In summary
Like previous G-series cameras, the G16 is a compact, feature-rich digicam with integrated raw file support. It provides one of the most comprehensive selections of external controls available, with four dials and a dozen buttons offering access to the most frequently-used settings.
Without interchangeable lenses, the G-series cameras can’t replace a DSLR or CSC. But if you don’t want to lug a lot of equipment about, they’re small and light enough to replace them in some situations. However, enthusiast users must be aware of (and able to work with) their limitations: small sensor, restricted focal length range and bias towards snapshooters’ requirements (scene pre-sets, effects).
Shooting raw files applies some significant restrictions. Raw files can only be captured in the P, Av, Tv and M shooting modes and functions like the dynamic range and shadow correction are disabled when the raw modes are selected. The various colour settings are also blocked, although these adjustments can be applied when processing the raw files in Digital Photo Professional, Canon’s raw conversion software.
The G16 also applies some rather arbitrary restrictions to exposures, even for JPEGs. While the M mode supports exposures of up to 250 seconds (and the Tv mode up to 15 seconds), once exposures exceed 1.3 seconds the highest sensitivity available is ISO 3200 and shutter speeds longer than 30 seconds are restricted to ISO 80. This reduces flexibility for low light shooting.
If you already own a G15 that’s working well, there are few reasons to upgrade to the G16 unless you really want the Wi-Fi connectivity and/or the new Star shooting modes. The small improvements in autofocusing speed are not enough to justify a swap.
But if you have one of the older G-series cameras, the new lens and higher sensor resolution would be a distinct advantage.
Full review
Canon’s latest G-series PowerShot, the G16, is a relatively minor update to the G15, which we reviewed in November 2012. A new image processor gives a boost to continuous shooting, while Wi-Fi connectivity with GPS brings the G16 up to date. Focus peaking assistance has been added for manual focusing, along with a few new shooting modes.
Angled front view of the PowerShot G16 with the pop-up flash raised. (Source: Canon.)
The G16’s 1/1.7-inch (7.44 x 5.58 mm) BSI-CMOS sensor is essentially the same as the G15’s. So is the 5x optical zoom lens, which has a range equivalent to 28-140mm in 35mm format. The wide end is OK for landscapes, while the tele end is a bit short for sports and wildlife.
In between you get good coverage for portraits and the maximum aperture range of f/1.8-f/2.8 provides better-than-average scope for shooting with a shallow depth of field. The integrated image stabilisation system is versatile enough to be useful for shooting stills and recording video clips.
A surprise is the local pricing for the G16, which appears to be on a par with the US price. Although Canon Australia doesn’t release RRPs any more, when we conducted this review a number of leading local retailers had it listed at less than AU$500, which competes with the US MSRP (manufacturer’s suggested retail price). Current online prices from leading US re-sellers are also around US$500, with the lowest listed at US$435.
Who’s it For?
Like previous G-series cameras, the G16 is a compact, feature-rich digicam with integrated raw file support. It provides one of the most comprehensive selections of external controls available, with four dials and a dozen buttons offering access to the most frequently-used settings.
Without interchangeable lenses, the G-series cameras can’t replace a DSLR or CSC. But if you don’t want to lug a lot of equipment about, they’re small and light enough to replace them in some situations. However, enthusiast users must be aware of (and able to work with) their limitations: small sensor, restricted focal length range and bias towards snapshooters’ requirements (scene pre-sets, effects).
Shooting raw files applies some significant restrictions. Raw files can only be captured in the P, Av, Tv and M shooting modes and functions like the dynamic range and shadow correction are disabled when the raw modes are selected. The various colour settings are also blocked, although these adjustments can be applied when processing the raw files in Digital Photo Professional, Canon’s raw conversion software.
The G16 also applies some rather arbitrary restrictions to exposures, even for JPEGs. While the M mode supports exposures of up to 250 seconds (and the Tv mode up to 15 seconds), once exposures exceed 1.3 seconds the highest sensitivity available is ISO 3200 and shutter speeds longer than 30 seconds are restricted to ISO 80. This reduces flexibility for low light shooting.
What’s New?
Features that separate the G16 from its predecessor include the integrated Wi-Fi and an upgraded image processor plus a couple of new scene modes. Otherwise, most of the specifications are the same in the G16 and G15.
