In the heart of all of the photography associated innovations, DIGITAL SLR cameras continue steadily to posses their particular allure. Yes, Nokia Lumia 1020 will snap really good pictures. And so can iPhone 5S as well as Galaxy S4. A number of compact digital cameras including the Sony RX 100 II are also thoroughly astonishing!
However there are certain things which DIGITAL SLR cameras fare much better. DIGITAL SLR cameras deliver the most effective way to compose a photo, and that is by way of a nice and bright viewfinder. They provide the flexibility of changing lenses and configurations to produce a individualized picture taking experience that’s well suited for the requirements of an individual photographer. And in the majority of situations, they provide awesome picture quality, even during low-light circumstances with little effort.
DIGITAL SLR cameras service the requirements of professionals and prosumers – the individuals who actually demand digital slr cameras which are not just simple-to-use for novice photographers but additionally have sophisticated controls and image quality options.
Nikon D5300 is a middle range DIGITAL SLR camera whose purpose is to satisfy the prosumers. Will it be successful? Why don’t we discover.
Compared with Nikon D5200
The Nikon D5300 is an progressive update. Among the list of big-ticket changes, two stand out above the crowd — Wi-Fi and GPS. As opposed to the D5200, this new Nikon DIGITAL SLR can connect with smartphones utilizing a Wi-Fi network, enabling owners to share photos on social networking sites right after they’ve been taken. The D5300 additionally features a built in GPS module, that can record the position information when you’re snapping photographs.
Whilst those two latest features are really easy to identify, the D5300 additionally has several other advancements over the D5200. The 24MP image sensor is similar to the one used in the D5200 however in the D5300 it doesn’t have a optical low-pass filter. In theory, this ought to permit it to shoot better resolution photographs. It additionally has an enhanced movie function, enhanced ISO sensitivity, upgraded battery pack efficiency, boasts a lighter weight as well as (marginally) smaller body, plus incorporates a screen that’s larger by 0.2 inches and also has greater resolution as compared to the one in the D5200.
However in the grand scheme of things, the alterations inside the D5300 are modest.
The design and style as well as components improvements in DIGITAL SLR cameras tend not to materialize frequently. The D5300 is not an exception. It features the typical design that Nikon has utilized with its entry level DIGITAL SLR cameras for the past few years. This particular design works well and Nikon’s all D3X00 and D5X00 series digital slr cameras are extremely easy to handle.
As opposed to higher end DIGITAL SLR cameras, the D5300 utilizes a synthetic body nevertheless, the build quality is great. It certainly feels more robust compared to similarly-priced Canon DSLRs. The camera grip boasts a layer of soft rubber with leather-like finish. This will assist a user to grasp the camera more securely while taking photographs.
The D5300 employs an identical button layout to the D5200. This is certainly fairly disappointing as there is a deficiency of dedicated buttons for advanced image capture options. Even though principal settings such as aperture or shutter speed is able to be operated by using hardware buttons without taking the eye away from the viewfinder, for more advanced options, owners will need to go in to the menu. This is certainly akin to just how Nikon’s entry level digital slr cameras function. However considering the price of D5300, we’d have actually appreciated seeing it employing a button layout akin to D7X00 digital slr cameras.
By default the D5300 is combined with an 18-55mm Nikkor VR lens. It’s additionally readily available as a body only, if you already have a collection of lenses, and is also available with an 18-140mm VR lens. We evaluated the D5300 with 18-140mm lens.
Similar to other D5X00 series digital slr cameras, the display screen on the D5300 is able to be rotated and swiveled. This will assist while you’re endeavoring to compose a picture in circumstances in which it is not necessarily feasible to make use of the viewfinder. For instance, in instances where you’re going to be holding the camera over your head, this display screen is extremely versatile.
More resolution than you need
It really is nearly impossible to select a Nikon or Canon DIGITAL SLR camera which doesn’t provide fantastic image quality. However even based on the high standards established by pre-existing middle range DIGITAL SLR cameras, D5300 records photographs which are exceptional in the majority of circumstances. This is because the lack of a low-pass filter creates photographs with a pop and cleanliness. Indeed, D5200 also records photographs at 24MP nevertheless, the photographs recorded using the D5300 appear a little crisper and cleaner. The absence of a low-pass filter does indeed offer slightly superior resolution to photographs recorded using the D5300.
