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Sony NEX-6 mirrorless cam squeezes in between 5R and 7 with WiFi, EVF and dedicated mode dial (hands-on video)
Does the NEX lineup need another model? Sony reckons it does. Meet the NEX-6. The company's latest mirrorless camera looks nearly identical to last year's top-of-the-line NEX-7, with the exception of a new dedicated mode dial, that lets you switch between aperture- and shutter-priority, manual, or scene modes with a hardware control rather than a need to jump into the menu. It offers the same pop-up flash (with a bit more power), a 3-inch 921k-dot TruBlack tilting LCD, an identical 2,359k-dot OLED electronic viewfinder and a strikingly familiar design. And that's where the similarities screech to a grinding halt. The NEX-6 is a hybrid camera of sorts, merging the best of the NEX-7 and the new 5R into a compact ILC that Sony says is its first to offer "full DSLR functionality." You won't be able to snag full-frame captures, as with Sony's brand new Alpha A99, but the 16.1-megapixel APS-C Exmor CMOS sensor should get you well on your way. There's also low-light shooting through ISO 25,600, 1080/60p video, a 10 frames-per-second continuous shooting mode, the new Fast Hybrid autofocus system first introduced with the NEX-5R and a new Multi Interface Shoe that lets you interface with a bunch of new accessories, including a hot shoe-mounted XLR mic input rig ($800). Join us past the break for our impressions and hands-on video.%Gallery-163053%
Pentax launches Q10 interchangeable lens camera, K-5 II and K-5 IIs flagship DSLRs
It's not every day that a camera company launches two major models the same day, but Pentax has done just that with the Q10 mirrorless interchangeable and the K-5 II / IIs cameras. The Q10 joins its equally tiny stablemate, the Q, to round out its line of mini-sensored, playing-card-sized cams that still let you change lenses. The new model boasts the same bokeh control and effects dial of the original Q, but adds a new grip and several color options, like the now-ubiquitous red shown above. Other features include a K-mount lens adapter, an included 15-45mm zoom telephoto, improved AF performance, full HD video recording, anti-shake technology, 5 fps continuous shooting capability and a pop-up flash. The new mini-shooter will go on sale in October at around $600 with the kit lens. If you have bigger (and deeper) pockets for something more sporty, Pentax has also announced its top K-5 II and K-5 IIs models to replace the popular K5, which has been around since 2010. The weather- and cold-resistant, dustproof DSLRs retain the same 16.2-megapixel resolution of their predecessor, but Pentax claims the new SAFOX X AF sensor has improved sensitivity in low-light conditions and improved auto-focus. The K-5 IIs eschews the anti-aliasing filter found on its sibling, but is otherwise the same, with a 3-inch, 925k LCD, 7fps burst mode, magnesium alloy / stainless steel body and RAW data retrieve function. These models will also appear in October and dent your wallet to the tune of $1,200 and $1,350 for the K-5 II and IIs, respectively. All that might address some of the AF and light sensitivity beefs we heard before, but we'll have wait for the next round of reviews to find out.