The new shooting modes are a cluster of ‘Star’ settings in the Scene pre-sets, comprising Star Nightscape, Star Trails and Star Time-lapse Movie. The first exposes for sharply-defined stars above a landscape, the second for blurred star trails and the third produces a time-lapse movie that records the motion of stars across the sky.
Other new settings include a Background Defocus mode for better subject isolation and a handheld HDR mode that takes multiple shots and boosts dynamic range to ensure highlights are shadows are recorded. Effects such as Natural, Art Bold, Art Embossed, Art Standard and Art Vivid can be applied in this mode.
Build and Ergonomics
The classic rangefinder styling of the G15 is retained, with only minor cosmetic modifications on the front and top panels. Most of the changes on the rear panel (outlined below) have been re-allocations of control buttons.
The lens, viewfinder and monitor are the same as the G15’s and build quality is also similar to previous models. The tough but light aluminium body feels just as solid and comfortable to hold and operate as the previous model.
Front, top and rear views of the PowerShot G16. (Source: Canon.)
Button shuffling on the rear panel has seen the ISO button moved up to replace the AF frame selector and the manual focus selector separated from the macro button and restored to the same position it occupied on the arrow pad on the G12.The shortcut (S) button has been shifted across to sit just below the movie button beside the thumb rest, with the Wi-Fi button taking its place. The AF frame selector replaces the metering button
It’s a pity the optical viewfinder wasn’t upgraded. But it’s the same, tunnel-like optical finder that Canon has used for the last few iterations of the G series. It covers a field of view that’s approximately 77% of the actual image recorded and zooms with the lens but provides no exposure data and introduces parallax error when you shoot close-ups.
Even a low-res EVF would have been better if it was a bit larger and showed the full image frame. Most snapshooters will only use it for outdoor shooting in bright light, although it’s convenient when the camera battery is running low since it consumes no power.
The remote control, USB/AV out and HDMI connectors are the same as the G15’s and located in the same compartment just below the strap loop on the right side. As in previous models, the battery and memory card share a compartment in the base of the camera, with the metal-lined tripod socket close by (and not in line with the lens axis).
The ring around the lens can be removed to make way for a 58 mm filter adapter FA-DC58D. It’s the same as used for the G15 ““ but not the same as the adapter used for earlier G-series models. The adapter zooms out with the lens, allowing it to be used at both wide angle and telephoto settings.
Wi-Fi
Built-in Wi-Fi connectivity is a new addition to the G-series and the G16’s wireless LAN functions enable the camera to be connected to various social networks (but only via the Canon Image Gateway service), sent to a smart device (phone or tablet) and connected to another camera. Users can also send images wirelessly to a computer on a network or a PictBridge-compatible printer with DPS over IP support.
But it’s not as straightforward as it first appears and the set-up instructions in the user manual aren’t particularly helpful for novice users. The lack of a touch screen is a significant impediment and, unlike most Wi-Fi enabled cameras, the G16 doesn’t support wireless remote control over the camera.
The best it offers is the ability to use GPS data recorded on a smart-phone to geotag images in the camera.
Setting up Wi-Fi requires you to install the dedicated Canon CameraWindow app on the smart device. Without it, the smart device can’t connect to the camera. The app is available free for iOS and Android devices from the App Store and Google Play, respectively. Instructions for settings it up can be found at http://support-au.canon.com.au/P/search?as_q=Wi-Fi&model=PowerShot+G16&menu=qa&filter=0.
You must also register a camera nickname on the camera, using the Wi-Fi menu. This nickname is displayed on the screens of target devices to confirm connections. The Wi-Fi menu is also used to select access points and choose connection methods (WPS via PBC or PIN). No access point is used in camera-to-camera connections.
Pressing the Func/Set button causes the camera to connect to the access point and see which devices are available for selection via the arrow pad controls. When sending files to a computer, CameraWindow is used to establish a connection with the camera and control file transfers. Image Sync can be enabled to provide automatic transfer to a computer or Canon Image Gateway (and thence to other web services).
Geotagging isn’t as simple as other cameras make it and there isn’t much in the manual to help you. It also requires the Canon CameraWindow app to be installed on the smart device, which must be ‘authorised to view the images on the camera’.
You have to switch on Location Logging in the app on the smart device and take it with you when you’re out taking photos. Then you connect the camera to the smart device and transfer the location data across to the images on the memory card. Latitude, longitude and elevation data are collected by the app for transfer.
