Shutter Speed and Aperture

Understanding ISO, Shutter Speed and Aperture – A Beginner’s Guide

JANUARY 12, 2010 BY NASIM MANSUROV128 COMMENTS

It is difficult to take good pictures without having a solid understanding of ISO, Shutter Speed and Aperture – the Three Kings of Photography, also known as the “Exposure Triangle”. While most new DSLRs have “Auto” modes that automatically pick the right shutter speed, aperture and even ISO for your exposure, using an Auto mode puts limits on what you can achieve with your camera. In many cases, the camera has to guess what the right exposure should be by evaluating the amount of light that passes through the lens. Thoroughly understanding how ISO, shutter speed and aperture work together allows photographers to fully take charge of the situation by manually controlling the camera. Knowing how to adjust the settings of the camera when needed, helps to get the best out of your camera and push it to its limits to take great photographs.

Let’s quickly review a summary of the Exposure Triangle as a refresher:

1. ISO – the level of sensitivity of your camera to available light. It is typically measured in numbers, a lower number representing lower sensitivity to available light, while higher numbers mean more sensitivity. More sensitivity comes at the cost though, as the ISO increases, so does the grain/noise in the images. Examples of ISO: 100, 200, 400, 800, 1600.
2. Shutter Speed – the length of time a camera shutter is open to expose light into the camera sensor. Shutter speeds are typically measured in fractions of a second, when they are under a second. Slow shutter speeds allow more light into the camera sensor and are used for low-light and night photography, while fast shutter speeds help to freeze motion. Examples of shutter speeds: 1/15 (1/15th of a second), 1/30, 1/60, 1/125.
3. Aperture – a hole within a lens, through which light travels into the camera body. The larger the hole, the more light passes to the camera sensor. Aperture also controls the depth of field, which is the portion of a scene that appears to be sharp. If the aperture is very small, the depth of field is large, while if the aperture is large, the depth of field is small. In photography, aperture is typically expressed in “f” numbers (also known as “focal ratio”, since the f-number is the ratio of the diameter of the lens aperture to the length of the lens). Examples of f-numbers are: f/1.4, f/2.0, f/2.8, f/4.0, f/5.6, f/8.0.

1) How do the Shutter Speed, Aperture and ISO work together to create an exposure?

To have a good understanding about exposure and how shutter speed, aperture and ISO affect it, we need to understand what happens within the camera when a picture is taken.

As you point your camera at a subject and press the shutter button, the subject gets into your camera lens in a form of light. If your subject is well-lit, there is plenty of light that travels into the lens, whereas if you are taking a picture in a dim environment, there is not much light that travels into the lens. When the light enters the lens, it passes through various optical elements made of glass, then goes through the lens “Aperture” (a hole inside the lens that can be changed from small to large). Once the light goes past the lens aperture, it then hits the shutter curtain, which is like a window that is closed at all times, but opens when needed. The shutter then opens in a matter of milliseconds, letting the light hit the camera sensor for a specified amount of time. This specified amount of time is called “Shutter Speed” and it can be extremely short (up to 1/8000th of a second) or long (up to 30 seconds). The sensor then gathers the light, based on a pre-defined sensitivity, also known as “ISO”. Then the shutter closes and the light is completely blocked from reaching the camera sensor.

To get the image properly exposed, so that it is not too bright or too dark, Shutter Speed, Aperture and ISO need to play together. When lots of light enters the lens (let’s say it is broad daylight with plenty of sunlight), what happens when the lens aperture/hole is very small? Lots of light gets blocked. This means that the camera sensor would need more time to collect the light. What needs to happen for the sensor to collect the right amount of light? That’s right, the shutter needs to stay open longer. So, with a very small lens aperture, we would need more time, i.e. longer shutter speed for the sensor to gather enough light to produce a properly exposed image.

Now what would happen if the lens aperture/hole was very big? Obviously, a lot more light would hit the sensor, so we would need a much shorter shutter speed for the image to get properly exposed. If the shutter speed is too low, the sensor would get a lot more light than it needs and the light would start “burning” or “overexposing” the image, just like magnifying glass starts burning paper on a sunny day. The overexposed area of the image will look very bright or pure white. In contrast, if the shutter speed is way too high, then the sensor is not able to gather enough light and the image would appear “underexposed” or too dark.

