In summary
Like previous model, the Mark II will suit photographers who want a walk-around camera when they don’t want to lug a lot of equipment about. It’s also an option for minimalistic travellers. Both G1X models provide a similar suite of functions to a DSLR in a relatively compact body, along with support for Canon’s CR2.RAW file format.
In summary: the PowerShot G1X Mark II is something of a curate’s egg: good in parts. Despite some useful scene pre-sets and JPEG-only functions that will please snapshooters, the Mark II’s functionality and performance fall a little short of serious photographers’ expectations.
Full review
When it was showcased at the CP+ Imaging Show in Japan in February, Canon’s PowerShot G1X Mark II attracted plenty of attention, largely because photographers wanted to see whether the new camera had improved on the original model. It was a big ask, since the G1X created a splash as the first large-sensor compact digicam with a zoom lens. Coincidentally, we received the G1X Mark II as we were completing our review of Sony’s RX100 Mark III, allowing us to compare both cameras.
Angled front view of the new PowerShot G1X Mark II with the pop-up flash raised. (Source: Canon.)
In this review we’ll look at the changes Canon has introduced and how they are likely to affect photographers. And there are plenty of them as the Mark II is more like a radical make-over than a minor upgrade. The table below summarises the main differences between the original G1X and the Mark II model and the new Sony RX100 Mark III.
|
|
PowerShot G1 X |
PowerShot G1 X Mark II |
Sony RX100 III |
|
Sensor (effective resolution) |
14.3MP HS CMOS |
12.8MP HS CMOS |
20.2MP Exmor R CMOS |
|
Sensor size |
18.7 x 14mm 18.7 x 14mm |
13.2 x 8.8mm |
|
|
Sensitivity range |
ISO 100 – ISO 12800 |
ISO 80 – ISO 12800 |
|
|
Lens |
28-112mm |
24-120mm |
24-70mm |
|
Zoom magnification |
4x |
5x |
2.9x |
|
Closest focus |
20 cm |
5 cm |
|
|
Max. Continuous shooting |
4.5 fps |
5.2fps |
10fps |
|
Buffer capacity |
6 JPEG |
29 JPEG. 7 CR2.RAW, 6 RAW+JPEG |
32 JPEGs, 28 ARW.RAW, 25 RAW+JPEG |
|
Viewfinder |
Optical; 77% coverage |
Optional |
OLED EVF |
|
AF system |
9-area |
31-area |
25-area |
|
Shutter speeds |
60 – 1/4,000 sec |
30 – 1/2,000 sec + Bulb |
|
|
Monitor |
Vari-angle 3-inch |
Tilting 3-inch |
Tilting 3-inch |
|
Touch screen |
No |
Yes |
No |
|
Video options |
H.264 QuickTime MOV |
H.264 QuickTime MOV |
XAVC S |
|
Connectivity |
None |
Wi-Fi, NFC |
Wi-Fi, NFC |
|
Battery capacity (CIPA rated) |
250 shots/charge |
240 shots/charge |
320 shots (LCD); |
|
Dimensions (wxhxd) |
116.7 x 80.5 x 64.7mm |
116.3 x 74 x 66.2 mm |
101.6 x 58.1 x 41 mm |
|
Weight with battery |
533 grams |
558 grams |
290 grams |
Front view of the PowerShot G1X Mark II with the pop-up flash raised. (Source: Canon.)
Angled front view of the PowerShot G1X Mark II with the monitor in the self-portraiture position. (Source: Canon.)
Rear view of the PowerShot G1X Mark II. (Source: Canon.)
Top view of the PowerShot G1X Mark II with the lens extended. (Source: Canon.)
Who’s it For?
Like previous model, the Mark II will suit photographers who want a walk-around camera when they don’t want to lug a lot of equipment about. It’s also an option for minimalistic travellers. Both G1X models provide a similar suite of functions to a DSLR in a relatively compact body, along with support for Canon’s CR2.RAW file format.
What’s New?
The redesign of the camera body has introduced some substantial changes, not all of them beneficial. Although there’s not much difference in their physical dimensions, the grip on the Mark II feels thinner and has a less textured surface, which makes the camera less secure to hold.
