirnr"
The alpha-mount
lens fining can
a450 a ~
FBD(fYlW __________
~

95% ~O.8l~

take current """."0•...,. ___ -2.5 •+1.0

.
Sony lenses or, 0,." FDClISItG 1oIHS___ ._ ___~911:tAf, .lWmalicli,
-0 cmu.usli. MaIIaI Focus
"
,
for step·up users IiFUfJS._ .__________ 9111its \WIJ ausssensur
with old Konka
Minolta glass,
these lenses are
• J
:• ..
'
m 1I(fPID'lW_ ____ _____1Io
BULHI RASH _____ Yes. GN 12
IlUUlYCNm _ ____ ._ ____SDISlltI~StickPm ( nd;
also compatible.
; ~F "fl) sinJJtooerus use IIowe\<eI1
f'II'l'IUI ____ .____ .______ MP.fM5OOH~kr1

",. COIfIECTMJY_____ ._____ I01I. USB 2.0

'0
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~"ot!

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~ _ _________I31l104l8111111
OTl(IL _____________ b-toolera HDR IOOde. D-fange
~(+I-+5~F3I:I! IIeIecIkrI,
SniIe SIlrtter. 6 D-eati'Ie St)4es
137mm

WWW.WHATDIGITALCAMERA.COM 61
 WHAT IDIGITALCAMERA

i are available to
detail from a sir.gle
@52mm,flB.0,
AW~ Multi-merer

62 WWW.WlIATOIGITALCAMERA.COM

TONE (; EXPOSURE
E:t;lOSlJre in general is goo:l, though IOrlal1y can
seem a little flat at times. Sometimes this can
be more the fault of the l'Iflite baJaoce casting
cool tones that rrovide a perception of flatness -
tholXjh it's not always the case.
M:litiooal in-camera D-Rarge ~timiser arid
HDRdo offer additional Wif'iS 10 adjust final
exposure 100, though these results are otMously
entirely separate from a stardard exposure. The rea r
AEL eXf,OSlJre lock also came to tfle rescue on a
oomber of occasions to maintain exposure levels in
compromising cooditioos.
COLOUR (; WHITE BALANCE
In the 'stardard' mode, {(~our can be a little on
the flat side. In evening light orwith fill·flash, auto
I'.tlite balance did occasionally produce cool bluel
cyan results lhiltlooked a little 'bleached-out',
i-kMt1.'llt'f, a ¥ariety of other Creotive Style shooting
modes - b&w, SUnset, Landscape, Portra~ and
VMd - are also selectab'e in-<amera for other
colour effects.
SHARPNESS (; DETAIL
Considerirlg the high resolutioo of the sensor the
image detail is!1J(Xl. 10000h this d::les deplete due
to the high ISO noise redlXlioo that softens images
for sake of pilrtial noise remNal.The main is.-.ue
with sharp1€Ss is the 18· SSmm kit lens wtlich is a
linle soft, aod produces visible chromatic aberratioo,
panicularl)' to the comers al the IW:Ier end.
AlthouJh IlOt unexpected, to get the roost from
1heA450, or il"lde«j most DSLR cameras, putting a
\lariet)' of lenses in yotr kit bag is an ideal solution.
Something like the prime SOmm 111.4 wi ll prlJ'lide
StJpefb fXX\rait resLJlts without t.eaking the bank,
thol..9h there area hlJge anay of ament aoo some
forthcoming SoI1)' lenses to cr:Nef all bases.
ISO SENSITIVITY (;
IMAGE NOISE
Although ISO 12,800 is availa~e it's oot likely to
be an everyday setting. Its use is lim~ed due 10
focusing issues in low ligh~ and the image llOise
level is si!11ificant, even when vijev.'l'd on the LCD
screen. From ISO 200 to 400, images are very
smooth and Io.v-rlJise. with agradual increase in
colour noise from ISO 800 and alxM>. Real-world
use to ISO 1600 is consistent.
RAWj JPEG
iMlen using the bundk>d Image Data Cooverter
software it's possible to outpUt the ARW Raw
files asJPEG or Tiff formats. In urpocessed form
the original Raw/iles are simiJar 10 the JPEG
counterparts, the most notable difference oong
the level of rrise - the JPEG files seem less rrisy
bul slight~ softer due 10 increased noise reduction
J)'ocessing. of l'o11ich there is no user-definable
control tOadJust in-camera.
WWW.WHATDIGITALCAMERA.COM
controls found in post-production software
such as Photomatix. When not using the
HDR mode a similar, yet ent irely different.
D-Range Optimiser option is available. The key
difference here is that t his works by pulling
exposure detail from a single exposure, so
the overall available dynamic range of the
image is 100000er and this can limit the extremes
of what's possible. However, wit h five levels
available from slight to significant adjustment,
the capacity is there for more subtle results
than t he HDR - t hough above DRO level three
the shadO"vV exposure can look wrong in some
scenes. The biggest downside of both mooes
is t hat when shooting in Raw (including Raw &
JPEG) neither mode is accessible.
Raw files are captured in Sony's native
ARW fi le format, with Image Data Converter
software provided in the box to read, edit and
manage your files. An imminent Camera Raw
(ACR) update from Adobe will also see these
files readable using Photoshop or Elements
too. Although Sony·s software isn·t as nippy
as Adobe's offering, it does provide camera-
specific adjustments in post-production. such
as uSing the D-Range Optimiser presets.
Battery life is extended beyond an acclaimed
1J)OO shots per charge. Certainly a full day
of shoot ing left the camera w it h a good 15%
remaining, which is pretty good going after
hundreds of shots, some playback and lots
of continuou s AF work. Having t his battery
power symbol as an accurate percentage - not
the common 'four bars of pO"vVer' - is also an
accurate way to keep on top of the charge.
Though the next generation of Sony DSlRs
will come w ith Full HD capture in tow, as we
found at a press conference at t he PMA show
2010, there's still no movie mode on the A450.
Overall the A450 gives gooo results. though
in the placement of the camera that's perhaps
most confusing , With yet another model
number in the range, the monetary and spec
difference betv-Jeen the nearest Alpha cameras
is very subtle. Plus, in the sub-£SOO category
there are compet itor cameras that offer live
view, video, proper AF-illuminator lamps and
larger screens.
SONYA450
VALUE
For a penny less than £500 the A4 50 is an
affordable DSlR. However, by stripping out the
Quick AF live view, one of the stronger features
of Sony's range is missing , Of course, for a
buyer not fussed by live view the A4S0 is then
perhaps an ideal proposition.
HO"vVever, the similar spec and price-point to
bot h t he A500 and A550 models may only
assist in confUSing prospective buyers as to
which is the mooel to go for - plus the 100000er-
spec A380 model can be found for nigh-on the
same price as the A4S0, as close as £20
difference. WDC
VERDICT
The A450 excites and perplexes. It's
a decent D5LR, but when considered
against the saturated Alpha range
it becomes tougher to place,
predominantly due to the subtle price
differences between the next models
up and down the range. Performance
is identical to the A550 where features
match, despite no Quick AF live view -
arguably one of 50ny's foremost features
- and a smaller 2, 7in, 230k-dot screen.
For some potential buyers it will wrap
up exactly what's on the wish list for
under £500, so it does have some marker
spread. Yet with some competitors'
more entry-le vel models offering more
features, excluding the super-fast 7fps
continuous shooting, it's not necessarily
top of its game. Certainly good, but
worth considering other closely-specced
and similarly-priced models.
SCORES
UK"
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IlSl;M "11
in-<all"lefa HDR.
sm-£500 pri(l! point
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CANON
POWERSHOT SX210 IS
I*~:! I) I'MW.CANON.CO.UK
The SX21 0 is an update on the SX200 m<Xle1and
sits mid-range among Pa.verShot models. ~ is,
though. the most poNeIful compact-sized model
and (omes with an Impressive feature list There's
a 14.1MP sensor capturing at 4320 x 3240 pixels
with a standard ISO range of 80-1600. The lens is
a 14x. optical zoom, offering 28mm at its wi~
end and an aperture range of 1/3.1 to 115.9 at the
long end. This is controlled by a small rocker on
the top. For creative shooting it featu res fu ll
manual, aperture priority. shutter priority and
program modes. There's also a full Auto. Simple
mocIe, and 17 scene modes, including a low-light
mcde for high ISO shooting at 35MP resolution.
On the fear it has a 3in LCD screen - though this
is a 16:9 widescreen display, so for still image
shooting you only get the equivalent of around a
2.7in display in height A fea r dial allQINS quick
adjustTnellt of aperture or shutter, and GIn be
used for manual focusing, plus a range of other
functions. The dial also doubles up as a four-way
d-pad, providing quick access to focusing, flash,
self timer and exposure compensation. As well as
a movi€ mode on the shooting dial, there's also a
quick movie record bunon to allow for instant
access, which can be customised for other uses.
When the camera is turned on the flash
automaticalty raises but can then be pushed
dovvn and pulled up again manualtywhen
needed. Autofocus featu res a Single centre point
select;on with face detect;on and tracking; there's
also lens-based image stabilisat;on to reduce the
chance of camera shake, even at fu ll zoom, Video
is recorded in Canon's native H.264 .mov format
at 720p high definition with stereo audio.
DESIGN
The design of the SX21 0 is in keeping with
previous PowerShot models, being Simple and
clean, with a prominent shooting mode dial
WWW.WHATOfGITALCAMERA.COM
COMPACTGROU EST
that has the same feel as those featured on the
DSLR range. There's not much in the way of
grip, as the front is flush, but the mode dial sits
neatly under the thumb and has enough
resistance to avoid changing the mode
accidentally, The LCD screen initially looks
impressive, as it takes up much of the rear, but
its widescreen format is only of benefit when
shooting video and, combined with the
relatively low 230k-dot resolution, leaves
traditional stills shooters a little short-changed.
PERFORMANCE
In use, the camera is very responsive and a
breeze to operate. To save space and keep a
clean deSign, the quick access symbols have
been removed and instead show up on the
screen when your finger covers the dial. While
this is clever, it does slow the process. Focusing
is quick and reliable, backed up w ith a
powerful low-light AF beam. The creative
modes are quick and easy to use thanks to the
rear dial, and the range of scene modes
includes some usef ul and fun functions, such
as: the miniature mode, fo r tilt shift effects; a
fisheye effect; and high ISO low-light mode.
The HD video feature is easlty accessed and
simple to use, thanks to the smooth zoom and
impressive stabilisation. The ,mov Quickt ime
format also means it's easy to play back on any
machine.
VALUE FOR MONEY
This is the second cheapest camera of the fou r
on test and costs just £30 more than its Nikon
competitor. Though the SX21 0 lacks some of
the more advanced and fancy features of the
more expensive models here, It produces great
images and video and is definitely worth
considering,
67
 WHAT IDIGITALCAMERA
NIKON
COOLPIX 58000
(\fb1I] WMV.NIKON.CO.UK
This IS Nikon's flagship Coolpix in the company's
Style range, and is designed more for looks and
usability than for creativity. which comes from the
Performance or P-range. The $8OC() is the world's
slimmest lOx zoom compact, at JUst 27 .3mm in
depth without the lens extended. It features a
14.2MP sensor that outputs at 4320 x 3240
pixel ~. vvith an ISO range of 100-3200. The lens
offers a 3G-300mm equivalent and an aperture
range of f/3.5-5.6, which is decent at the longer
end but ~miti ng for wideangle. The zoom is
controlled by a rocker around the shutter button,
and vibration reduction {VR} is built into the lens.
The menu offers a choice of Auto, 16 scene
modes, Smart Portrait and Subject tracking
options, which should have most situations
covered. Especially as in Auto the Menu offers
(ontrol over most functions, including focusing.
metering and ISO,lNith exposure compensation
also selectable from the rear d-pad control,
alongside flash, macro, and self-timer options.
The rear LCD screen is a high-r5OIution 3in
920k-dot display in 3:2 format and fil ls the
majority of the rear of the camera. Access to the
shooting modes isn't immediatety obvious as it sits
under a button with a green camera icon, but
once used to the navigation it IS&'Bf to use. The
d-pad has a selection wheel built in, though with
no manual focusing, aperture or shutter control
this is limited to menu and exposure controls,
vvhich are divided into Brightness (exp camp),
VIVidness, and Hue (\Nhite ba lance). The range of
metering and fOCUSing options are pretty
impressive, offering focus point selection, centre,
auto and face priority, and a choice of matrix and
centre-lNE'ighted metering. The video is accessed
via a quick record button on the rear and gives
720p high definrtion with stereo audio In motion-
JPEG format, vvhich is easily vifwf>d but generalty
less efficient in storage and compression quality.
68
DESIGN
Keeping a clean and simple design, protruding
features are kept to a minimum. The 58000
comes in a choice of champagne, brown and
black colours, though the black is the best
option. The back panel also remains clean but
perhaps a little 'budget' in its styling. There is
no grip on the front but the rear has a handy
inset textu red area for your thumb. The LCD
has an impressive resolution and image
reproduction, The flash pops up automatically
when needed and must be closed manually.
Not content with being the slimmest, this is
also the lightest in the test, which, though by
only a few grams, is apparent in its casing,
PERFORMANCE
The 58000 is simple to use for the novice,
though the more creative options are a little
more hidden. Rear controls don't feel as
polished as some, and funct ion access is a bit
unconventional. Focusing is well catered for in
features but can struggle to lock on in low
light beyond the AF beam's reach. The zoom
suffers from a comparatively long wide setting,
wh ich won't suit landscape fans, and the
optICal zoom is not operational in movie mode.
However, this camera's strengths undoubtedly
lie in the ability to simply point and shoot
VAWE FOR MONEY
There are many hidden skills beneath its simple
exterior, most of which will remain unseen.
This is be<:ause the images rare ly need further
adjustments outside the standard Auto
settings. For the money this is a great camera,
especially if you're after a solid point-and-shoot
compact. For more advanced or crit ical use,
however, it's probably worth investing a little
extra for one of the other models here,
WWW.WHATDIGITALCAMERA.COM