Underexposed (left) Normal (center) Overexposed (right)

Let’s do a real-life example. Grab your camera and set your camera mode to “Aperture Priority“. Set your lens aperture on your camera to the lowest possible number the lens will allow, such as f/1.4 if you have a fast lens or f/3.5 on slower lenses. Set your ISO to 200 and make sure that “Auto ISO” is turned off. Now point your camera at an object that is NOT a light source (for example a picture on the wall) then half-press the shutter button to acquire correct focus and let the camera determine the optimal exposure settings. Do not move your camera and keep pointing at the same subject! If you look inside the camera viewfinder now or on the back LCD, you should see several numbers. One of the numbers will show your aperture, which should be the same number as what you set your aperture to, then it should show your shutter speed, which should be a number such as “125” (means 1/125th of a second) and “200”, which is your sensor ISO.

Nikon D5000 Viewfinder

Write down these numbers on a piece of paper and then take a picture. When the picture comes up on the rear LCD of your camera, it should be properly exposed. It might be very blurry, but it should be properly exposed, which means not too bright or too dark. Let’s say the settings you wrote down are 3.5 (aperture), 125 (shutter speed) and 200 (ISO). Now change your camera mode to “Manual Mode“. Manually set your aperture to the same number as you wrote down, which should be the lowest number your camera lens will allow (in our example it is 3.5). Then set your shutter speed to the number you wrote down (in our example it is 125) and keep your ISO the same – 200. Make sure your lighting conditions in the room stay the same. Point at the same subject and take another picture. Your results should look very similar to the picture you took earlier, except this time, you are manually setting your camera shutter speed, instead of letting your camera make the guess. Now, let’s block the amount of light that is passing through the lens by increasing the aperture and see what happens. Increase your aperture to a larger number such as “8.0” and keep the rest of the settings the same. Point at the same subject and take another picture. What happened? Your image is too dark or underexposed now! Why did this happen? Because you blocked a portion of the light that hits the sensor and did not change the shutter speed. Because of this, the camera sensor did not have enough time to gather the light and therefore the image is underexposed. Had you decreased the shutter speed to a smaller number, this would not have happened. Understand the relationship?

Now change your aperture back to what it was before (smallest number), but this time, decrease your shutter speed to a much smaller number. In my example, I will set my shutter speed to 4 (quarter of a second) from 125. Take another picture. Now your image should be overexposed and some parts of the image should appear too bright. What happened this time? You let your lens pass through all the light it can gather without blocking it, then you let your sensor gather more light then it needs by decreasing the shutter speed. This is a very basic explanation of how aperture and shutter speed play together.

So, when does ISO come into play and what does it do? So far, we kept the ISO at the same number (200) and didn’t change it. Remember, ISO means sensor sensitivity. Lower numbers mean lower sensitivity, while higher numbers mean higher sensitivity. If you were to change your ISO from 200 to 400, you would be making the sensor twice more sensitive to light. In the above example, at aperture of f/3.5, shutter speed of 1/125th of a second and ISO 200, if you were to increase the ISO to 400, you would need twice less time to properly expose the image. This means that you could set your shutter speed to 1/250th of a second and your image would still come out properly exposed. Try it – set your aperture to the same number you wrote down earlier, multiply your shutter speed by two and set it to that number, then change your ISO to 400. It should look the same as the first image you took earlier. If you were to increase the ISO to 800, you would need to again double your last shutter speed from 1/250 to 1/500.

As you can see, increasing ISO from 200 to 800 will allow you to shoot at higher shutter speeds and in this example increase it from 1/125th of a second to 1/500th of a second, which is plenty of speed to freeze motion. However, increasing ISO comes at a cost – the higher the ISO, the more noise or grain it will add to the picture.

Basically, this is how the Three Kings work together to create an exposure. I highly recommend practicing with your camera more to see the effects of changing aperture, shutter speed and ISO.

2) What camera mode should I be using?

As I pointed out in my “Understanding Digital Camera Modes” article, I recommend using “Aperture Priority” mode for beginners (although any other mode works equally well, as long as you know what you are doing). In this mode, you set your lens aperture, while the camera automatically guesses what the right shutter speed should be. This way, you can control the depth of field in your images by changing the aperture (depth of field also depends on other factors such as camera to subject distance and focal length). There is absolutely nothing wrong with using “Auto” or “Program” modes, especially considering the fact that most modern DSLRs give the photographer pretty good control by allowing to override the shutter speed and aperture in those modes. But most people get lazy and end up using the Auto/Program modes without understanding what happens inside the camera, so I highly recommend to learn how to shoot in all camera modes.

3) What ISO should I set my camera to?