We spent several hours getting the Wi-Fi system to work and found the peer-to-peer connection method was the least difficult to establish and most reliable. Unfortunately, it only worked when connecting the camera to a smart-phone and tablet (both Android); we couldn’t get the camera to ‘talk’ with our desktop computer over the home wireless network at all.
The difficulties we had suggest Canon’s system is clumsy and limited, compared with the integrated Wi-Fi in most other manufacturers’ cameras. Users need a good understanding of the protocols involved to navigate the processes correctly.
Sensor and Image Processing
The PowerShot G16 features a similar Canon 1/1.7-type (7.44 x 5.58 mm) CMOS sensor to its predecessor, although it’s now backside-illuminated (BSI). The photosite count and effective resolution are unchanged. This chip is coupled to a new DIGIC 6 image processing engine, which is faster and should provide better noise performance at high ISO settings.
The DIGIC 6 chip has boosted autofocusing speed, with Canon claiming 41% faster focusing than the G15. There has also been a significant improvement to continuous shooting rates.
The new camera claims to be able to record at 12.2 frames/second (fps) for up to five or six frames, after which it slows to 9.3 fps for about 522 frames. With autofocusing, the top frame rate is 5.7 fps. A UHS-I enabled SD card is required to meet these rates and capacities.
Movie frame rates are also faster with a new Full HD (1920 x 1080 pixel) mode that records at 60 fps. However, 24 fps recording is no longer available for those who prefer a film-like recording quality.
The top shutter speed of 1/4000 second is unchanged since the G10 but the ISO range has been expanded upwards and now spans from 80 to 12800. The G16 supports the full sensitivity range for both file formats, although exposures longer than 1.3 seconds are restricted to ISO 3200 or less, as mentioned above.
Slow shutter speed images are automatically processed to remove noise and this creates a delay before the next shot can be taken. Three levels of high-ISO noise reduction are available: standard, low and high. But there’s no off position.
Two levels of JPEG compression are also provided plus CR2.RAW and RAW+JPEG, with raw file capture only available in the 4:3 aspect ratio. JPEGs in RAW+JPEG pairs will be recorded at the size and quality selected via the Function menu. Typical file sizes are shown in the table below.
|
Aspect Ratio |
Image size |
Pixels |
Compression |
|
|
SuperFine |
Fine |
|||
|
4:3 |
RAW |
4000 x 3000 |
17.48MB |
|
|
RAW+JPEG |
4000 x 3000 |
23.6MB |
21.45MB |
|
|
L (Large) |
4000 x 3000 |
5.59MB |
3.50MB |
|
|
M1 (Medium 1) |
2816 x 2112 |
3.14MB |
2.05MB |
|
|
M2 (Medium 2) |
1600 x 1200 |
1.00MB |
0.56MB |
|
|
S (Small) |
640 x 480 |
0.27MB |
0.17MB |
|
Like its predecessors, the G16 provides for additional aspect ratio settings, which are achieved by cropping the native 4:3 image. The 3:2 ratio is the same as 35mm film and used for images that will be printed at standard output sizes. The 16:9 ratio matches widescreen monitors and TVs. The 1:1 ratio produces square pictures, while the 4:5 ratio is a traditional format for portraiture.
Video
Movie settings are accessed by selecting the movie mode on the mode dial. Like its predecessor, the G16 offers Full HD, HD and VGA resolutions. However, Full HD movies can now be captured at either 60 frames/second or 30 fps.
The Super Slow Motion Movies mode is the same as the G15’s. Two options are provided:120 fps with VGA resolution and 240 fps at 320 x 240 pixels. Playback time for a 30-second clip is approximately two minutes for the former or four minutes for the latter.
The table below shows typical recording times for the standard movie settings.
|
Recording pixels |
Frame rate |
8GB card capacity |
Max. clip length/playback time |
|
1920 x 1080 |
60 fps |
30 minutes 03 seconds |
29 minutes 59 seconds |
|
1920 x 1080 |
30 fps |
43 minutes 29 seconds |
|
|
1280 x 720 |
30 fps |
2 hr 03 mins 55 sec |
|
|
640 x 480 |
5 hr 14 mins 34 sec |
1 hour |
The former Movie Digest function has become the ‘Hybrid Auto’ mode, which is available via a setting on the mode dial. In this mode the camera automatically records a short (2-4 seconds) movie clip when the shutter button is half-pressed.
