Spec Canon EOS 7D

  Canon EOS 7D                                              

The Canon 7D carves new ground in the Canon line-up. It sits not as a replacement for either the 50D or 5D, but as an in-between model, filling what had become a vast price jump from the advanced amateur model to the semi-professional. For some it may appear to be a direct competitor to Nikon's D300s but others will see it as a natural progression for existing 50D, or even 40D users, along with those looking to buy straight into a serious shooting system.
This camera is quite unique in that the improvements from previous models are a result of direct feedback from users, and the whole design has been reinvented from the ground up. However, the result doesn't look drastically different, though there are features and functions that have been moved or rethought. So what are these changes, and have they produced a camera not only worthy of the EOS badge, but better than any other?

1.  

Canon EOS 7D review - Features
The 7D features a brand new 18MP CMOS sensor. This is a fractionally higher resolution than previous APS-C models but not excessively so. This is in line with Canon's view that overpopulating a sensor can actually hinder low-light performance - this sensor has increased its sensitivity through a gapless microlens construction, to gather light more efficiently. It outputs at 5184 x 3456 pixels, in a choice or combination of .CR2 Raw files and JPEGs. Both Raw and JPEG files can also be output in smaller pixel counts with medium and small outputs down to just 2592 x 1728 pixels (about 4.5MP). Data is converted as a 14-bit process, rather than the standard 12-bit, for extra tone. The sensor includes Canon's integrated cleaning system, which shakes dirt from the sensor and can be activated automatically on power up or down, or manually from the camera's menu. It is also coated to repel dust formation. Canon's anti-shake technology has always been incorporated into the lens rather than the camera body and that remains the case here: both kit lens options feature image stabilisation.

For processing power, the Canon 7D utilises dual DIGIC IV processors, outputting in eight channels for added speed, allowing the camera to shoot up to eight frames per second. The processing power is also better able to deal with noise levels, with levels at ISO 6400 similar to those at ISO 1600 from the previous DIGIC III processor. It also allows for an expanded Hi-1 setting of ISO 12,800. Like the 5D mk II, the 7D offers an Auto ISO mode, which selects a value between ISO 100 and 3200.
The metering system is a 63-zone dual layer arrangement that analyses focus, colour and luminance information (known as iFCL). It offers four configurations: Full Evaluative, Centre-weighted, Partial, and Spot. Exposure compensation is available up to +/-5EV, and up to 8EV using the exposure bracketing, though only a maximum of +/-3EV can be shown on the top screen. The autofocus uses 19 cross type points, 10 more than the 50D, which can be selected from automatically or manually with a choice of zonal, expanded or individual selection. Different set-ups can also be chosen for vertical and horizontal shooting. There is further ability for AF micro adjustment to optimise the autofocus for up to 20 individual lenses or global adjustment.

White balance is offered with seven presets, an auto mode and colour temperature setting. There's also white balance compensation of +/-9 in each direction, plus a custom setting and bracketing. The shooting modes include the standard arrangement of P, Tv, Av, and M, plus Auto, Bulb mode, three custom modes, and the Creative Auto mode that provides aperture and shutter control in the form of sliders for simple control.
The viewfinder offers an impressive full 100% field of view and a 1x magnification for a larger view. The shooting info appears underneath the image, but the focus and grid points are projected onto the viewfinder and can therefore be turned on and off to allow it to be clear of unused AF points. The 7D is also the first EOS model to feature a dual axis electronic level, which is viewable through the viewfinder to avoid unwanted pitch and roll. The rear LCD screen is a 3in Clear View II TFT, with 920k-dot resolution, anti-reflection coating and an ambient light sensor.