Fujifilm grows X-series mirrorless lineup with 16.3-megapixel X-E1
Didn't jump at the chance to own a Fujifilm X-Pro1? Considering the camera's relatively massive footprint and $1,700 body-only price tag, we can hardly blame you. Fortunately, things are looking up for the company's high-end X-series of mirrorless cameras --- a new model just stepped into town. The X-E1 features the same 16.3-megapixel APS-C X-Trans CMOS sensor as the much pricier X-Pro1, but in a body that's 30 percent smaller. Better yet, this latest flavor, which will ship in two-tone black and silver or solid black "classic designs," will carry a body-only retail price of $1,000. A cool grand will buy you an interchangeable lens camera with a sensor that, according to Fujifilm, is "capable of delivering resolution that is superior to other APS-C sensors, and equal to even some full frame sensors found in popular DSLR cameras." (Sayonara, Canon EOS-1D X.) Like its larger sibling, the X-E1 ditches the low-pass filter typically found in DSLRs in favor of a color filter array, which serves to minimize moire while yielding more accurate colors. A 2.36-million-dot OLED EVF is included for eye-level framing, or you can use the 2.8-inch 460k-dot LCD. The camera boasts a sensitivity range of ISO 100-25,600, packs a pop-up flash, it can capture 1080/24p video and includes a microphone input so you can add external audio sources. The camera is compatible with M lenses using an optional M Mount Adapter, or you can take advantage of Fujifilm's current selection of three X-mount primes. There will also be two new lenses launching alongside the X-E1 in November, including an XF 18-55mm f/2.8-4 and a 14mm f/2.8 prime, priced at $900 and $700, respectively -- you can save $500 by snagging that first lens in a kit with the camera for $1,400. Head past the break for the full PR.%Gallery-164351%
Sony NEX-6 spotted in the wild, electronic viewfinder and mode dial in tow
We've had furtive glances of Sony's upcoming NEX-6 before, but only in the very clinical space of a government test lab. Apparently, no mere agency can confine it: photography workshop director Vincent Kang has posted a photo of the pre-release mirrorless camera on Weibo for all to see. Posing next to 24mm and 50mm lenses, the NEX-6 looks to be very much the in-between camera we suspected it was, without as much dedicated control as the NEX-7 but still carrying an electronic viewfinder, a pop-up flash and a dedicated function key near the shutter release. The dedicated mode dial is also more conspicuous -- there's no question that Sony wants to free up controls on the back for the future camera's more experienced target audience. Between the new design and the already known inclusion of WiFi, it's looking as though the NEX-6 may hit the sweet spot for shooters who want more control than the NEX-5R without sacrificing all its newer features. We just need to wait for official launch details to make it all real.
Sony announces 16.1MP NEX-5R with Fast Hybrid AF, WiFi and downloadable apps (hands-on video)
Sony's entry-level NEX-C3 was recently updated with the NEX-F3, so it was only a matter of time before the company's mid-range mirrorless model scored a successor of its own. Keeping in line with its familiar naming scheme, the NEX-5R includes a new 16.1-megapixel sensor that's based on the version packaged with the 5N, and boasts low-light sensitivity through ISO 25,600. The new model offers a bevy of new features, however, with many stemming from its new-found ability to connect to the web, as Sony's first mirrorless camera with built-in 802.11 b/g WiFi. Standard remote functionality is included, via the Smart Remote Control app that lets you use an Android or iOS device to snap photos, as is Direct Upload for sending media to the web, and a typical suite of sharing features, including PC and DLNA access. The 5R takes connectivity leaps further with PlayMemories Camera Apps, letting you download applications directly to the device, including tools that assist with retouching and sequential shooting. (Sony hasn't confirmed whether firmware updates will be pushed wirelessly as well, but it's a possibility.) With the 5R, the camera maker is targeting current DSLR users who are ready to upgrade but would consider a switch to mirrorless. Digital SLR-like controls will help ease the transition, including a new dial near the shutter release. There's also a new Fast Hybrid AF, which pairs 99 phase-detect AF points with a 25-area contrast system, resulting in noticeable improvements with any lens. There's also 1080/60p video, along with a 10 frames-per-second continuous shooting mode (with AF tracking!). If you were fond of the front-facing self-portrait LCD mode on the F3, you'll be happy to know it's here as well, complete with the downward-facing option included with previous-gen NEX models, but notably absent from the F3. We took Sony's latest ILC for a quick spin, and noticed improvements immediately, especially when it came to the focusing system -- going side-by-side with the C3, the newer camera was able to focus much more quickly and accurately in low-light, even with the standard (and generally unimpressive) 18-55mm kit lens. Touchscreen functionality was present as well, just as it was on the 5N, though you can navigate all of the menus with dedicated controls, should you wish. We weren't able to test WiFi functionality, but it sounds promising in theory, especially considering the optional apps. We'll be taking a much closer look once Sony releases its NEX-5R in mid-October -- the camera will ship in black, silver or white for $650, or $750 with the standard 18-55mm f/3.5-5.6 kit lens. For now, you can take a closer look in our gallery below, or the hands-on video after the break.%Gallery-163052%
Panasonic G5 mirrorless camera gets September 13th release date in Japan
We enjoyed our short time with Panasonic's new mirrorless G5 in our hands-on last month, even if it was a little on the porky side. And, if you hail from the Land of the Rising Sun and had your heart set on one of these 16-megapixel shooters, Panny's announced you'll get your chance from September 13th. We're getting dangerously close to missing the stateside launch target of August, but where the US website is showing the G5 as unreleased, availability on Amazon tells a different story. We're reaching out for confirmation on that -- as well as pricing -- and will update should we hear more.