Capturing photographs at 24MP with a DIGITAL SLR is a wonderful experience. The degree of detail that’s recorded is simply astonishing. This’ll help when you’re endeavoring to photograph wildlife. Even though you are unable to zoom very close to a bird, you are able to crop and obtain a superbly crisp photograph. The drawback is that often shots tend to be large in regards to size so if you’re working with a two gigabyte or perhaps 4 gigabyte memory card, it’s going to be filled very quickly.
The caliber of colours that the D5300 captures is extremely good. We discovered that the photographs recorded using the D5300 have punchy vibrant colours.
For the previous few years, Nikon’s midrange digital slr cameras have excelled at low-light photography due to the method that they manage dynamic range and ISO. On both matters, the D5300 is an excellent performer. Photographs using ISO as high as 3200 reveal hardly any noise. The camera furthermore captures the contrast between darker areas and well-lit areas inside a scene very well.
Our only issue with the D5300 with regards to image quality is the fact that it has a tendency to underexpose photographs. This certainly could be addressed using a photo editing applications, particularly if you are photographing in RAW. However mainstream photographers infrequently shoot photographs in RAW.
As for performance, the D5300 stands up very well. It focuses rapidly and also precisely. The D5300, much like the D5200, incorporates a 39-point focus system. Of those nine at the center are cross-type, meaning that they’re more sensitive which will let you focus quickly in lower light. Even though it is always preferable to have more cross-type focus points and broader coverage with focus-points, the 39-point setup within the D5300 is sufficient, rapid and also is very effective.
The dslr camera can capture movies in Full High Definition. The caliber of video clips is dependent a great deal on the lens that you have coupled to the dslr camera however in our tests using the 18-140mm lens we discovered that D5300 records video clips that’s a step upward for a DIGITAL SLR within its class. Essentially, it takes high quality movies with virtually no focus issues and if you utilize it to record a brief video clip of a birthday celebration, you’re not going to be disappointed.
As opposed to the typical 18-55mm lens that are typically shipped with these dslr cameras, we evaluated the D5300 using the Nikkor 18-140mm, that provides a broader reach to a user. Due to the fact that the D5300 is a DX format dslr camera, the effective range is 27-210mm. Consequently the majority of your daily photographing requirements are usually covered with this specific lens. The overall performance of the lens is extremely good however the D5300 is capable of more and once we matched the dslr camera with significantly better lenses, such as one of the 50mm prime lenses, we obtained much better results.
In the event that you currently have a Nikon DIGITAL SLR such as the D3000/D3100 or D40/D60/D90 and would like to update, the D7100 may be a better option for you. In reality, the D7100 is not much more than the D5300 despite being a more versatile camera with better build quality and better controls.
The D7100 also offers a focus motor – there’s not one in the D5300 – and therefore can function with all the old Nikon lenses that are lacking a focus motor.
If you’re looking to get involved with the digital photography scene, a dslr camera such as the D3200 along with a couple of additional lenses will cost not as much as the D5300 and provide you with a more flexible photography package.
As we stated previously, the D5300 is a superb dslr camera and if you purchase it, you simply won’t be disappointed. In addition it offers additional features such as built-in GPS and Wi-Fi, in the event that they’re essential for you. However it is not really value for money such as an entry level DIGITAL SLR such as the D3200. And is not really within the league of the D7100, which is actually a much better dslr camera for the advanced shooters.
Lowepro Versapack 200 AW Bag review – a flexible bag with a padded area for your photographic camera equipment with an unpadded area for snacks, or anything else you might carry along with you.
Typically the challenge with keeping your dslr camera equipment at hand all of the time is how you would carry all of those other bits and bobs necessary during the daily routine, such as for example audio players, snacks, writing instruments, notepads, etc. Most photographic camera bags are specialized for carrying your equipment about and conduct a fantastic job of that, however may not be so great at accommodating other things.