If your camera is equipped with an “Auto ISO” feature (known as “ISO Sensitivity Auto Control” on Nikon bodies), you should enable it, so that the camera automatically guesses what the right ISO should be in different lighting conditions. Auto ISO is worry-free and it works great for most lighting conditions! Set your “Minimum ISO/ISO Sensitivity” to 100 on Canon cameras and 200 on latest Nikon cameras, then set your “Maximum ISO/Maximum Sensitivity” to 800 or 1600 (depending on how much noise you consider acceptable). Set the “Minimum Shutter Speed” to 1/100th of a second if you have a short lens below 100mm and to a higher number if you have a long lens. Basically, the camera will watch your shutter speed and if it drops below the “Minimum Shutter Speed”, it will automatically increase the ISO to a higher number, to try to keep the shutter speed above this setting. The general rule is to set your shutter speed to the largest focal length of your lens. For example, if you have a Nikon 70-300mm f/4.5-5.6 zoom lens, set your minimum shutter speed to 1/300th of a second. Why? Because as the focal length of the lens increases, so do the chances of having a camera shake that will render your images blurry. But this rule doesn’t always work, because there are other factors that all play a role in whether you will introduce camera shake or not. Having shaky hands and improperly holding the camera might cause extra camera shake, while having a lens with Vibration Reduction (also known as Image Stabilization) might actually help to decrease camera shake. Either way, play with the “Minimum Shutter Speed” option and try changing numbers and see what works for you.

If you do not have an “Auto ISO” option in your camera, then start out with the lowest ISO and see what shutter speeds you are getting. Keep on increasing the ISO until you get to an acceptable shutter speed.

4) Exposure Compensation

Another great feature of all modern DSLRs, is the ability to control the exposure by using the “exposure compensation” feature. Except for manual mode, exposure compensation works great for all camera modes. Whether you are shooting in Aperture Priority, Shutter Priority or Auto/Program modes, dialing the exposure compensation up or down (plus to minus) will allow you to regulate the exposure and override the camera-guessed settings. If you find your image (or parts of your image) underexposed or overexposed, you can use exposure compensation to adjust the exposure without manually changing the aperture or shutter speed.

5) Should you use flash or increase ISO?

It really depends on what you are taking a picture of. Sometimes it is not possible to use your built-in camera flash in a low-light environment. For example, if your subject is standing far away, you might not be able to reach the subject with your flash. In that case, the only solution is to either come closer to the subject, or turn off flash completely and use a higher ISO. Obviously, for landscape or architectural photography, you should always turn off your flash, because it will not be able to brighten up the entire scene. So in a low-light situation, the only two options are to either increase the ISO so that you can shoot hand-held, or set the camera to the lowest ISO and use a tripod.

6) What are “full stops”?

Have you ever heard of a term “full stop” in photography? Each of the increments between ISO numbers is called “a full stop” in photography. For example, there is one full stop between ISO 100 and ISO 200, while there are two full stops between ISO 100 and ISO 400. How many stops are there between ISO 100 and ISO 1600? That’s right, four full stops of light. Why do you need to know about stops? Because you might see it in photography literature or photographer might mention stops and it is sometimes confusing to understand what it truly means. But the term “full stop” does not just apply to ISOs – the same concept is there for shutter speed and aperture. It is easy to remember full stops between shutter speeds, because you just start from one and divide the number by two: 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000, etc. Obviously, the numbers are rounded (starting from 1/15, which should be 1/16) to make it easy for photography. It is harder to memorize stops in apertures, because the numbers are computed differently: f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, etc.

7) Specific examples and case scenarios

Let’s now go over what you could do in your camera to properly expose an image in different lighting conditions.

1. What should I do in low-light situations? Use Aperture-Priority mode, set your aperture to the lowest possible number. Be careful if you have a fast lens such as Nikon 50mm f/1.4, because setting aperture to the lowest number (f/1.4) will make the depth of field very shallow. Set your “Auto ISO” to “On” (if you have it) and make sure that the maximum ISO and minimum shutter speed are both defined, as shown in section 3. If after increasing your ISO you are still getting small shutter speeds (which means that you are in a very dim environment), your only other options are to either use a tripod or a flash. If you have moving subjects that need to be “frozen”, you will have to use flash.
2. What do I need to do to freeze action? First, you will need plenty of light. Freezing action during the broad daylight is easy, whereas it is extremely tough to do it in low-light situations. Assuming you have plenty of light, make sure that your aperture is set to the lowest number (again, be careful about depth of field), then set your “Auto ISO” to “On” (if you have it) and set your minimum shutter speed to a really high number such as 1/500th or 1/1000th of a second. For my bird photography, I try to keep shutter speeds at 1/1000th of a second and faster:

Caspian Tern - 1/2000th of a second
3. What settings do I need to change to create a motion blur effect? Turn off Auto ISO and set your ISO to the lowest number. If the shutter speed is too fast and you still cannot create motion blur, increase aperture to a higher number until the shutter speed drops to a low number below 1/100-1/50 of a second.
4. What do I do if I cannot get proper exposure? The image is either too dark or too bright. Make sure that you are not shooting in Manual Mode. Set your camera meter to “Evaluative” (Canon) or “Matrix” (Nikon). If it is already set and you are still getting improper exposure, it means that you are probably taking a picture where there is a big contrast between multiple objects (for example bright sky and dark mountains, or sun in the frame) – whatever you are trying to take a picture of is confusing the meter within your camera. If you still need to take a picture, set your camera meter to “Spot” and try to point your focus point to an area that is not too bright or too dark. That way you get the “sweet middle”.
5. How can I isolate my subject from the background and make the background (bokeh) look soft and smooth? Stand closer to your subject and use the smallest aperture on your lens. Some lenses can render background much better and smoother than others. If you do not like the bokeh on yours, consider getting a good portrait lens such as the Nikon 50mm f/1.4 or the Nikon 85mm f/1.4, which is considered to be the best lens when it comes to bokeh.
6. How can I decrease the amount of noise/grain in my images? Turn off “Auto ISO” and set your ISO to the base ISO of the camera (ISO 100 on Canon and ISO 200 on Nikon).

Cr.photographylife.com

DSLR Remote

DSLR Remote is an app for Android smartphones and tablets, enabling you to remotely control your digital reflex camera. But it's not just an ordinary remote control, it provides you with the possibility to take timer controlled series of shots, e.g. for time lapse, long time exposures and sequences of shots in the context of High Dynamic Range (HDR) photography.

Using DSLR Remote your camera can, depending on its technical capabilities, be controlled in two different ways. Either the smartphone in conjunction with DSLR Remote operates as an infrared remote control or as a cable release. In either case you will need a small, inexpensive and easy to built hardware, which is to be connected to the smartphones/tablets audio output.

As easy as the layout of the hardware and the operation of DSLR Remote is, please be aware that the construction of the hardware and its use in combination with a smartphone/tablet andDSLR Remote is on your own risk. The author of DSLR Remote assumes no liability whatsoever for any resulting damage. Furthermore no garantuee is assumed for DSLR Remote to work properly in conjunction with your smartphone and/or camera. Regarding the smartphone/tablet the proper function mainly depends on the maximum ear phone output volume. Also not all camera types of a particular brand seem to behave in the same way regarding the infrared signal. At the time beeing there seem to be problems particularly with some camera types from Canon.

Please take into account that DSLR Remote is a hobbyist project and developed and maintained by the author in his spare time. It is still a work in progress and the author is willing to check all error reports and to answer all questions. But please understand that this perhaps might take some time. You will find a discussion thread about DSLR Remote and the hardware in particular in the DSLR-Forum (german). Maybe there are already answers to some of your questions.

If you want to know more about the hardware and its construction you will find the necessary information and how-tos in the section Hardware.

If you already have got the necessary dongle or cable, or would like to know more in advance about the range of functions of DSLR Remote, you will find information about the settings and operation of DSLR Remote in the section Manual.

cr.http://bitshift.bplaced.net/en/dslr-remote.htm

Best compact cameras

If you're looking for the best compact cameras of 2014 then you've come to the right place. We will guide you through the hottest cameras to save you time when it comes to buying one from your local shop or online.

Compact cameras are plentiful. With new releases and updates flooding the market every few months it's as much an assurance to know that the most up-to-date tech is out there as it is a hindrance to decide which one to pick. 

Run this question through your head: "Which compact camera is best for me?" There are lots of ways to think through it - what do you want to use the camera for? Perhaps you want a versatile, all-rounder for a holiday or travel jaunt, a camera with a bonkers-long zoom for some extra curricular activities or spotting those lions and elephants on safari, a compact with a viewfinder built in, or that pro-spec DSLR alternative. There's something out there for everyone.

Here at Pocket-lint we've been cutting through the abundance of compact camera releases in 2014, including the creme de la creme of last year's models which remain strong. We've broken our list of great cameras down into sub-headed categories to make things easier to digest. You name it, we've got you covered.

We'll be regularly updating this feature with the latest and greatest compact cameras that we review in full - and only those we've seen and judged - so you can see where your money is best spent.

Best do-it-all compact cameras

Panasonic Lumix TZ40

Smartphones are overtaking the bottom-end of the compact world, so when it comes to buying a more serious dedicated compact camera there's a lot to think about. A model such as the Panasonic Lumix TZ40 has a wide-ranging 20x zoom that can deal with 24mm wide-angle shots for those group photos, or extend right through its 480mm equivalent to snap those far-away subjects large in the frame.

Built-in image stabilisation moves the lens by microscopic amounts to counteract any wobbly handshake, while the super-fast autofocus and hands-on touchscreen control is about as good as we've seen from a compact camera. 