Nikon 1 J2 mirrorless camera: minor control tweaks, $549, ships in September
Not even a year after Nikon ceremoniously entered the mirrorless world, it's issuing the followup to the J1: it's the Nikon 1 J2, and it's -- at most -- a gentle revision to a camera that was near-universally hailed as being one of the more disappointing ILC options. Disappointing, of course, because it's Nikon. A company that quite clearly knows a thing or two about photography (D3S / D4, anyone?), but seemed to miss the mark in terms of price, performance and lens compatibility. With the J2, it sort of feels like a do-over. Outside of a slightly tweaked orange color and a reimagined exterior finish, the J2 is identical in size to the J1. You'll find the same 10.1 megapixel CMOS sensor (1-inch), the same autofocus system and support for the same lens collection. What's new are the additions to the Mode Selector dial, which add a smattering of creative options and access to P/S/A/M exposure modes. The rear LCD has seen its resolution double (to 921,000 dots, same as on the D4), and the camera has been intelligently designed to turn on when extending a 1 Series lens out, and turn off when retracting it into storage. Perhaps most importantly, Nikon's finally on the same playing field in terms of asking price. The J2 will ship in September for $549.95, and that includes the same 10-30mm f/3.5-5.6 kit lens that shipped with the J1. If you'll recall, the J1 kit started at $100 more, yet offered far less punch than Sony's cheaper NEX-C3. It's also worth noting that one other player has joined the ILC movement since the J1: Canon. Arguably, the EOS M still beats the J2 in practically every way; the thing that really needed an overhaul in the J2 was the meager 1-inch sensor, yet it remains. Perhaps the best news out of this ordeal is that the J1 isn't immediately going away. Nikon confirmed that it'd remain on store shelves for an undetermined amount of time, likely at a nice discount. If it's offered low enough, it may be easier to live with the shortcomings. In terms of accessories, Nikon's also introducing an optional 11-27.5mm f/3.5-5.6 lens ($189.95; ships next month) for the 1 Series. Though similar (on paper) to the 10-30mm kit lens, this guy is nearly 30 percent smaller from a physical size and weight standpoint. And on the other extreme, there's the WP-N1 waterproof case. This one's engineered to encase both the J1 and J2 for beneath-the-sea action up to 140 feet deep, but the staggering $749.95 (!) price tag is bound to attract jeers, chuckles and blank stares. Now, underwater cases of merit aren't ever "affordable," but offering an enclosure that's a full $200 more than the hardware it protects? Questionable. That said, we'd certainly relish the chance to test one out, but you best be sure that Nikon's J1 / J2 is going to be your underwater cam of choice for a long while before plunking down that much coin. %Gallery-161985%
PSA: Samsung's entry-level NX1000 mirrorless cam with 20-50mm lens now available for $700
Samsung's least expensive and most compact mirrorless camera, the NX1000, is finally available for purchase, shipping today for $700. The entry-level kit, which was originally set to hit retailers last month, includes a 20-50mm f/3.5-5.6 lens, a 3-inch LCD (no AMOLED display, sadly) and the same 20.3-megapixel APS-C sensor included with the higher-end NX210 and NX20 -- those models add an AMOLED display and electronic viewfinder, respectively, along with a handful of other enhancements. For photographers who don't need an EVF or higher-end display, the NX1000 should suit most needs, and it's available in both black, white and pink (the two latter models also ship with matching lenses). $700 may seem a bit steep, considering starter ILCs from other manufacturers can cost $600 or less, but retailers and online vendors are discounting the kit to $649 through the end of the month.
