Samsung NX500

      Photo Review 8.8

      In summary

      If you’re in the market for a compact, lightweight camera and lens that can deliver high-resolution still images and 4K video, the Samsung NX500 has a lot to offer, particularly for travellers. But buyers must be prepared to do without an EVF, which is difficult when shooting in bright outdoor lighting.

      Connected photographers should have little to complain about, particularly if they already own Samsung smart devices. Like the NX1, the NX500 is among the best connected cameras on sale today.

      Although it doesn’t outshine its more expensive sibling, the NX500 packs a lot of punch for its class for snapshooters who want better performance and more features and functionality than their smart-phone, particularly if they travel a lot. At roughly half the price of the NX1 ““ with a lens included ““ the NX500 provides most of its sophisticated features in a manageable compact body and represents excellent value for money.


      Full review

      Samsung has taken the sensor, processor, connectivity and 4K video capabilities of its flagship NX-1 camera and crammed them into a compact, ‘rangefinder-style’  body to create its recently-released NX500 camera. In the process, the viewfinder has been dispensed with, along with quite a few external controls, but the overall size and weight of the resulting camera has been significantly reduced and buyers gain plenty of shooting power in a relatively compact package.  


      Angled front view of the Samsung NX500 with the 16-50mm kit lens fitted. (Source: Samsung.)

      The body design of the NX500 is similar to the NX300 model, which it replaces. It’s made mostly from polycarbonate plastic, with a brushed aluminium top plate and a metal lens mount.  Unlike the NX1, the NX500 is not weather-sealed. The table below shows the main differences between the two cameras’ bodies and key controls.




      Body materials

      Polycarbonate with brushed aluminium top plate

      Mainly magnesium alloy




      Command dials


      2 plus drive dial

      Function buttons





      2,360,000-dot OLED


      Bundled, GN 8.0 (m/ISO 100)

      Built-in, GN 11 (m/ISO 100)

      Shooting modes

      Auto, Aperture Priority, Custom1, Custom2, Manual, Program, Shutter Priority, Smart, Samsung Auto Shutter

      Auto, Aperture Priority, Custom1, Custom2, Manual, Program, Shutter Priority, Smart

      Shutter speeds

      1/6000 sec. to 30 sec.  plus Bulb

      1/8000 sec. to 30 sec.  plus Bulb

      Sequence shooting

      Max. 9 shots/sec.

      Max. 15 shots/sec.

      Buffer capacity

      Max. 38 Large/Fine JPEGs, 6 RAW files or   5 RAW+JPEG pairs

      Max. 73 Large/Fine JPEGs, 21 RAW files or   20 RAW+JPEG pairs

      Interface terminals

      USB 2.0, HDMI (NTSC, PAL)

      USB 3.0, HDMI (NTSC, PAL), 3.5mm Stereo MIC Input, 3.5mm Stereo Output, remote release

      Wi-Fi function

      IEEE 802.11b/g/n, NFC, Bluetooth support

      IEEE 802. 11b/g/n/ac; NFC, Bluetooth 3.0 support


      BP1130 (7.6V, 1,130 mAh)

      BP1900 (7.2V, 1,860 mAh)

      CIPA rating

      Approx. 370 shots/charge

      Approx. 500 shots/charge

      Dimensions (wxhxd)

      119.5 x 63.6 x 42.5 mm

      138.5 x 102.3 x 65.8 mm

      Weight (body only)

      292 grams

      550 grams

      RRP (AU$)

      $999 (with 16-50mm PZ lens)

      $1899 (body only)

      Who’s it for?
       It’s difficult to determine just what type of photographer the NX500 will suit best because it’s a bit too complex for point-and-press photographers but the lack of a viewfinder will deter serious enthusiasts. In addition, while it is the cheapest interchangeable-lens CSC with 4K video, the NX500’s continuous shooting and video capabilities aren’t quite up to those provided by its NX1 ‘big brother’ because its DRIMeV processor has less on-board memory.

      Consequently, the fastest continuous shooting speed is reduced from 15 to nine frames/second and the buffer memory has about half the storage capacity of the NX1’s. The NX500 also supports a lower bitrate of 36Mbps (at 24p), with 40Mbps possible for UHD footage at 30p or 25p, compared with 72 Mbps and 80 Mbps, respectively, for the NX1.