The most significant problem for many photographers (especially those in the Southern Hemisphere) is the removal of the optical viewfinder. It wasn’t a highlight of the original camera, being small and cramped and covering only 77% of the sensor’s field of view. But at least it was there and usable in bright sunlight, when the monitor becomes very difficult to ‘read’.
Buyers of the Mark II will have to stump up an additional AU$299 (US$241) for the EVF-DC1 external viewfinder. Admittedly, it has 2,360,000-dot resolution, tilts up through 90 degrees and is dioptre-adjustable. But it also adds a large lump to the top of the camera, making it difficult to slip into a jacket pocket or camera pouch.
We think the pop-up EVF in Sony’s RX100 Mark III is a far more elegant solution as it doesn’t compromise the camera’s portability. There was certainly space to include it on the G1X Mark II had Canon taken the same approach as Sony did.
On the positive side, the new lens provides a wider zoom range plus a 2/3EV brightness advantage at shorter focal lengths over the original lens. Covering 35mm equivalent focal lengths from 24mm to 150mm with maximum apertures from f/2 to f/3.9, it is larger in diameter but protrudes the same distance in front of the camera body when power is switched off. It extends to about 60 mm when the camera is switched on.
The optical design of the lens comprises 14 elements in 11 groups, with one double-sided aspherical UA lens and two double-sided aspherical lenses. A 9-blade aperture ensures attractive bokeh, while ZoomPlus gives added flexibility by digitally doubling the zoom’s reach.
Lens-shift stabilisation provides up to 3.5 f-stops of shake compensation and the Intelligent IS system includes 5-axis Enhanced Dynamic IS. The news lens will focus to within 5 cm of subjects ““ a big improvement on the previous camera ““ and the camera provides a manual focus peaking display to assist with accurate focusing.
The customisable dual lens control rings are supposed to make it easier and quicker to adjust camera settings. The outer ring rotates continuously and is best suited to making fine adjustments when focusing manually or tweaking focus after AF is achieved. The inner step ring has click-stops and can be used for controlling the step zoom function or adjusting aperture or shutter speed.
We actually prefer the thumb wheels on the original G1X, partly because they are more intuitive to use but also because they allow the camera to be operated with one hand ““ at a pinch. The lens control rings require both hands to be used at all times, which is occasionally inconvenient.
The monitor is now a large (3-inch) capacitative touch-screen that tilts up through 180 degrees to please ‘selfies’ generation shooters. It also pulls out from the camera for waist-level shooting and its resolution has been increased from 922,000 dots to just over a million dots, which is nice but not hugely significant.
The AF system is also improved with an enlargement to 31 AF points compared to the original PowerShot G1X’s nine. But it didn’t appear to have improved autofocusing speeds much in our tests, although the improvements to manual focusing (magnification and peaking) were genuinely useful.
Adding touch screen controls has been another positive move, although the options are fairly basic with only touch focusing and touch shutter included in the menu on the review camera. The user manual claims there should be a Set Touch Actions function in the set-up menu; but it wasn’t there in the menu of the camera we received.
It’s supposed to let you send images to the favourites folder, a smart-phone, a slideshow or to erase them. Other assignments include playback by date or smart shuffle, rotate or protect or send images to a connected computer or printer.
The lens cap is now built into the lens itself and retracts when the camera is switched on. This eliminates the need to worry about external lens caps, which can be easily mislaid if not tethered to the camera.
Wi-Fi is another addition many photographers will appreciate, although it’s fairly basic and before it can be used you must register a nickname on the camera and connect it and the smart device or computer you want to use with the Canon Image Gateway service. The camera must also be ‘authenticated’ by Canon Image Gateway, after which you can set up each of the social networks you want to use with the camera.
You must also install the free CameraWindow app on the smart device or computer that will receive the images. NFC- compatible Android devices can be connected by simply touching them to the camera’s N-mark, which starts Google Play on the smart device, enabling CameraWindow to be installed. (Connecting the camera to a computer by Wi-Fi is only available for Windows PCs.)
Connecting the camera to a smart device is straightforward, thanks to a well-designed set of menu pages in the camera that provide options for selecting the network connection (access point or WPS), password-based security and the ability to connect to social networks via Canon Image Gateway. Once the devices are linked, you can transfer images between devices and send them to compatible printers.
You can choose between transferring images at original sizes or reduced size and sending them singly or in batches. Using the camera you can also add comments to images sent to email addresses or social networks. Automatic image synching between devices is also supported via Canon Image Gateway.