The half and half layout of the Lowepro Versapack 200 AW is not a totally new concept. Anyone who recalls the Lowepro Orion Trekker bags should be able to observe how the concept has continued to develop. Those bags too possessed a respectable sized padded section for dslr camera equipment in the base along with an unpadded ‘daytime pack’ area in the top for other items, and were tremendously popular.
The dslr camera inner compartment is able to hold a compact pro including the Nikon D300 or Canon EOS 7D without having a battery grip installed but which includes a conventional zoom lens attached, although without having a lens hood. The other storage compartments are great for as many as five small lenses such as for instance a 50mm, or even a telephoto such as a 70-300mm f/4-5.6. A flashgun may be replaced for one of the lenses as well. This is definitely abundant room for the casual snappers with light-weight equipment venturing out for a days photographing.
A tripod mounting setup enables a tripod to be secured vertically to the exterior of the backpack and is very effective with compact, portable tripods. With a bigger tripod, such as the Manfrotto 190XPROB, the bag may become awkward. It is a little more tricky to secure the tripod. The strap on the top is a touch loose for supporting that sort of load and the pocket at the base is just too small to perfectly fit the legs in. Cinch straps on the bottom of the bag allow for the horizontal attachment of a second tripod, or a rolled up jacket or towel.
The cushioned shoulder straps are comfortable, regardless of whether the backpack is completely packed and is going to be easy enough to carry around over a long day’s photographing. Accessibility of the camera inner compartment is furnished by a heavy duty zipper, that opens out so wide that the backpack divides in two. There are also 2 side access panels, allowing you to re-configure the inner camera compartment for instant access to your DSLR by swinging the bag around to the front. This particular layout doesn’t lend itself to instant access to bigger dslr cameras for example a Nikon D700, as the openings are a little too small ,however it is excellent for smaller enthusiast and beginner DSLRs. The sides can even be opened to swiftly grab a lens or flashgun from both sides if carrying your camera around your neck.
The Lowepro Versapack 200 AW has four Universal SlipLock™ attachments, 2 located on either side of the bag and 1 on each of the carrying straps. The Universal SlipLock™ attachments allow you to attach a number of additional Lowepro pouches and bags, such as the Lowepro S&F Bottle Pouch, Lowepro S&F Phone Case 20 or Lowepro Lens Case, allowing you to easily expand the carrying capacity of the backpack.
An AWC All Weather Cover is supplied which covers the outside of the rucksack. This particular cover is a breeze to fit and performs an excellent job of safeguarding the backpack in severe weather conditions, as well as dusty conditions.
Lowepro Versapack 200 AW: Verdict
This backpack is perfect for those looking to purchase a backpack which includes a excellent volume of space for a moderate collection of dslr camera equipment as well as camera lenses for day trips out, as well as other situations which you might require room for other non-photographic equipment, including snacks.
The tripod mounting system is really a awesome concept, yet it’s primarily actually appropriate for compact, portable tripods and also the weatherproof protection is a superb inclusion, particularly if you get trapped in a downpour.
Being very affordable, this backpack is extremely great value if this meets your requirements. The caliber of materials utilized is truly great and the padded straps ensure the backpack a delight to carry, even for very long periods.
Lowepro Versapack 200 AW: Pros
Lowepro Versapack 200 AW Half and half layout is wonderful for instances when non photographic equipment need to be transported
Lowepro Versapack 200 AW Comfy straps
Lowepro Versapack 200 AW weatherproof cover
Easy accessibility to compact items such as lenses from the sides
Lowepro Versapack 200 AW: Cons
Lowepro Versapack 200 AW fast side access restricted to smaller DSLR cameras
Lowepro Versapack 200 AW Tripod mounting method is a bit insecure for more substantial tripods
The HD598′s undoubtedly attract attention when compared with your typical headphones. The tan and beige color profile is modeled after, as reported by Sennheiser, the interior spaces of luxury European sports cars. Some individuals do not care for the distinctive look, but the more I personally use it, the more I really like it. The HD598′s present an timeless quality which will stand the test of time.
