Samsung NX20 Review

Samsung NX20 Review

 
Highs:

    Top notch stills and quality videos
    Excellent iFunction lens with OIS
    Superior vari-angle screen

Lows:

    Forget high-speed burst mode
    Occasional focusing issues
    Noisy at high ISOs
   

Features and Design

The 20.3-megapixel NX20 not only looks like a small DSLR, it has all the features you’ll find on their bigger cousins such as a built-in viewfinder, mode dial, and pop-up flash. Many CSCs lack these critical features and we give Samsung a pat on the back for the convenience. The camera really is small, measuring 4.8 x 3.5 x 1.5, tipping the scales at 12 ounces without a lens. Even with the supplied 18-55 OIS glass, we had no problems carrying the NX20 anywhere and everywhere.

As with any interchangeable lens camera, the most important feature on the front is the lens mount. Here it’s Samsung’s NX mount and there are 11 lenses available, covering most of the photographic bases.


On the top deck are the built-in flash, hot shoe, stereo mics, mode dial, jog wheel, as well as metering and green buttons. This last one resets values you might’ve changed in the menus. The combo shutter and on/off switch are angled on the fairly substantial grip. The mode dial has everything you’d expect including Smart (auto), PASM, and Custom. There’s also Wi-Fi for sharing, Movie, Scene, and iEffect (filters).

On the back is a killer 3-inch AMOLED vari-angle display (rated 614K dots). It’s really high-contrast with deep blacks. There were very few times it wiped out, even in direct sunlight. We used the electronic viewfinder (EVF) more for convenience when holding the camera up to our eyes rather than out of necessity. It’s SVGA (800×600), very clear with 100-percent coverage and there’s a diopter adjustment to individually fine-tune it.

Also on the back is a nice thumb rest, a red-dot video button, and many of same buttons/controls you’ll find on a DSLR – exposure compensation, AEL (auto exposure lock), Function, and so on. It’s a bit busy but hardly intimidating. You can use it in aim-and-forget auto mode or tweak it to your heart’s content. ISO options range from 100-12,800, and shutter speeds are 1/8000-30 seconds. You can shoot in RAW at 8 frames per second for 11 shots (at continuous high mode). Toss in a very nicely designed menu system and the NX20 will take you where you want to go – to a point, as we’ll see shortly.

What’s in the Box

You’ll find the camera and the 18-55mm OIS iFunction lens, various caps/covers, battery, and charger plus USB cable and strap. You also get a basic printed manual along with the full version on the included CD-ROM. Samsung also supplies Intelli-studio and Samsung RAW converter software on the disk for handling images.

Performance and Use

The NX20 uses Contrast AF focusing, not the phase detect of DSLRs. While it works okay for the most part, there are times the camera has difficulty grabbing focus. This is something that occurs with almost every CSC we’ve used. It’s not a deal breaker as this type of interchangeable lens camera is a lot smaller than any DSLR and Live View is much more fluid than any DSLR’s. In other words, no camera is perfect as there are always tradeoffs of one kind or another.

We had the camera with us in Florida, the Northeast, with some palm trees in Aruba thrown in for good measure. We did most of our shooting in Smart (auto) mode then proceeded through the mode dial as subjects warranted; resolution was maxed out for stills and videos (5472 x 3648 pixels, 1920 x 1080/30p MP4).

Using the NX20 is very pleasant. It has a good feel, controls are easy to find and use, plus the menu system is clean and user friendly. You should first peruse the manual to dig into the camera’s capabilities but you’ll hardly refer to it once you start shooting.

We’re big fans of Samsung’s iFunction lens system. Once you move out of Smart (auto) by pressing the iFunction button on the side of the lens you can change settings just by turning the lens ring or jog wheel on the top deck. There are options for shutter speed, ISO, exposure value (EV), white balance (WB), and digital zoom, depending on your needs. It’s simple and fun to use with a really attractive interface. Anything that makes it easier for people to make the most out of their cameras is heartily welcomed.

Before getting into the photographic results, let’s discuss a really strange experience we had. A refresher, this is a 20.3-megapixel CSC that uses an APS-C size sensor capable of ripping off a burst of full-res JPEGs at 8 fps for 11 frames. This is an excellent spec. However, when you use this setting for a full burst, the camera basically freezes as it tries to save all the large files to memory. On several occasions, the “ready” lamp continued to flash during this process and wouldn’t stop. In order to continue our tests, we had to take the battery out, reinsert it, and reboot. Of the cameras we have tested, this was one of the few times we had to use this trick. Clearly the company has to beef up the processing – or else we had a lemon. However, judging by the results we saw onscreen and the zero problems using single-shot and low-burst modes (3 fps), this wasn’t the case.