GPS data from a smart device can be embedded in image files and the device’s screen can also be used to remotely control the camera’s shutter. Remote shooting only works in P mode and only for shooting stills. AF frames can’t be displayed in the smart device’s screen in this mode.
Other new features include an in-camera HDR mode and four Scene pre-sets for photographing night skies. They include Star Portrait for taking a portrait in front of a dark sky, Star Nightscape for long-exposure night photography without flash, Star Trails, which supports exposures up to two hours long and Star Time-Lapse Movie, which records a sequence of shots at intervals between 15 seconds and 1.5 minutes and combines them to make a time-lapse movie. These modes are JPEG only.
Unchanged Features
Canon has always been pretty good at menu design and it’s nice to see the Mark II’s menu is almost the same as the original camera’s. So are the functions called up when you press the Func/Set button in the centre of the arrow pad.
Users can opt to display a brief text description of menu items as they are selected. It runs along the bottom of the screen instead of popping up in the middle of it as in the previous model.
However, functions like dynamic range adjustment, noise reduction and digital filters remain inaccessible when you’re shooting raw files or RAW+JPEG pairs. The only available colour space is sRGB, which may not be a problem for most users but won’t suit serious landscape shooters.
Autofocusing remains relatively slow when compared with recent compact system cameras. Close focusing is limited to 5 cm with the shortest focal length or 40 cm at full optical zoom and at longer focal lengths you have to keep switching back to macro mode to make the camera focus on nearby subjects.
The movie mode is very basic and doesn’t support manual controls. External microphones can’t be used to record soundtracks. Like the original G1X, the new camera provides three resolution settings: Full HD (1920 x 1080 pixels), HD (1280 x 720 pixels) and 640 x 480 pixels. All with a frame rate of 30 fps. The table below shows typical recording times for each setting.
|
Recording pixels |
8GB card capacity |
Max. clip length/playback time |
|
1920 x 1080 |
43 minutes 29 seconds |
4GB or approx 30 minutes for FHD and HD or 1 hour for VGA |
|
1280 x 720 |
2 hours 3 minutes 55 seconds |
|
|
640 x 480 |
5 hours 14 minutes 34 seconds |
Sensitivity defaults to Auto in movie mode and autofocusing and zooming are supported while video clips are being recorded. The menu includes a wind cut filter that can be switched to auto or off.
In movie mode the camera can also record iFrame movies with resolution fixed at FHD/30p. Shooting in Hybrid Auto mode causes the camera to record 2-4 second movie clips of scenes before each shot. These are combined later to produce a ‘digest’ movie with HD/30p quality. Digest movies are saved as separate files with a total recording time of 13 minutes and 20 seconds or 4GB per movie.
The camera can also apply scene recognition to match shooting parameters with pre-programmed scene pre-sets. Many of the scene pre-sets and some of the built-in special effects can also be used in movie mode.
Sensor and Image Processing
Like its predecessor, the Mark II supports JPEG and raw file capture, along with simultaneous RAW+JPEG recording. It also provides five selectable aspect ratios for recording JPEG images, which are obtained by cropping the frame, either at top and bottom or along both sides.
Raw files are never cropped and always recorded at 4352 x 3264 pixels. Selecting RAW+JPEG via the Func./Set button sets the camera to record a raw file and a Large/Fine JPEG file with each shot, both at 4352 x 3264 pixels. The aspect ratio is fixed at 4:3 with this setting.
Raw files are losslessly compressed and, as in Canon’s EOS DSLRs, the processor applies 14-bit analog-to-digital conversion to give users more image data to work with. JPEG compression ratios are much the same as the G12’s and relatively modest with the Fine setting, but heavier with the Normal mode. Typical image sizes for the native 3:2 aspect ratio are shown in the table below.
|
Recording format |
Image Size (pixels) |
Compression |
|
|
Super Fine |
Fine |
||
|
RAW |
4352 x 2904 |
20.41MB |
|
|
RAW+JPEG |
4352 x 2904 |
24.39MB |
n.a. |
|
Large |
4352 x 2904 |
6.25MB |
3.92MB |
|
Medium 1 |
3072 x 2048 |
3.40MB |
2.30MB |
|
Medium 2 |
2048 x 1368 |
1.51MB |
0.85MB |
|
Small |
640 x 424 |
0.25MB |
0.17MB |
Note: When the aspect ratio is changed and the image area is cropped, image files become a little smaller. The exception is for M2 images captured with the 16:9 aspect ratio, which have an area of 1920 x 1080 pixels and are, therefore, larger.