At the end of the day, these clips are combined in the camera to produce a short ‘digest’ movie of the day’s events. Digest movies are saved as separate, protected files, with a maximum size of 4GB or total recording time of 13 minutes and 20 seconds. They can be viewed by date or selected from a list in the playback sub-menu.
Playback and Software
Image playback is essentially unchanged since the G12 and G1X and includes the ability to view Movie Digest clips and ‘unpack’ grouped images shot in High Speed burst HQ mode for viewing individually on the camera’s monitor. You can also edit Face ID data if you notice a name is incorrect during playback; but you can’t tag faces that haven’t been detected.
Up to 10x playback zoom is supported, along with auto playback of similar images using the Smart Shuffle option. The usual index, category and slideshow playback modes are supported along with standard editing functions like i-Contrast brightness adjustment and red-eye correction.
The software disk contains the standard ImageBrowser, CameraWindow, PhotoStitch and Digital Photo Professional applications for Windows and Mac, along with multi-lingual versions of the user manual in PDF format.
Performance
The review camera produced similar images to its predecessor, delivering the characteristic detail and colour rendition associated with G-series cameras. Saturation was well-restrained and Imatest showed colour accuracy in JPEGs to be relatively good. The default auto DR Correction function produced a good balance of tones and maintained details in highlights and shadows in normal sunny conditions.
Exposures were nicely balanced and almost always accurate. Backlit subjects were handled competently and flare was seldom evident, even when a bright light source was within the image frame.
Autofocusing was generally fast, with lock-on occurring within roughly a quarter of a second of the shutter button being half-pressed. The AF points or area selected are outlined in green and a beep confirms focus, providing reassurance when the viewfinder is used.
Imatest showed resolution almost met expectations for the sensor’s resolution for JPEG shots and slightly exceeded expectations for CR2.RAW files processed with the latest version of Adobe Camera Raw. However, our tests also showed a steady drop in resolution as sensitivity was increased, with JPEGs dropping sharply after ISO 3200, as shown in the graph of our test results below.
The highest resolution from the lens was produced in the middle-range focal lengths and at aperture settings a couple of stops down from the maximum aperture. The graph below shows the result of our tests on JPEG files at different aperture and focal length settings.
Lateral chromatic aberration was almost entirely in the ‘negligible’ band at all aperture and focal length settings we tested, except for the shortest focal length (6.1mm), where it drifted into the ‘low’ band. In the graph below, which is based on JPEG files, the red line indicates the border between ‘negligible’ and ‘low’ CA.
As expected, we found no obvious coloured fringing in wide-angle shots taken in contrasty outdoor conditions. Nor did we find any significant rectilinear distortion at either end of the lens’s focal length range, probably because in-camera correction is applied automatically as you shoot. Similarly, there were no signs of vignetting or corner blurring in test shots.
The auto white balance setting produced close-to-neutral colours under fluorescent lighting but, as expected, failed to eliminate the orange cast from incandescent lights. However, both pre-sets corrected both colour casts without overdoing the adjustment and manual measurement produced neutral colours under both types of lighting.
HD Video quality was generally good and similar to the results we obtained from the G15, although VGA clips were rather soft. Colours in clips were bright and cheerful and contrast was well maintained at all resolutions and frame rates but the G15’s tendency to compress and clip highlights persisted. Soundtracks were reasonably clear but without much stereo presence and wind noise wasn’t fully removed by the in-camera wind filter, which has only two settings: auto and off.
Our timing tests were carried out with a 16GB SanDisk Extreme Pro SDHC UHS-1memory card, which claims write transfer speeds of 90MB/second. The review camera powered up ready for shooting in 1.3 seconds, which is the same as its predecessor. Shot-to-shot times averaged 1.3 seconds for JPEGs without flash and 2.2 seconds with, regardless of file format.
We measured an average capture lag of 0.2 seconds, which reduced to less than 0.1 second with pre-focusing. It took 0.8 seconds to process each high-resolution JPEG image, 2.1 seconds for a raw file and 2.5 seconds for each RAW+JPEG pair.
In the high-speed continuous shooting mode, the camera recorded 15 JPEG frames in 1.3 seconds before slowing significantly. There was no sign of the 9.3 fps rate that was supposed to kick in after five frames were recorded. It took 13.2 seconds to process this burst.