Now with this nasty issue is out of the way, let’s discuss the photographs and videos. On a 27-inch display the stills looked outstanding, even at 100-percent enlargements. Colors were rich, deep, and accurate – exactly what you want with any camera. In fact, we can easily state the Samsung NX20 delivered dynamite images in bright Florida and Aruba sunshine as well as less well-lit indoor subjects (see samples). As is the case with any camera, there was more digital noise shooting in low light but you’re fine up to ISO 800 – even 1,250 – but things get messy as you move higher. We found the lens delivered very sharp, finely-focused images with hardly any blur; Samsung’s OIS (optical image stabilization) did its job.

Videos were also quite good. We generally like CSCs for movies versus DSLRs (other than Sony Translucent Mirror models). Focusing is much simpler and there’s no need to deal with flipping the mirror up in Live View. We were in Florida for a wedding and the NX20 handled the flashing lights and twisting bodies as the band played. We’re hardly Hollywood cinematographers but the results were solid with little of the “rolling shutter” waves of many DSLRs. Sound was surprisingly good too.

As noted, the NX20 has built-in Wi-Fi. It’s hardly the simple sharing of a smartphone but it’s relatively painless. Just download the Samsung MobileLink app to your smartphone (iOS/Android) and you can upload JPEGs to the Web or your phone; there’s no native app for the iPad in the App Store, but you can use the iPhone version.

Conclusion

Overall, the Samsung NX20 is an excellent camera. Still quality is superb and movies are very good. It’s a good choice for both aim-and-forgetters and those who tweak every image to the nth degrees. However, avoid the high-speed burst mode or you may have to do a reboot. So forget the speeding bullets, stick to more leisurely action and you’ll be in fine shape.


Source: www.digitaltrends.com/digital-camera-reviews/samsung-nx20-review/

Panasonic Lumix GF6 Review (hands on)

Panasonic Lumix GF6 Review (hands on)

The Panasonic Lumix GF6 is the latest snapper to join the brand's entry-level range of  Compact System Cameras.

Panasonic is aiming to fine-tune the main features of each level of its Lumix G Series CSCs to suit their target users more clearly, with the GF6 being aimed at smartphone users who want to share their images instantly.

Panasonic will also be including both Wi-Fi and NFC on the new camera - it argues that NFC vital as an increasing number of smartphones, including the Samsung Galaxy S3, already have it - with the number expected to treble in 2013.

Earlier in 2013, the maker launched the NFC and Wi-Fi-toting Panasonic TZ40 compact camera. The GF6 will take over from the Panasonic GF5 which will be discontinued.

Panasonic GF6: Size and build

At first glance, the GF6 looks slightly on the chunky side, mainly due to the new, fold-out screen, however, after taking a look at the GF5 again, Panasonic has actually managed to add thd improved screen without adding too much bulk to the camera chassis at all.

The GF6 will be available in black or white.

Panasonic GF6: Features

The GF6 sports an a new 16MP sensor Live MOS sensor (compared to the 12.1MP sensor on GF5), along with a slightly extended ISO range (up to 25600).

The GF6 also includes a expanded range of filter effects, bringing the total to 19, and some of the more basic effects (such as monochrome and sepia) can now be used when shooting in panoramic mode.

People who like taking pictures of their dinner to post on Instagram (you know who you are) will be pleased to hear that the new camera includes a Food Recognition mode. This may sound like a wind-up, but it's actually just an extra shooting mode that will automatically apply the most suitable settings for you to capture an image of your latest snack.

The camera also includes an improved burst mode along with a new function lever for one-handed control and a full-area autofocus on the touchscreen - which enables you set the focus on any point on the screen.

Panasonic GF6: Screen

Unlike it predecessor, the GF6 sports a screen that can be folded out from the camera body and tilted at an angle of 180 degrees - very handy for self portratis and shooting in awkward posistions.

The new screen packs a 1040k-dot resolution.There's also a dedicated video button for recording full-HD video at a resolution of 1920x1080 in AVCHD.