All that delivered from a small-bodied and pocketable model that can be carried anywhere. There's even built-in Wi-Fi and NFC for sharing pictures via a smartphone.

Despite being last year's model - the Lumix TZ60, complete with built-in viewfinder, has now arrived, see the viewfinder section further down the page - the TZ40 remains one of our favourite do-it-all compact cameras.

PRICE: £215 (at time of writing)

FULL REVIEW: Panasonic Lumix TZ40 review

Canon PowerShot SX700 HS

Having a 30x optical zoom is 2014's flavour and if top image quality is a must then Canon seems to know best. The PowerShot SX700 HS might not be a budget buy, but it cleverly undercuts the main competition from Panasonic and Sony by enough to make us stand up and pay attention.

If you must have a massive zoom in a pocketable format then there’s a lot going for the SX700 HS. However the maximum zoom does have its limitations and Canon has negated to boost its general feature set compared to last year's SX280 HS model - so that might be worth tracking down for a bargain buy.

What the Canon achieves is quality images. The SX-line has always been top of its class in this regard and the SX700 HS is no different, hence making it one of the top travel zooms available today.

PRICE: £279 (at time of writing)

FULL REVIEW: Canon PowerShot SX700 HS review

Best connected compact camera

Samsung Galaxy Camera 2

Connectivity is all the rage at the moment, as who wouldn't want a quick, easy and wireless way of sharing their pictures? But no camera company has been able to deliver that concept better than Samsung. 

The Samsung Galaxy Camera 2 may have its share of issues just as the original model did - image quality lacks biting sharpness, and the product is rather big - but it's a breeze to use thanks to its Android operating system. 

The Galaxy Camera 2 is, in essence, a high-end Samsung Galaxy smartphone with a whacking great 21x optical zoom lens popped on the front of it. It's better and just so much easier to work with than any of its connected competitors, but we can't help think a smaller device with a higher-spec lens would elevate this product to a whole new level. It's getting there.

PRICE: £399

FULL REVIEW: Samsung Galaxy Camera 2 review

Pocket power

When it comes to something small and pocketable, but where image quality needs to be a step above the conventional compact there are various series on offer.

These tend to have shorter zoom lenses in order to retain best sharpness and clarity throughout the range while offering more advanced optical features such as wider maximum apertures for low-light shooting or creating that pro-looking, soft-focus background effect. 

Alternatives to the pair below include the Fujifilm XQ1, which we found to have occasionally questionable autofocus, the Nikon P340, and viewfinder-donning Panasonic Lumix LF1.

Canon PowerShot S120

The S120 model is the epitome of a pocketable yet powerful compact, so if small is your goal then there are few other competitors worth considering in our view. It's not as complex as some pricier, more advanced models with larger sensors, but that's  just fine.

The 1/1.7-inch sensor produces great-looking images straight from the camera and a maximum f/1.8 aperture at the widest angle setting - a third of a stop brighter than its S110 predecessor - makes for greater shooting control.

There are plenty of other techie features too: Wi-Fi, a touchscreen control, a physical lens ring control that we're particularly fond of and super-fast autofocus. It's a cracking compact camera only let down by some issues, if we're being extra critical: overexposure, limited battery life, the high price and a Wi-Fi setup that could be improved are the main shortfalls. But that doesn't hold it back from being a winner.

PRICE: £365 (at time of writing)

FULL REVIEW: Canon PowerShot S120 review

Panasonic Lumix LX7

Panasonic knows a high-end compact and we have a real soft spot for the LX7, despite it being the oldest compact in our list. It's got its own style, which includes a physical lens ring and other on-body controls that make it feel truly high end. Compared to its near competitors the build quality is a step above.

Autofocus is swift, raw and JPEG images are detailed from the 1/1.7-inch sensor and there's even a hotshoe that can be used to add an optional electronic viewfinder should you wish.

For our money this is the choice camera in this department - it's ideal as a DSLR supplement when you don't want to roll the big guns out, because the LX7 can happily live in your pocket or bag at all times. None too bad for its now affordable asking price either. 

Even if the LX7 doesn't produce class-leading image quality at the mid-high ISO settings, there's just something magic about the design, layout and the way the camera feels in use. We love the physical aperture ring and the super-bright f/1.4-2.3 maximum aperture setting sets it apart from much of the competition. One not to be underestimated - this is all-round quality so long as you don't want to use high ISO settings all the time.