      Only the central two thirds of the sensor’s pixels are recorded when shooting K4 movies, which changes the effective focal length of lenses fitted. The NX1’s fast and slow recording modes carry over into the NX500 but not the Gamma Control or Master Black Level and Luminance Level adjustments. Time coding is not available.

      There’s no external microphone port and the camera can’t stream recorded 4K movie clips directly from the HDMI port to an external recorder. Nor is there a headphone jack for monitoring movie soundtracks.

      Fewer compromises have been made with the integrated Wi-Fi and NFC (near field communication) capabilities, which are at a slightly lower level than the NX1’s. The NX500 also supports Bluetooth connectivity to Android smart devices, again at a more basic level.

      Build and Ergonomics
       Physically, the NX500 and NX1 couldn’t be more different. While the NX500 is essentially a small camera with a soap-bar type body, the NX1 looks and handles like a medium-sized DSLR. The review camera was solidly built and its finish was in line with Samsung’s previous cameras.  


      Front view of the NX500 with the 16-50mm kit lens fitted. (Source: Samsung.)

      Most of the body is covered with a synthetic leather that has a textured, non-slip surface, which makes the camera comfortable to hold. The metal lens mount rises a millimetre or two above the camera body. Aside from the plastic lens release button, the only item on this panel is a small focus-assist/self-timer indicator LED.  


      Top view of the NX500 with the 16-50mm kit lens fitted. (Source: Samsung.)

      The top panel is brushed aluminium, with the mode dial and button controls made from a similar material to match. A hot-shoe is recessed into the top panel, providing connections for the supplied   GN 8.0 flash (SEF-15A).

      Two microphone ports sit astride the hot-shoe for recording the stereo soundtracks. A larger built-in speaker hole sits towards the left hand edge, while the Mobile button for controlling Wi-Fi functions is located just behind the main command dial, which is inset into the camera body.

      A conventional mode dial is partially recessed into the right hand end of the top panel. It carries the standard Auto, P, A, S and M settings plus a Custom mode and novice-friendly SAS (Samsung Auto Shot) and Smart Auto modes, which are also found on the NX1 and explained in our review of that camera.  

      Metal strap eyelets protrude from each side of the camera, a millimetre or two below the lower edge of the top plate. A rather chunky buckle cover at the end of the strap can get in the way when you’re operating the shutter and AEL buttons.  


      Rear view of the NX500 showing the OLED monitor and main button controls. (Source: Samsung.)

      The rear panel is dominated by the 3-inch, 1037k-dot AMOLED touch-screen, which is the same as on the NX1. But, whereas the NX1’s screen can be tilted down by about 45 degrees for over-the-head shooting or up to sit perpendicular to the camera body, the NX500’s monitor can be flipped up through 180 degrees for shooting ‘selfies’. It also tilts down through about 45 degrees.


       The illustration above shows the range of angular adjustments available for the OLED monitor.  (Source: Samsung.)

      The camera can be configured to switch to ‘selfie mode’ automatically when the monitor is flipped up to face forward. This engages the automatic shutter release modes, which include smile and wink detection.

      Touch-screen capabilities are similar to the NX1, although the NX500 introduces a new Touch AF mode that lets you specify a particular area of the scene for exposure metering. After touching the screen to set the focus, you simply drag the duplicated box to the part of the screen you want the camera to measure the exposure on. You can also view a summary of camera settings, containing screen brightness, storage and battery levels and Bluetooth and Wi-Fi connections by touching a down-pointing arrow at the top of the screen.

      To the right of the monitor is the standard arrow pad, with direction buttons that access the Display, AF, ISO and drive mode settings plus a central OK button that doubles as an AF area selector in some shooting modes. Below the arrow pad are the Playback and Delete/Custom buttons, the latter customisable in shooting mode. A status lamp for indicating file transfers and battery charging is located above the Playback button.

      Above the arrow pad are the Menu and Function (Fn) buttons, the latter accessing the Smart Panel when shooting stills or switching between AF and MF in movie mode. The Smart Panel is similar to the quick control panels on other cameras and provides a graphical interface that allows users to quickly select and adjust any of 12 key camera settings via the monitor screen, control dials and arrow pad buttons.