PANASONIC LUMIX
lZIO IIWII.PANASONIC.CO.UK
The TZIO is Panasonic's flagsh ip superzoom and is
aimed at the more advanced travel shooter. It
featu res a 12 .1MP sensor, outputting at 4000 x
30Cl0 pxels in 4:3. 4176)( 2784 In 3:2 or 4320 x
2432 pixels in 16:9 format. The ISO offers a
standard 8O-16(X) and up to 6400 using the high
sensit;."ity mOOe at a ff'duced resolution. The 12x
opticalzOOffi offers the benefit of an extra wide
25mm to get more in the shot, while still
providing a decent 300mm at the long end, with
an aperture maximum of 113.3 to 1/4.9. Creative
shooting is vvell catered for with a choice of PSAM
shooting mOOes. For simple control there's an
Intelligent Auto mode, VIotlich optimises the
settings accoroing to the type of scene it detects.
The!e's also a selection of 29 scene mooes and a
custom setting. The rear LCD is a 3in, 460k-dot
display. and despite the Choice of shooting
formats has chosen the more native 4:3 format,
'Atlich means in standard shooting you are using
the screen to Its full potential.
The video mOOe uses the AVCHD Ute fOrm.3t
that delivers a nop high-definition image with
stereo sound. thiS is a fOffilat developed by Sony
and Panasonic and offers hfgh levels of
compression while maintaining very high quality.
The ckJMlside is that It needs video-editing
software to convert it before it can be Yie\.ved
easily on a computer. The included PC-only
Photofunstudio software 'Nil! ckJMlload and bum
AVCHD Lite files to DVD, but for proper editing
you 'Nill need to buy additional software. Another
clever feature is GPS, which all<J.r.6 you to pinpoint
v.tlere the images were taken by kxation and
also by landmarks, thanks to the inbuilt database.
DESIGN
The TZI 0 is the chunkiest in this test but only
by 1mm. It is the only model to have a fo rm of
fi nger grip on the front allowing a more solid
WWW.WHATDIGITALCAMERA.COM
COMPACTGROUPTEST
1
QI II PICTlRE SIZE
• QUALITY
EB ASPECT RATIO
6SO INTELLIGENT ISO Cff
U SENSITIVITY 80
SEl.£CT -,t.EXIT
hold, while on the rear t here is a textured area
fo r thumb grip. The body feels solid and well
made, with a small mode dial inset on the top
panel. The rear is dominated by the 3in screen
but also features a five-button layout for menu
and quick function access. There's a Q-menu
button for common feature adjustment and
dedicated buttons for exposure and movie
recording. The flash remains built into the body
rather than a pop-up, and its central
positioning keeps it clear of fingers. Overall.
navigation is quick and easy to explore.
PERFORMANCE
This is a very pleasing camera to use and its
ample zoom combined w ith the 25mm
wideangle setting ke€p all creative options
open. The zoom is quick and smooth and the
autofocus comes with a w ide range of options
from spot to face detection and tracking, all of
which work speedily, even in IQIN light. The
shooting modes cover all eventualities and the
scene modes are both practical and creative.
Shooting video offers full optical zoom and the
Power O.I.S stabilisat ion rea lly sholNS its
strength. The only downside is that the Lite
version of AVCHD ISonly just starting to be
supported by editing software, so updates may
be required for programs such as iMovie.
VALUE FOR MONEY
Being one of the pricier models in the test the
TZ10 justifies its extra cost 'Nith some useful
features, such as the GPS, the zoom, and the
creative modes. It produces great-looking
images and all image attributes can be adjusted
from the menu. The video mode gives great-
looking results and is easy to use, however the
AVCHD Ute format makes reviewing and
editing trickier than with some other formats.
69
 WHAT IDIGITALCAMERA
SONY
eYlER-SHOT HX5
I:;: rN WIINSONY.CO.UK
The HXS offers a full assortment of Sony's latest
technologies, all rolled into one camera to create
what Sony believes to be the ultimate creative
tool. It features a relatively sparsely populated
10.2MP sensor of the latest back-illuminated
Exmor R CMOS type, designed for low noise at
high sensitivity. It outputs at 3648 x 2736 pixels in
4:3, 400J)( 2672 in 3:2, or 3648)( 2056al 16:9.
The ISO range offers from 125 to 3200. with a
Handhekl TlNilight scene mode that combines six
el(J)OSUres to produce shake-free images in very
Iow-light scenes. Other intrioguing functions on
this ~ include: the intelligent sweep
panorama that can prcduce a 270 degree images
in JUst a quick sweep of the camera; aID-frames-
per-second burst mcde at full resolutiOll; a
backlight mcde that takes multiple shots for an
almost HDR effect, and GPS that not only
pinjX)ints INhere the shot was taken but also,
using the compass featu re, the direction and
coverage of the shot. The lens offers a lOx zoom
from a wide 25mm to a moderate 2S0mm with
an ma~ aperture of 1/3.5 to liS.5 controlled >;ia a
lever around the shutter button. Interestingly, thIS
is not a Zeiss lens but a Sony G type, the range
classed as professional quality in the OSLR lens
range. The HX5 offers a range of aeatJve and
ea9f shooting modes. For the aeatille side there's
Program and Manual mode. though no aperture
or shutter priooties. There's a range of 14 scene
modes, an intelligent Auto setting and an Easy
mode that keeps it as a point and shoot. The rear
screen is a 3in LCD in 4:3 format that dominates
the rear panel but features a fairly basic 230k-dot
resolution. The video mode uses the AVCHO
format to prcduce 1080i high-definition video.
This is the highest resolution in the test - though
is In an interlaced form. Plus the file format stili
requires the use of editing software to be able to
~, unless plugging directly into an HOTV.
70
DESIGN
The HXS has a solid build and few protruding
featu res. It features a recess to form a grip on
the f ront of the body and also a small indent
on the back for your thumb. The rear panel
has been kept very clean with a simple d-pad
control that includes quick functions, a
dedicated movie button and three small
funct ion buttons controlling playback. menu
and delete. Other.vise, the LCD screen
dominates the rear of the camera. Sony's ne<N
multl-(ard slot allows for either MemorySt ick
Duo or SD cards to be used in this moclel too.
P£RFORMANCE
In use the HXS is responsive and logical, with
the main scene fu nctions accessed directly
from the top mode dial. The lack of at least
aperture priority d(){>S seem an oversight -
however, with on ly two apertures available at
anyone t ime, the manual and program modes
are probably sufficient. The added features are
what really makes the HX5 special. and the
burst mcde, TlNllight shoot ing and intelligent
<;weep panorama wou ld all be enough reason
to buy this camera. Autofocus is swift and
reliable even in low-light conditions. The real
let down, though, is the LCD screen; despite its
impressive size. the 230k-dot display appears
overly bright and the only controls offer to
further increase the brightness.
VALUE FOR MONEY
Though the most expensive in this test, the
HX5 has the largest number of added features,
most of which you'll use on a regular basis.
Images are a nice mi ~ of natural tones and
punch. and they more than hold their own in
terms of quality and noise. It's only the screen
and manual e~posure options that hold it back.
WWW.WHATDIGITAlCAMERA.COM
 COMPACTGROUPTEST