Best Feature: Sound Quality
Let’s get this out of the way immediately: the sound reproduction of the HD598′s is astounding. The headphones are open-backed, which means there’s sound bleed both in and out of the headphones. As a result big orchestra and live recordings provide you with the sensation of being there. The HD598′s additionally use some of transducer technology from the HD800′s: they’re bent at a 60 degree angle. This enhances the wide soundstage of music.
But don’t take me the wrong way: this is not a ‘classical music only’ set of headphones. The bass-line is focalized, and impactful. The bass beat of Metallica strikes you as effective as any bass-head headphones.
Watching films is actually a treat with these headphones likewise. The elevated spatial awareness of sound, in conjunction with the powerful bass line, means you will oftimes be moving your head from time to time to verify those noises aren’t really occurring beside you. But, take into account that everybody in the room will be listening to your movie as well.
Who’s It For:
Sennheiser undoubtedly had home listening as their intended purpose with these headphones. The long 10′ cord ends in a 6.3-millimeter gold-plated plug, though the headphones include a 3.5mm adapter for mainstream listening devices. The open-backed headphones aren’t commuter friendly. Additionally , they do not include a carrying case, which i assume is Sennheiser’s method of informing you these headphones are not travel friendly.
However they are extremely comfy. The earcups are constructed with a soft velour that is certainly comfortable, light and breathes. The headband is additionally thickly-padded in order to remain comfy for very long periods. The headphones additionally feel very light-weight on the head.
These headphones are designed for 2 types of individuals: individuals who desire thoroughly breathtaking audio quality whilst working/watching films (and can usually get away with the sound bleed), and music producers who crave audiophile level audio quality on a budget.
HD598 for your iPhone?
Portable devices like mobile phones, tablets like the ipad, and laptop computers are infamous for downgrading their sound tech to save battery life.
I tried the HD598′s on my apple iphone and first generation apple ipad. Although you will get up to some high volume levels on the HD598′s, that may not be enough for some. Adding in a portable headphone amp is sufficient to significantly increase the volume. I was satisfied utilizing the HD598 as it is, nevertheless, if you desire more volume you do not have to break the bank. Only a little boost is all that’s necessary.
HD598 vs. Beats
Passionate audiophiles will look at this argument and say that there is no contest. But Beats Headphones are the top selling headphones that are within the same price range. So, precisely what can you expect with either? We compared various aspects of them, that assist you decide for yourself. We used the Beats Solo HD for this particular comparison for 2 good reasons: 1. They’re a comparable price, and 2. Monster Studio have noise-cancelling technology, which inevitably diminish sound quality.
Comfort – HD598 without a doubt. The soft velour ear cups certainly are a delight to use and breathe, and that means you can easily use them for long listening sessions. Beats’ earcups have the tendency to get sweaty and warm your ears up fast.
Travel-Friendly – This one goes to the Beats certainly. Beats headphones include a carrying case, are closed-back so that you do not disturb people on your commute, and in addition have an inline-remote for controlling your portable music device.
Sound Quality – with this particular one there really is not any comparison. it is like the HD598′s provide you with the faithful sound reproduction of $500 level headphones. While Beats sound like they ought to cost around $75. And it’s not only about bass either. The HD598′s bass is booming and powerful, while the Beats’ bass-line is muddy and does not hit as hard.
There is a justification we rate these headphones as the best headphones in this price range. The audio quality genuinely stands apart above all the rest. The spacious sound-stange and crystal clear mids are among the phenomenal features of these headphones. Nevertheless they were mainly developed for home use only. The colorus are one of those either you love it or you hate it features. You could always decide to go with the Sennheiser HD558′s to get a more conventional looking Sennheiser pair for a similar price.