      Above the Menu button is the EV +/- button, which is customisable. The second control dial (which wasn’t provided on the NX300) is partially inset into the camera body just above it, with the Video recording button to its right, just below the mode dial.

      The camera’s menu system is straightforward and similar to the NX1’s with four sections: Camera, Movie, Custom, and Settings. The NX500’s Hybrid Auto Focus (AF) system is the same as the NX1’s and combines phase- and contrast-detection functions, with 205 phase-detection (153 cross type) and 209 contrast AF points covering virtually all of the image frame. Samsung claims an AF speed of 0.055 seconds for this system.

      Manual focusing is aided by ‘enlarged display’  and focus peaking functions, the former offering 5x or 8x magnification while you are using the manual focus ring. It reverts to a normal view after a few seconds.

      The battery and memory card share a compartment in the base of the camera, which has a sliding lock. USB 3.0 and mini-HDMI ports are located beneath a lift-up flap of hard plastic on the left hand side of the camera body. No connections are provided for either a 3.5mm microphone input or a headphone for monitoring audio quality.

      No printed manual is supplied with the camera. Instead you have to download it from Samsung’s website, where it is available free of charge in PDF format.

      Sensor and Image Processing
       The 28-megapixel (effective) backside illuminated (BSI) sensor in the NX500 is the same as the one in the NX1 and covered in our review of that camera. It’s also partnered with the same DRIMe V processor, which supports sensitivities up to ISO 51200 as well as 4K movie recording.

      Like the NX1, the NX500 offers two compression options for raw files: lossless and normal, the latter involving lossy compression. The bit depth of raw files is reduced from 14-bit to 12-bit during continuous shooting.

      Buffer capacity is roughly halved in the NX500, compared with the NX1 and capture rates slow noticeably after only six SRW.RAW frames have been recorded. For JPEGs, this slowing happens after about 38 frames.

       Like the NX1, the NX500 can record both 4K (4096 x 2160 at 24p) and Ultra HD (3820 x 2160 at 30p) video, provided you use an appropriate SDXC card that can handle the high data transfer speeds and file sizes involved. It also supports the normal Full HD 1920 x 1080 resolution at 60/50/25/24 fps.

      The NX500 uses the same H.265 HEVC Codec as its sibling, offering a capture rate of 40Mbps and compressing video to half the size and bit rate of H.264 footage at 100Mbps. Only two compression options, Normal and HQ, are provided (the NX1’s Pro setting is not) and the maximum bit-rate is limited to 40Mbits/second.

      The NX500’s 4K movies are also recorded by cropping the central 60% of the image from the camera’s sensor, which significantly changes the effective focal length of the lens, making it longer.   You can’t see the effect of this change until you start recording or set the camera into Movie Standby mode by pressing the Delete button.

      You can’t stream 4K movie recordings directly from the camera but the mini-HDMI socket will support streaming of 1080p output, either post-capture or while recording a 4K clip. Soundtracks are recorded in stereo via the embedded microphones and an onscreen Audio Level Meter lets you fine-tune audio levels. But the camera lacks either a microphone input or headphone jack.

      Like the NX1, the NX500 allows users to adjust   exposure levels, ISO, metering, white balance and timer settings while shooting movies in the P/A/S/M modes and all Smart Filters and Picture Wizard settings are available. Fast-Slow recording lets users slow down or speed up frame rates by between 0.25x and 20x the normal recording speed.

      Other Features
       The NX500 sports the same ‘hybrid’ NX AF System III as the NX1, with 205 embedded phase-detection  points (153 of them cross-type), which are augmented by contrast-based autofocusing. Samsung claims an AF response speed of 0.055 second for this system.

      The NX500 supports four AF Area modes ““ Multi AF, Selection AF with a selectable area, Face Detection and Self-Portrait ““ plus the standard Single, Continuous and Manual AF modes. There’s also an ‘Active AF’ mode, which detects a subject’s movements and switches between single and continuous AF modes according to its distance from the camera.

      Manual focusing aids include an ‘enlarged display’ function with 5x or 8x magnification plus focus peaking with three levels and a choice of white, red and green for the highlight colours. Users can also take advantage of an AF Priority mode that starts focusing when you point the camera at a subject.