Canon EOS M mirrorless camera hands-on (video)
There have been plenty of false alarms in recent months, but Canon's first mirrorless interchangeable lens camera (ILC) is finally here -- in fact, we're holding it in our hands. The EOS M is clearly reminiscent of a point-and-shoot, such as the company's high-end PowerShot S100. Sure, Canon could have added some of the dedicated controls that its professional user base would demand, but photojournalists aren't the target here, for a few reasons. Canon's primary motivation, at least from an official perspective, was to create a camera that serves to bridge the gap between pocketable compacts and full-size DSLRs with a simple user interface designed to educate, not intimidate. Also key, however, was avoiding cannibalization of the company's low-end and mid-range Digital SLR models, which clearly still have a place in the lineup one tier above this ILC. Consumers willing to sacrifice hardware controls for a touchscreen-driven UI won't be missing out on much else -- functionally, the EOS M is a near-clone of Rebel T4i with the same 18-megapixel APS-C CMOS sensor, DIGIC 5 processor and 3-inch touchscreen. Even the advanced two-stage focusing system has made its way from the T4i, which utilizes both phase-difference and contrast AF in order to achieve focus more efficiently when capturing video. The housing design and lens mount are unlike any other that Canon has produced, however, combining features from other models without completely eliminating the need for a DSLR, or a compact for that matter. If you can get by without granular controls, you'll do just fine here -- the design really is spectacular. With an $800 price tag, the EOS M falls within the upper tier of the mirrorless category, and it remains to be seen whether it will be an obvious pick when it finally hits stores in October, a month after competitors tease their own products at the massive Photokina expo in Germany. How does it fare today? You'll find our impressions just past the break.%Gallery-160939%
Canon unveils EOS M mirrorless: 18 MP APS-C, EF compatibility, $800 in October with 22mm lens
Rumors of a Canon mirrorless camera have circled the web since long before Nikon's foray into the compact ILC space. And while that manufacturer's model fell far short of some expectations, it appears that Canon's iteration may in fact have been worth the not-so-insignificant wait. Unlike the Nikon 1 Series, Canon's new EOS M isn't a drastic departure from the company's existing mid-range DSLR lineup. In fact, under the hood it's quite similar to the Rebel T4i, with an 18-megapixel APS-C CMOS sensor, DIGIC 5 processor, 3-inch 1.04MP smudge-resistant touchscreen and the T4i's new hybrid autofocus system, which pairs both contrast and phase-difference AF for speedier, more accurate performance. Externally, however, the EOS M looks more like a cross between the PowerShot G1 X and S100, tipping the scale at 14.2 ounces with the included EF-M 22mm f/2 STM kit lens, compared to 27.4 ounces for the T4i, and 19 for the G1 X. It's physically smaller than the G1 X as well, and only slightly larger than the pocketable S100. The camera offers a sensitivity range in line with the competition, ranging from 100 to 25,600 (extended) in still mode and 12,800 (extended) when shooting video -- captured in 1920 x 1080 format at 24, 25 or 30 progressive frames per second. There's also a continuous shooting mode at 4.3 frames per second with fixed focus and exposure. The EOS M's control layout should be more familiar to Canon point-and-shoot owners than DSLR users -- as one component of the size compromise, dedicated buttons are replaced with touchscreen options and a bit of menu diving. There's also no electronic viewfinder, though a full-size hot shoe is included with full support for Canon's lineup of Speedlite flashes, including the new $150 90EX strobe and ST-E3-RT Transmitter, and the GP-E2 GPS Receiver. Though the camera lacks certain direct controls, it still supports full manual shooting, even in video mode. There's also a built-in stereo mic with manual level adjustment. In addition to that 22mm kit optic, Canon is offering an EF-M 18-55mm f/3.5-5.6 IS STM lens for $300, or you can add the $200 EF-EOS M mount adapter to enable use with existing lenses. The $800 EOS M kit is set to ship in October, and will be available in retail stores in black, though Canon's online store will also stock a white model (which will be paired with the same black lens). You can peek at both configurations, along with the new lenses and accessories in the gallery below. Then shoot past the break for the full PR from Canon. Michael Gorman contributed to this report.