To numerous photographers — novices and experts alike — digital SLRs signify quality. The fact that you can detach the lens and exchange it for an alternative is irrelevant to those who will never purchase a second optic, and it’s that particular section of the marketplace that Sony’s concentrating on with its Cyber-shot RX10. Everything about the Cyber-shot RX10 is DSLR-like — its form factor, integrated EVF, focusing performance and picture quality are all on par with numerous higher end SLRs — but its awesome 24-200mm lens is permanently affixed. By opting with this relatively rigid design, Sony’s able to produce a constant f/2.8 aperture and extremely high-quality optics in a comfortable package, at a price tag considerably under what a comparable detachable lens would command, were it to really exist to start with. The end result, quite simply, is incredible, however as the price is at the upper end of even deep-pocketed consumers’ budgets, you will want to catch our complete review prior to making any purchase.
Visually, the Cyber-shot RX10 is much like a digital SLR in virtually every way. You will find a noticable grip, a top-mounted monochrome LCD, a pop-up flash, a hot shoe (in this instance, Sony’s Multi Interface Shoe), dedicated mode and exposure-compensation dials, an XGA OLED viewfinder, a 3-inch 1.23M-dot Liquid Crystal Display that tilts upwards 84 degrees and downward 43 degrees and a reasonably large SLR-like lens up front. From the inside, however, the Cyber-shot RX10 is very similar to its compact counterparts, the RX1 and RX100 Mark II. As a matter of fact, the 10 features exactly the same 20.2-megapixel 1-inch BSI CMOS sensor as that latter model, which, although nonetheless quite large, is smaller than the APS-C and 35mm sensors in traditional DSLRs. What’s more, it contains Sony’s potent new BIONZ X processor, which is also located in the Alpha 7 and 7R, along side Sony’s freshly launched A5000.
But back again to that lens. The 24-200mm Zeiss Vario-Sonnar T* optic is unquestionably the celebrity of the show, thanks in no small part to its constant f/2.8 aperture. What makes that significant, you may well ask? The majority of zoom lenses, particularly those permanently connected to a camera, incorporate variable aperture lenses. Although some may perhaps allow you to capture at f/2.8 from the widest focal length (24mm in this instance), you simply will not discover many point-and-shoots boasting of that equivalent aperture at the tele end at the same time. Commonly, a lower-end lens allows apertures no greater than f/5.6 or even f/6.3 at 200mm, and having f/2.8 available instead, you can actually take significantly crisper photos in lower light, or images with velvety bokeh (shallow depth of field) during the daytime. You have still got f/5.6 (right up to f/16) for your use, needless to say, immediately available utilizing the dedicated ring dial round the base of the lens, in case you are after different imaging effects, alternatively.
You can still find a great deal more hardware components to discover, too. Sony’s placed loads of emphasis on connectivity with the Cyber-shot RX10. On the sound front, you can find headphone and microphone jacks, stereo microphones up top as well as being compatible with Sony’s advanced audio accessories utilizing the accessory port which is also a hot shoe — for mounting wireless receivers as well as shotgun mics. You will find an HDMI interface with clean, uncompressed output, a micro-USB interface for data transfers and charging the camera’s 1,080mAh battery (exactly the same unit included in NEX cameras as well as select current Alphas), a dual Memory Stick/SDXC flash card slot and a tripod socket at the base. The camera is rather comfortable to hold on to, and even though it is weightier than you would anticipate, it will not weigh you down whilst it dangles from the neck strap.
Sony hasn’t modified its UI a great deal since the NEX series’ creation in 2010, but just like the other RX products as well as current Alphas, the Cyber-shot RX10 incorporates a tab-based user interface that many of us significantly prefer. Settings are really simple to find along with every thing displayed in a linear format, it’s simple to hop from category to category to generate each of the modifications you require without first going back to your home screen. Capturing choices like file size, ISO and SteadyShot are displayed in the first tab; customizable key modifications and display alternatives are within the next tab, accompanied by wireless-connectivity features, then playback; and then finally general settings like sound levels and display monitor brightness can be found in the 5th tab.