PRICE: £289 (at time of writing)

FULL REVIEW: Panasonic Lumix LX7 review

Best affordable built-in viewfinder

A growing sector. With high-end models such as the Olympus Stylus 1 adding an electronic viewfinder just as quality as an interchangeable lens system it's a category that's pushing forward, although many of the more affordable options have their limitations - it's a case of weighing up expectation to price point. More premium options are also available, such as the Sony RX100 III - check further down the page for the lowdown on that one and more.

Panasonic Lumix LF1

The LF1 is a camera with its heart in the right place, even if the viewfinder arguably isn't. But what's important here is that it actually has a finder built-in to aid shooting in brighter conditions. And for the asking price that will make this a camera worth buying for that reason alone.

The viewfinder isn't the largest nor best quality out there, but we're looking at a sub-£300 compact here. And for a compact that produces decent image quality, has a physical lens control ring, can capture raw files and is truly pocketable that's a fair price.

Given its small scale, the 28-200mm f/2.0-5.9 equivalent lens provides a wide-ranging zoom. The Lumix LF1 is lots of good ideas combined for an affordable price.

PRICE: £285 (at the time of writing)

FULL REVIEW: Panasonic Lumix LF1 review

Panasonic Lumix TZ60

If you want more zoom than the LF1 (above) has to offer, then the Lumix TZ60 is a viable alternative. Although we find it a leftfield update of the TZ40 model, it's one of those new-wave cameras that crams a small electronic viewfinder into its build.

There's decent autofocus, good image quality, excellent image stabilisation and a whole roster of other top features that show the TZ60's aspirations to be a one-stop shop for all things. There's no touchscreen this time around, but if you're lifting the camera to your face then that would just become an irritation, not to mention an additional cost.

Given the TZ60's current affordable price point we can see the attraction for viewfinder seekers on a budget. If you're after a big zoom with big features then the Lumix TZ60's 30x zoom (24-720mm f/3.3-6.4 equivalent) scores big Brownie points.

PRICE: £349 (at the time of writing)

FULL REVIEW: Panasonic Lumix TZ60 review

Best superzooms

When normal compacts just aren't enough and you want to zoom in on those far-away subjects to make them appear large in the frame, a superzoom - sometimes called bridge camera - is just the ticket. Safari, bird spotting and so forth are well matched to a superzoom camera.

These models may not necessarily replace a DSLR camera in terms of ability and final image quality, but by employing small sensor sizes their respective lenses are also relatively compact and far more affordable compared to a pro-spec camera. Modern superzooms combine significant zoom lenses in reasonable body sizes with an abundance of tech that makes them very attractive prospects.

Panasonic Lumix FZ200

Typically as a zoom lens extends the amount of light it lets in dips, which potentially means image quality can suffer in low-light conditions. Not so with the Panasonic Lumix FZ200 - its wide-angle 24mm lens extends all the way through to a 600mm equivalent, all the while maintaining a maximum f/2.8 aperture. And that's been managed without significant impact to the model's relatively trim scale.

This f/2.8 aperture means more light can enter the camera which is ideal for faster exposures to capture action or to avoid using those less desirable higher ISO sensitivities.

The FZ may not be brand new, but it's a well-proportioned superzoom that, unlike most of its competitors, focuses on advanced control and a bright constant aperture instead of four-figure zoom equivalents. Still, the 600mm maximum equivalent is more than significant, even if it's less than some competitors out there. 

Unless a yet longer zoom is an essential to your needs then this is still our top superzoom pick.

PRICE: £325 (at time of writing)

FULL REVIEW: Panasonic Lumix FZ200 review

Canon PowerShot SX50 HS

The SX50 HS really does put the "super" in superzoom: its 24-1200mm equivalent lens is a whopper and, fortunately, is matched with top-notch image stabilisation to boot to ensure steady image preview even at the longest of focal lengths. It has just been replaced by the SX60 HS model, delivering a wider-angle and longer zoom still - we'll bring more information about that when we review it in full.

We love the camera's vari-angle LCD screen and how well it performs in bright conditions, while the fast autofocus is a step beyond its SX40 predecessor and the resulting image quality is impressive from such a camera. 

But it's how the SX50 HS performs as a whole that makes it such a cracker. There's plenty of bang for the budget which is more affordable than a DSLR body, so we can see the appeal.

The SX50 is the full package deal and delivers on the zoom front - its top-end 1200mm equivalent focal length is double that of the Panasonic FZ200. But it's not just big on zoom, it's big on image quality too and we still don't think there's another superzoom on the market today that can deliver the same clarity as this Canon. The SX50 is pushing the limits of what's possible from a compact camera and, for the most part, succeeding.