Playback and Software
The only thing that appears to have changed since the Mark I is the shift to online manuals. The review camera was supplied with a basic printed manual that was very basic indeed. A much more comprehensive manual is available in the support section of Canon’s website and it can be accessed directly from the product page.
Canon’s, Digital Camera Software suite is also available for downloading. It includes the normal ImageBrowser EX, CameraWindow DC and PhotoStitch applications as well as Digital Photo Professional software for converting raw files from the camera into editable formats.
Performance
We expected better low light performance from the review camera and were not disappointed. But in normal lighting, improvements in image quality weren’t particularly noticeable.
Still images were certainly sharp straight out of the camera (although Imatest showed consistent slight under-sharpening). Colours were bright and punchy and colour accuracy was very good, both factors confirmed by Imatest tests. However, contrast was slightly elevated, which led to a slight tendency to clip shadows, although the iContrast setting went some way towards correcting this problem and preventing blown-out highlights in scenes with a wide brightness range.
Exposure metering was consistently reliable with all three metering patterns, provided they were used appropriately. Autofocusing remained fast and accurate in low light levels and there were no occasions that caused the lens to hunt for focus in our low-light tests.
Imatest showed a distinct difference in resolution between JPEG and CR2.RAW files from the camera, when the latter were converted into 16-bit TIFFs with Adobe Camera Raw. The graph below plots the results of our tests across the review camera’s sensitivity range.
Imatest also revealed some edge softening at wider lens apertures across all focal length settings. The graph below is based upon JPEG files at four different focal lengths.
Vignetting and distortion were present but slight and unlikely to be an issue with most potential purchasers of this camera. Lateral chromatic aberration was negligible at most lens apertures and focal length settings, straying into the ‘low’ range at the widest and narrowest apertures with the longest and shortest focal lengths. The graph below shows the results of our tests, with the red line indicating the boundary between negligible and low CA.
Auto white balance performance was similar to the Mark I’s, with close-to-neutral colours under fluorescent lighting but insufficient correction of incandescent lighting. The tungsten and fluorescent pre-sets tended towards slight over-correction but manual measurement produced neutral colours under both types of lighting.
Flash performance was as good as we found with the Mark I with consistent exposure levels across the sensitivity range from ISO 100 to ISO 12800. The influence of ambient lighting at the highest ISO settings was also very slight, enabling colour accuracy to be maintained throughout the camera’s sensitivity range.
Despite the camera’s limited video capabilities, video performance was satisfactory, although not outstanding. Although the colour and exposure levels were acceptable, you have to lock in exposure levels at the start of a clip and changing light lenses aren’t accounted for.
In addition, users have very little control over recording parameters (shutter speed or frame rate) and we noticed many artefacts in relatively slow pans, even in the FHD and HD modes. Soundtracks were of average quality with minimal stereo presence.
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 approximately two seconds, which is slightly slower than its predecessor. We measured an average capture lag of 0.4 seconds, which reduced to less than 0.1 second with pre-focusing. It took 0.8 seconds to process each high-resolution JPEG image, 3.2 seconds for a raw file and 3.4 seconds for each RAW+JPEG pair. Shot-to-shot times averaged 1.2 seconds without flash and 3.2 seconds with, regardless of file format.
In the normal continuous shooting mode, the camera recorded 29 Large/fine JPEG frames in 5.7 seconds before pausing. It took 21 seconds to process this burst. In the continuous mode with autofocusing, 19 frames were captured in 12.6 seconds. It took 16.7 seconds to complete the processing of this burst.
On swapping to shooting raw files, the camera slowed down and recorded seven frames in 3.9 seconds. It took 15.9 seconds to complete the processing of this burst, suggesting processing is on-the-fly. With RAW+JPEG pairs, the buffer capacity was limited to six pairs of shots, which were recorded in 3.8 seconds. Processing this burst took 9.7 seconds.