Additionally, there are a great deal of dedicated controls around the camera, and so you will not absolutely need to spend much time in the main menu whatsoever. A function button off to the right of the LCD launches a quick-adjust setting, with direct access to drive mode, flash options, ISO, white balance, metering, et cetera. A display button cycles through a variety of display modes, such as a full-screen real time feed, an advanced settings panel with histogram and physical alignment indicators and an image preview screen with a thorough settings readout placed at the border. Also there is a specific video capture button, an alternative settings dial and a control ring on the back. Up top, you will find there’s backlight switch for lighting the grayscale LCD, a flash release button, a user-configurable button, an exposure-compensation dial and a zoom toggle switch around the shutter release. Additionally there is a focus-mode selector switch along the front side of the camera, right below the lens.
Incorporating WiFi, it’s also possible to control the camera utilizing a smartphone or even tablet running Sony’s PlayMemories Mobile app. After establishing a connection to the camera’s wi-fi hotspot, you’re able to only shoot in auto mode with the app — as soon as you connect, auto will override all of the existing camera settings. Photos are sent to the connected device right after capture. Although this is an excellent solution for group self-portraits as well as other tripod photos, as a result of the diminished control options, we would advocate capturing directly on the camera and then transferring pictures to the app from either the camera’s playback mode or perhaps the live gallery viewer within the application. Wi-fi connectivity helps make sharing pictures on the internet a piece of cake, nevertheless — your Instagram account will certainly benefit enormously from the Cyber-shot RX10‘s huge sensor and mighty lens.
At release, Sony’s RX100 arrived with an ambitious price tag, which was a significant sum for a point-&-shoot, especially one which did not appear a great deal different from a model one half its price to the inexperienced eye. Then again extraordinary performance — for any digital camera, actually; not only a pocket-size compact — established this the essential everyday camera of 2012. You can actually make the identical argument here. The Cyber-shot RX10 delivers that level of performance to a considerably larger, although a lot more versatile form factor. Shutter lag is just about nonexistent and also camera’s speed overall is practically flawless. Even wi-fi transfers are far more seamless than we have experienced with a lot of other digital cameras, including previous models from Sony.
The camera can power on and capture its first shot in just over 1.5 seconds. When shifting the frame between a subject 2 meters in the distance and another centimeters from the lens, the Cyber-shot RX10 managed to expose and refocus in approximately 0.25 second. Meanwhile, in the speed-priority continuous setting, we managed to capture 20 successive JPEGs at 9 fps, as opposed to the “approximately ten frames per second” which Sony estimates within the standards. When it comes to transporting pictures wirelessly, it took us 17 seconds from choosing a picture on the camera to receiving a 2-megapixel image on this smart phone, which includes the amount of time needed for this smart phone to connect with the Cyber-shot RX10‘s Wi-fi. Transfers ended up being a great deal faster when choosing pictures on this smart phone instead, because the couple were already paired. A 2-megapixel picture took roughly one second to transfer, whilst a full-resolution photo took only five seconds.
Battery life, as you would probably expect from a camera this large, is superb. The Cyber-shot RX10 utilizes the identical battery as each and every previous NEX digital camera along with the latest Alpha mirrorless cams, and that means you may perhaps already have spare NP-FW50 1,080mAh packs laying about. If you are planning to be away from an electric socket for several days, it would not hurt to take a spare. Nonetheless, we succeeded in making it through every complete day’s shooting with a great deal of juice to spare. We devoted 2 days photographing without recharging the battery pack. The capacity meter reflected a 31 % charge remaining following taking over 700 pictures as well as 5 mins of 720p video, together with a number of Wi-fi transfers as well as some on-camera picture reviews.
As if you didn’t already have enough to anticipate having with the Cyber-shot RX10… Picture quality, no real shock, is incredible. Truly, with this selling price, we would not put up with anything less. No matter whether you want to shoot in bright sunlight or a evening street scene illuminated by a solitary dim light, photos are crisp and free from noise, even at ISO 6400. Video looks phenomenal likewise, even if caught at night.
The Cyber-shot RX10‘s quick power-on and focus times make it quite easy to acquire the photo. In an exposure which includes a fast paced subject, and following a rapid adjustment on the setting dial, pictures can be clicked straight away. The exposure and color balance are precise, plus details are really sharp, regardless of whether the subject is going along very fast.
The tilt-up screen and 24-200mm lens present you with a massive amount of versatility. For street photographers, this really is a necessity.
