Canon PowerShot G5 X

      Photo Review 8.9

      In summary

      The G5 X is one of the more attractive compact cameras in its category and the addition of a built-in high-resolution EVF makes it more relevant for Australian photographers than the other cameras with one-inch type (13.2 x 8.8 mm) sensors currently offered by Canon.

      Its lens, which carries across from the G7 X, is a decent performer and fast enough for low-light shooting, although it’s hampered by very slow frame rates when shooting raw files (or RAW+JPEG pairs).

      With a sizeable grip, excellent build quality and comfortable ergonomics (even though the camera is comparatively large and chunkier than most of its siblings), the G5 X is a nice little camera to use, regardless of whether you’re recording still pictures or movie clips. Its fully-articulated monitor screen adds versatility when you need to record difficult-to-get-at subjects, while the EVF prevents point-and-guess shooting in bright ambient lighting.


      Full review

      It seems as if Canon is trying to cover as many bases as possible in its G-series models, releasing three of them in the past 12 months and two in the previous year. The G5 X is the higher-featured of two models announced in October, both using the same 12.8 x 9.6 mm, 20.2-megapixel sensor as last year’s G7 X. Designed for enthusiast users, we think it’s the pick of the crop because of its built-in EVF, 24-100mm (equivalent) lens, pop-up flash and fully articulated touch-screen monitor.


       Angled front view of the PowerShot G5 X. (Source: Canon.)
      The built-in viewfinder is particularly important for Southern Hemisphere photographers, because monitor screens often become unusable for framing shots outdoors and the one in the G5 X is larger, clearer and easier to use than the pop-up EVFs in Sony’s RX100 series cameras. Otherwise, the latest four models   come with a 20.2-megapixel, 13.2 x 8.8mm BSI-CMOS sensor, while the flagship G1 X Mark II has a larger, 18.7 x 14 mm CMOS sensor with 12.8 megapixels effective.

      All five models have been equipped with Canon’s DIGIC 6 image processor, which means their sensitivity ranges typically span from ISO 100 (for the G1 X II) or 125 to ISO 12800 and they can record Full HD 1080p movies. The main differences between them have been in body styling, lens characteristics, continuous shooting speeds and movie frame rates.

      The table below compares key features of the four cameras with ‘1-inch type’ sensors.


      G5 X

       G9 X





      28-84mm f/2.0-4.9



      Optical zoom





      Max. Continuous shooting

      5.9 fps

      6.0 fps

      6.5 fps

      5.9 fps

      Buffer capacity *






      Built-in OLED EVF, 2.36m dots




      Vari-angle 3-inch, 1.04m dots

      Fixed 3-inch, 1.04m dots

      Tilting 3-inch, 1.04m dots

      Tilting 3.2-inch, 1.62m dots

      Touch screen





      Battery capacity (CIPA rated)

      210 shots/charge

      220 shots/charge

      210 shots/charge

      300 shots/charge

      Dimensions (wxhxd)

      112.4 x 76.4 x 44.2 mm

      98.0 x 57.9 x 30.8 mm

      103.0 x 60.4 x 40.4   mm

      123 x 77 x 105  mm

      Weight with battery

      377 grams  

      209 grams

      304 grams

      733 grams

      * for maximum resolution JPEGs, based on our timing tests

      All four cameras include the 31-point contrast-based TTL autofocusing system, along with  built-in Wi-Fi connectivity, although the G7 X doesn’t include the NFC provided in the later models, allowing easier connection to Android devices.

      Who’s it For?
       When choosing a G-series camera, photographers should pay most attention to features they consider important because no single camera in the range is a perfect ‘walkaround’ camera. If (like us) you’re prepared to carry a bit more weight in order to get a built-in EVF, only one camera fills the bill: the G5 X.

      If you want a truly pocketable camera, again the only option is the G9 X, which was released at the same time as the G5 X. Photographers looking for the greatest zoom range also have only one choice: the G3 X. The G7 X  offers the fastest burst rate at up to 6.5 frames/second and also the longest exposures with a maximum of 250 seconds in manual mode.

      The G3 X is the only weatherproof model; but it’s also the largest and heaviest. The G9X is the smallest and lightest, weighing only 209 grams with battery and memory card installed.