Canon has improved on the class-leading video by offering full manual exposure when shooting, and full 1080p HD at 30, 25, or 24fps. Video can also be captured at up to 60fps at lower resolutions. Thanks to the H.264 QuickTime compression, video clips can be up to 12 minutes in length, or 29.59mins in standard definition (up to 4GB in size). Sound is also catered for, with both an external 3.5mm jack input and an internal mono microphone.
The 7D sides with consumer level models with the inclusion of a built-in flash with a guide number of 12, and coverage of 15mm. More significantly though, it's the first EOS to offer in-camera wireless multi-flash control for Speedlite models - ideal for Strobist fans. Buy this camera now !  Read more >>

Spec Nikon D7000

   Nikon D7000                                                     

The Nikon D7000 is keen to stand apart from the older Nikon range as an all-new camera. Indeed, to dispel the myth of it being a D90 replacement, it's worth pointing out that both cameras will continue to run in the current Nikon range for the time being and the gap between one and the next is fairly considerable.
The Nikon D7000 adopts a new 16.2-megapixel CMOS sensor, suggesting that the megapixel count for DSLR cameras is clearly still on the rise. The APS-C size of the sensor means the usual 1.5x magnification applies (i.e. 18mm is the same as 27mm in a full-frame 35mm equivalent). Paired up with the Expeed 2 image processing engine, the D7000 also boasts Nikon's latest hardware for speedy processing and the capability to expand the already well-specified ISO 100-6400 sensitivity to a top-end Hi2 setting - the equivalent of ISO 25,600.

For those looking to reel off bursts of images in continuous shooting mode, the D7000 offers a pleasing 6fps. Considered in the context against the Nikon D300s's 7fps, and side by side to the Canon 60D's 5.3fps, this is a well-specified offering that will prove tempting to those enthusiasts looking for speed as well as resolution and all-round capability.

It's not just still images where the Nikon D7000 comes well equipped either: the ability to capture Full HD 1080p video at 24 frames per second sees off much of the competition thanks to its progressive capture.
Elsewhere there's an all-new 2,016 pixel RGB metering module and a brand new 39-point AF system with nine cross-type sensors, dubbed the Multi-CAM 4800DX.

The rear of the camera has a fixed 3in, 920k-dot LCD screen and a viewfinder sat above this gives a full 100% field-of-view to ensure that exactly what you frame by eye is what you capture.
To store your images there are twin SD card slots that can be utilised simultaneously or user-defined to operate in an overflow or stills/video format. It's interesting to see the omission of a CF card slot, which seems to now be exclusively reserved for more pro-grade models. Read more >>

Spec Canon EOS 60Dv

   Canon EOS 60Dv                                           

Originally released in 2008, the Canon EOS 50D
quickly established itself as a popular choice for enthusiast photographers,
largely thanks to its tough magnesium alloy construction and uncompromising
feature set. Built around a 15MP CMOS sensor and Canon's DIGIC 4 image
processor, the only ‘must have' feature the EOS 50D really lacked was the ability
to record HD video.

As the direct successor to the Canon EOS 50D, the
Canon EOS 60D not only delivers 1080p Full HD recording, but also comes armed with a
number of additional improvements over the older model, not least a new
18MP CMOS sensor, an improved 63-zone metering system, and a vari-angle 3:2 aspect
1.04m-dot rear LCD monitor (the 50D sported a fixed 4:3, 921k-dot monitor).

Not quite everything has changed for the
better, however. For example, unlike the EOS 50D with its magnesium alloy cage, the
outer casing of the EOS 60D is constructed primarily from polycarbonate resin. The
addition of a number of in-camera creative features has also been seized upon
by some as illustrative of how the EOS 60D is a slightly dumbed down version of its predecessor – something the EOS 50D was never accused of.

In terms of direct competition, the EOS 60D's
chief rival is the Nikon D7000. Released within months of the EOS 60D the
Nikon D7000 is aimed at the same enthusiast market and, at the time of launch,
was similarly priced. Despite also being two years old the D7000 is still listed
as a current model within Nikon's DSLR range. Interestingly, both the Canon 60D
and Nikon D7000 have survived the introduction of newer DSLR models higher up their
respective ranges - namely the Canon 6D and Nikon D600, both of which employ
full-frame sensors rather than the APS-C chips found inside the EOS 60D and D7000.