The Cyber-shot RX10‘s aperture ring, mounted around the lens, allows you to access specific f-stops directly.
The Cyber-shot RX10 is a master of focus and exposure when you take close-up photos. Elements across the foreground are exceedingly razor-sharp, even with comparatively high ISO, while the background is properly blurred, as you would anticipate by having an f/2.8 aperture.
Video quality is every bit as remarkable. The Cyber-shot RX10 has the ability to record at resolutions as high as 1080/60p with AVCHD encoding. Exposures were spot-on universally, and also videos recorded at high sensitivities (ISO 12,800) appeared much better than predicted.
As it is with Sony’s QX10 and QX100 lens cameras, the full-frame Alpha 7 and 7R and even the RX100 Mark II and RX1, the Cyber-shot RX10 lacks competition from other brands, especially if you are looking for virtually identical specifications and performance. Which is not to state you do not possess other choices, nevertheless, if an integrated, fixed-aperture, telephoto zoom lens combined with a 1-inch sensor are the thing that you’re after, there exists ultimately not anywhere else to look. You’re able to, obviously, go for a conventional digital SLR, and of course, if you already possess an assortment of lenses (or you are intending to develop one), an interchangeable-lens camera is definitely your best option.
Canon’s 70D along with the D5300 from Nikon each offer serious still picture and video chops, and they also incorporate built in Wi-fi, as well. You will need to bring your own lens into the mix, including the body-only for the Canon along with the Nikon, in addition to the price of lenses, you are going to considerably surpass the Cyber-shot RX10‘s selling price once you have included the required optics. When it comes to superzooms, Panasonic’s Lumix FZ200 also contains a lens with a constant f/2.8 aperture, which includes a massive 25-600mm focal length, even so the 1/2.3-inch 12.1-megapixel sensor is considerably less proficient compared to what you will get using the Sony. The FZ200 is equipped with affordability on its side, though.
Ultimately, we really love the Sony Cyber-shot RX10. In reality, we battled to fill the negatives segment with anything apart from a high price tag. However your money goes an incredibly long way here, and if you need to record razor-sharp pictures and full-HD movies in just about any lighting condition, with a substantial focal range, you will be challenged to identify a more suitable shooter. This is actually the very best fixed-lens digital camera we have ever used, and we would not be astounded if the RX10 Mark II, when ever it shows up, would be the sole equivalent model worthwhile considering.
Wonderful Constant f/2.8-aperture 24-200mm lens
Phenomenal image and video quality in all lighting conditions
Excellent performance and battery life
Dedicated exposure-compensation dial
WiFi with NFC
Sony’s Cyber-shot RX10 may perhaps be expensive, but this camera’s a must-buy if you’ve got the money to invest.
Tags: 200mm lens, cmos sensor, compact digital camera, compact system, control layout, Digital Camera, digital slr, dispersion glass, DSLR, glass elements, image stabilisation, inch lcd screen, latter model, liquid crystal display, maximum aperture, optical viewfinder, quality optics, Review, rigid design, rx series, rx100, Sony, sony cyber shot, Wide angle lens
Layout and features
Developed for photographers that always desired the flexibility of an SLR camera, but have become discouraged by the dimensions and weight, the 100D has a weight of only 407 grams. Even though it looks a lot like every other Canon SLR camera from the exterior, everything is more compact — 12 % trimmer compared to the 650D.
Not a great deal has become compromised on the specifications sheet, nevertheless. The camera offers exactly the same 18-megapixel APS-C CMOS sensor as the 650D along with the 700D, which was revealed simultaneously with the 100D. It features a Digic 5 image processor chip as well as nine AF points, although just one cross-type at the centre.
Dependant upon the lens you couple the camera with, the 100D rests beautifully in the palm of your hand. The grip is compact, and bigger hands may find that they overwhelm the slim body. Rotate the camera around, and the 3-inch touchscreen display occupies the vast majority of rear panel. This also ensures that other control keys as well as dials are kept to an absolute minimum. A four-way directional pad exists, but lacks any marks to demonstrate exactly what each and every direction is utilized for. Playback, exposure compensation and an aperture button are the other principal controls.