      Exposure metering is based upon a TTL 221 Block segment system with the standard multi-area, centre-weighted and spot patterns. Unusually for a snapshooter’s camera, the NX500 offers exposure compensation and bracketing across an impressive +/- 5EV range for stills and +/- 3EV for movies.

      Six white balance pre-sets are provided, in addition to the Auto and Custom settings and users can select a precise value from the included Kelvin scale. White balance bracketing is available.

      Samsung’s Auto Shot shooting mode is essentially the same as in the NX1, with the Trap Shot function included in the three options available, the others being Baseball and Jump Shot. The Smart Mode functions are also the same and include Beauty Face, Landscape, Action Freeze, Rich Tones, Panorama, Waterfall, Multi-Exposure, Silhouette, Sunset, Night, Fireworks and Light Trace. All settings are restricted to JPEG capture.

      Shutter speeds range from 30 seconds to 1/6000 second (compared with 1/8000 sec. on the NX1) with adjustments in 1/3 EV steps. The NX1’s Bulb setting appears not to be available.

      Connectivity options are similar to those in the NX1, with Bluetooth 3.0, Wi-Fi and NFC built in, the latter supporting ‘Tag & Go’ pairing. The Mobile button can be set up to access either Wi-Fi or the (slower) Bluetooth and, once configured it can enable users to upload images to services like Facebook, Flickr, Photobucket, Picasa, SmugMug or YouTube.

      You can also attach them to emails or back them up to a connected computer or access cloud storage via most popular Android-compatible services or Samsung’s AllShare Play. Installing the Samsung Camera Manager on a smart device enables it to be used as a live image previewer and allows the camera to be controlled from the touch screen. GPS data from the device can also be embedded in the image metadata.

      Wi-Fi can be used to enable images and movies stored in the camera to be viewed on the screen of a TV or computer that is connected to the same wireless access point as the camera. Success depends upon the data transfer capabilities of the TV set and the condition of the network.

      Playback and Software
       Playback functions are essentially identical to the NX1’s and include both still image and video files. Raw files can be converted into JPEG format and saved separately.

      Movie clips can be played back with adjustments to brightness and audio volume available, along with a limited range of basic editing functions. Individual frames can be captured from movies in playback mode.

      A slightly wider range of in-camera adjustments is available for still images in playback mode, including auto adjustment, as well as controls for tweaking brightness, contrast, saturation, colour temperature, RGB values, exposure and hue. Smart Filter effects that can be applied in playback mode include vignetting, miniature and watercolour plus selective red, green, blue or yellow colour effects.

      Whereas the NX1 was supplied with a disk containing Adobe Photoshop Lightroom 5 for Windows and Mac OS, NX500 owners who want additional software are required to download and install it   from Samsung’s website. First, they will require the Samsung   i-Launcher application, which is also used when updating the camera’s firmware. It allows users to download and install Samsung Movie Converter, Samsung DNG Converter, PC Auto Backup, Samsung RAW Converter, and the Power Media Player program.

      We didn’t bother downloading any of these applications since the NX500 was already supported by our preferred raw file converter, Adobe Camera Raw, when this review was in production.

       We reviewed the NX500 with the NX 16-50mm f/3.5-5.6 OIS kit lens  separately. We didn’t expect the kit lens to be as good a performer as the NX 16-50mm f/2-2.8 S ED OIS zoom lens, which sells for more than four times its price. But we were pleasantly surprised by its overall price/performance balance.

      SuperFine JPEGs at the full 28-megapixel resolution contained plenty of detail and a wide dynamic range in most situations. Images recorded in the default Standard Picture Wizard mode were also colour-rich, without being over-saturated, a factor confirmed by our Imatest testing. Converted raw files showed reduced saturation plus a few small colour shifts, all easily corrected in a capable editor.

      We noticed a slight overall softening across the frame in images straight from the camera, along with greater edge and corner softening than in the centre of the frame. Both these conclusions were confirmed by Imatest testing and both could be at least partially addressed by post-capture unsharp masking in a capable image editor. (The camera also supports in-camera sharpness adjustments, which we didn’t test.)