CANON NIKON PANASONIC SONY

POWERSHOT COOLPIX LUMIX CYBER-5HOT
5X21015 58000 TZIO HX5
llb:lOOIl1(~) 12:1:lOOIl1(25.Drm) lOx Z1lOOI (25-25Imn)

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14.M'
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fD.1EDI Hi&fl SenslIi'oiy (1 fm.li4III)
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IS l'Jnaeestdsaliml umsflillVR "",'!s ~~std.

m..W 1'EG. MOV(MIPEGl/NCllJite FE&, AVl!NP4l oWCIIJ

.,"""" 60-''''''''' JlHn600sec

MAS.P;AIm. ~ MIMe. Scene JJDIes ~ Sceoe.Srm Ptmit smjectlJadli"e: M.A. S. P. ~ Sceoe. Custoo\ MyScme M. P. iAilto. ~ Scene,IIkMe
E. . . . Ce1re-weijrted. ~ MaIril. CeIIIre-weitfte l1teIir/;e:t " ' - ' CEfC'e-weisdted ISjQ Uf~f5pot

o\IID,PteseI~1Ia'NJt. ~ ~Dao,tVt. C~ ShadD, AIIto.~ IhIt1. FlIIn5clft(ll2lll

FW:esc:em. Ckutf. Flash HakJf;en. WIiIe Set tJcn:IesceIrt. FIastI, 1IIaruaI, MnIaI Set
/do, ~rtdIdOl.llI.ft ~SkMo~ oIWI. R~ rtidIcIi;n, F(rteIII)IIOII oIvtD. FIasIJ (h, Sb¥~ Flash on
SO mem:ryi2ds.321111 iRmaI SIJISOHCISOXC. 15MB RemaI mem:ry MemJySlD; rwfro Ilo1'ro HG
[kIrI.)(J soot.45!otl nalIiIIlIBIlOIY

USB, 111M, .... llII USB 2.O.1Il".,'" M USB 2.O,IfI ott. lUi usetem*lill ('lith HOI
R~LHoo R~LHoonDsewty) RecIlargeale batterJ pact;
103151121.lmJ 103.3 I 59.6 x3lfm'n 102.9151.112Qml

I
16:9 tormat SC1ee!l tI1at lenes asmall Af. video mode,lacll of true wide AVCHO lite lonnat needs $peeWic software Overly IJiIht low-res lCO screen
illlil, e display local len&ths

18 FEATU.IS 11 FIATURIS 18 FIATURES 19

11 DESIGN 16 DESIGN 18 DESIGN 18
PIRFOIMANCI I. PIRFDIMAJICI 16 P(IIFORMANCI 18 ,(IF,"MANCt 18
I. IMRGI QURUlY 16 IMAGI QUILITY 18 IMAGIOU.UTY 18
I. VALUE 11 VAlUI 11 VALUE 18

• 89% ~ 82% 89% 91%

All of these cameras have their unique
abilities and will appeal to slightly different
usef5. It does depend on how much control
you want over your images. Though all will
let you put them into autopilot as it were,
some will allow you to regain more control
than othef5. If budgets are tight the Nikon
is the viable option and, from a point and
shoot perspective, delivef5 nice-looking
images. Being the smallest and lightest, it is
certainly pocket·friendly too. For just £30
more however, the Canon SX210 IS offers a
flexible range of creative modes, and
superior HD video, while taking up mere
millimetres more of pocket space. The
regular screen display is relatively small and
low resolution though, due to the 16:9
format 230k-dot screen. It also lacks the
advanced features of the final two models.
Both the TZ10 and the HX5 offer a similar
proposition; both with 25mm wideangle
lenses, GPS data, and AVCHD video
variants. The TZ10 offers a more manual
ability, with a greater range of apertures
and a full set of creative exposure modes.
Video mode is impressive but the format
requires an additional package for editing
and the included software is just to view.
Sony's HX5 packs in the largest number
of features to the mix. The zoom is nice and
wide, though not the longest and
produces some of the most pleasing and
noise·free results here. The LCD screen is a
let down but is still workable and the 1080i
HD video looks great though can suffer
with compatibility. Overall, it edges past
the other models and is truly worthy of our
gold award. WDC

WWW.WHATOfGJTALCAMERA.COM 71
 OLYMPUS E-PL1
SQUEEZING ... IG...·END FEATURES INTO A DIMINUTIVE BODY, IS
T...IS T... E MOST TEMPTING MICRO FOUR T... IRDS CAMERA YET?
(*!i tI] WITH 14-42"" LENS
iWIW.OLYMPUSmUK
13:;'li4!;J
• 12.3MP LIVE MOS SENSOR
• TRUEPIC VPROCESSOR
• SIXARTFILTERS
• nop VIDEO RECORDING
• NEW LIVE GUIDE OPTION
LIVE GUIDE MODE
Oesigoed with the beginner in mind,
settings soch as colour and brightness
mav be changed with easv-to-use sliders,
,.----, BUILT-IN FLASH
The [ -I'Ll is also Olympus's first PEN
model to fealure an integrated Hash,
while tile tIotshoe accepts external units.
ACCESSORY PORT
Situated under the hots hoe, this accepts
an ophooal eleelronic v;ewfindet or
stereo micropoooe.
nmD BY MAn GOLOWCZYNSKI
~ Just under two years ago, Panasonic's
~ Gl demonstrated for the first time how
the promised advantages of the Micro Four
Thirds fonnat translated into an actual
camera. The model was praised, though its
insignificant size advantage over a DSLR left
many feeling that the miniaturisation of the
system could go that one step further.
Two years on and Panasonic and Olympus
have both provided an array of models for the
series, which novv include some pocket·friendly
alternatives to those following the traditional SLR
fonn. And with the latest E-Pll model Olympus
has pushed the concept the furthest, with both
its body and price tag being the most modest yet.
FEAnJRES
Although the E-P\..l is designed to sit at the base
of Olympus's PEN series. the company has not
only carried over many features from its tvvo
previous models but also gifted it with new ones.
Notably. the E-PL1 is the first Olympus model to
offer a built-in flash, as well as a dedicated
button for stopping and starting video recording.
With the model aimed at novice photographers.
it also debuts a new Live Guide Interface INhlch
allows the user to adjust a number of parameters
in a straightfOlWard manner. The warmth of an
image, for example, may be regulated by moving
a slider towards the warm or cool extremes of
the scale, lNhile saturation, brightness, depth of
field and shutler speed may also be altered In this
way. The feature also provides recommendations
for shooting particular subjects. such as pets and
flowers, in a similar vein to the GUide function on
prf>Vious Olympus cameras.
In keeping w ith the camera's fun and
functional ethos, Olympus's Art Filters have
continued on this m~, with a choice of six..
These include the previous Pop Art. Soft Focus.
Grainy Film, Pin Hole and Diorama, together With
the new Gentle Sepia option, and each may be
used in conjunction with the camera's HD movie
mode. Sadly. support for stereo audio recording
has been dropped as standard, though it is still
possible with the aid of an external microphone
Image and video capture takes place on a
12.3MP live MOS sensor, in both Raw and JPEG
formats. which works together with a rf>Vised
version of Olympus's TruePic V image processing
engine. Together, they allovv for the camera's
sensitivity to run f rom ISO 100 up to a max.lmum
ISO 3200, w ith a range of noise-reduction
options available. The fam iliar combination of