      Aside from that, there’s little to choose between these cameras when it comes to shooting modes and resolutions for still pictures and movie clips and the only difference in imaging performance is caused by the lens
      Build and Ergonomics
       Stylistically, the G5 X’s body is reminiscent of earlier, small-sensor models and somewhere between a classic rangefinder and a DSLR. It has the rangefinder’s ‘bar-of-soap’ body shape with the protruding viewfinder hump of a DSLR camera but a larger grip than most typical compact cameras. The result is a relatively large digicam, which is compact enough to slip into a jacket pocket ““ but too large to be shirt-pocketable.


      Front view of the PowerShot G5 X. (Source: Canon.)

      The front panel is dominated by the lens but has a decent-sized grip moulding, which is rubber-clad for additional comfort and security.   Also on the front panel is a new dial control, which works in conjunction with the lens ring and rear dial surrounding the arrow pad to provide quick and easy ways to adjust most camera functions. The only other item on the front panel is the embedded LED, which is used for AF-Assist illumination and as a self-timer indicator.

      The 8.8-36.8mm f/1.8-2.8 lens is the same one as provided in the G7 X. It spans a 4.2x optical zoom range, covering angles of view equivalent to 24-100mm in 35mm format. This range can be extended by 8.4x with the ZoomPlus function or up to 4x with the digital zoom, to a maximum of approximately 17x when optical and digital zoom are combined.

      Optically, the lens consists of 11 elements in nine groups, including one double-sided aspherical lens, one single-sided aspherical UA (Ultra-high refractive index Aspherical) lens, one single-sided aspherical lens and one UD (ultra-low dispersion) lens. The maximum aperture range of f/1.8-f/2.8   is relatively bright for a digicam so Canon has included a built-in neutral density filter for controlling exposure levels in bright situations.

      The lens includes built in, lens-shift stabilisation and it has a nine-bladed iris diaphragm that closes to a circular aperture. The lens extends automatically when power is switched on and retracts when the camera is switched off. A built-in cover protects it when the camera is powered-down.

      Positioned immediately above the lens is a large, pentaprism-like hump that houses the built-in flash and the OLED viewfinder. There’s a hot-shoe on top of it for accessory flashguns (but not microphones as there’s no mic port).

      The EVF has the same 2.36-million dot resolution as the EVF-DC1, which was an optional accessory for the G7 X but uses OLED technology, which means it’s brighter with more vibrant colours. A dial on the left hand side of the hump provides -3.0 to +1.0 dioptre adjustment and the rubber-clad eyepiece has a 22 mm eyepoint. An eye sensor switches automatically between monitor and EVF when the camera is raised to your eye.  


      The top panel of the PowerShot G5 X with power switched off. (Source: Canon.)

      Most key controls are on the top panel and here the layout follows Canon’s conventions, with the mode dial to the left of the EVF and the EV compensation dial to the right. Between the EV dial and the EVF hump are the shutter button with surrounding zoom lever plus an on/off button switch that is recessed into the top panel.  


      The rear panel of the PowerShot G5 X with the monitor reversed onto the camera body. (Source: Canon.)

      The remaining controls on the rear panel are also standard G-series fare, with a generous, rubber-clad thumb rest, embedded into which is the movie start/stop button. Below the thumb rest are two buttons, covering the Starry Sky focus adjustments and single-image erase function and AF frame selections and the Story Highlights button.

      Below them is the arrow pad with surrounding control dial. Directional buttons on the arrow pad access sub-menus for the drive and AF modes, flash settings, Info and macro/manual focus modes. The central SET button can also open the Quick Set menu. Below the arrow pad are the Playback and Menu buttons.

      The monitor size and resolution are the same as the G7 X’s. But instead of just tilting, the screen is fully articulated. The side mounting provides a much wider range of angles for the screen and also enables it to be tilted forward for selfie shooting. Touch controls are also supported.

      Readers might like to note that the monitor screen is polarised; if you’re wearing Polaroid sunglasses and rotate the camera into portrait format the screen will turn black. The EVF uses OLED technology, which doesn’t rely on polarisation, making it preferable in most outdoor situations.

      Interface ports for the optional remote controller cable plus USB and HDMI terminals are located beneath a rubber flap on the right hand side panel. Below this compartment is the Mobile Device Connection button for the NFC interface.