Panasonic GF6 release date: May 2013

Panasonic GF6 price: £499 (with kit lens), £649 (twin lens pack)

Source: http://www.t3.com/reviews/panasonic-lumix-gf6-review

Fujifilm Finepix S8400W - New Superzoom Camera ( 44x ) with Wi-Fi connectivity

Fujifilm Finepix S8400W Superzoom Camera 44x with Wi-Fi connectivity

Fujifilm announced FinePix S8400W with 44x optical zoom lens and Wi-Fi connectivity to the camera. The name might sound familiar, because Fujifilm announced the S8400 - along with the S8200, S8300 and S8500 - at CES 2013. The change here, as designated by the appended W, is wireless functionality.

The Wi-Fi will offer you an autosave feature, so you can send your images directly to your PC or your smartphone or tablet.

To do so you'll need to install the appropriate app: for PCs that's the Fujifilm PC AutoSave software. But if you're living on the move, then you'll be after the Fujifilm Camera Application from either iTunes for iPhone and iPad, or Google Play for Android.

Wireless connectivity is becoming increasingly common on cameras, giving the user the advantage of the connection of their mobile device, but the quality of the proper camera: you'll be able to share those zoomy pictures in a flash.

Aside from the Wi-Fi, the camera offers that huge 24-1056mm (in 35mm terms) lens with optical image stabilisation, although you'd always be advised to support it at the far end of the zoom.

There's a 16-megapixel BSI sensor at the core with ISO running up to 12,800 and shooting speeds of up to 10fps. If you're happy to take a knock down in resolution, it'll give you 60fps or 120fps.

There's an electronic viewfinder in place along with a 3-inch LCD display and plenty of controls so you can access the full range of features easily. 

The Fujifilm FinePix S8400W will be exclusive to Currys in the UK, pricing is still to be confirmed.

Via Pocket-lint

Panasonic Lumix Waterproof Camera DMC-FT5 review

Panasonic Lumix DMC-FT5 review

Rugged, waterproof cameras are perfect for skiing and watersports, but they're also a sensible option for the beach, fishing, mountaineering, off-road cycling, building sites and drunken nights out. The FT5's rugged credentials are better than most. It's able to withstand submersion to 13 metres, drops from two metres and 100kg of pressure. Its blocky design inspires confidence but we found the small buttons tricky to press when wearing gloves. Otherwise, operation is straightforward, with a Q Menu button revealing the most often-used functions and a Mode button making up for the lack of a dedicated mode dial.

GPS is built in and nearly all of our outdoor photos were accurately tagged, although one batch was mysteriously plotted in the Arctic Ocean. A small LED blinks intermittently to remind you that the GPS is enabled – we wish there was a physical GPS switch that worked independently of the camera's main power button.

This is the first FT-series camera to include Wi-Fi. It's essentially the same implementation that we saw in last month's Lumix SZ9, with an Android (but no iOS) app handling wireless transfers and remote control. The FT5 adds the ability to use the app as a remote viewfinder while recording video – something that we'd anticipate using more often than remote photo capture. The camera can also transfer photos wirelessly to a PC or NAS over a home network.

It's extremely quick to take photos, averaging 0.7 seconds between shots in our tests. There are lots of burst modes on offer, including 10fps with fixed focus or 5fps with continuous autofocus. This is by far the best performance we've seen from a rugged camera, and it should come in handy for fast-paced outdoor pursuits.

The capable video mode is another useful asset. It's definitely worth choosing MPEG-4 if you're using the Android app, as the remote shooting mode inexplicably drops the AVCHD resolution to 720p, and AVCHD videos can't be transferred wirelessly. Picture quality was excellent and autofocus and zooming were smooth, but there was a faint mechanical chatter in the soundtrack – possibly from the optical stabilisation.

Photo quality was generally up to scratch, but the FT5's premium price doesn't equate to premium image quality. There was some evidence of detail-smearing noise reduction even in brightly lit shots, although it thankfully wasn't as pervasive as on the Panasonic SZ9. Dense textures such as foliage had a mushy quality on close inspection, especially in shady conditions where the ISO speed was pushed up a little.

Indoor photographs suffered from noise too, especially on skin tones and hair textures where problems are easier to spot. The FT5's much faster performance means you can have more shots to choose from, which may make a bigger difference to the overall quality of photos. On balance we'd pick the D20, but if the Wi-Fi functions appeal, the FT5 is a worthy alternative.

Source: http://www.expertreviews.co.uk/digital-cameras/1298575/panasonic-lumix-dmc-ft5

Canon EOS 100D - Smallest and Lightest dSLR

 Canon EOS 100D - Smallest and Lightest dSLR

Canon has announced a new, smaller, DSLR camera in its EOS line, the Canon EOS 100D. It is Canon’s smallest and lightest APS-C digital SLR yet, with the company looking to compete with smaller and lighter models from rival interchangeable lens systems.