72 WWW.WlIATOIGITALCAMERA.COM
 OLYMPUS E-PL1

IF THE E-PL1INDICATES
THE DIRECTION FOR
HYBmDS THE OUnOOK
IS CERTAINLY POSITIVE
Olympus's Supersonic Wave Filter and image
stabilisation system have a~ made their way into
the E-PL I, with the latter function claiming to
stabilise effectively at up to three extra stops of
exposure past vvttat would be usually possible.
While 3in LCD screens have dominated many
cameras over the past year or so (including
Olympus's other PEN offerings), the E-PL "s
•
measures 27in and has a resolution of 230JXXl As with the E·Pl alld E-p], the 12.3MP sensor alld
dots. There's also a HOMI output to complement TruePic Vrmcessing l'Il!Ji~ deliwr a hi!tJ standard
the camera's HD video capabilities, and a slot that of images, ard the level of detail the camera aoo
accepts both SD or SDHC memory cards. ~it lens are able to resot.-e together is impressive,
As ever, a IinJe sharpening is reqlJired to lift images
DESIGN past the quality Typical of its JPEGs. though not as
While the relationship between the E-Pl and E-P2 much as may be expected, Metering is generally fine.
was doW, the appearance, feature set and asking though as the camera occasOOalIy errs 00 the side of
price of the nevv arrival show it to fulfil a different tNerex~ure, sane higl-jKjht detail can tun out a
aim. First glances show the E-PL 1 to differ only bit prematurely. the Gr~aOOJ ~tion may be used to
slightly, with the previous large, flat grip replaced coLflter this QlJality is slKjhtly corr-pomised 1'1 image prefer there to be a Standard colour mode of sane sot, as
by a smaller but more defined protrusion. There's noise patteming in shadoo.v detail, even in im<Iges the NatlJ'al mode (the defa~ setting) can lade lite, though
a small revision to the lens mount button, but it's shot as bw as ISO 200. Aside from a slighttenOO-lcy this may be adjusted in camera to taste. The 14-42mm kit
on the rear and top plate where the camera to be a linle warm on occasion, the camera'sAuto IerlS maintaJrlS excellent shatpneSS towards edges, with just
distinguishes itself from its siblings. Without a White Balance system is generally re liable, I'd a marginal drop in sharpness tCMIards COOler<;,
command dial by the thumb rest, operation IS
carried out entirely through the handful of
buttons and mode dial on the top plate. With the
mode dial novv on the nght-hand side of the
camera, the flash sits on the left INith a catch
below to activate it And thanks to the dedicated
record button on the rear, video record ing may
be carried out with greater spontaneity.
The inner barrel of the lens retracts into itself
when the lens is not in use, though ideal~ there
would be an option to link this to the powering
up and down of the camera. As it is, the camera
requires two operations - one to activate power
and one to lock or unlock the lens. Together wth
the need to remove the awi<voJardly thin lens cap,
it makes starting up the camera a touch more
difficult than w ith a comparable high-end
compact, such as the Canon GIl, which slmp~
requires a button press.
Whereas the E-Pl and E-P2 offered all-metal
bodies, the ICMler positioning of the nE"N model
means that only the metal frontage has been
retained, with the back and sides constructed of
plastiC. Despite this the model feels very well
constructed, and together wth the slightly
smaller body this reduces the overall weight.
With the Olympus E·PL 1,
PERFORMANCE cok:JIJ is IM'iI maintained
The camera is set by default to hide many of its right up unlil lSO 1600.
customisatlOfl optIOns, the sort that will be famil iar Noise Iises steadily throt..Wj1
to users of previous E-system models. Once the sensitivity range, aoo
enabled, they turn a seeming~ simple camera ontt shilts silJlilkantly for
into one full of customisable options. If you don't the 'MJI'St at the I-Wghest
want to use the movie record ing button for its setting.
intended purpose, say, you can change its
function to a different setting, In the same way
the Fn button may be personalised. Further
exploration uncovers a bulb mooe that can be
programmed up to 30mins, and an Anti-shock
setting ideal for use INith lower shutter speeds,
With no mirror/pentaprism combination, the
E-PL 1 relies solely on the contrast-detect system
to achieve autofocus. This steps through »
WWW.WHATDIGITALCAMERA.COM 73

points of focus incrementally to fi nd the right one,
and, as on previous models, it does this even
Yllhen the focus point ha>n't changed from the
previous capture. While for most static subjects
this won't be too much of an issue, anything
requiring more immediate focusing attention is
likely to present a greater problem. Switching to
manual focus is one solution, though the focusing
ring is not mechanically linked to the relevant lens
group, but to a system which electronically
instructs hovv far this group needs to shift. This
makes fine-tuning focus less intuitive, a problem
compounded by the small steps by which the
system finds focus. When shooting video it's easy
for this movement to become quite apparent in
the resulting footage, as the focusing ring may at
times need to be shifted by a fa ir amount. This
isn't necessarily insurmountable: using a tripod or
simply stopping the lens down far enough can
get round this problem. Another saving grace
comes with the 14x magnification option, which
makes the process of focusing on more distant
subjects infinitely easier, n is also possible to set
the camera to focus continuously during movie
recording, though this system lacks some of the
expected responsiveness when the subject or
camera chan~s position. Using an external
microphone rather than the inbuilt one is also
likely to pick up less of the camera's operating
sounds, which can otherwise be noticed (even
Vlihen using manual focus),
Thankfully, the processing speed when using
the Art Filters has improved from when Olympus
fi rst introduced the feature, most likely as a result
of its n€."Ner processor. Using a relatively fast
SDHC card the average processing time for a
simultaneous Raw and high-quality JPEG file is
around three seconds, though this varies wrth
each effect, The Pop Art fi ner, for example, is
applied instantly, while the Pinhole filte r can take
four to five seconds. The processing speed of
each effect seems roughly proportional to its
effect on movie frame rate, when the two are
used together. While three liners are able to
maintain 30fps record ing, the Grainy Film filter
reduces this to 6fps and the Pinhole to just Zfps.
The addition of a flash is welcome, particularly
as many users upgrading from compacts w ill be
used to its presence. A panel hosting a handful of
flash options helpfully includes a few separate
po.vers (such as full povver, y.. povver and so 00)
THE LEVEL OF DETAIL THE CAMERA AND KIT LENS
ARE ABLE TO RESOLVE TOGETHER IS IMPRESSIVE
which negate the use of a separate flash
compensation function, though the flash itself
alvoJays needs to be manually released from the
top plate first by the user, regard less of whether it
is set to its most basic automated setting.
Finally, the softvvare su ite supplied with the
camera includes Olympus's latest 'ib' program.
While it allows basic Raw adjustment. its focus is
more on doing several things to extend the
camera's functionality, rather than specialising in
anyone of them. These include tagging people
and mapping Images. as well as editing tasks
such as panorama stitching. Its slick interface
differs considerably from the soltvvare previously
supplied with Olympus cameras, but for serious
editing it's perhaps best to look elsewhere.
VAWE
Having been launched nine months after the
original E-Pl , the E-Pll commands roughly the
same price for both lxx1y-only and kit optkms.
This may make the former option seem more
Iogicat with its larger LCD screen, more effective
image-stabilisation system and stereo sound
recording, to name but three of its benefits,
though to some the addition of the flash and the
slightly smaller form factor may be preferable.
VERDICT
The Micro Four Thirds system has definitely
pioneered the hybrid concept but Samsung's
NXIO, Ricoh's GXR sy.;tem and the promises
made by Sony will all challenge how its
future models are received. Nevertheless, it's
becoming clear that the advantages offered
by such cameras take more and more away
from the appeal of enthusiast comparu,
which have long enjoyed the reputation
slowly being bestowed upon this newer
breed. The only Significant benefits of such
enthusiast models come from their
retracting lenses, which makes them more
pocketable than models like the E-PL 1. This
factor aside, it's hard to see what their next
move will be simply to justify their existence.
If the E-PU indicates the direction for
hybrids, the outlook is certainly positive. The
camera is not perfect, particularly when its
focusing foibles are considered, and it'd be
nice to see high-res LCDs and a few other
wrinkles ironed out in future models. Even
so, to achieve this level of image quality in
such a small body is impressive; let's hope
Olympus and Panasonic are as ingenious
with their future models as they have been
in their conception of the system. woe
SCORES HI11IIIS 11
11
lIlCIS
E.(tlltn! rletail, ,UfI,IIDt( 11
"""II fr.rm IUIBlWITT 11
VillI 11
DOSUKU TOTAL
Sam. noM/ooM
reO.octioo i~1IM,
low~e<o"niM LCD 88% Q'I!!!i!
WMN.whatdigitalcamera.com
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I'';;'':;;...
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11-&5 2.8ISUSM • • •••• • • C869 50 Fl .2 l USIA • . ........ [1329 400 F2.81S l USIA .. . .... £6899
70 + 15-85 .. £1695 18·5,5
17_815 WSlllS USM ...-ba:t«I1:299
F3.SIS.fllS _ , £1'1 50 F2.S M&ro
5OFUU .&'139• •50 •.••
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70 + 18-135 ... . . £1469 18 · 135 F3.5IS.lI ~ U no_£32i 55·200 FUIS.IIII USM .. .. 1:1311 SIlO F4 1S l USM ... •• •.. £:519!1
500 bod y. . . . . . .
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. . £727 S5·250f'.4I5.1I1S •. • • •..•• £197 65 MP£F2.11
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5500 bod Y • . . . . . . • . . £689 1UHSELMKllUSM . C1 119
. . . . . . . . £1947
11-'0 F' USIA L ....... , C589
t= 70-200 F2.81S l USM .. •.. [1489

7O-200 F4lUSM .
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70-200 FH 18 USM. . •• .. [939 Mglol finder C
. , . .. ~99 ca.-1*I ~CP· E4 .. . 1:1 27
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5500 + 18- 55 IS . .
5500 + 18- 135 IS .
5000 bod y . . . . . .
5000 + 18-55 IS . .
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03S body
£779 2OF2.8U$M •• , ...... . . . £439
2.Fl.LAUSM ....... , t1379
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100 F21IMIooUSM •• . .....I:42Q
43D EX I •.• tt19 SIlO EX I .. •1:3:':7
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lOOF2USM . . . ......•. .. Cl99
100-300 F4.515.6 USM 1 <rly • £219
LCS _ _ •........ . £3&9
STE2 Trar.mitter ........ . £199
llJO..4DO F4.$5.1IIS L USM . t1
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£3549 £1739 £1139

DIGITAL ONLY LENSES iIOO F2.! AfS VA ....
DIGITAL SLR + KITS 10.5 F2.11 OX . . [539
10--24 F35f4.5 G AFS ox. .. £615
500 F4 AFS VA . . . . •
600 F4 AFS VA ..... .
12·24 F4 ox . .. . .. .. ... [7911 TC1481 COI'IYefte'
03X body . . . . . . . . .. £4777 16-116 F3 . ~ . 1 AfSVA ox. . £42:5 TC1781_....•
1r·5SF2.80X .. .. . .. ... 2899 TC20EIII . .. . . . . . . • . . .. . £399
1~ F3,S,' S.IVR [I( no bo1.[IN
090 body .. .. .. .. .... £599 11-105 FI3.s-s:eo EO~ no ID< £179
TC2OEII_ ~ .. • ~ ... £247
FlASH .. ACCESSOAIES
18-200 F3M.II VA OX •. .. C56II MB010 Grip (D3CIMl71:q • • C229
090 + 18-105 F3.5/5.6 G £747 55-200 F4I5.11 VA OX . ... £219 MBOIO grip (OfICW9Q\ . . . • £139