      The NB-13L rechargeable (which is common to three of the   four cameras listed above) battery slips into a compartment in the base of the camera, which it shares with the memory card slot. Just beside this compartment is a metal-lined tripod socket, which is not on the optical axis of the lens.

      Neck strap hooks are provided towards the front edges of each side panel a few millimetres down from the top. Unlike the G7 X, the G5 X comes with a proper neck strap for them.

      Sensor and Image Processing
       It’s been speculated that the G7 X and subsequent cameras in Canon’s GX line use the same 20.2-megapixel back-illuminated Exmor R CMOS sensor chip as the Sony Cyber-shot RX100 Mark II and Mark III cameras. We’ve no way to confirm whether this is true but all the cameras offer the same maximum resolution settings and frame-crop options, which are shown in the table below.

      Aspect ratio

      Maximum image size


      5472 x 3648


      4864 x 3648


      5472 x 3080


      3648 x 3648

      This indicates the image area on the sensor has a 3:2 aspect ratio, making 5472 x 3648 pixels the highest resolution available. Frames are cropped vertically or horizontally (or both) to produce the other aspect ratios.

      Canon’s DIGIC 6 processor appears to be less powerful than the BIONZ X chip in the Sony cameras because the RX100 Mark III offers a faster (10 fps) maximum burst speed and one stop more of ISO sensitivity. Whether that matters will vary with different photographers but it’s safe to say that using ultra-high sensitivities with cameras that have 1-inch type sensors will inevitably produce heavily noise-affected images.

      Canon provides the following table for the G5 X showing the average number of recordable images at different settings, based on a 16GB memory card:






      Large (L)











      Medium 1 (M1)











      Medium 2 (M2)











      Small (S)
















      Automatic in-camera corrections for rectilinear distortion, vignetting and chromatic aberration are applied to all JPEG files.

      Performance statistics are similar to the G9 X, although the   G5 X’s maximum continuous shooting speed is slightly slower at 5.9 frames/second (fps) for JPEGs, slowing to a slightly faster 4.4 fps with AF active. The maximum recording speed for raw files is one frame/second.

      Shutter speeds are also restricted for long exposures, with a maximum of 30 seconds applied. In addition, the highest ISO setting usable for exposures of one second or longer is ISO 3200, which limits the scope of the camera for low light shooting.
      Nothing much has changed in this area since the G7 X and all cameras in the group have modest recording capabilities. Movies are recorded in MPEG-4 format, using AVC.H.264 compression and a variable bit rate. Individual clips recorded in the FHD and HD modes are limited to 29 minutes and 59 seconds, with a one hour limit for VGA clips.

      The table below shows the movie options available in the G5 X, along with bit rates, frame rates for PAL countries and typical recording times.

      Movie resolution

      Bit rate

      Frame rates

      Recording time on 16GB card

      1920 x 1080

      Approx. 35 Mbps

      50 fps

      59 minutes 30 seconds

      Approx. 24 Mbps

      25 fps

      1 hour, 26 minutes 5 seconds

      1280 x 720

      Approx. 8 Mbps

      25 fps

      4 hours, 5 minutes 15 seconds

      640 x 480

      Approx. 3 Mbps

      25 fps

      10 hours, 22 minutes 35 seconds

      The Movie Digest function, introduced back in 2011, records two to four seconds of HD video just before each still image is captured. These shots are combined into a ‘digest’ movie at the end of the day or when the combined clips reach 4GB. Battery capacity is reduced in this mode.

      Exposure compensation, AE and AF lock and manual focusing are supported in movie mode, along with touch AF, dynamic range correction, ISO and white balance adjustment and focus peaking. A wind filter and attenuator are available and users can take advantage of continuous and dynamic image stabilisation. Still shots can be captured while recording movie clips and recording options include a Star time-lapse mode for capturing star trails.

      The G5 X provides all the standard in-camera adjustments covering colour tweaking, shadow adjustment, dynamic range and red-eye corrections plus exposure and focus bracketing. The Creative Shot mode applies six special effects to each shot and displays them in succession, enabling users to choose an effect that best suits the subject.