On swapping to shooting raw files, the camera slowed down and recorded five frames in 1.3 seconds. It took 9.3 seconds to complete the processing of this burst, suggesting processing is on-the-fly.
With RAW+JPEG pairs, the buffer capacity was limited to three pairs of shots, which were recorded in 1.2 seconds. After that, the capture rate slowed to approximately one frame every 2.5 seconds as shots were processed on-the-fly.
Conclusion
If you already own a G15 that’s working well, there are few reasons to upgrade to the G16 unless you really want the Wi-Fi connectivity and/or the new Star shooting modes. The small improvements in autofocusing speed are not enough to justify a swap.
But if you have one of the older G-series cameras, the new lens and higher sensor resolution would be a distinct advantage. If Wi-Fi is important, however, you would be better off with a camera that was easier to configure and allowed you to control the main shooting parameters from a smart device’s screen.
SPECS
Image sensor: 7.44 x 5.58 mm BSI-CMOS sensor with 13 million photosites (12.1 megapixels effective)
Image processor: DIGIC 6
Lens: 6.1-30.5mm f/1.8-2.8 (28-140mm in 35 mm format)
Zoom ratio: 5x optical, up to 4x digital
Image formats: Stills – JPEG (DCF / Exif 2.3), CR2.RAW, RAW+JPEG; Movies – MP4 [Video: MPEG4-AVC (H.264), Audio: MPEG2 AAC-LC (stereo)]
Image Sizes: Stills – 4:3 – 4000 x 3000, 2816 x 2112, 1600 x 1200, 640 x 480; 16:9 – 4000 x 2248, 2816 x 1584, 1920 x 1080, 640 x 360; 3:2 – 4000 x 2664, 2816 x 1880, 1600 x 1064, 640 x 424; 1:1 – 2992 x 2992, 2112 x 2112, 1200 x 1200, 480 x 480; 4:5 – 2400 x 3000, 1696 x 2112, 960 x 1200, 384 x 480; Movies – 1920 x 1080 at 60fps/30fps, 1280 x 720 at 30 fps, 640 x 480 at 30 fps; Time-Lapse Movie (Full HD) 15fps; Super Slow Motion Movie 640 x 480, 120fps; 320 x 240, 240fps; Miniature Effect 6fps, 3fps, 1.5fps, Hybrid Auto (HD)
Shutter speed range: Default: 1 ““ 1/4000 seconds; up to 20 seconds in Tv or 250 seconds in M mode
Self-timer: 2 or 10 seconds delay
Image Stabilisation: Lens-shift type (approx. 3 stops) plus Intelligent IS with 5-axis Enhanced Dynamic IS
Exposure Compensation: +/- 3 EV in 1/3 stop increments; Manual and automatic dynamic range correction; Automatic shadow correction; ND Filter (3 stop)
Focus system/range: TTL Contrast-based AF with AiAF (9-point or Face Detection with Face Select and Track), 1-point AF (any position is available or fixed centre) and Single, Continuous, Servo AF/AE, Tracking AF modes; Manual focusing with focus peaking; range: 1 cm to infinity (W), 40 cm to infinity (T); macro to 1 cm
Exposure metering/control: Evaluative (linked to Face Detection AF frame), Centre-weighted average, Spot (centre or linked to Face Detection AF or FlexiZone AF frame)
Shooting modes: Smart Auto (58 scenes detected), Hybrid Auto, Program AE, Shutter priority AE, Aperture priority AE, Manual, Custom 1, Custom 2, SCN (Portrait, Smart Shutter [Smile, Wink Self-Timer, Face Self-Timer], Star [Star Nightscape, Star Trails, Star Time-Lapse Movie], Handheld Night Scene, Underwater, Snow, Fireworks), Creative Filters (High Dynamic Range, Nostalgic, Fish-eye Effect, Miniature Effect, Toy Camera Effect, Background Defocus, Soft Focus, Monochrome, Super Vivid, Poster Effect), Movie
Photo Effects: My Colours (My Colours Off, Vivid, Neutral, Sepia, Black & White, Positive Film, Lighter Skin Tone, Darker Skin Tone, Vivid Blue, Vivid Green, Vivid Red, Custom Colour)
ISO range: AUTO, ISO 80-12800 in 1/3EV steps