05000 body ....... ~AFO . . . .. .... £1249

£469 14·24F2.IIGEDAF·S . . 21m
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S8A2OO ....... rem SI\JIIo • £199
1I1I'2.1AF·0"'~ .. . .. [819
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16·35 F4 AFS VR ••• •. • •1:1029 =l~..,~· g~
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S8-900 .. E329
20 f2.8 AF-O ..... . .... £4511 $C·28 . .. . t66 5C--29 . . £:77
03000 body .. . . .. . £3 15 24
24 F3.S 0 I'CE . . .. .. .. . . £1399
f2.8 AF-O .. . .. . .... £357
SU-600 fIMh __ £3.19
MC36 . .. . £1211 MC3O . .. . £66
24·10 F2.1 a EO AF·S .. . . rl1n EN·E\.3E . ..£65 ENEUA. £1111
03000 + 18-55 VR. . £369 24·85 F2 .114 ............ t559
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lG-20F4IS.lOOC CAFhW . £389 50 FU 000 CAFhW .. . .. 015 150 f2.8 EX 00 Mac ...... £579
12·2-$ "".Mi.1I EX 00 ...... [879 &:I F2.IIEXOO _ , ... . . 1236 150-500 F5r'6,3 os .......... £708
IS F2.11 EX 00 Sony .. • .• • rU9 50-150 F2.8 EX DC II .. . .. . £SII!I :lOCI F2.8 EX 00 CN'fNAF . £2177
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I&-OO F2.11I4.S os CN'fNAF £149 1O--3OOF4.I51100 0$ ..... . ... £299 2>1"""", EX 00CN'1NAF .. . £101 [::""'=-~~!J ~~OL~~-.i~J
1.125F3.815.IOSDC C2ee 1Q.3DOF4.515.IIN'OOOI'NC. . £1118 a.4-140ooll'\KfOlIaarL ... ON L _-'lllill.l'-
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Family Run Prv Dealership with Friendly, Knowledgable Staff. Open 7 days per week. PrIce. Inc VAT.
Commission Sale I Part E1cchange Welcome. Collection SeI1llce Alfailable. PIP EzITa. EIOE.
We are happy to r8$8fVe new and used stock for customers planning 10 visit. Prices 8re ba$ed on current stock at l ime of compil8tion 25th March 2010.
Prices IIrtI subject to d\ange without notice so please check availability to!lYOid disappoif1tment. We keep the website \¢Bled daily· leIest prices sMollyS available on-line.
SRB·Griturn bestca meraS,CO,U
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~
For our huge range & latest
prices check our website
or call 01744 453111

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~ JVC ~~= Nikon
PENTAX' Panasonic SIGMA
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RICOH CX3
WI114 HD VIDEO CAPTURE, WHAT ELSE
DOES THIS IO.7X ZOOM SWOOTER OFFER?
TESTED BY PAUl NunAU
m The first mcKiel in Rican's CX series
W debuted in 2009, with the CXl following
a little more than six months after. This circa
six-month launch pattern cootinues with the
latest addition - the Ricoh CX3.
~TURES
The CX] features a new lOMP CMOS sensor
which, like some other cameras of late, is back-
illuminated. This offers increased shooting
performance in low light - a feature aided by
the improved noise reduction, utilising the
algorithm seen on the Ricoh GR DigitallU. The
CX3 offers full HO video capture now too but
otherwise mum of the spec remains the same
as the CX2 before it - induding the ability to
only capture JPEG images, still no Raw forma t
has been introduced on this occasion. Also,
while boasting its own incarnation of the
fashionable 'Smart Auto' capture mode, the
CX3 still lads a fully manual mode. New
additions include an HDR blending shooting
mode, plus in<.amera processing modes include
a tiltlshift-emulating 'miniaturisation' mode.
DESIGN
The CX3 body has a retro feel, with solid lines
and a reassuring weight, a brushed-steel finish,
and a solid plastic handgrip. The buttons are
simple, leaving the top and rear unduttered. A
simple mode-dial resides on the top plate, while
a joystick-style control on the bad: offers access
to focus and flash buttons. The menu ~tem is
basic, while when shooting an oo-screen
display provides a nifty camera level indicator.
P£RfOtlMANCE
The Ricoh CX] is a pleasure to use. Not only is it
WWW.WHATDIGITALCAMERA.COM
WHAT IDIGITALCAMERA
comfortable in the hand, but the focusing
system is sharp and prompt, though at the
tele-end of the zoom this does slow a touch.
The 3in high-resolution screen is a joy. making
both shooting and reviewing images a pleasure.
Quite often the camera er r~ on the side of
underexposure. This isn't uncommon in many
compacts, and while highlights are preserved
the lack of Raw shooting limits manipulation.
VAWE
Currently priced aro und £300, the e X3 finds
itself in the company of some respectab le
advanced shooters, but lacks both Raw capture
and full manual shooting control. However, its
predecessor. the (X2, currently retails at around
just £50 less. When you consider that the eX3
offers th e signifi cant upgrade of an improved
sensor. as well as HD video capture, its value
appears more impressive.
VERDICT
The CX3 is one of the most 5fJiking advanced
compacts out there. INittJ an impressive backlit
sensor and HD video output it 5eeI17S like a
winner. Hovvevet; the lack of Raw capture or
manual control mean it can't be considered
among the most elite compacts.. woe
fOrms
SCORES 11
UKU
RI~N 11
'WIIMINCI 11
lCO",_. ~.
HOvideo ad:litm IIlWMIl'" 11
Idjj 11
DlSUCIES
No RiIw capIUf..
lado:ofm...-...alL(lr'ltroi
77
~DiGiT/\L
www .ukdigital .co.uk UNIT 8 DEAN FIELD COURT, LINK 59 BUSINESS PARK, CLlTliEROE, LANes. BB7 lQS
• DIGITAL CAMERAS . • SPECIAL OFFERS •
to Canon .. FUj l f1t m .. PanasonlC cO'"' .. Olympus ".'
Powershot SXlO IS [329 Ft~ill no EXR [119 DMC. GF1 'l\In'IIn
PowesthOl SX1IDIS [289 Finepill JZ500 [ 169 OM( GF1' 1 "'4~ [5<19 [.P2 . 14·42IM\ . ....
hrus 105 £155 Flneplx S2~D [189 .. Nlkon
l~us 120 1S £199 Flnepb: F80 EXR [ 189 Coolpix 51000PJ (259 .. Sony
Ixus 130 £225 Flnepilll700 EXR [189 Coolpix SJCOO [95 0S(.W320
I~us 210 £285 FlnepiJI. IiSIO ( 379
CooIpb saooo [209 0S(.W350
Powenhot Dl0 £219 .. Panasomc Coolpix PHXJ . c- [289 0S(-w380
~rshot Gll [J99
Powershot S90 (199 DMe FSl0 [ 11 5 DJCOO . 18- _ YR 059 05(.HXl
[OS <1500· IH S IS [<479 ()Me FSII (1 29 DSOOO • 18·SWIIVR [569 0s(.HX5
[OS 5000 [5049 [)MC FSB [169 D90 .,.·,.,."VII [799 05(-111
EOS 5000 . !HS IS [619 DMC m £299 D300s Body U 1<49 05(.WXl
[OS 5500 [~9 [)MC TI7 "19 • Olympus Alpha ABO ...
[OS 5500 . " ,~ IS [719 OMe nil [229 fE.5030 (1)9 AlphaASSO .
,OS 500 tn9 [)MenlO (2119 MJIJ.8010 (J19 Alpha
EOS~ ~~ [1m OMe ZXl [229 SP-600 ( 199 Sony A850 E',90

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[OS 70 [1169 OMC FIlS [239 SP·8OJ
[OS 70 . lHSnn [11~9 OMe Cil. '.~lmm [05
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 WHAT IDIGITALCAMERA

CASIO
EX-Z25
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\\\WI.EXILlM.CO.UK
~ The Casia EX·Z2S isa stylish. slim compact
r;.t",Ii offering 12 .1MP and a 3xoptical zoom.
Also induded is a 720p high-definition vkleo
mode and Auto Best Shot mode.
With HD movie mode the EX-Z25 has an
impressJve feature for the price-!X>int straight
f rom the get-go. The 3)( optical zoom is a touch
short to make the camera particularly versatile,
and the 2.7in LCD screen only stands at
230k-dot resolution rather than a higher
resolution as is becoming more standard
The design IS very much in keeping WIth the
Exilim range, and the slim, lightweight 102g
frame means the EX-Z25 barely makes a dent in
the pocket. The reduced space at the rear has
resUlted in far smaller buttons than some
previous models, which can be fiddly to press,
though the on-screen menu system remains the
same straightforward and easy-to-use set up.
Image detail at the centre of the frame,
especially for macro images, can be impressive,
but the edges start to shQIAI sfgns of softness.
Add to that the over-bearing pixel smoothing
and the versatility of the l2S is limited. MT
\\\WI.NIKON.CO.UK
~ The Nikon Coolpix Ll10 lSa 12.1MP
r..cIIII superzoom compact with a lSx optical
zoom starting at a wideangle 28mm equivalent.
Available in black or the rather S\Nanky 'wine
red'. it has a chunky enough grip to fi rmly
secure it in the palm. Although t here's no
vie-wfinder, the 3in LCD is of goOO quality,
despite not always shovvil19 images in their best
light - wel l-e~posed images can appear to have
bl()lM1 highlfghts on playback. when this isn't
the case upon reviewing on an external device.
Image quality is a bit of a let d()lM1 as
optimum sharpness Isn't there and fringing can
be seen in a few scenarios. No Raw capture
features and the JPEGs seem overly-processed,
often shCMling artefacts and suffering e~cessive
noise reduction that leads to softness and
'muddled' colours. ISO 32()()..6400 are only for
use in a 3MP mode. The rest of the ISO range is
reasonab le, but lacks the desired sharpness.
However, at just under £200 the Ul0 is a
bargain. Vv'hile its image quality isn't the
sweetest spot, It'd be t ricky to find a similar
camera to give this one a run for its money. ML
~ The latest model in Olympus's mJu series,
r..cIIII
the 9010, offers a bulging specification
to place it fi rmly In t he pocketable travel
compact camera category. The mooel boasts
an impressive lOx optical zoom, ranging from
a 28mm wideangle through to 280mm in
35mm equivalent terms. Other areas of the
specification include a 14MP CCD sensor,
2.7in HyperCrystal1i LCD screen and internal
image stabilisation.
In terms of design, the mju 9010 offers a
stylish , angular body, though accommodating
the lOx optical zoom means that the bcx:ly is
thicker t han most. The camera 's body also
feels a touch plasticky in the hand, while the
scroll wheel on the camera's rear is loose and
feels susceptible to breaking. However, the
minimal button layout on the rear is pleasing,
along With a large dedicated video record
button to access HD movie mode.
Image quality is generally fairly average.
While high-ISO penormance is fairly decent,
the 901 0 tends to underexposure and images
appear overly warm. PN