The Canon EOS 100D positions itself between Canon’s smallest EOS model, the EOS M and looks like it upgrades the Japanese company’s entry-level DLSR, the EOS 1100D, pulling some of the EOS M characteristics into a more conventional DSLR design.

More conventional it might be, but the EOS 100D does carry that badge of being the smallest and lightest camera in its class. Canon isn’t highlighting this by accident, it’s fully aware of the fierce competition from the likes of Sony NEX line, Samsung NX and Panasonic and Olympus’s Micro-Four Thirds systems.

Sitting at the heart of the camera is an 18-megapixel sensor backed by the DIGIC 5 processor. It offers manually selectable sensitivity up to ISO 12,800, with a 25,600 if you really need that picture in low light, and a capture speed of 4fps.

Like the EOS M, the EOS 100D has a 3-inch touchscreen on the back, expanding your control options over those on the body itself. The controls on the body look pretty conventional too, with a top-mounted mode dial giving you quick access to the major shooting modes, and the body buttons letting you access the most pertinent shooting settings.

You’ll get creative functions with a range of filters, an in-camera guide to help budding photographers start, as well as Full HD video capture, all bundled together in a package that will cost you £569.99 (body only) or £699 with EF-S 18-55mm IS STM lens.

We’ll bring you more on the Canon EOS 100D when we get our hands on the new compact DSLR model.

via PL

Panasonic Lumix DMC - TZ40 with 20x zoom - Review

Panasonic Lumix DMC - TZ40 with 20x zoom - Review

In the smartphone age if there's one thing that a consumer compact camera needs then that's zoom. And the TZ40 has plenty of it. The 24-480mm equivalent from the 20x optical zoom lens is nothing new though: it's the same lens as found in the TZ30 that came before it, which means the same f/3.3-6.4 maximum aperture range too.

For those unfamiliar with the jargon: the maximum aperture is the widest possible the lens opening can be at a given focal length, and in the TZ40's case that means less light can enter as the zoom extends. The more light that goes in, ie, the wider the aperture (smaller the number), not only means a shallower depth of field - that blurred background effect - but also that the camera won't need to process the sensor's signal as harshly, which in turn should result in a cleaner, sharper image.

But wider maximum apertures equate to physical size and increased expense. And so the TZ40's tactic of sandwiching itself somewhere in the middle comes clear: it's a small-bodied design that, while it doesn't have the very widest or creative maximum aperture control out there, will still cater for most situations without too many issues. It avoids excessive size and therefore excessive cost implications too - as its £329 price tag attests. If you want that bit more then you'll need to investigate those more premium compacts which, in turn, will mean investigating the depths of your pockets too.

For the cash the TZ40's zoom range is still vast and capable. That's partly because the lens comes with an optical image stabilisation system that works on a five axis system. In English that means that the lens elements can move by microscopic amounts in multiple directions to counteract handshake and not only provide a steady preview image but a potentially sharper final shot too. It's an essential at the 480mm equivalent zoom setting, otherwise holding that shot steady and well-framed is tricky.

We have nothing but praise to sing for this latest Panasonic stabilisation system - it almost cradles the image and keeps those zoomed-in shots dead still so long as you've got a decent hold of the camera. It's up there with the best in class, if not the best of the bunch compared to its competitors - although we're still waiting to see some of the forthcoming competitor models such as the Sony WX300, so it will be interesting to see how far the bar could yet be raised.

Speedy autofocus

All of that zoom lushness wouldn't be much use if the accompanying autofocus system wasn't up to scratch. Here's an area where we have little qualms; Panasonic's been on top when it comes to autofocus speed for a while now and the TZ40 sure doesn't disappoint.

Previously names such as "light speed autofocus" and similar such marketing terms were banded about. The TZ40 seems to have brushed such terminology aside, leaving it to show off for what it is: a bloomin' speedy system as divided into a variety of focus area types - spot, face detection, tracking, 23-area and 1-area.

There's an option to suit almost any given situation and the ability to utilise the camera's touchscreen functionality makes 1-area focus, for example, all the more relevant and easy to use. Simply press onto the screen to make physical adjustments with the touch of a finger, something that's even more accurate with the smaller Spot focus point. Lovely stuff.