Conclusion
The lack of a built-in viewfinder is always a deal-breaker for us and reviewing the PowerShot G1X Mark II reinforced our belief that any kind of viewfinder, no matter how basic, is better than none at all. An optional EVF is a poor solution, requiring the camera owner to spend more money and compromising the size and shape of the camera in a way that makes it difficult to slip into a pocket or bag.
Aside from that, the Mark II has a better lens than its predecessor and a more up-to-date image processor; the lower sensor resolution has provided improvements in low-light performance and the inclusion of Wi-Fi support will please some potential purchasers.
But, it’s a heavy, bulky camera when compared with the Sony RX100 Mark III, which we just reviewed. And it’s not such a good performer – in most respects. Nor is it particularly comfortable to hold and operate.
Video capabilities are limited and, despite some useful scene pre-sets and JPEG-only functions that will please snapshooters, the Mark II’s functionality and performance fall a little short of serious photographers’ expectations. In summary: the PowerShot G1X Mark II is something of a curate’s egg: good in parts. Whether Canon will rectify its deficiencies with a future model or move more solidly into the CSC area remains to be seen. (Photokina is less than two months away; maybe we’ll have some idea of future directions then.)
SPECS
Image sensor: 18.7 x 14.0 mm CMOS sensor with 15 million photosites (13.1 megapixels effective)
Image processor: DIGIC 6
A/D processing: 14-bit
Lens: 12.5-62.5 mm f/2.0-3.9 zoom (24-120mm in 35 mm format)
Zoom ratio: 5x optical, up to 2x digital teleconverter, 4x digital zoom
Image formats: Stills – JPEG (DCF / Exif 2.3), CR2.RAW, RAW+JPEG; Movies – MP4 (MPEG-1 AVC/H.264; audio – AAC-LC stereo
Image Sizes: Stills – 3:2 aspect: 4352 x 2904, 3072 x 2048, 2048 x 1368, 640 x 424; 4:3 aspect: 4160 x 3120, 3072 x 2304, 2048 x 1536, 640 x 480; 16:9 aspect: 4352 x 2248, 3072 x 1728, 1920 x 1080, 640 x 360; 1:1 aspect: 3120 x 3120, 2304 x 2304, 1536 x 1536, 480 x 480; 4:5 aspect: 2496 x 3120, 1840 x 2304, 1232 x 1536, 384 x 480; Movies – (Full HD) 1920 x 1080, 30 fps (HD) 1280 x 720, 30 fps, (L) 640 x 480, 30 fps; Star Time-Lapse Movie (Full HD) 30, 15 fps; Miniature Effect (HD, L) 6 fps, 3 fps, 1.5 fps; Hybrid Auto (HD) 30 fps; iFrame Movie (Full HD) 30 fp
Shutter speed range: Auto mode – 1 to 1/4000 seconds; Tv and M modes – 60 to 1/4000 seconds
Self-timer: 2 or 10 seconds delay plus Custom option
Image Stabilisation: Lens-shift; up to 3.5 f-stops compensation plus 5-axis Enhanced Dynamic IS
Exposure Compensation: +/- 3 EV in 1/3 stop increments
Bracketing: AEB – 1/3 ““ 2 EV in 1/3 stop increments
Focus system/range: TTL Contrast-based AF with Single, Continuous, Servo AF/AE Touch AF with Object and Face Select and Track available ; 31-point AiAF or 1-point AF (any position is available or fixed centre) modes; range: 5 cm to infinity (w), 40 cm to infinity (t)
Exposure metering/control: Evaluative (linked to Face Detection AF frame), Centre-weighted average, Spot (centre or linked to Face Detection AF or AF frame)
Shooting modes: Hybrid Auto, Creative Shot, Special Scene, Creative Filters, Movie, P, Tv, Av, M, C1, C2
Scene pre-sets: Portrait, Smart Shutter (Smile, Wink Self-Timer, Face Self-Timer), Star (Star Nightscape, Star Trails, Star Portrait, Star Time-Lapse Movie), Handheld Night Scene, Underwater, Snow, Fireworks
In-camera 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)