ABOVE. Central detail is fine. but the edges are beIow-par ABOVE. Macro mode full(tions most proficiently ABOVE Images tend to be underexposed

SPECIFICATIONS SPECIFICATIONS SPECIFICATIONS

LINS J3..114mm.
fl3.I·5.9
RES 12.l11f'
LCD VI1
SLZE 89Jx 5I.h
19futm
POWER [j.i:.J1
IIfMDRY ~
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RES J2.Jr.f'
1SO III)..1&OO
$11£ )08.91143 1
78.Jmm
MIGHT 406g
MEMOR'f SO
OTHER \\tx-ati:.J1
LfNS 28-28Cmm
RES 14.511f'
" 64-3200
SI1£ 94151.6 1
3Llmm
WEIGHT l/l£
ISO &\·1&00 MIGKT 102g ~ LCD 3i1,46ll-lit PI1III. "" LCD ViR, 2llk ~ POWER Ii-500

SCORES 1i SCORES 1i SCORES FUT1IRfS 11

UK.. 11 LI... 11 UKIES
ImlN 11
Slim, simple to use, 1i Affordable, Vibratioo PlRflftll&llCI 11 lCO screen, 11
HO I'i!loo mtMle. Re-duction,lSJ; optical lOx 100m. image I 1m 11111
affwdable price
DISUKES
"
11
OISUKU
" nojsecootrol
DISliKES
VUII
1i
1i
Images are flawed in TOTAL Image Quality, TOTAL locQnsistent TOTAL
no viewfinder, no
a numbe<of areas,
loom is too ~hllrt 80% manual Clmtroh 83% e>:iIIl~ures,
pia sticky IlOOy
83%
WWW.WHATDIGITALCAMERA.COM 79
 90-82 THE PARADE
HIGH STREET
WATFORD
WD171AW
. . .. . ~.,-""'CO'uk

PENTAX SRS
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nnecting provided for
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thoog h 3 we re ke
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ntt y to t>M any giv en mo nth
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recording volume
and SWItch rnt o OJ an expenSIVe luxury the n Irs a great,
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OM
ITAlCAMIRA.C 81
WWW.WHATDlG
Aperture 3
 WHAT IDIGITALCAMERA
GARMIN OREGON 550T
HANDHELD SAT NAV
I1E!II \\\WI.HANDTEC.CO.UK
~ Landscape photography often relies
~ on being in the nght place at the right
time. and thIS can sometimes Involve a long
hike and a certain degree of map reading,
This is all very well if the walking and map
reading is also part of your hobby, but
surely in these rno::Iern times we cook!
make life a little easier for ourselves? The
an'Mlef is, yes, we can. The Garmin
Oregon is a portable satellite navigation
device that IS designed for those travelling
on foot. At aoout the size of a mobile
phone. it has a 3in colour touchscreen
display and comes preloaded with fu ll
European recreational maps.
The device is built for the outdoors with
a rubberised waterproof shell and includes
a 3.2MP camera for snapping quick shots
of your locations, v.mich are automatkally
geotagged and linked to your Iocation-
handy for pinpointing great photographic
spots. Also built into the device is a three-
ax.is compass to allow you to ..asily follow
your route, and a barometric altimeter to
gauge haw high you are. Full 0$ mapping
is also available for individual regions (1 :2$
scale, £130 each) or for the INhale of the
84
MANFRono
503HDV
l~iN WIIW.MANFROTTO.CO.UK
~ The Manfrotto S03HDV video head has a number of
~ innovative extras fo r the price, including friction controls and
an illuminated spirit level. Both the size and price of the head
denote professional usage, w ith the maximum supported weight
being 8kg.
For a DSLR with a long lens, or professional camcorder, this head
provides incredibly smooth movement across both the horizontal
and vertical axes thanks to the impressively flu id head. The amount
of motion can be tempered via the Tilt Friction knobs, which allow
for more tension to be exerted to slow movement dovm. The
Counter Balance System can combat heavier items being placed on
the head with four stages of resistance, allOWing both heavy and
lighter items to receive the same smooth motion.
Having a light under the spirit level is surprisingly useful,
especially when shoot ing low light, and the adjustable pan bar
makes the head size all the more manageable. MT
LIKES Provides supeib stability for larger cameras
DISLIKES Expensive and heavy
880/0 ~
UK (1:50 scale, (200), which are available
from the GarTnin website as a dovv"nloacl or
on a memory card.
Apart from the ability to tag and find
Iocabons quickly, the device features a sun
and moon mo::Ie that will provide you with
accurate rise and set times for your location
- very handy for catching the right light.
The device can even work as a standard Sat
Nav with route planners for road navigation
by car or foot, along with a selection of
landmark, address and service searches.
Operation is very simple. and once it has
locked on to the GPS satellites you'll be
<NVif>J. The price may not be comparable
with a simpe map and compass.. but, for
the freedom to concentrate on your
photography and never get lost it's worth
every penny. MG
UKlS Fast way to find locations, simple
to use and has tons of eKtra features
DlSUKES Screen isIl't particularty" bright
and can be on the small side Rather pricey
if you want the as maps as well
880/0 ~
 BOOKS
OUR WORLD NOW
PU8USNEII: R&'ur&.RS ISBN NO: 978-0-500-28869-6
([ITI I'NM'_REUTERS,CO_UK
~ Oneof the main criticisms SpI~ into four
r.t".IIIII
that can be levelled at press sections - ooe
~rogr.3phy is that it's noonal ~ for each quarter

THE COMPLETE fairty hea...,. going. Unfortunately.

the death aoo suffering of peq:k
of the year-
the title takes a

NATIONAL arouoo the world - rather than

peopIe's ha~ness- is more li ~~
~bokat2009.Vvhile
it's fair to say that OJ, INorI::i No.v

GEOGRAPHIC to make heacjijnes. aoo as such

countless ~tO]rartoers are posted
has the obligatOI)' quota of the
mortid just l'IlOlIgh to remind us the global ecooorny,

DVD BOXED SET to regions of cmfliet to doctroent

I *J~ ! I \W/I/.SHOPtI\TGEO.CO.UK
~ National Geographic magazine is
~ synonymous INith great photography, and
has inspired generations of readers, myself
included, to pick up a camera and to see the world.
But much as you may love to own the complete
set. those l,400-odd issues would require more
Bilty bookcases than you probably have room for.
But now the archive, stretching from 1888 to
2008, has been published as a boxed set of six
DVDs. Once you've installed Adobe Air (it's on Disc
One) you can brOlo'6e the whole lot as pdf-style
pages, ads and all. The pages scroll pretty quickly,
iPhone-style, and you can zoom in on the text or
photos. The slick interface also provides access to
additional features such as personal selections from
past Editors and photographers, and a trivia quiz
section. You can bookmark or print favourite pages
and the Geobr~e feature finds all articles relating
to specific locations.
The pages rescale automatically to your window,
and the navigational elements are hidden until you
slide your cursor to the edge of the screen, leaving
you wrth ma)(imum real estate to enjoy those
pictures. It's a shame the pages have no embedded
links- you can't click on an item on the contents
page and go to that feature, as you can with
\rVDCs own dig ital edition, for e)(ample, and it
would be great to be able to save pictures as
wallpaper, or perhaps see a related video clip, But
maybe I'm asking a lot for £60. As rt IS. th is is
al ready pretty good value. There's even a bonus
DVO featUring technique tipS. a beh ind~the-scenes
featurette. and interviews with Geographic
photographers.
OVerall, this is a
superb gift for
any NatGeo
fan. NA
LIKES Good
interlace. 1,400
issues in the box.
,~
images. good
"I",
DI51IKEs No
em """"
cootff1t
ocrurerlC!'S.
1-1a-M.wr. it·s not all OOJm and
gOOffi and. thankful ~. in OurWorld
NfMI, Reuters manages to find a
different take on the )Wr that was.
THINGS
AUTHOR JIM KRAUS&'
PU81ISIfER WOW 800ttS
ISBNNO: 97~W
lim l'NM',f+OWDESlGN.COM
~ There are times in ewry
r.t".IIIII~tO]rapher's Iffe....t1en
they fioo themselves bereft of
ideas. VVhen this stagnant period
occurs. inspiratIOn can often be
hard to COOJe 0" Some take k:lng
walks tlYCllgh unfamilia r pastures,
I'A1iIe others revisit old images and
try to find a new angle from them.
One of the best opt;oos, howevet; is
a g:xxl photO]raphy Ixxlk, sud! as
Jim Krause's Things.
Billed as'not a book of pictures,
but a Ixxlk oi ideas'. l1ingsoffersa
ADVENTURE
PHOTOGRAPHY
AUTHOR MlOfAEL ClARk PUBU$N&.R LARK BOOkS
tSBN NO: 978+60059-519-6
(Ej] WM'I.OEWIlEWISMEDIA,COM
~ Acareer in photograp'ly can
r.t".IIIII
lead dcMm many different
paths. There are well·pakl studio
aoo fashion photO]ra~
landscape and wildlife
pI"OtO]raphers, as well as jOObing
press pI"Otographers, among mal"rj
others. It's safe to say.~. that
tn' of the most desirable of the lot
is that of the outdro- aoo extreme
sr-orts pI"Otograplm.
Michael Clatk is someone I'koo
makes a IMng in some of the most
breathtakh] natural environments.
His wOO:: has awoared in Natiooal
Gec9tap'!k aoo Spons lllusrrared.
that we do itx\ee(i live in troubled
times, its content is by 00 means
OUrWorld Nowmaintains the
hKjh standard set by previoos
fascinated with it - for example,
candid smts of world leaders
Reuters titles in the serie';, aoo is
refreshing in its documentatlOll of
accompany gf<.llhic rioting images contelTl(Xltaty issues.
to sOO.vcase the collapse of 9O%PN
collection of images spaced OYer inspiratIOn, and v-.+tile some of the
19 abrumal chapters. T~1es aoo chapters and txJSt-prool.dion
st.qea matter range from the roore a:Mce may 00 s1~htty ctscure, this
normal (lose Up and (reatures is sometimes....nat you need to
thrOU]h to the more abstract make you think outside of the box,
Sh<OOw Worki and Metapho" & CNeraIi. a gcod title for those stllCK
Suggestion. The images ttuoogt-out in a photO!J<lPhic rut,
the title aren't to the hKjhest 84%PN
standam, thoogh this gves them
an air of attainability that aids
to name just 1\\0
pt..O!ications, 0300 in
"""''"'"
PhorOip{irj he
shares the tricks of
thetrade.
As wei as telling
you....natkityou·1
need in order to
follow in his footsteps, Clatk talks an 0l.IId0a SjXlI1S fan or 001.
the reader thfOL9h all the trid:s of Mlent~ Photography is
the trade relating to a range of crammed fun of tips and tricks
sports. Not oo~ that, but Clatk goes a~icable to any outooar
behind the scenes aoo explores the Iflotogr<flher or al"rjOl1e looking to
nuts and oo~s of ~h] pro aoo tum their ootDy into a career,
seUh] your images. iMlethef lOu're 88%PN