Cinema rig takes the heat out of your NEX-5N, lets you slide in the accessories
The Sony NEX-5N, with it's goodly APS-C sized sensor and decent video quality, still has a couple of knocks against it as a video cam: its bitty size makes it hard to rig up and it doesn't dissipate heat well. Tinkerer Richard Gale has addressed those tics with his prototype NEX-5N cinema housing, by adding a heat sink and fan to stop the overheating problem and a possible anamorphic adapter and matte box to accommodate filters and gels. The provisional £1,500 price ($2,400) would get you the housing, NEX-5N with kit lens, 5" Sony LCD, and accessories, while the anamorphic kit with the matte box is still just a concept with no price tag. Neither idea will happen unless he gets enough orders, but wearing the boxy black outfit might finally give the petite mirrorless cam a shot of big-boy film cred. %Gallery-160155%
Fujifilm outlines X-Pro1 lens roadmap, brings zoom at last this fall
If there's been one outstanding gripe with Fujifilm's X-Pro1 camera, it's been the absence of zoom lenses; short of French kissing the subject, you might not get the photos you want. While there isn't much of a solution right this second outside of buying the fixed-lens X10, the Japanese camera designer can say when we'll see an interchangeable XF-mount zoom lens: fall 2012. That's when a bright 18-55mm, f/2.8-4.0 optically stabilized lens will make its appearance, along with a 14mm f/2.8 prime. Fujifilm will revert to unveiling nothing but pancakes and primes during early 2013, but the middle of that year will finish covering the zoomable basics through a wide-angle 10-24mm f/4.0 OIS lens and a 55-200mm, f/3.5-4.8 OIS telephoto. We wouldn't expect pricing with the new glass still months away -- but at least you can start planning that Sumatra vacation knowing you won't have to chase down the wildlife to get a good keepsake shot.
Sony NEX-F3 review
Just shy of a year ago, we reviewed the Sony NEX-C3, a mirrorless camera that quickly became our benchmark when it came to entry-level interchangeable lens cameras (ILCs). We praised its excellent image quality, generally consistent performance, overall solid design and, best of all, its $600 price tag -- including an 18-55mm kit lens. Since then, the landscape has shifted drastically for this particular type of compact shooter, with the Olympus OM-D E-M5 raising the bar for focusing performance, Nikon's cute J1 winning the hearts of many (likely due to a heavy marketing budget and adorable design) and the Fujifilm X-Pro1 pushing the envelope when it comes to price and body size. For its part, Sony also attracted plenty of attention with its flagship NEX-7, which appears to have been the inspiration for the company's brand new NEX-F3. More Info Sony NEX-F3 hands-on and sample shots Sony NEX-C3 review Sony NEX-7 review Based on its price tag and release schedule, you might have assumed that the NEX-F3 is here to dethrone Sony's NEX-C3. That may or may not be the case (we're hoping for the latter) -- the F3 is much more a scaled-down version of the NEX-7 than an update to the C3. Sure, designs can change drastically from one year to the next, but we were quite fond of last year's model, and many of you were, too. From a specification perspective, the F3 has a new APS-C sensor (though resolution remains unchanged), with a higher top ISO setting of 16,000, a 3-inch LCD that can flip 180-degrees to face completely forward, a new NEX-7-esque pop-up flash and a bulkier design. But does bigger mean better in this case? Click past the break for our take.%Gallery-156455%
Panasonic launches 12-35mm Micro Four Thirds lens with constant f/2.8 aperture
As powerful as they've become, Mirrorless camera systems can't match the versatility of a full-size DSLR. One key component we haven't seen is a constant-aperture lens, offering a consistent large aperture size throughout the zoom range. That changed today. Panasonic's new Lumix G X Vario 12-35mm optic packs one incredible advantage over its compact competitors -- a constant f/2.8 aperture. Because of the Micro Four Thirds system's 2x multiplication factor, this 12-35mm lens covers the same zoom range of 24-70mm glass on a full-frame camera, in a significantly smaller package. The optic consists of 14 elements in nine groups, and includes UED and UHR lenses to increase image quality and minimize distortion, along with built-in image stabilization and Panasonic's Nano Surface Coating to reduce ghosting and lens flare. It's also splash- and dust-resistant, and features a metal mount on the rear. Panasonic has yet to release pricing in the US, but the European price tag has been estimated at €1,100 (about $1,400) -- by comparison, Canon's equivalent optic (from a specification perspective) will run you $1,600. For its part, the 12-35mm MFT lens is expected to hit stores in August. Full PR is just past the break.