Whereas both the EOS 60D and D7000 offer Full HD
video recording there are quite a number of differences between the two models.
Whereas the EOS 60D boasts a higher effective resolution (18MP vs 16.1MP) and a
sharper vari-angle monitor (the D7000's 921k-dot screen is fixed), the D7000
does get a tougher magnesium alloy shell, alongside a 39-point AF system that
easily bests the 9-point AF system of the EOS 60D. In addition, the D700 offers an
extra sensitivity stop above the EOS 60D's top (expanded) setting of ISO 12,800.
Read more >>>

Spec Pentax K-30

   Pentax K-30                                                

The Pentax K-30 has been released at a testing time for DSLR manufacturers. To keep the mid-range area of the market thriving, we've seen many manufacturers turning to their more advanced models for ideas of ways to attract new consumers to their lower end products.
A few examples of the features we've seen filter down to mid-price models from more advanced DSLR's in recent years include HD video, Vari-angle displays, and support for attaching an external microphone to enhance audio recording.

Pentax is no exception to the idea of introducing higher-spec features within its lower-spec models. For their latest mid-price DSLR, the Pentax K-30, they've turned to the K-5 for inspiration. Interestingly, the Pentax K-30 adopts weather sealing and the intension of this is to target a wider audience that desire a camera which can shoot in any weather condition. This, combined with innards from the K-01 and K5 creates a DSLR that has plenty of potential on paper.

Pentax K30 Review - Features
Earlier we mentioned the Pentax K-30 shares similar internals to that of Pentax's K-01. The APS-C CMOS sensor as found within Pentax K-30 has been lifted from the K-01, which was previously pinched out of the Pentax K5.
While the design of the Pentax K-01 may have caused controversy, we applauded the way the CMOS sensor retained minute, hairline detail when we reviewed it earlier this year so there's no reason to suggest the Pentax K-30 should perform any differently. The same can be said for ISO response and with an ISO range of 100-12800 (expandable to 25,600) we're expecting comparable results.

Rather than adopting the Prime II image processing engine as used within the K-5, the Pentax K-30 uses a Prime M image processing engine that has been optimized for HD video capture, smooth live view, low chromatic noise and low energy consumption. Pentax has always been known for producing fast performing DSLR's and the Pentax K-30 is no exception.
It can't quite match the K-5's impressive 7fps continuous burst rate, but the Pentax K-30 remains a strong candidate for shooting high-speed sequences with the ability of rattling out a burst at 6fps. This makes it faster than two of its closest rivals - Nikon's D3200 (4fps) and the Canon 650D (5fps) and puts it in the same speed league as many semi-pro DSLR's such as Canon's EOS 5D Mark III.

The SAFOX IXi+ autofocus system the Pentax K-30 uses is also a new development. It now features improved optical components, including a diffraction lens that's intended to improve AF responsiveness in low light situations.
As for the arrangement of AF targets, nothing has changed over the K5. It features Pentax's tried and tested 11-point (nine cross type) array and as well as AF.A (auto), AF.S (single), AF.C (continuous) and Manual, there's a bright green AF assist lamp to aid focusing in dark conditions.

Advancing on previous entry-level Pentax models such as the K-x and K-r, which are still available to buy but are no longer in production, the Pentax K-30 features a pentaprism viewfinder that offers a 100% optical field of view for the most accurate framing you can get. Directly beneath this lies a fixed 3in LCD screen that boasts a 921k-dot resolution. Much like the sensor this is the same as the type found on the K-01.

The issue of dust adhering to the surface of the sensor has always remained a threat for photographers who frequently swap lenses. To prevent the issue Pentax has fitted the Pentax K-30 with a shake/dust reduction system. Unlike some cameras that run their dust systems at the time the camera is shut down, the Pentax K30 runs it as the camera is switched on. This is the default setting and as we found there's the option to change this from within the menu system or switch it off altogether if you so wish.

As for video, the Pentax K-30 provides full 1080p HD movie capture at 30, 25 and 24 frames per second. Unfortunately the Pentax K-30 doesn't feature a 3.5mm mic port built into the body for attaching an external microphone, but you will find five settings to take independent control of audio levels from inside the movie menu.

Powered by a rechargeable D-BH109 Li-ion battery that is claimed to be good for approximately 480 frames, Pentax has continued with their tradition of making an AA battery holder so that it can be powered by AA batteries when required.