      In-camera effects include High Dynamic Range (with five ‘artistic effect’ settings), Nostalgic, Fish-eye Effect, Miniature Effect, Toy Camera Effect, Background Defocus, Soft Focus, Monochrome, Super Vivid and Poster Effect. Face and Blink detection are also supported, along with several settings for shooting starry skies (Star Portrait, Star Nightscape and Star Trails).

      The Face Detection function has been extended to include Face ID, which allows you to register faces ahead of time and have the camera prioritise that person when shooting and also locate shots that include registered people. Data (including face, name and birthday) can be stored in the camera for up to 12 people and used to select one face out of many in a group.

      Wi-Fi and NFC
       Connectivity options are similar to those offered by most modern cameras and covered in our review of the G7 X. The NFC (Near Field Communication) function provides easy synching of the camera with a smart device, which will be prompted to install Canon’s Camera Window app and directed to a store it can be downloaded from. The review camera came with a leaflet promoting Canon’s online storage service, irista, and offering 15Gb of free storage space.

      Playback and Software
       Playback settings are similar to those provided by other Canon cameras, including the G7 X. No software disk was provided with the review camera, in what appears to be a popular trend.

      The printed ‘Getting Started’ manual is more comprehensive that the manuals supplied with many other manufacturers’ cameras. It contains links to downloads of a more detailed electronic manual in PDF format as well as Canon’s software bundle, which includes Digital Photo Professional software for converting CR2.RAW files from the camera into editable TIFF and JPEG formats. (The G5 X wasn’t supported by Adobe Camera Raw when this review was carried out.)

      Other downloadable software should be available from the Support pages on Canon’s local website but none was listed for the G5 X when we visited Canon’s Australian site in early November 2015.

       Still images appeared sharp straight out of the camera and also relatively contrasty.  Colours showed the usual slight increase in saturation we’ve come to expect from compact digicams. Imatest showed colour accuracy to be generally very good, with a slight boost to warm hues to yield ‘healthier-looking’ skin tones.

      The lens handled backlighting very well, despite the lack of a lens hood. Flare was minimal, even with the bright light source within the image frame. In-camera adjustments for dynamic range and shadow corrections probably contributed to such good performance.

      Autofocusing was acceptably fast and accurate in most types of lighting, including on a very rainy day where contrast was particularly low and at night in very low light levels. In adequate lighting the camera had few problems focusing for still shots and continuous refocusing during movie recording was comparatively fast for a digicam.

      The CR2.RAW files from the review camera weren’t supported in the   latest version of Adobe Camera Raw   so we had to convert them into 16-bit TIFFs with Canon’s Digital Photo Professional software. Based on these files, the review camera was well able to meet expectations for the sensor’s resolution, with the best performance at the 21.4mm focal length with an aperture of f/2.8. JPEG files shot at the same time fell short by 15-20%.

      Resolution declined gradually from about ISO 400 on as sensitivity was increased. Between ISO 3200 and ISO 6400 a slight loss of sharpness became apparent. The graph below plots the results of our tests across the review camera’s sensitivity range.



      Edge softening was less than we expected and greatest with the shortest focal length setting (8.8mm). The effects of diffraction became visible at f/8, with a rapid decline to the minimum aperture of f/11. The graph below shows the results of our Imatest tests.



      Lateral chromatic aberration was negligible at most lens apertures and focal length settings, because it’s automatically corrected in-camera.   We found no evidence of coloured fringing in test shots. 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 typical of many digicams, with close-to-neutral colours under fluorescent   lighting and with the camera’s built-in flash but insufficient correction with incandescent lighting.   The tungsten and fluorescent pre-sets tended towards slight over-correction but no adjustments appeared to have been made with the flash pre-set. Manual measurement produced neutral colours under all three types of lighting.

      Long exposures at night were generally clear and sharp, as you would expect from the ISO 3200 limit placed upon exposures of one second or longer. Some noise could be seen in shots taken at ISO 3200 but they were printable up to A4 size.

      Flash performance was generally good, with very slight under-exposure at the lowest ISO settings  but good consistency between ISO 800 and ISO 12800. Shots taken with the two highest ISO settings showed very slight softening   but retained most of the same contrast and colour saturation contained in images from lower ISO settings.