White balance: Auto (including Face Detection WB), Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, Flash, Underwater, Custom 1, Custom 2
Flash modes/range (ISO auto): Auto, Manual Flash On / Off, Slow Synchro; range 50 cm ““ 5.0 m (W) / 50 cm ““ 4.5 m (T)
Sequence shooting: Max. Approx. 12.2 shots/sec for up to 5 frames then approx. 9.3 shots/sec for 522 frames
Storage Media: SD, SDHC, SDXC (UHS Speed Class 1 compatible)
Viewfinder: Real-image zoom, optical viewfinder with dioptre adjustment
LCD monitor: 3-inch PureColor II G LCD (TFT) with approx. 922,000 dots; 100% coverage; 5-level brightness adjustment
Connectivity: Wi-Fi (IEEE802.11b/g/n), (2.4 GHz only); Hi-Speed USB (MTP, PTP) dedicated connector (Mini-B compatible); HDMI Mini Connector (HDMI-CEC compatible) A/V output (PAL/NTSC); GPS via mobile (linked to compatible smartphone)
Power supply: NB-10L Rechargeable Li-ion battery; CIPA rated for Approx. 360 shots/charge (Eco mode approx. 480 shots)
Dimensions (wxhxd): 108.8 x 75.9 x 40.3 mm
Weight: Approx. 356 grams (including battery/batteries and memory card)
TESTS
Based on JPEG files.
Based on CR2.RAW files processed with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
6.1mm focal length, ISO 100, 1/1000 second at f/5.
30.5mm focal length, ISO 100, 1/1000 second at f/5.
1.5x digital zoom; 30.5mm focal length, ISO 1000, 1/2000 second at f/3.2.
2x digital zoom; 30.5mm focal length, ISO 1000, 1/2000 second at f/3.2.
Macro focus mode: 6.1mm focal length, ISO 200, 1/100 second at f/5.
Macro focus mode: 30.5mm focal length, ISO 80, 1/50 second at f/5.
15-second exposure at ISO 80; 9mm focal length at f/2.8.
15-second exposure at ISO 100; 9mm focal length at f/2.
8-second exposure at ISO 800; 9mm focal length at f/2.8.
8-second exposure at ISO 1600; 9mm focal length at f/4.
6-second exposure at ISO 3200; 9mm focal length at f/5.
Flash exposure at ISO 100; 30.5mm focal length, 1/30 second at f/2.8.
Flash exposure at ISO 800; 30.5mm focal length, 1/30 second at f/2.8.
Flash exposure at ISO 3200; 30.5mm focal length, 1/60 second at f/2.8.
Flash exposure at ISO 6400; 30.5mm focal length, 1/125 second at f/2.8.
Flash exposure at ISO 12800; 30.5mm focal length, 1/250 second at f/2.8.
6.1mm focal length, ISO 100, 1/320 second at f/7.1.
Crop from the above image at 100% enlargement, showing barely visible coloured fringing.
Backlit subject with bright light source inside the frame; 6.1mm focal length, ISO 100, 1/1000 second at f/5.6.
Backlit subject with bright light source outside the frame; 8mm focal length, ISO 80, 1/640 second at f/7.1.
Flare spots; 6.1mm focal length, ISO 100, 1/320 second at f/7.1.
Wide brightness range subject with dynamic range on auto setting:19mm focal length, ISO 100, 1/50 second at f/5.6.
16:9 aspect ratio; 6.1mm focal length, ISO 80, 1/250 second at f/4.5.
3:2 aspect ratio; 9mm focal length, ISO 80, 1/200 second at f/4.
Distortion; 30.5mm focal length, ISO 100, 1/250 second at f/3.2.
30.5mm focal length with 1.5x digital zoom, ISO 100, 1/80 second at f/5.6.
23mm focal length, ISO 200, 1/250 second at f/4.5.
Art-Vivid filter; 9mm focal length, ISO 100, 1/250 second at f/2.8.
Still frame from Full HD (1080) video clip at 60p.
Still frame from Full HD (1080p) video clip at 30p.
Still frame from HD (720p) video clip at 30p.
Still frame from VGA video clip.
Rating
RRP: n/a ASP: AU$550; US$550 (MSRP)
- Build: 8.5
- Ease of use: 8.5
- Autofocusing: 8.5
- Image quality JPEG: 8.5
- Image quality RAW: 9.0
- Video quality: 8.5