The only real disadvantage of this is that it takes up quite a lot of room where a larger Li-ion battery could be inserted, however it does give you the option of using AA's if you run out of rechargeable battery power or when you're working in remote areas where there's no access to mains power. Read more >>>

Spec Sony Alpha SLT-A57

     Sony Alpha SLT-A57                                

Sony's SLT concept began life as little more than a minor deviation from the DSLR norm, with a fixed translucent mirror in place of the traditional reflex type, and an electronic viewfinder immediately polarising opinion. Today, however, SLT models, such as the Sony Alpha A57, constitute the majority of Sony's Alpha range, and its here where new technologies are first surfacing.

Sony A57 review - Features 
The latest addition to the Alpha family is the Sony Alpha A57, which technically replaces the well-regarded A55 model but externally resembles the enthusiast-level A65. It adheres to a similar idea as the A55, but pushes through a raft of minor improvements across all aspects of the specification set, while also debuting a couple innovative features, the likes of which we've come to expect from Sony.

One of these is Auto Portrait Framing, which crops a captured image of a person to a composition satisfying the rule of thirds. So, rather than have a subject in the centre of an image, the function will crop out a version where the subjects eyes are along one of the intersections defined by the rule. This is then interpolated back up to the resolution of the original image using Sony's By Pixel Super Resolution Technology, and saved alongside the captured one.

The By Pixel Super Resolution Technology, which has featured in the company's previous Cyber-Shot models, is also at the heart of the 2x Clear Image Zoom feature, which is said to double the effective length of a mounted lens while maintaining the camera's full resolution.
On that subject, the Sony Alpha A57 makes use of the NEX 5N's 16.1MP Exmor R CMOS sensor; although this offers no advantage in resolution over the 16MP sensor found in the A55, its partnering with the latest generation BIONZ processor is said to nevertheless bring benefits with regards to image quality.

As an SLT model, the Sony Alpha A57 offers an electronic viewfinder in place of an optical one, with 1.44million dots and a 100% view of the scene. In addition to its minor increase in resolution over the A55's finder, it also employs revised optical components which allow a variable eyepoint from 23.1mm and 25.2mm. The 3in LCD screen, meanwhile, is sized to the 4:3 aspect ratio and equipped with 921,000 dots, with the option of pivoting the display around a base joint for less conventional capture.


Sony has made an number of additional changes on the inside of the Sony Alpha A57, some of which may not be apparent if simply glancing at the camera's specifications. The 15-point AF module, for example, remains from the A55, although it's claimed to benefit from revised Object Tracking AF algorithms to keep a lock on moving subjects.

The Sony Alpha A57's burst mode has also been increased to offer 8fps as standard, and 10fps in the Continuous Priority AE option which keeps the aperture constant between frames. This mode also adds a further 12fps JPEG-only option in conjunction with the camera's Tele Zoom, whereby a 1.4x crop of the centre of the frame is captured (at a reduced resolution) with autofocus adjusted between frames.

The omission of the A55's GPS unit may seem odd on an upgraded model, although this does at least help conserve power.
The use of the same NP-FM500H battery as the A65 is also said to allow the camera to last for a respectable 590 frames when using the LCD screen, and 40 less with the viewfinder, although such figures are always subject to a range of other variables. As with other Alpha models, the Sony Alpha A57 maintains support for a range of Memory Stick and SD media, including the latest SDXC format.  Read more >>

Spec Nikon D3200

     Nikon D3200                                                       

vAs the popularity of Compact System Cameras increases with a host of new models, it's been pretty quiet period for entry-level DSLRs over the last twelve months. This is about to change with the arrival of the Nikon D3200.

Boasting a resolution that's a match for much higher priced models, while at the same time promising to make the transition from a point and shoot compact to a DSLR a breeze with a built-in Guide Mode, the Nikon D3200 looks set to tempt potential Compact System Camera purchasers back to a DSLR. Has it done enoug

Nikon D3200 review - Features

The most dramatic change from the 14.2MP D3100 (which will continue in the Nikon DSLR line-up for now) is the arrival of a 24.2MP CMOS sensor. Not only does this mean it has the second highest pixel count in the entire Nikon DSLR line-up behind the pro-spec 36.3MP full-frame D800 (eclipsing both the higher priced D5100 and D7000 as well), but offers one of the highest pixel counts ever seen on a APS-C DSLR.