Autofocus at the wider angle settings is almost instant, and while less speedy as the zoom extends we're still generally impressed with how fast the camera can lock on to a subject. Even the AF Tracking option which, with a down press of the rear d-pad, locks onto its target subject and does a grand job of recognising and following it around the screen.

Fiddling around with this tracking feature just using our own hands showed that the TZ40's quite a capable machine. The tracking icon continued to follow from a five finger open hand through to fist or any number of contorted digit combinations - all at a very reasonable speed. However the focus itself couldn't keep up as rapidly as the tracking area followed and so, despite some promise, we found it tricky to get super-sharp shots of subjects in motion.

Another top focus feature is the close-up macro option. Hit down on the rear d-pad and AF Macro can be selected where the camera's zoom is still usable, otherwise there's the Macro Zoom option which fixes the lens to its widest-angle setting and uses digital zoom - ie, an image size crop which is then upscaled for output - to give results an even more magnified appearance. We're not so keen on the second option of the two as clarity is lost. In the AF Macro mode it's possible to get extremely close up to subjects and still achieve focus. It's a mini marvel, even if - as per any camera with a zoom lens - the close-focus distance is limited as the zoom increases.

From autofocus to burst speed and the bar remains high: the TZ40 can snap away at 10 frames per second and put away six consecutive images, or at five frames per second with autofocus enabled for up to 100 consecutive shots. None too bad, just don't expect the world from continuous autofocus.

Tech explosion

The TZ40's main swathe of newness comes in the form of sharing. We've got on-board Wi-Fi as well as one-touch NFC.

There's also another layer of techie goodness in the form of GPS (global positioning satellite) that can geotag an image's location as well as built-in map data - ours came on a separate SD card for the case of this test - which TZ40 models will have built in.

The thing with all this tech is that if it's not easy to use then it becomes a pain. GPS is easily switched on or off via the camera's quick menu and has a three bar measure to show signal strength, so that's all fine and dandy.

The Wi-Fi system is a bit better than some we've come to use, such as Canon's setup, but we did find that we hit a number of hiccups along the way when testing it out.

There are plenty of ways to use the TZ40's Wi-Fi system: download an app to your Android or iOS device and it's possible to control the camera via your smart device; there's a playback on TV option; and images can be sent in real time or post-shooting - deep breath for this list - to smartphone, PC, cloud (Lumix Club account only), web service or AV device.

However, as it stands we'd find it quicker to pop the SD card into the side of a computer, offload the images and drag them into whichever service we wanted them to arrive. That being the case all the connectivity cleverness definitely has its limitations, but for that special image and sticky situation it could well be the Wi-Fi sharing option that comes to the rescue at the least expected of moments. We're glad it's available and look forward to its simplification and evolution over proceeding TZ-series models.

It's also worth pointing out that there's an impact on battery life when using the sharing-based tech, but that switching off such modes will get you up to in excess of 300 shots per charge. That's better than previous TZ-models and gets a thumbs up from us.

New sensor: new pixel count

As much brand, spanking, new tech as gets crammed on board, a camera is principally a camera - it’s all about the pictures.

As we alluded to at the beginning of this review, the TZ40 squeezes in an extra 4-megapixels of resolution compared to its TZ30 predecessor but as the sensor size is no larger that befroe it means each pixel is smaller and, therefore, there's some impact to image quality. Not much, but it is there.

This is a two-fold thing really: while we wouldn't deem the TZ40's images "better" than the TZ30's due to some presence of colour noise in shadow areas from low-middling ISO sensitivities, it's not particularly disruptive. So while we ultra-geeky photo fans might shed a tear at the presence of some image noise, the key target user of this camera is unlikely to really notice it nor care too much.

And that's because the TZ40 takes great images. As we're previously alluded to this camera is an enabler: it packs in a massive zoom range, great macro mode, speedy autofocus system and we've managed to snap some great shots in real-world situations. That's what counts the most.

A close-up shot of Rita Ora (above) at an intimate acoustic gig, the crisp image of a heron paused waiting for a fish - or perhaps just bread - at London's Regent's Park: it's all easily achievable using the TZ40.

Indeed right into the four-figure ISO settings shots are more than usable, and even at that 18-megapixel resolution. And let's not forget: that resolution is more resolute than eight 1080p HD televisions arranged side by side. So when such scale is viewed at a smaller presentation size - whether a printout, on a website, social media site, laptop screen or the like - a lot of those finer imaging blemishes are essentially "hidden" away somewhat.