      Video performance was similar to the G7 X and rates as satisfactory, rather than outstanding. Clips tended to be a little contrasty and the camera had difficulty balancing exposures when subjects contained a wide brightness range. Autofocusing locked quite quickly onto the main subject at the beginning of a clip but we found slight delays in re-focusing on moving subjects and when the camera was panned across a scene. Soundtracks were of average quality without much stereo presence.  
       Our timing tests were carried out with a 16GB Panasonic SDHC UHS-1memory card, which claims write transfer speeds of 25MB/second. The review camera powered up ready for shooting in just over one second and took a similar amount of time to retract the lens and shut down. With the lens at medium zoom we measured an average capture lag of 0.15 seconds, which was eliminated with pre-focusing. It took 0.9 seconds to process each high-resolution JPEG image and 2.1 seconds for each RAW+JPEG pair. Shot-to-shot times averaged 0.8 seconds without flash and 5.2 seconds with.

      In the normal continuous shooting   mode, the camera recorded 11 Large/Superfine JPEG frames in 1.4 seconds before pausing. It took 3.4 seconds to process this burst.  In the continuous mode with autofocusing, we were able to record 14 frames in 2.9 seconds before capture rates slowed. Processing this burst took   5.1 seconds.

      With raw files, capture rates slowed to an average of one frame/second without AF and 2.5 frames/second with continuous autofocusing and the buffer memory appeared to be ‘unlimited’.  Processing seemed to be on-the-fly.
       The G5 X is one of the more attractive compact cameras in its category and the addition of a built-in high-resolution EVF makes it more relevant for Australian photographers than the other cameras with one-inch type (13.2 x 8.8 mm) sensors currently offered by Canon. Its lens, which carries across from the G7 X, is a decent performer and fast enough for low-light shooting.  However, it’s disappointing to see a camera of this calibre   hampered by ridiculously slow frame rates when shooting raw files (or RAW+JPEG pairs).

      With a sizeable grip, excellent build quality and comfortable ergonomics (even though the camera is comparatively large and chunkier than most of its siblings), the G5 X is a nice little camera to use, regardless of whether you’re recording still pictures or movie clips. Its fully-articulated monitor screen adds versatility when you need to record difficult-to-get-at subjects, while the EVF prevents point-and-guess shooting in bright ambient lighting.

      After allowing for currency conversion, the local RRP for the G5 X is cheaper than the lowest US online price we’ve found. With the discounting that has already begun in the local market, interested buyers are certain to do better by shopping at their local camera store than they could by importing this camera.



      Image sensor: 13.2 x 8.8 mm sensor with 20.9 million photosites (20.2 megapixels  effective)
       Image processor: DIGIC 6 with iSAPS technology
       A/D processing: 14-bit
       Lens: 8.8 x 36.8 mm f/1.8-2.8  (24-100mm in 35 mm format)
       Zoom ratio: 4.2x optical, up to 4x digital
       Image formats: Stills – JPEG  (DCF / Exif 2.3), CR2.RAW, RAW+JPEG; Movies – MPEG-4 (AVC/H.264) with AAC-LC [Stereo] audio
       Image Sizes: Stills – 3:2 aspect: 5472 x 3648,  4320 x 2880, 2304 x 1536, 720 x 480; 4:3 aspect: 4864 x 3648, 3840 x 2880,  2048 x 1536, 640 x 480; 16:9 aspect: 5472 x 3080, 4320 x 2432, 1920 x 1080, 720 x 408; 1:1 aspect: 3648 x 3648, 2880 x 2880, 1536 x 1536, 480 x 480; Movies – 1920 x 1080 at 60/50/30 fps, 1280 x 720 at 30 fps, 640 x 480 at 30 fps  
       Shutter speed range: 30-1/2000 seconds plus Bulb (M mode only)
       Self-timer: 2 or 10 seconds delay plus Custom setting
       Image Stabilisation: Lens-shift type; approx 3 stops correction
       Exposure Compensation: +/- 3EV in 1/3EV steps
       Focus system/range: 31-point contrast-based TTL AiAF with Face Detection or Touch AF with Object and Face Select and Track, I-point AF (any position is available or fixed centre); Single, Continuous, Servo AF/AE, Touch AF modes; range 5 cm to infinity; macro 5 to 50 cm
       Exposure metering/control: Evaluative, Centre-weighted average, Spot
       Shooting modes: Smart Auto (58 scenes detected), Program AE, Shutter priority AE, Aperture priority AE, Manual, Custom, Hybrid Auto, Creative Shot, SCN (Portrait, Self-Portrait, Star (Star Nightscape, Star Trails, Star Portrait, Star Time-Lapse Movie), Handheld Night Scene, Fireworks, 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 125-12800   in 1/3 EV steps
       White balance: Auto (including Face Detection WB), Daylight, Shade, Cloudy, Tungsten, Fluorescent, Fluorescent H, Flash, Custom (x 2), Multi-area WB correction available in Smart Auto, White Balance Compensation, Colour adjustment in Star mode
       Colour space: sRGB
       Flash modes/range (ISO auto): Auto, On, Slow Synchro, Off; range: 50 cm to 4.0 metres
       Sequence shooting: Max. 5.9 frames/second; 4.4 fps with AF (JPEG only); CR2.RAW files ~ 1 fps
       Buffer memory depth (based on tests): 11JPEGs, ‘unlimited’ raw files
       Storage Media: SD, SDHC, SDXC memory cards UHS-I compatible
       Viewfinder: 0.39 type OLED EVF with approx. 2.36 million dots; 22 mm eyepoint; -3.0 to +1.0 dpt adjustment
       LCD monitor: Vari-angle 3-inch TFT LCD with approx 1,040,000 dots
       Interface terminals: USB (Micro-B), HDMI (Type D)  
       Communications: Wi-Fi IEEE 802. 11b/g/n  with WEP, WPA-PSK (AES/TKIP), WPA2-PSK (AES-TKIP) security
       Power supply: NB-13L rechargeable battery pack; CIPA rated for approx   210 shots with Screen On, 215 shots with Viewfinder On, 320 shots with ECO Mode
       Dimensions (wxhxd): 112.4 x 76.4 x 44.2 mm
       Weight:  377 grams (with battery and memory card)