Nikon hope the boost in resolution over the D3100 will see entry-level users wanting to crop images and refine composition safe in the knowledge that there will be limited impact on image quality.

While cropping is pretty straightforward in image editing programmes, and photos can be trimmed in-camera after capture, the inclusion of a specific telezoom crop mode on the Nikon D3200 would have been welcome - Sony's SLT range of cameras already feature something similar called Smart Teleconverter, while Nikon themselves have a host of crop modes on offer in their high-end full-frame DSLRs.

The Nikon D3200 features the same EXPEED 3 image-processing engine that's found in the top-of-the-line D4 and D800. Capable of shooting from ISO 100-6400, this can be expanded a stop to an ISO equivalent of 12,800 if required.

Considering the resolution, the maximum frame rate of 4fps (frames per second) is pretty good and compares well with the competition, while it's also up on the 3fps offered by the D3100. There's also a Quiet Shutter Release mode, where the sound of the shutter is dulled, so when you need to shoot unobtrusively, you can. 

Nikon has stuck with the 11-point Multi-CAM 1000 autofocus module that was featured in both the D3100 and D3000. Along with Single-point AF and dynamic-area AF, there's auto-area AF and Nikon's clever 3D tracking.

This mode will track your subject from AF point to AF point as it moves across the frame, utilising colour and distance information from the Nikon D3200's 420-pixel RGB sensor that provides input into the Scene Recognition System. Just like previous entry-level Nikon DSLRs, the Nikon D3200 doesn't feature a built-in AF motor. This isn't a major issue, as the majority of the Nikon lens line-up features lenses with their own built-in motors (designated AF-S), but it is worth bearing in mind if you're planning on using or buying older designs that don't offer this, as manual focus will only be achievable.  

The Nikon D3200 sports an optical viewfinder with a 95% coverage of the frame - this is pretty much par for the course with DSLRs of this class, and while good, there will be times when you'll need to be careful of unwanted elements straying into the edge of the frame.

While the rear screen remains flush with the body, it does see a jump in resolution, with the 3in screen on the Nikon D3200 now featuring a resolution of 921k-dots compared to 230k-dots on the D3100. 

The Nikon D3200 is designed to be as simple or as advanced as you want it to be. If you're just making the jump from a compact camera, then there's a dedicated Guide Mode found on the main mode dial. While this isn't a new feature on entry-level Nikon DSLRs, it's been refined, offering even more guidance when picture taking.

The Guide Mode includes text and photo graphics, with advice on how to achieve a range of shots - low key, sunset, blurred background for instance, in an easy to follow step-by-step guide. Once you've built-up a bit more of a working knowledge, then simply flick over to the more advanced controls on offer.

Like the Nikon D5100 model, the Nikon D3200 also includes a host of in-camera Effects that include Monochrome, Miniature, Sketch and a variety of others. Rather than apply these at the point of capture though, these can be only added after you've taken the photo. There is also a Retouch menu with a selection of tools to edit and adjust your image including straighten horizons, trim photos and control distortion.

Via the additional WU-1A transmitter (£54.99), the Nikon D3200 has a host of Wi-Fi connectivity. This small unit connects to the D3200 via the mini-USB socket on the side of the camera and allows you to transmit images to a host of devices.

Images can be shared directly with Facebook, back-up images to a computer or sent to an Android smartphone or tablet via a downloadable app - an Apple iOS version will be available a little later. As long as your no further away than 49ft, you can also stream the Live View feed from the Nikon D3200 to your Android device and be able to shoot remotely as well. read more>>

Spec Canon EOS 1100D

     Canon EOS 1100D review                                

The Canon EOS 1100D (Rebel T3) builds upon the previous EOS 1000D (XS) release. But just how good is the 1100D (T3)? Can it be crowned the king of entry-level DSLRs? The What Digital Camera Canon EOS 1100D (Rebel T3) review…

Pros: Fast AF for entry-level model, good image quality
Cons: Build quality (plastic finish), slow live view focusing

The Canon EOS 1100D, or Canon Rebel T3 as it's known Stateside, is the latest entry-level DSLR to come from Canon's stable since the Canon EOS 1000D (Rebel XS). It's been almost three years since then, so has Canon crammed enough new features into it's latest? The What Digital Camera Canon EOS 1100D (Rebel T3) review takes a look...
Canon EOS 1100D Review (Rebel T3 Review) - Features
Entry-level or budget DSLR cameras haven't been a particular area of focus for a number of years. The emergence of the 1100D (Rebel T3) comes some two and a half years after the 1000D (Rebel XS) and looks to up the ante against the likes of the Nikon D3100 and Sony's increasingly-prominent range of Alpha DSLRs.