Samsung NX20, NX210 and NX1000 sample images and video
We're at Samsung's NX-series launch event at Citi Field in Queens, NY, taking a closer look at the NX20, NX210 and NX1000 mirrorless ILCs that began hitting stores earlier today (the NX1000 will arrive in June). All three cameras are virtually identical when it comes to core components like the 20.3-megapixel Samsung-designed APS-C image sensor, so performance on that front should be consistent to what we saw with our flagship NX20 sample. From a spec perspective, these are fine shooters, but the systems' high pricing and (relatively) limited lens selection aren't likely to contribute to Samsung's mirrorless success. Join us past the break for some New York Mets action through the lens of Samsung's NX20.%Gallery-155655%
Samsung clarifies camera production shift, confirms commitment to point-and-shoot models
We've heard reports that Samsung has shifted focus at some of its camera manufacturing facilities away from point-and-shoot cameras with the objective of ramping up production of its compact mirrorless models. And while this move implies that the company's pocketable compacts could be doomed, that's simply not the case. We spoke with Reid Sullivan, Samsung's Senior Vice President of Mobile Entertainment, who reinforced the company's continuing commitment to developing and manufacturing point-and-shoot models -- in short, pocketable cameras remain a focus for the company, which simply made manufacturing adjustments to accommodate an anticipated increase in demand for recently-launched NX20, NX210 and NX1000. Point-and-shoots, for better or worse, are here to stay, and Sullivan explained that while we're unlikely to see new sub-$100 cameras make their debut, there's plenty in the works on the SMART front, with new launches in store for upcoming events like Photokina and CES. Whether there will continue to be demand for point-and-shoots remains to be seen, and while consumers are clearly turning to smartphones for casual shooting, Samsung appears to be in no hurry to abandon the point-and-shoot form-factor.
Samsung NX210 and NX20 now available, NX1000 to ship in June for $700
We already had a fairly good idea of pricing for Samsung's trio of NX cameras, but until the company's US arm released figures of its own, we withheld hope that the entry-level NX1000 would break the critical $600 barrier. Sadly, that's not the case -- that curvy flavor will retail for $700 in white, black or pink finishes come June, with a 20-50mm kit lens in tow. Timing couldn't be more unfortunate for Samsung's NX line, considering that Sony upped the stakes earlier today with its NEX-F3, the successor to the wildly-popular NEX-C3, which is priced to sell at $600 with an 18-55mm kit lens. That camera's 16.1-megapixel APS-C sensor is the same physical size as what you'll find on the NX1000, NX210 and NX20, but Samsung's version ups the resolution to 20.3MP. Still, seasoned shooters know that megapixel count isn't a critical spec, making that extra 100 bucks a hard swallow for would-be NX1000 owners. Samsung's other mirrorless models, the NX210 and NX20, are available now for $1,100 and $900, respectively, so if you're in the market for an upgrade, those cameras may be worth considering. Full PR is after the break.