      Imatest showed the supplied camera and lens combination performed well, almost meeting the very high expectations for the 28.2-megapixel  sensor with converted raw files but falling a little short with JPEGs. The resolution differences between JPEG and raw files were wider than we expected although resolution remained relatively high between ISO 100 and ISO 800 before tailing off gradually. The graph below shows the results of our tests.


       We found little apparent noise at ISO settings up to ISO 3200, with a progressive increase thereafter.  Shots taken between ISO 100 and ISO 800 were consistently clean and detailed with no visible noise.

      Between ISO 1600 and ISO 6400 slight softening became apparent when images were enlarged to 100%, probably as a result of default noise-reduction processing. The effects of this processing became progressively more noticeable with increasing sensitivity and we feel the default noise-reduction processing was higher than needed when similar files from the NX500 and NX1 were compared.

      Interestingly, colour noise was relatively low throughout the sensitivity range and luminance noise remained inoffensive. By ISO 25600, both available light and flash shots appeared both soft and granulated and would not justify printing any larger than about snapshot size. We wouldn’t recommend the highest ISO setting of 51200 because images are so soft, lacking in detail and colour intensity  they wouldn’t even be usable at small output sizes.

      Flash shots fared a little better and the bundled flash produced consistent exposure levels across the ISO range. We observed slight over-exposure at the two highest sensitivity settings, both of which were soft and slightly granular looking with reduced colour saturation.

      The auto white balance setting produced close-to-neutral colours with flash exposures and under fluorescent lighting as well as incandescent illumination, which was quite unexpected and unusual in any cameras we have reviewed recently. This is probably why the flash, tungsten and fluorescent pre-sets all over-corrected, although manual measurement produced neutral colours under all three types of lighting. Plenty of in-camera adjustments are available to fine-tune colour balance.

      Autofocusing was mainly fast and accurate, as we expected from the hybrid AF system, particularly when shooting stills. However, we noticed some slowing in low light levels when the distance to the central subject changed, when either the lens was zoomed or the camera was moved to focus upon a closer object.

      We recorded movie clips with the review camera both in normal daylight and at night, during Sydney’s Vivid Festival; of Light, Music and Ideas. Video quality was generally excellent in both situations with plenty of fine detail being captured in the two 4K recording modes, which almost matched the quality of movie clips recorded with the NX1 (we suspect the different lenses produced most of the resolution differences).

      The image cropping that occurs with the two 4K recording modes is greater for the 4096 x 2160 resolution than the UHD mode, which makes it important to preview the scene before you start recording. Autofocusing was slightly slower than we expected, based upon our experiences with the NX1, although it was better than many cameras we have reviewed recently.

      The FHD and HD settings produced clips with above average overall sharpness and few glitches. In all movie modes the camera handled both exposure and focusing much better than most of the DSLRs we have reviewed in the past 12 months.    

      Soundtracks were clearly recorded with better stereo ‘presence’ than we expected from the small built-in microphones. The wind-cut filter was more effective than many cameras we’ve reviewed but unable to handle high wind strengths.

      Our timing tests were carried out with a 32GB Samsung EVO microSD UHS-1 card, which has a data transfer speed of up to 48MB/second. The review camera took roughly 1.5 seconds to power up and we measured an average capture lag of 0.2 seconds, which was reduced to less than 0.1 seconds on average with pre-focusing. Shot-to-shot times averaged 0.85 seconds. The average recycling time for the bundled flash was 3.2 seconds. On average, it took 0.85 seconds to process each Large/SuperFine JPEG file and between one and 1.2 seconds for each SRW.RAW file or RAW+JPEG pair.

      The high-speed continuous shooting mode recorded 38 Large/SuperFine JPEGs in 5.6 seconds before slowing, which works out at a little under nine frames/second. It took roughly three seconds to clear the buffer at the end of the burst.

      Swapping to raw file capture dramatically reduced the number of frames to only six before capture slowed. It took 3.5 seconds to complete the processing of this burst. Six frames was also the buffer memory limit for RAW+JPEG pairs, which took approximately 4.1 seconds to process.

      If you’re in the market for a compact, lightweight camera and lens that can deliver high-resolution still images and 4K video, the Samsung NX500 has a lot to offer, particularly for travellers. But buyers must be prepared to do without an EVF, which is difficult when shooting in bright outdoor lighting.