Canon EOS 1100D Review (Rebel T3 Review) - Features
Entry-level or budget DSLR cameras haven't been a particular area of focus for a number of years. The emergence of the 1100D (Rebel T3) comes some two and a half years after the 1000D (Rebel XS) and looks to up the ante against the likes of the Nikon D3100 and Sony's increasingly-prominent range of Alpha DSLRs.


Canon EOS 1100D review sample image - click for full size gallery 

Under the 1100D's hood there's an updated 12.2MP CMOS sensor, raising the resolution slightly over the previous 1000D's 10.1MP capacity. A shrewd move, we feel, given that so many other manufacturers are cramming megapixels onto sensors at the cost of image quality. Coupled with the latest DIGIC 4 processor and sensitivity from ISO 100-6400 this should mean the 1100D (T3) is one fairly mean beast not to be messed with.

Elsewhere the 1100D (T3) ups the ante in the autofocus (AF) department by offering a 9-point system that adds an extra two points at the (horizontally) wider ends of the array compared to the previous 1000D's 7-point system. A single f/5.6 sensitivity cross-type sensor features in the centre for enhanced sensitivity when shooting in both portrait and landscape orientation.

On the rear of the 1100D (Rebel T3) is a 2.7in, 230k-dot LCD screen - perhaps a bit of a shame that it's not larger and more resolute, as this really is the current minimum you'd expect on a DSLR. A button on the rear pops the camera into live view for a real-time screen preview and, with the camera set to Movie mode, it's now possible to capture 720p HD video.

Above the 1100D's screen is an optical viewfinder that offers 95% field of view and a 0.8x magnification for a reasonable physical size. The field of view represents the percentage of the final image that you can frame up in the viewfinder, i.e. there's 5% missing that will appear in the final captured image (very common for budget DSLRs).

The 1100D (T3) also has some slightly more advanced features such as A-DEP that looks at the subject to obtain a foreground through to background focus by auto-setting aperture and ISO, or the CA mode that helps to simplify background blur control using a five-level slider. There's also a cable release option for those looking to make long exposures without touching the camera. Even the white balance mode has the ability to adjust for magenta/green and blue/amber casts and has an auto-bracketing option not seen in other entry-level models. Read more at >

Spec Sony Alpha SLT-A37

 Sony Alpha SLT-A37                                          

The good: The Sony Alpha SLT-A37 offers some class-leading performance, along with a solid set of features and respectable photo quality.

The bad: The EVF looks dim, and the LCD is on the small side.

The bottom line: A good option if you're looking for something fast with a viewfinder and tilting LCD, the Sony Alpha SLT-A37 is a solid but not outstanding sub-$800 dSLR-style camera.

Compact interchangeable-lens cameras are cute, but sometimes you want the heft of a dSLR-style body, full mode dial, electronic viewfinder, and a lot of direct-access controls. The Sony Alpha SLT-A37, the latest entry-level model in Sony's line of dSLR-style cameras with phase-detection autofocus systems but fixed mirrors, fits in that niche, along with dSLRs like the Nikon D3200 Canon EOS Rebel T2i. The EVF and faster performance make it more suited to action shooting than its ILC sibling, the NEX-F3, and more compatible with a wider variety of lenses. And while it's a relatively uninspiring update to the A35, it's not a bad camera -- in fact, it's one of the fastest models in its price class and is capable of producing very nice photos up through ISO 800.