85
WWW.WHATDIGITALCAMERA.COM

LUMIX
G20MMF/I.7
[iIj]l I'MW.PANASONIC.CO.UK
Given its 17.3)( 13mm sensor, the standard lens
for a Micro Four Thirds camera (according to the
rule of using the diagonal length of the sensor)
ought to be about 22mm. That is close enough to
20mm fo r this lens to be vie'-Ned as a standard
optic, espedally given its fast 1/1.7 aperture, wh ich
echoes the typical apertures of standard lenses for
35mm cameras.
Evidence fo r this suggestion can be found in
the fact that the Panasonic GFI is available
bundled w ith the 20mm lens. But if the Lumix G
20mrn 1/1 .7 is to be adopted as a standard lens,
then it has to be highly usable and exceptionally
well-behaved. The 9000 n€INS is t hat it meets
both of these demands admirab ly.
The only control on the lens itself is a
manual-focus ring. use of which automatically
enlarges the viewfinder image (where available),
Despite using a fly-by-wi re system that drives the
focusing mechanism electronically, there is a gocx:!
feel to the focusing ring.
As this is a 'pancake' lens that protrudes only
26mm from the front of the camera, it would be
reasonable to expect the lens to feel cramped-
but it doesn't. There IS no aperture ring, no
distance read -out and no depth-of-field scale, but
the lens has not been marked-down fo r any of
OLYMPUS
17MMF/2.8
1:f,@J I'MW.OLYMPUS.CO.UK
As the first Olympus lens for the Micro Four Thirds
system, the 17mm f12.8 can be viewed as haVing
defined the standard for prime lenses. It is also,
potentially. a competitor to Panasonic's similarly-
priced lumix G 20mm fl1.7 lens, which has
almost the ..ame breadth of vie-vv but benefits
from a faster maximum aperture,
l ike the lumlx 20mm, Olympus's 17mm is a
pancake design that hugs the front of the camera
and protrudes no more than about 25mm from
the flange. The only control is a manual-focus
ring, which drives the fOCUSing mechanism
electronically: the sound is more energetic than
that f rom the Lumix but Olympus's lens is qUicker
to achieve sharp focus on the test camera used ,
Its smaller maximum aperture means that the
Olympus lens also has a reduced front element
and a correspondingly small lens cap that verges
on being fiddly to fit. The moving part of the lens,
which extends and retracts very slightly during
focusing, looks a little flimsy but that may be an
unjustified concern.
One of the great things about the pancake
design is the fact that it does not intrude into the
illumination area of the pop-up flashgun. In fact
(and despite the fact that this is a lens review
rather than a camera test) it is walth noting that
WWW.WHATDlGITALCAMERA.COM
LENS GROU EST
•
these omiSSions because the people who are
going to use the M icro Four Thirds system w ill
include relative nev..rcomers to photography who
are unlikely to requi re such old-fashioned things,
Far more important is the optical performance
of the lens. Its MTF resolution remains above the
critical 0.25 cycles-per-plxellevel from Wide-open
down to about 1114 and, though some colour
fringing can be found if searched for, it is not a
problem in rea l-world images. The only serious
disappointment is its rather slow and Slightly noisy
AF mechanism
At a shade under £300 on the web. this may be
viewed as being a rather expensive standard lens;
the big question many buyers may ask is whether
they would be better served by a similarly priced
zoom lens with a more modest aperture, a range of
the Panasonic G I body used for this evaluation
produced very gocx:l flash exposures when the
17mm lens was used .
The MTF chart shows that optimal resolution
(above 0.25 cycles-per-pixel) IS maintained from
wide-open to just beyond fl8: this is a reasonable
performance but it is nothing to write home
about and when fully cl osed-down the lens
records Just 0.15 cycies-per-pixeL
Overall this is a good lens but it doesn't shine
brightly. It wins over the lumix G 20mm in having
a slightly wider angle but it loses out in MTF
testing and it might be usurped by a similarly-
priced 14-42mm zoom that sacrifices a little in
the apelture stakes for greater versatility. Of
course the zoom would be bulkier and If a truly
compact combination is needed then the
Olympus 17mm is always going to hold appeal,
»
87
 WHAT IDIGITALCAMERA

LUMIX G VARIO
I4-4SMM F/3.5-S.6
ASPNERICAL
MEGAOIS
m:m I'MW.PANASONIC.CO.UK
Handling for the 14-45mm lens is excellent thanks
to an unfussy design and a logical layout, both of
which echo the appearance of Leica's Micro Four
Thirds 4Smm prime lens. The zoom ring is wider
and closest to the camera body, pushing the
narrower focus ing ring fu rt her forwards. The lens
extends by almost 50% as it is zoomed from
14mm to 45mm but focusing is entirely internal, small an aperture on a camera where the ISO can
leaving t he f ront element undisturbed. be varied to accommodate brightly-lit scenes.
The AF system is brisk, accurate and virtually There was a trace of ch romatic aberration at
silent As with other lenses, manual intervention is 14mm but this was not visible in real-world
possible in AF mode via an electrically driven images. To cap th is Vf~ry solid performance, the
rather than mechanical linkage, The resistance on lens incorporates Panasoni('s Optical Image
both collars is just about perfect. though the Stabilisation, which is effective and unobtrusive.
looming movement lacks a little smoothness. Overall this is a rea lly nice lens. The fact t hat it
Resolution test results exceeded expectations has a relatively modest and variable ma ~ i mum
given the price of this lens. The MTF curves were aperture is less significant than it would be on an
all above the critical 0.25 cycles~per-pixe l level optical reflex camera because the Gl's electron ic
from wide open down to more-or-Iess f/16 at all vievvfinder maintains its brightness regardless of
three tested foca l lengths. Admittedly. the the lens fitted . In its own way. this versatile and Despite being bundled as a kit
resolution dropped below 0.2 cycles-per-pixel at well-equipped lens is every bit as goOO as the lens, the 1 4-4~m is a versatile
f/22 but there ought to be no reason to set so 7-14mm zoom at about one-quarter of the cost. zoom that delivers gre<lt irTJ<lgeS
at bot!1 ends of i

OLYMPUS
M.ZUIKO 14-42MM
F/3.5-S.6 ED
~ I'MW.OLYMPUS.CO.UK
This lens featu res a clever 'parking' system,
making it much more compact when stowed than
when in use. Olympus has achieved this by
extending the rotation of the zoom ring to retract
the middle of the three concentric cylindrical
units. thereby redUCing the overall length from
about 7Smm to just over 40mm.
Perhaps because of this collapsible design the
innermost cylinder looks a little flimsy and there
appears to be a little slack that is evident when 14-4Smm zoom. Olympus's lens has a marginally
fitting and removing the lens cap. There is also weaker set of MTF curves and lacks image
slight rotation of the f ront-most flange during stabilisation - though Olympus PEN cameras have
fOCUSing. This is unlikely to be a problem for either this built-in. Still, the resolution figures stay above
handling or filter movement but it is a bit 0-25 cycles-per-pixel across the aperture range
disconcerting. These things give the camera-and- down to about f/14 w ith Just a slight drop
lens combination the air of a high-spec fixed-lens wide-open at the 42mm setting.
compact rather than a f ull DSLR-like feel The most serious weakness is magenta
The zooming collar has a short throw and a fringing, especially at 14mm, that is present when
smooth action but rotates the opposite way to demanding subjects are photographed.
that used by lumix lenses. which is not ideal. In its own right this is a goOO lens, but against
Manual focusi ng is achieved using the narrow the lumix 14-4Smm, which offers more features
collar at the front of the outer barrel: this fa lls at less cost. it faces st ilf competition. Some buyers
comfortably to hand when required. will be swayed by Its compact form. lower mass AIthooIjl some colour fringing
The AF system works well but it is neither as and clever 'parking' system but objectively it has was cle<lriy visible in tedmical
quick nor as quiet as that installed in lumix' s to take second place behind Panasonic's zoom. images at 14mm, it is all but
undetectable in rea l·wood images.