Even though the downscaling of control keys may appear as if the 100D is merely for novice photographers, the mode dial on the top does indeed accommodate each of the same controls available on every other SLR camera in the form of full program, aperture, shutter and manual exposure modes. Newcomers additionally gain access to complete automatic, portrait, landscape, macro, sports and no flash and creative automatic modes.
As with any other SLR camera, it is able to capture JPEG as well as RAW pictures, whilst support for quicker UHS-I SD cards ensures that the buffer receives a boost to a maximum of 1140 JPEG photos when you use continuous mode. At four fps, continuous shooting isn’t a slouch, either. On the rear of the camera sits the identical 3-inch capacitive touchscreen display which was on the 650D.
The hybrid CMOS AF system is perfect for photographers who shoot mainly in Live View, or who take a large amount of video. Additionally present in the 650D, the phase-detection system swiftly grabs a focusing point, and then the camera switches in to the more conventional contrast detection to attain accurate focus. In the 100D, the hybrid system now covers 80 per cent of the sensor size, which is designed to give much better results than previous cameras.
Connectivity can be found in the form of a 3.5mm microphone port, remote port, USB as well as HDMI out — each revealed beneath the single flap at the side of the camera. As with any other Canon SLRs, image stabilisation is supplied through the lens.
The 100D now receives the capability to preview creative filter effects in Live View mode on the display screen, before you take the photo.
The 100D didn’t slow down significantly when producing a burst of JPEG photos, progressing to about 30 frames before any indication of processing time or buffering came into play.
The focusing system is agile, on level with previous digital slr cameras found in this class from Canon. There are actually, nevertheless, very small focusing points within the viewfinder, which might be challenging to pinpoint upon your desired subject. Undoubtedly that Canon is counting on many users to compose and take photos utilizing Live View along with the touchscreen display, which supports features like touch to focus for more precise handling. When you use Live View, focusing remains equally slow as on all of the other entry level Canon SLRs, therefore try not to expect any remarkable improvements there.
Just what is absent on the 100D is an inbuilt Wi-Fi option. With an increasing number of ILCs and SLRs having this particular functionality, it’s a pity that there is not a way to instantly transfer pictures or movies to a mobile device, particularly as this is a characteristic touted on various other Canon digital cameras, such as the PowerShot N and higher-end 6D.
Canon rates the battery pack at 350 photos utilising the optical viewfinder or 150 photos with Live View, which is considerably less than the other SLRs found in this range, including the 1100D, that can handle 750 shots making use of the viewfinder before a recharge is required.
Employing the same sensor as the 700D and 650D, it isn’t surprising that the 100D generates pictures that are extremely consistent to these somewhat larger cameras. On default settings, the camera produces punchy JPEGs with good colour rendition and noise control at low ISO levels.
Reaching up to higher ISO sensitivities, the 100D does a respectable job of keeping noise at bay. ISO 1600 is the highest sensitivity, where noise is very well managed even at maximum resolution — anything greater, and colour shifting begins to happen.
The 100D preserves an identical level of detail in its RAW files, just like the previous cameras mentioned. Detail is recovered best from shadow areas, whilst highlight detail is mainly recoverable except within the most extreme instances of overexposure. Utilizing automatic exposure modes, the 100D does demonstrate a slight level of overexposure when making use of evaluative metering mode.
Video quality is once more in line with what we have observed previously on the Canon series of SLRs. Colours are yet again punchy with strong, defined contrasts between shade and highlight areas using default picture styles. When used along with the kit 18-55mm STM lens, autofocus in video recording is actually noiseless and smooth.
As opposed to cameras like the 700D, for example, the 100D has only room for an integrated mono microphone. This means owners looking for the very best audio quality would want to incorporate an external microphone for stereo sound.
The Canon EOS 100D offers a gratifying experience for newer photographers or those who find themselves looking to purchase a rather compact entry in to the world of SLRs. Nevertheless, it may not be sufficiently small to attract prospective buyers away from a similarly priced mirrorless ILC with additional features.