      The frame cropping associated with both 4K movie modes is also problematic without an EVF since you have to switch on the preview mode to see what will be covered when the field of view is reduced. The lack of external microphone and headphone jacks further limits the camera’s usefulness for serious movie shooting.

      Connected photographers should have little to complain about, particularly if they already own Samsung smart devices. Like the NX1, the NX500 is among the best connected cameras on sale today.

      Although it doesn’t outshine its more expensive sibling, the NX500 packs a lot of punch for its class for snapshooters who want better performance and more features and functionality than their smart-phone, particularly if they travel a lot. At roughly half the price of the NX1 ““ with a lens included ““ the NX500 provides most of its sophisticated features in a manageable compact body and represents excellent value for money.



       Image sensor: 23.5 x 15.7 mm BSI CMOS sensor with 30.7 million photosites (28.2 megapixels effective)
       Image processor:  DRIMe V
       Lens mount: Samsung NX  
       Focal length crop factor: 1.5x
       Image formats: Stills ““ SRW.RAW, JPEG (DCF Ver. 2.0, Exif Ver.2.3), MPO (for 3D Lens); Movies ““ MP4 (Video: HEVC /H.265, Audio: AAC)
       Image Sizes: Stills ““ 3:2 aspect: 6480 x 4320, 4560 x 3040, 3264 x 2176, 2112 x 1408; 16:9 aspect: 6480 x 3648, 4608 x 2592, 3328 x 1872, 2048 x 1152; 1:1 aspect: 4320 x 4320, 3088 x 3088, 2160 x 2160, 1408 x 1408;   3D Lens Image Size: 16:9 aspect: 3232 x 1824, 1920 x 1080; Movies: 4K:  4096 x 2160 (24fps only), UHD:  3840 x 2160 (30fps only),   Full HD 1920 x 1080, 1280 x 720 , 640 x 480 at 50fps, 25fps, 24fps
       Image Stabilisation: Lens Shift (depends on lens)  
       Dust removal: Supersonic Drive
       Shutter (speed range): 1/6000 sec. to 30 sec.  plus Bulb; flash synch at 1/200 sec.
       Exposure Compensation: +/- 5EV in 1/3EV steps
       Exposure bracketing: +/- 3EV in 1/3EV steps
       Other bracketing options: White balance, Picture Wizard, Depth of field
       Self-timer: Delays of 2 to 30 sec.   in one sec. steps
       Focus system: 209-point contrast-detect system with   205-point Phase Detection AF
       Focus modes: Active AF, Continuous AF, MF, Single AF
       Exposure metering:  TTL 221 Block segment system with Multiple, Centre-weighted and Spot metering patterns
       Shooting modes: Auto, Aperture Priority, Custom1, Custom2, Manual, Program, Shutter Priority, Smart, Samsung Auto Shutter
       Picture Effects: Calm, Classic, Cool, Custom (1-4), Forest, Landscape, Portrait, Retro, Standard, Vivid
       SMART Modes: Action Freeze, Beauty Face, Fireworks, Landscape, Light Trace, Multi-Exposure, Night, Panorama (Live), Rich Tones (HDR), Silhouette, Sunset, Waterfall
       Smart Filter: Vignetting, Miniature (H), Miniature (V), Water Colour, Selective Colour (R/G/B/Y 4 Colours)
       Colour space options: sRGB and Adobe RGB
       ISO range: Auto,   ISO 100, 200, 400, 800, 1600, 3200, 6400, 12800, 25600   in 1EV or 1/3EV steps; extension to ISO 51200
       White balance: Auto, Cloudy, Custom, Daylight, Flash, Fluorescent (W/N/D), K (Manual), Tungsten, Auto+Tungsten
       Flash: Bundled flash (GN 8.0 at ISO 100)
       Flash modes: Smart flash, auto, auto w/redeye reduction, fill flash, fill w/redeye reduction, 1st-curtain, 2nd-curtain, off
       Flash exposure adjustment:
       Sequence shooting: Max. 9 shots/sec.  
       Buffer capacity: Max. 38 Large/Fine JPEGs, 6 RAW files or  5 RAW+JPEG pairs
       Storage Media: SD, SDHC, SDXC; UHS-I & UHS-II compatible
       Viewfinder: None
       LCD monitor: 3.0-inch Super AMOLED Tilt Display with Touch panel (tilting Up 180 °, Down 45 °); 1,036,000 dots; Guide display
       Playback functions: Single image, Thumbnails (15/24 images), Slide show, Movie; Auto Adjustment, Brightness, Colour Temperature, Contrast, Crop, Exposure, Face Retouch, Hue, Resize, RGB Adjustment, Rotate, Saturation, Smart Filter; Trim Movie, Still Image Capture from movie
       Interface terminals: USB 2.0, HDMI (NTSC, PAL)
       Wi-Fi function: IEEE 802.11b/g/n, NFC, Bluetooth support
       Power supply: BP1130 rechargeable Li-ion Battery Pack; CIPA rated for approx. 370 shots/charge
       Dimensions (wxhxd): Approx. 119.5 x 63.6 x 42.5 mm (excluding protrusions)
       Weight: Approx. 292 grams (body only); grams with battery and card