88 WWW.WlIATOIGITALCAMERA_COM
 LENS GROU EST

LEICA DG MACRO-
ELMARIT 45MM
F/2.S ASPWERICAL
Igall!] \\\\WPANASONIC.CO.UK
Let's not beat about the bush: this is an amazing
lens that has rNery bell and whistle, not to mention
the Leica seal of approval. With a focal length that
is wice the sensor diagonal, Leica's 45mm is
ideally placed to offer a high-quality macro
performance. much like the 90·1 05mm macro
lenses offered for full-fram .. 3Smm cameras. The
'macro' label in the lens name suggests this ought
to be the case, but such labels don't always
deliver what they promise. Leica's lens does: it is a Optical Image Stabilisation (Mega OIS) is bu ilt
true macro that works brilliantly in AF mode_ into the lens and controlled from the camera
The Af system is qUiet and qUit e quick, but not body. This works well, Without any of the jitters
blindingly so. Manual intervention is possibl", via that some other systems produce. A focus limiter
the only collar on the lens and activates an restricts the minimum object distance to O.5m fo r
enlarged viewfinder Image {where available} to normal photography and allows extended
make focusing easier. Using an electronic focusing down to O.15m in macro mode.
viev.riinder isn't as quick as using an optical Incidentally, the focal-plane marking is to be
micro-prism. but the experience ISnot unpleasant. found on the left-hand end of t he top plate and
The 45mm looks and feels like a Leica lens and is discreet to the point of being easily overlooked.
its MTF chart has a correspondingly traditional When considered as an 'ordinary' prime lens
profile. The figures are a shade dlsappomting at Leica's 45mm MFT lens is distinctly expensive but
the ends, dipping belOlN 0.25 cycles-per-pixel at its true macro capability puts it firmly into the
maximum aperture and beyond f/14, but the macro lens arena, where its price can be more leica's 45mm lells d~ ivers biting
resolution is above 0.3 cycl es-per-pixel across the eaSily justified. If you 'NIII use all Its features then sharpness in sct'Ilic images and true
most-used apertures from f/4 to 1/8. the price may be worth paying. 1:1 maaodose-ups (the red dot on the
3nm i

LUMIX G VARIO
7-14MM F/4.0
ASPWERICAL
Piiibl \\WIIPANASONIC.CO.UK
On Panasonic's website this lens is listed at £1,375.
Fortunately, it can be obtained for close to £900,
which is still a lot - but a lot less than £1,375
So what do you get lor your money? Extemally
there is a bu lbous front element that is protected
by a fixed petal-type lens hood, over which a
slide-on cap protects the lens when not in use.
Internally there are l our ED glass elements and
two aspherical profiles. The zoom rmg is located
closest to the camera body, with the manual- well in most pidure-taking situations. Obviously
focus ring beyond. Manual focusing is done the use of a pop-up flashgun would be ill-advised
electronically rather than manually and is aided by given the zoom's bulky front end, but that ought
an enlarged viev.riinder image (where available). to be a more-than-tolerable limitation.
At the shortest focal-length setting, great care It is worth noting that the zoom ring rotates
must be taken to keep the camera parallel to any clockw ise (from behind the camera) to set longer
objects that are to be correctly rendered without focal-lengths and that this matches the rotation
converging verticals, for example. but there is not of the companion Lumix 14-45mm zoom. The
a hint of geometrical distortion. A slightly odd altemative 14-42mm zoom f rom Olympus rotates
noise (rather like the flexing of a bellows) came counter-clockwise, which might prove rather
from the review lens at the w idest end of the unsettling if paired with the Lumix 7-14mm.
zoom but not the sort to set alarm bells ringing. Despite being larger than other Micro Four
Technical testing reveals a well-matched set of Thirds lenses, the Lumi x 7-14mm is a pleasure to
curves that rema in above 0.25 cycles-per-pixel use and allows some very dramatic compositions
from maximum aperture down to about f/13, to be recorded. It is hardly an everyday lens, but
suggesting that the lens is likely to perform very it's an admirab le beast in more ways than one.

WWW.WHATDlGITALCAMERA.COM 89
 I
WHAT DIGITALCAMERA

PERFORMANCE industry-standa rd method for measuring The minimum figure fo r top-quality

These si)( Micro Fou r Thirds lenses all the performance of lenses. A high MTF imaging is 0.25 cycles-pe r- pixe l and the
return very good MTF (Modulation Transfer figure indicates that t he opt ic can resolve ma)(imum t heoretical fig ure, which w ill
Function) performances. MTF is an more fine detail. ha rdly ever be real ised in pradlCe, is 0.50

lLJrrix G 20nvn f/1.7 on Lurrix OMC-Gl

V8I'i8tion t:I MTF~ w'Ml ApeflYre Settng
•

LUMIX
G20MMFjI.7
lumix's ....meangle lens fully justifies
its flU maximum aperture by
deliverirlg high resoi LJtion from , "
Aperture Setting (F-Number)
wide-wen to almost 1/16.

OIy~s M.Zuiko 17mm fI2. 8 on Lu miX DMC-Gl

v.riatton 01 MTF50 WI!!! "!*lyre SeuIl10
•

OLYMPUS
I7MMF/2.8
This is a slightty disappointing CUNe
00t the results are impressive across
the most-used apel1uresgiven the ,
Aperture Setting (F· Nurnbef)
.
wide angle-Df-view offered.

Lumix G Varia 14-45mm 113.5-5.6 OIS 011 Lumix OMC-G1

Variation r;I MTF!JO wiIrI Apertu ... Settlngr:~----,
•

LUMIX GVAmO 8
14-45MM F/ 3.5-
5.6 ASPHEmCAL
MEGAOIS
Evl'll t~ millOr deviation recOfded
cannot detract from t~ fact that
this is an excellent set of Cl.II\IeS,
,
ApertlXe setting (F-Number)
"

1"'_"'''III_
IIII11''I'.f~..'.km.=~' k~;'~·~~~III"""."""III~~"'I•••""".IIII11""~~~~::!~~~~~::::::::~__

All PHOTOGRAPHS (0 JON TARRANT

90 WWW.WlIATDIGITALCAMERA_COM
 LENS GROU EST
5 -e- Mt,.,..UM FOCAL LENGTH
cycles-per-pixel. Any lens t hat stays above
t he minimum figure across all (or most) of
using Imates! sofmare (www.imatest.com)
and the graphs were created using the =:""* INTERMl:OIATI. FOCAL UNGTH
its aperture range is doing very well .
The data for the graphs were obtained
f reeware program RJS Office
(www.rjsweb.netl. 8-B- MAXIMUM FOCAL LENGTH

~ M.Zliko 14-42mm fl3.5-5.6 ED on LumOc DMC-Gl

.
----,-....-
v.,W;In of MTP.iO wt!1 AI*fI,n Setti
;="=-'---:-,----,,--,
-=- _ ..._-
-9----- OISUKES
ClYomatk abertation

OLYMPUS
M.ZUIKO 14-42MM
F/ 3.5-S.6 EO
Aklxlugh there appears to be a slight
ctop in resolution wide-open at
~ ->---.-­
- ~l!!!!!!!!!! 11

TOTAL
11
11
11
11

Aperture SeWng ( F-Nu~ r)

88%~
42mm the MTF OlIVeS stay above the
crucial 0.25 cycles-per-pixel level. L _ _ _ _ ---'-==.:::""-::.c.==____---'

leica DG Macr(>.8marit 4Smm fl2.8 DIS (J'l Lumbt: DMC-G1

.
IUIIIIS 21
LEICA DG MACRO- IISIU 21
PllfGRMU&1 11
ELMARIT 4SMM
F/ 2.8 ASPHEmCAL ~ 1I
Although maximlJ11 and minimum
aperture r!'SOlutions are a bit
weak, the Leica 45mm's mid-rarlge
,!--,-~___,,~~~---,----,----,---~,
' Aperture ~ng (f -Number)
~-- "
periOfflKlrlCe is solid. '---_ _ _ _ _ --"==== "'-=="--____--'

.. ~ of MTF50wth Aper'(Uft! ~r""

:::====,
--
-----
... _
-e.--...
~ -
LlK£S
UIn-a·wKle angle-ol·view

fllJlRIi 2
LUMIX GVAmO
7·14MM F/ 4.0
ASPHEmCAL
The gl'Ol.ping of the curves here
is good and the overall level of
resolLJtioIl is very impressive, especial~
for an ultra-mangle zoom.
L______--'-~~'_";t';,~~""':~L______.J

VERDICT faster aperture and the shorter focal-length!

Trying to split these six lenses on the basis of
objective technical testing alone is surprisingly
difficult because these are all fine products.
Inevitably, therefore, subjective preferences
must come into play.
Both the pancake lenses work well and, if a
choice had to be made, essentially the decision
would come down to opting for a standard
angle-of-view or a slightly wider one, like that
of a 35mm lens on a full-frame 35mm camera.
Photographers \litho recognise the intimate
feel that comes from USing a compact lens on
an equally compact body - much like using a
film--based Leica rangefinder - may be more
likely to op t for the wider lens. but will
doubtless wish they could have both the
The Leica DG Macro-Elmarit 45mm prime
lens is vel)' special. It is bitingly sharp and
offers a genuine 1:1 macro facility that delivers
superb images. The 45mm focal.Jength is a/ro
ideal for portraiture on the Micro Four Thirds
format The lens is expensive but there's a
certain element of getting what you pay for.
Even more expensive is the 7-14mm fl4.0,
but again irs easy to see why the price is so
high. Distortion and aberrations are minimal
or non~xistenr. and image quality is impressive.
More important, this lens offers ultra-wide
angles-of-view that the others don't.
The M-Zuiko 14-42mm and Lumix 1445mm
are direct rivals in tenns of zoom and aperture
ranges but differ in look and feel. Olympus has
a more clever design. Panasonic has
stabilisation in its lens.' Olympus doesn't but IS
is in its camera bodies. Both can capture the
fields-of-view of the 17mm and 20mm
primes, so in that sense those are redundant.
But the 45mm prime adds genuine macro
photography to the mix.
tf it 'Alere my money, I'd buy the
Gl with 14-45mm stabilised kit
lens add the 45mm Leica
when funds allowed.
Comparing these resuit5
against other larger-format
lens tests irs clear that the
Micro Four Thirds system
deserves to be taken vel}'
seriously. Using a smaller
camera may not be macho bur
it looks like a smart move. WDC

WWW.WHATDIGITALCAMERA.COM 91
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weight. On paper you might think that the choice of camera on this factor alone. PWOIMOCI U
smaller the better. But some people, U
especially those with big hands or long SYSTEMS AND LENSES Each
fingers, find small cameras difficult to hold
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manufacturer uses a diffe rent mount for
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can produce A3 prints that are as good as
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