PRICE: £330 (at time of writing)

FULL REVIEW: Canon PowerShot SX50 HS review

Panasonic Lumix FZ1000

Stepping things up a gear is the "premium superzoom" category, headed by the Panasonic Lumix FZ1000. It takes a 25-400mm f/2.8-4.0 lens and wraps it around a large 1-inch sensor for premium image quality. Many of the features are just as well as impressive as the top-spec Panasonic G-series interchangeable lens cameras, as is performance.

Although the Lumix FZ1000's physical size and price tag will be a barrier for more casual users, those it will appeal to will find lots of value for money in its jumbo feature set. From 4K video, to silent operation, fast 12fps burst mode, through to the vari-angle LCD and built-in electronic viewfinder combination, decent autofocus and stacks of physical controls. There's a lot on offer here.

Thing is, it's a lot of money to fork out and calling it a "compact" camera is a stretch. But if you don't want to be buying a system camera and want an all-in-one solution (which, admittedly, is a chunky beast) then this could be a viable solution. The longer lens and more accessible price point see it sit a step ahead of the Sony Cyber-shot RX10.

PRICE: £749

FULL REVIEW: Panasonic Lumix FZ1000 review

Best advanced or enthusiast compact cameras

Here's where compacts step up a gear. Whether it's all the bells and whistles in the form of hands-on controls, a built-in viewfinder or a large sensor for optimum quality, there are all kinds of advanced compacts to suit different tastes. But these bigger wedges of camera are not only larger, they tend to demand a more considerable asking price too.

Canon PowerShot G7 X

It's taken Canon a while to create compact camera with a 1-inch sensor size, the focus being on high-quality images. Although it doesn't opt for the smaller scale of the Sony RX100 line - first and third generation models are further down the page - and there's no viewfinder, there's still a lot to enjoy about Canon's take.

It's one of our favourite PowerShot cameras to date. That large sensor is matched with a tilt-angle screen which is both touch-sensitive and selfie-capable, alongside a 24-100mm f/1.8-2.8 equivalent lens.

But as much as we can split hairs over whether the Sony is better, what's clear with the Canon G7 X is that it's a positive push forward for the Canon series; one that takes good quality images and comes bundled into a pocketable, well-built body with customisable controls. Even if there is no viewfinder, the G7 X is one of the more notable G-series Canon cameras for a number of years.

PRICE: £579

FULL REVIEW: Canon PowerShot G7 X review

Sony Cyber-shot RX100

Beneath the RX100's rich black exterior is a 1-inch sensor - the same size sensor as you'd find in aNikon 1-series compact system camera, and much the same scale as the Canon G7 X (above). Considering the RX100's relatively small size that's a whopper of a sensor.

The high-resolution 20-megapixel sensor is balanced with decent optical performance from the 28-100mm f/1.8-4.9 equivalent lens - but that can't compete with some of the faster lenses of more recent models, including Sony's own third-generation RX100 III.

But this first-generation RX100 is here to stay as it's a bit of a bargain compared to its introductory price a couple of years back. It remains as strong now as it was on launch day. It's oh so good.

PRICE: £360 (at time of writing)

FULL REVIEW: Sony Cyber-shot RX100 review

Fujifilm X30

There might be legs for putting the X30 in the viewfinder subhead category, as its built-in electronic finder is as good as they get. Trouble is, it's a bit of a big beast so couldn't be considered pocketable compared to some of the more affordable offerings.

The Fujifilm X30 replaces the X20, a slightly larger-scale follow-up that's quite excellent but arrives at an obscure time. With the Panasonic Lumix LX100 now on the scene (see further down the page), there's an argument that the retro-themed Fujifilm line has found its comeuppance.

But having used the camera for some time, we've found a lot to love about it. The twist-barrel lens and tilt-angle LCD screen made it easier and often preferable to use than the pricier Panasonic Lumix LX100 in our book. And it's difficult to be critical of the low-mid ISO shots which show off plenty of detail thanks to the already proven 28-112mm f/2.0-2.8 equivalent lens. We'd like a slightly wider-angle optic next time though, and are surprised by its absence this time around.

Although the Fujifilm X30 has arguably lost its claim to the throne as the best-in-class high-end compact, there's a lot to be said for the physical controls, useful features, eye-catching design and, importantly, accessible price point. Competition is rife but also more expensive, so the X30 still remains a viable compact camera - just don't buy one hoping to shoot above ISO 1600.

PRICE: £479 

FULL REVIEW: Fujifilm X30 review

Best luxury compact camera

Sony Cyber-shot RX100 III

The Sony RX100 III pretty much has it all. It's small scale enough to be pocketable, yet has a premium build, a pop-out built-in electronic viewfinder and stacks of features - not to mention great image quality from its 1-inch sensor.