Image quality
While I got a few shots I liked from the A37, I wasn't blown away by the photo quality -- it's pretty typical for an entry-level model of this class. That may be due in part to the new 18-135mm f3.5-5.6 kit lens, which we tested because I think it will be a popular choice. It's a good focal length range and its aperture range is no slower than the shorter 18-55mm option. However, it doesn't seem terribly sharp.

Performance
The A37 generally performs faster than the A35, and that camera was quite fast. That's not just on our lab tests; it feels quite fast and responsive for nonburst shooting. It powers on, focuses and shoots in about 0.8 second, which is a little slower than other cameras. But in good light it can focus and shoot in 0.2 second and in dim light it's a mere 0.3 second -- both excellent showings. It takes approximately 0.5 second for two consecutive shots, which rises to 0.7 second with flash enabled.

I found continuous shooting a bit wonkier. While it's rated at 5.5fps with a buffer of 14 shots, our lab tests showed it slowed significantly after 10 shots, bringing the average down to 4fps. So the burst performance will depend significantly on the length of the burst.

Also, while the autofocus works quickly and accurately for single shots, the tracking autofocus lagged the subject quite often during my testing.

The 18-135mm lens does work well for manually focusing, though, especially in conjunction with the peaking function (edge enhancement) in the camera. At night especially I found that combination more accurate than relying on the AF; the viewfinder is notably dim even in good light.

Design and features
Its design remains pretty similar to the other SLT models: SLR-like but with an electronic viewfinder. It's relatively lightweight for its size, with a functional -- if somewhat uninspiring -- design. This generation picks up the habit of the NEX series interface, telling you why an option is grayed out rather than simply disallowing it. Read Full Review >

Spec Nikon D3100

  Nikon D3100                                                        

The good: Excellent photo quality; well-laid-out controls; interesting, user-friendly Guide mode; full manual controls in video capture.

The bad: Smallish viewfinder; slower than the competition; no bracketing.

The bottom line: A very good entry-level dSLR, the Nikon D3100 delivers excellent photo quality in a body that's streamlined for experienced photographers, but relatively unintimidating for the less advanced. Its only weakness is performance; though solid, it nevertheless lags behind the competition.

Until I sat down to actually write this review, it hadn't struck me how confusing the market placement of the Nikon D3100 is. It's priced the same as the still-available D5000, which is in many ways a better camera. And with the exception of video, which many users don't care about anyway, it's very similar to the much cheaper D3000. So while the D3100 isn't a bad camera, and for the most part holds its own against competitors from other manufacturers, it still pales in comparison with its own line mates.

The D3100 has a very good noise profile; it matches (and perhaps bests) the current leader in the budget dSLR category, the Pentax K-x. It produces exceptionally clean JPEGs up through ISO 800 and very usable ones through ISO 3200. (Adobe Camera Raw doesn't yet support the D3100 and Nikon Capture NX 2 doesn't provide sufficiently granular enough noise reduction for me to do raw versus JPEG comparisons). The camera delivers excellent color reproduction in its default SD mode as well--a nice change from some overly saturation-pushing competitors like Pentax and Sony--and its metering and exposure system work reliably and well.

 

Nikon D3100 photo samples
Sharpness is, of course, lens dependent, but I was pretty happy with the various models I tested; generally, shots looked sharp but not oversharpened. In addition to the always reliable 18-55mm VR kit lens, I shot with the new pro-level 28-300mm f3.5-5.6 ED VR and consumer 55-300mm f4.5-5.6 ED VR, as well as the older 35mm f1.8 lens. In many ways I think the 28-300mm is a great lens optically, but I didn't like the feel of the zoom ring--it's feels inconsistent and a little too tight--and it's too heavy for a light body like the D3100's. The 55-300mm is obviously a better fit for the body, but it is slower, not quite as sharp, and more prone to fringing; that said, many will find it satisfactory for the money, and good a choice as a second lens. Similarly, for a relatively cheap lens, the 35mm f1.8 fares pretty well overall. There's a little bit of asymmetrical distortion on the right, however, as well as some fringing along backlit edges. But once again, it's a great lens value.