       Based on Large/Superfine JPEGs.


       Based on CR2.RAW files converted into 16-bit TIFF format with Digital Photo Professional.







       Auto white balance with incandescent lighting.  


      Auto white balance with fluorescent lighting.


       Auto white balance with flash lighting.  


      ISO 125, 30-second exposure at f/4.5; 20mm focal length.


      ISO 400, 13-second exposure at f/4.5; 20mm focal length.


      ISO 800, 6-second exposure at f/4.5; 20mm focal length.



      ISO 1600, 2.5-second exposure at f/4.5; 20mm focal length.


      ISO 3200, 2.5-second exposure at f/5.6; 20mm focal length.


      Flash exposure at ISO 125; 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.


      8.8mm  focal length, ISO 250, 1/640 second at f/4.


      36.8mm  focal length, ISO 125, 1/250 second at f/4.


      1.6x digital zoom;  36.8mm  focal length, ISO 160, 1/320 second at f/4.


      2x digital zoom;  36.8mm  focal length, ISO 200, 1/320 second at f/4.


      Close-up in Macro mode; 36.8mm focal length, ISO 125, 1/200 second at f/4.


      Flare; 8.8mm  focal length, ISO 250, 1/400 second at f/11.


      8.8mm focal length, ISO 200, 1/60 second at f/4.5.


      36.8mm  focal length, ISO 250, 1/200 second at f/4.


      32mm  focal length, ISO 400, 1/60 second at f/2.8.


      14mm focal length, ISO 125, 1/80 second at f/5.


      36.8mm focal length, ISO 800, 1/100 second at f/3.5.


      36.8mm focal length plus 2x digital zoom, ISO 250, 1/100 second at f/5.6.


      36.8mm focal length, ISO 200, 1/200 second at f/5.6.


      23mm focal length, ISO 200, 1/250 second at f/4.5.


      36.8mm focal length, ISO 125, 1/160 second at f/4.


      22mm focal length, ISO 125, 1/500 second at f/5.6.


      Still frame from Full HD 1080/50p video clip.


      Still frame from HD 720/25p video clip.


      Still frame from VGA/25p video clip.



      RRP: AU$1099.00; US$799.99

      • Build: 8.9
      • Ease of use: 8.8
      • Autofocusing: 8.8
      • Image quality JPEG: 8.5
      • Image quality RAW: 9.0
      • Video quality: 8.5