You might think we're mad for including more than one Sony RX100 model (the original is higher up the page), but the third-generation is an entirely different beast to the original. In the case of the Mark III it's all about the tilt-angle LCD screen, lens ring control and the newer, faster 24-70mm f/1.8-2.8 equivalent lens. It's a tour de force.

The Mark III isn't a subtle re-rub of the known formula, it's a rethink for the better and one that further elevates Sony's position in the premium camera market. If pocketable is priority then this is hands-down the best option out there. But it's far from cheap.

PRICE: £699 

FULL REVIEW: Sony Cyber-shot RX100 III review

Panasonic Lumix LX100

The Panasonic LX100 is like the company's LX7 on steroids. It's the first compact camera to feature a large Micro Four Thirds sensor - the same size you will find in top-of-the-line interchangeable lens models - for exceptional image quality. That's a bigger sensor than the RX100 III (above), delivering equal or better quality overall.

There's heaps on offer too, with physical retro dials giving that chunky metal body plenty of personality. There's an autofocus system that will see off a whole range of compact camera competitors, a fast 24-75mm f/1.7-2.8 equivalent lens and brilliant electronic viewfinder. But no tilt-angle screen or touch-based sensitivity is a bit of a downer, as is an aperture priority slow shutter speed glitch.

The LX100 might be in for a hard ride if you're after something pocketable though. It's not "big big", but doesn't achieve a pocketable scale like the Sony RX100 III. Saying that this is Panasonic laying the foundations of a great product, and one that we think is successful enough to cut theCanon G1 X line out of the picture. 

A few physical nips and tucks here and there, plus a couple of layout and features tweaks would see the LX100 be the perfect compact companion. But even as it stands, if the physical size doesn't perturb you then it's a camera with few peers. High-end compact cameras don't come much better.

PRICE: £699

FULL REVIEW: Panasonic Lumix LX100 review

Best fixed-lens compact camera

When money is no barrier and quality is everything, there's a camera for that. DSLR sensor sizes in compact bodies and, typically, a fixed lens (no zoom) that's matched up to its respective sensor for best possible image quality. Here's where the compact goes pro; these two special specimens don't just match DSLR quality, they often better it.

Fujifilm X100S

Fujifilm has stormed the high-end compact market with the X-range, and the X100S keeps the bar high for the series. We're shortly due to test the newer X100T model, which we expect to trump this classic, so keep your eyes peeled for that.

The X100S isn't going to be suitable for a huge audience as there's no zoom and its retro aesthetic is a specialist thing in itself - but that, in some regard, is all part of what makes this high-end compact so appealing.

It's not the model to pick if you're in to close-up macro shooting by any means, but what really sells the X100S is the unique-to-Fuji hybrid optical and electronic viewfinder. That may sound bonkers, but it's not: think of a wider-than-100-per-cent optical viewfinder with all the bells and whistles of an electronic overlay and that's what the X100S delivers. You can see beyond the frame's edges to help capture the shot at that decisive moment.

Image quality from the fixed 23mm f/2.0 lens - that's a 35mm equivalent when paired with the APS-C sensor - is so crisp, in part thanks to Fujifilm's own special colour array design and the fact there's no low-pass filter to bypass light diffusion for heightened sharpness. It's perfect for those candid street photography snaps.

PRICE: £899 (at time of writing)

FULL REVIEW: Fujifilm X100S review

Best full-frame compact camera

Sony Cyber-shot RX1

Sony's RX1 is the world's first and - excluding Leica's rangefinder models - only full-frame compact (ignoring the sister RX1R, that is).

Now that won't necessarily mean much to many, except those in the know. In summary it means the RX1 has a whopping great sensor at its core - the same size as traditional 35mm film negatives, no less - putting it on par with what you'd find in super-pricey pro-spec DSLR camera. Hence the RX1's apparently bonkers near-£2,000 asking price.

On the front of the RX1 is a fixed 35mm f/2.0 lens that doesn't compromise on quality, while the sensor is able to resolve wonderful image quality. But there's no compromise on price either: upon release the £2,500 recommended price tag saw the RX1 be among the priciest of compacts ever conceived.  

All that cash doesn't mean a ticket straight to compact heaven, however, as we've seen chromatic aberrations - those purple fringes around subject edges - in shots, while the autofocus is, well, it's just sluggish.

Sometimes you love something enough for the great things it does to ignore its shortcomings. That's what the Sony RX1 has done to us - while it's got shortcomings, to a select group of snappers this chunk of well-thought-out metal and glass will be a full-marks camera. It definitely feels special, and that's why it's made our list - because it's like the (Japanese) Ferrari of the compact camera world and unlike anything else you can buy today.

PRICE: £1,950 (at time of writing)

FULL REVIEW: Sony Cyber-shot RX1 review

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