Video quality looks typical for its class, but with seemingly more rolling shutter artifacts than usual (and note that the lens VR makes a huge difference when shooting video). The audio isn't bad, but the full-time AF is not only loud, but pretty bad at locking on the appropriate subject. However, the camera does offer full manual exposure controls during movie capture. A 30-second countdown-to-shutoff timer appears in the upper left side of the display while the camera is idle in Live View/movie mode--an interesting touch.

Though the camera's performance is perfectly fine, it is a bit slower than the D3000 overall and not quite as fast as its competitors. It powers on and shoots in about 0.4 second and can focus and shoot in good light in the same 0.4 second. In dim light, that rises to a still-good 0.6 second, which is better than its predecessor. JPEG shot-to-shot time is about 0.6 second, which increases to 0.9 second for raw; that's slower than the D3000 and the rest of the pack. With flash, it's about 1.1 second. The D3100 also has the slowest burst performance of the group, at 2.9fps; in practice, it really did feel a hair too slow to photograph randomly moving subjects, like squirrels and birds. It might be fine for photographing the kids, though.

It has essentially the same viewfinder as the D3000, although it now uses the tiny AF points I hate; Nikon claims they were requested by users, though. The viewfinder itself is on the small, low-magnification side, but isn't too bad. You can view the LCD pretty well in direct sunlight. Read Full Review >

Spec Nikon D5100

 Nikon D5200                                                         

The Nikon D5100 is a solid camera with excellent photo and video quality, but relatively sluggish performance tarnishes its allure for me. Nikon fixes that in the D5200 with the same new autofocus and metering systems that debuted in the D600, plus an updated higher-end viewfinder, and the result is a noticeably better shooting experience that makes it an excellent choice for all-around family and vacation photography.

Image quality
As with the D5100, still and motion image quality remains excellent; but despite a new sensor and updated image-processing engine, it's not noticeably better. The camera does a great job optimizing its JPEGs -- while raw still gives you more adjustment latitude than JPEG, there doesn't seem to be any benefit for sharpness or noise reduction until you hit about ISO 1600. Images look clean up through ISO 800, good through ISO 1600, and remain usable through ISO 6400 depending upon subject matter and output size.

Exposure and dynamic range look good, though the camera tends to produce darker exposures than I expect under a given set of circumstances. Recoverable highlight and shadow detail are in line with what I expect from a camera in its class. It reproduces colors with solid accuracy, and the default color settings don't push contrast or saturation overmuch; the biggest difference between the standard and neutral settings seems to be sharpness.

Video looks good as well, with suprisingly few artifacts. Even low-light video, which on many cameras tends to show a lot of sparkling and moiré on edges as noise increases, displayed nice solidity. The tonal range does decrease as the environment gets darker, with more blown-out highlights and crushed blacks -- that's common -- but otherwise it looks excellent.

Performance
The performance of the Nikon D5200 has improved quite a bit over the D5100, thanks to an updated autofocus system, but that's not without qualification. (Note: I've left the D5100's performance times in the chart, they're not directly comparable because of our change in testing methodology; I included them because they strike me as roughly representative. The T4i was tested using our current system.)

Because our shot lag tests incorporate a significant distance refocus and exposure adjustment -- we begin with the lens adjusted for an object close to the camera, out of the range of the lights before focusing on the more distant, differently illuminated scene -- how fast the lens drives to the new location substantially affects lag time. Since the D5200 has no built-in AF motor, that performance will be heavily determined by the motor in the lens, and in this case, the 18-55mm kit lens drives relatively slowly. However, our shot-to-shot times, which don't require any signficant lens movement or exposure adjustment, do reflect the speed boost.

The camera powers on and shoots quickly, in about 0.3 second. Time to focus, expose and shoot in good lighting takes about 0.5 second and in poor lighting about 0.8 second. Two successive shots run an excellent 0.2 second for either JPEG or raw, and the flash increases that to 1.2 seconds, though the latter is hard to measure because the camera doesn't respond to a shutter press (i.e., you can't prefocus) until the flash has completed recycling.

It has excellent continuous-shooting performance for its class, 5.1fps JPEG for an effectively unlimited number of frames (more than 40) without slowing, at least when equipped with a fast 95MB/sec SD card. For raw, it maintains 5.5fps for 8 frames, then slows -- erratically -- to about 2.2fps. Read Full Content >