Sony NEX-F3 and A37 cameras hands-on and sample shots
Sony's newest NEX and DSLR have already graced these pages -- albeit in decidedly unofficial fashion -- but the time has come for this duo of shooters to be revealed to the world with the blessing of their maker. In case you didn't catch the earlier leaks, the NEX-F3 is the replacement for the much-beloved NEX-C3 as the entry-level ILC from Sony, while the A37 slots in the same place in the company's Alpha DSLR lineup. Sony's also rolling out fresh glass for each this July, in the form of an E-mount 18-200mm, F3.5-6.3 zoom lens for $850, and an 18-135mm F3.5-5.6 A-mount telephoto unit that'll set you back $500. Both the NEX-F3 and A37 will come with kit 18-55mm lenses and cost $600 when they go on sale in June, which makes them quite competitively priced as compared to their competition. An enviable pricing position, to be sure, but can they deliver the imaging goods? Well, we spent time with each on a tour of San Francisco recently, so join us after the break for our impressions and some sample photos.%Gallery-155474%
Does Samsung's point-and-shoot departure mark an industry-wide shift to mobile?
Samsung shuns point-and-shoot cameras, switches factory to pricier mirrorless types Samsung Galaxy S III focuses on photography sharing features, not cutting-edge optics Samsung considering Android-based digital camera Samsung's CES camera lineup had a single focus across the range: wireless connectivity. The company's flagship point-and-shoot, the 14-megapixel WB150F, boasts built-in WiFi at the very top of its feature shortlist. In fact, until you make your way to the third (and only) capture-related detail (an 18x optical zoom lens), you'd be hard-pressed to distinguish the dedicated device from some of Samsung's other camera-equipped offerings. With its latest generation of "Smart Cameras," the company moved to further bridge the gap between its gamut of portable devices, by bringing key smartphone features to its digital imaging line. As it turns out, the move was simply a crutch -- an opportunity to refresh models with technologies in which the company has already made significant investments. And it appears to have resulted in only a slight delay of the inevitable. We now know what to expect for Samsung's point-and-shoots -- pocketable models will step aside to make room for NX-series interchangeable lens cameras, and compact fans will continue to turn to Galaxy all-on-ones for their on-the-go shooting needs. Join us past the break for a closer look at how the move could impact the industry, and what the future may hold for the (formerly) beloved point-and-shoot.
Olympus OM-D E-M5 Micro Four Thirds camera review
More Info Olympus OM-D E-M5 Micro Four Thirds camera preview (video) Cameras, Olympus OM-D E-M5 five-axis sensor-shift image stabilization hands-on (video) Olympus OM-D E-M5 Micro Four Thirds camera to ship on March 31st? (update: now April) Stepping across the great DSLR divide into the land of mirrorless cameras always requires some compromise. Focusing speed, image quality, lens compatibility and battery life are frequent casualties, but for everyone except professional shooters, the size and cost benefits of swapping a full-grown beast for a compact ILC surely help soften the blow. The latest Micro Four Thirds model from Olympus, the OM-D E-M5, adds functionality that expand that list of betterments even further, allowing more versatility than larger DSLRs have to offer. These perks include a water-resistant design, for starters, along with a nifty lens that offers macro shooting and both manual- and powered-zoom in one compact package. One area where the 16-megapixel E-M5 does match the footprint of its full-size brethren is in price: you'll drop a cool grand for the body alone, while the 12-50mm f/3.5-6.3 lens kit will bump that tag up another $300. Make no mistake, the E-M5 is a fantastic camera, but $1,300 is mighty steep for any mirrorless model, especially one with a Micro Four Thirds sensor. This, however, is no ordinary MFT camera. As the first model in Olympus's OM-D line -- taking design cues from the company's popular line of OM film cameras -- the E-M5 is in a class of its own, at least as far as Olympus's portfolio is concerned. Besides physical appearance, perhaps, the most notable selling point is its focus speed: press the shutter release, and your subject comes into clarity with rapid-fire precision, whether you're shooting in bright sunlight or a dark restaurant. But though the E-M5 has already received accolades for its powerful focusing, you might be wondering how the whole package performs. Meet us past the break to find out.