If we're hyper-critical then there's some slight chromatic aberration in the form of purple fringing towards some subject edges, and image processing will produce slightly mottled, artefact-laden edges in fine detail areas, but that's all part and parcel of how a camera works and expected from a compact. Take a look below at the 100 per cent crop of the heron shot shown above - given that it's shot at ISO 1000 it's a fine example of what can be achieved from this camera.

Higher up the ISO scale - which maxes out at ISO 3200 in its standard mode - and shots do yet softer and there's more image noise, but no more so than nearby competitors in our view. The TZ40's Venus engine does a grand job of processing shots while retaining detail.

There's also a batch of creative options accessible from the main mode dial: impressive art, high dynamic, cross process, toy effect and more can have their uses, although some seem to push images to excess in our view. Not quite as refined as Olympus's Art Filter selection perhaps. Fun enough to play with, but once they're applied there's no going back as there's no raw file backup with the TZ40.

Overall the Lumix TZ40 might not match up to larger-sensor, pricier competitors, but then that's not what it's pretending to be. This is a one-size-fits-all travel zoom that, from what we've seen in our time with it - despite the increase in resolution compared to its predecessor that we'd rather have gone without - will keep its near competitors at bay. It's a li'l cracker.

Verdict

We've always had a soft spot for the TZ-series, and the TZ40 has just made that a little bit softer. We don't feel that the push to an 18-megapixel resolution was necessary, but that doesn't stop the TZ40's combination of 20x optical zoom, excellent image stabilisation system and Venus processing engine from opening up a world of image potential. We've snapped close-up, from afar, in all manner of conditions and, despite some quibbles when viewed at absolute scale, the overall sense is that pictures are great.

Add accurate and super-fast autofocus which is handily controlled via the touchscreen, improved battery life and all manner of other tech and we're left scratching our heads as to which other travel zoom competitor could take on this Lumix and win.

We may have our moans about using some of the Wi-Fi options and how slow they can be, but suspect that they'll come in handy at the least expected of moments. Better to have them there rather than not, and a definite nod to where the whole compact camera world is headed. It's not as fluid as the Samsung Galaxy camera by any means, but the TZ40 wins on ease of use, pocketable size and picture sharpness by comparison.

The Lumix TZ40 doesn't offer those approaching-pro features such as a wider aperture range or larger sensor size that some may want, but then that's not what this camera is about at all. Within its class it's an absolute gem; a real enabler that, in the increasing presence of smartphone photography, quickly proves its worth and shows how relevant compact cameras still are.

All this for £329 is rather reasonable too. It's not a budget camera, but considering what's on board we think the TZ40 is worth every penny.

Source: Pocket-lint

Canon dSLR EOS 700D and 100D announced

Canon dSLR EOS 700D and 100D announced

Canon has announced two new DSLR models as it tries to stay relevant in a world that is becoming increasingly dominated by compact system cameras.

The new mid-level EOS 700D - the replacement to the EOS 650D - and the brand new entry-level EOS 100D plan to offer consumers the full capabilities of a DSLR in a smaller package; no need to compromise picture quality for space in your camera bag. These latest models are still larger than the current crop of CSC cameras available and still considerably larger than the rather sluggish EOS M launched late last year.

"The EOS 100D offers a range of simple controls and a helpful in-camera feature guide, perfect for those looking to explore the world of DSLR photography for the first time but without the bulk normally associated with a DSLR," claims Canon while the EOS 700D is talked up as "Canon’s most advanced consumer EOS model to date."

Both models include an 18-megapixel sensor, and both come boxed as conplete kit options with the Canon EF-S 18-55mm f/3.5-5.6 IS STM lens - one of the key benefits to sticking with the EOS DSLR format as Canon continues to offer a huge range of EF-S lenses.

The EOS 100D features an APS-C sensor and an optical viewfinder. Those happy with that will get a camera that measures 116.8 x 90.7 x 69.4mm, weighs 407g, and features a 3-inch touchscreen display on the back.

Meanwhile, the EOS 700D comes with slightly better features to justify the its higher price point. It boasts a 5fps burst mode, a wide 9-point all cross-type AF system and vari-angle Clear View II LCD touch screen.

The EOS 700D is available from late April, and will cost £619.99 for the body only and £749.99 if you opt for the EF-S 18-55mm f/3.5-5.6 IS STM lens.

The EOS 100D is due for simultaneous release and is a touch cheaper at £569.99 for the body or £699.99 with the 18-55mm STM lens.


Via: Pocket-lint