Creative Filters: High Dynamic Range, Nostalgic, Fish-eye Effect, Miniature Effect, Toy Camera Effect, Background Defocus, Soft Focus, Monochrome, Super Vivid, Poster Effect
ISO range: Auto, ISO 100 to 12800 in 1/3EV steps
White balance: TTL Auto (including Face Detection WB), Daylight, Shade, Cloudy, Tungsten, Fluorescent, Fluorescent H, Flash, Underwater, Custom 1, Custom 2; Multi-area WB correction available in Smart Auto mode, Hue adjustment in Star mode, White Balance Compensation in Underwater mode
Flash modes/range (ISO auto): Auto, Manual Flash On / Off, Slow Synchro with red-eye reduction and 2nd curtain synch available; range – 50 cm to 6.8 m (w) or 3.5 m (t)
Sequence shooting: Max. 5.2 frames/second
Buffer memory depth: 29 JPEGs, 7 raw files, 6 RAW+JPEG
Storage Media: SD, SDHC, SDXC (UHS Speed Class 1 compatible) memory cards
Viewfinder: Optional Electronic Viewfinder EVF-DC1
LCD monitor: Tilting 3-inch sRGB PureColor II Touchscreen TFT LCD with 1,040,000 dots; 3:2 aspect ratio
Interface terminals/communications: Hi-Speed USB (MTP, PTP) dedicated connector (Mini-B compatible), HDMI Micro Connector (HDMI-CEC compatible) A/V output (PAL / NTSC), Wi-Fi (IEEE802.11 b/g/n), (2.4 GHz only), with NFC support
Power supply: NB-12L rechargeable battery; CIPA rated for approx. 240 shots/charge (300 shots/charge in Eco mode)
Dimensions (wxhxd): 116.3 x 74.0 x 66.2 mm
Weight: Approx. 516 grams (553 g with battery 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.
ISO 100, 30-second exposure at f/4.5; 20mm focal length.
ISO 800, 13-second exposure at f/4.5; 20mm focal length.
ISO 3200, 6-second exposure at f/4.5; 20mm focal length.
ISO 6400, 2.5-second exposure at f/4.5; 20mm focal length.
ISO 12800, 2.5-second exposure at f/5.6; 20mm focal length.
Flash exposure at ISO 100; 1/60 second at f/3.9; 62.5mm focal length.
Flash exposure at ISO 800; 1/60 second at f/3.9; 62.5mm focal length.
Flash exposure at ISO 3200; 1/60 second at f/3.9; 62.5mm focal length.
Flash exposure at ISO 6400; 1/60 second at f/5.6; 62.5mm focal length.
Flash exposure at ISO 12800; 1/60 second at f/7.1; 62.5mm focal length.
Vignetting at 12.5mm f/2.0.
Vignetting at 62.5mm f/3.9.
Rectilinear distortion at 12.5mm.
Rectilinear distortion at 62.5mm.
12.5mm focal length, ISO 200, 1/400 second at f/5.6.
62.5 mm focal length, ISO 200, 1/320 second at f/5.6.
1.6x digital teleconverter; 62.5 mm focal length, ISO 200, 1/320 second at f/5.6.
2x digital teleconverter; 62.5 mm focal length, ISO 200, 1/250 second at f/5.6.
Standard 4x digital zoom; 62.5 mm focal length, ISO 200, 1/320 second at f/5.6.
Close-up with macro focus setting; 12.5mm focal length, ISO 100, 1/250 second at f/2.
Close-up with macro focus setting; 62.5mm focal length, ISO 100, 1/60 second at f/3.9.
Strong backlighting with 12.5mm focal length, ISO 100, 1/500 second at f/5.6.
Strong backlighting with 62.5mm focal length, ISO 100, 1/250 second at f/7.1.
12.5mm focal length, ISO 200, 1/250 second at f/8.
62.5mm focal length, ISO 200, 1/200 second at f/5.1.
62.5mm focal length, ISO 100, 1/125 second at f/4.5.
62.5mm focal length plus 1.6x digital teleconverter, ISO 400, 1/320 second at f/5.
62.5mm focal length plus 2x digital teleconverter, ISO 200, 1/1250 second at f/3.9.
20mm focal length, ISO 640, 1/1000 second at f/4.5.
Still frame from Full HD 1080p video clip.
Still frame from HD 720p video clip.
Still frame from VGA video clip
Rating
RRP: n/a; ASP: AU$826; MSRP: US$799.99
- Build: 8.5
- Ease of use: 8.5
- Autofocusing: 8.0
- Image quality JPEG: 8.5
- Image quality RAW: 8.8
- Video quality: 8.5