       Based on JPEG files straight from the camera.


      Based on SRW.RAW files converted into 16-bit TIFF files with Adobe Camera Raw.









       Auto white balance with incandescent lighting.


       Auto white balance with fluorescent lighting.


       Auto white balance with flash lighting.


      30-second exposure at ISO 100, 26mm focal length, f/4.5.


      13-second exposure at ISO 800, 26mm focal length, f/5.


      5-second exposure at ISO 6400, 26mm focal length, f/5.6.


      4-second exposure at ISO 12800, 26mm focal length, f/8.


      3-second exposure at ISO 25600, 26mm focal length, f/11.


      2-second exposure at ISO 51200, 26mm focal length, f/13.


      Flash exposure at ISO 200, 50mm focal length, 1/80 second at   f/5.6.


      Flash exposure at ISO 800, 50mm focal length, 1/80 second at   f/5.6.


      Flash exposure at ISO 6400, 50mm focal length, 1/80 second at   f/8.


      Flash exposure at ISO 12800, 50mm focal length, 1/80 second at   f/10.


      Flash exposure at ISO 25600, 50mm focal length, 1/80 second at   f/13.


      Flash exposure at ISO 51200, 50mm focal length, 1/100 second at   f/16.


      Close-up; 50mm focal length, ISO 100, 1/250 second at f/7.1.


      Moderate backlighting, showing the dynamic range in JPEG files; 16mm focal length, ISO 100, 1/400 second at f/8.


      16mm focal length, ISO 100, 1/320 second at f/8.


      50mm focal length, ISO 100, 1/400 second at f/8.


      16mm focal length, ISO 5000, 1/30 second at f/5.6.


      50mm focal length, ISO 25600, 1/60 second at f/5.6.


      21mm focal length, ISO 1250, 1/40 second at f/5.6.


      34mm focal length, ISO 5000, 1/60 second at f/5.6.


      50mm focal length, ISO 3200, 1/8 second at f/7.1.


      50mm focal length, ISO 12800, 1/25 second at f/7.1.


      50mm focal length, ISO 25600, 1/60 second at f/7.1.


      31mm focal length, ISO 25600, 1/13 second at f/7.1.


      16mm focal length, ISO 6400, 1/5 second at f/8.


      Still frame from 4K movie clip recorded at 4096 x 2160 pixels.


       100% crop from the above frame.


      Still frame from 4K movie clip recorded at 3840 x 2160 pixels.


       100% crop from the above frame.


      Still frame from 4K movie clip recorded at 3840 x 2160 pixels at night.


      Still frame from Full HD 1080p movie clip recorded at 50p.


      Still frame from Full HD 1080p movie clip recorded at 50p at night.


      Still frame from Full HD 1080p movie clip recorded at 25p.


      Still frame from HD 720p movie clip recorded at 50p.


       298: Still frame from VGA movie clip recorded at 30p.
       Additional image samples can be found with our review of the Samsung 16-50mm f/3.5-5.6 Power Zoom lens.



      RRP: AU$999; US$799 (with 16-50mm PZ lens)


      • Build: 8.8
      • Ease of use: 8.5
      • Autofocusing: 8.5
      • Still image quality JPEG: 8.5
      • Still image quality RAW: 8.8
      • Video quality: 9.0