Sony Alpha DSLR-A900

The Sony A900 is the flagship DSLR in the Alpha range, and the company’s first to feature a full-frame sensor. Impressively it’s also the first full-frame DSLR to boast built-in image stabilisation which works with any lens you attach – a key advantage over its Canon and Nikon rivals. The Alpha A900 also overtakes the Canon 5D Mark II and Nikon D700 to boast 24.6 Megapixel resolution, tying with Nikon’s much pricier D3x. Continuing the professional specification are 5fps continuous shooting and a viewfinder with 100% coverage. It may not sport Live View or movie recording, but there’s no denying Sony’s arrived in the semi-pro market.

Pros: Very high resolution; built-in IS; 5fps; 100% v/f.
Cons: No Live View or movie recording; basic upper screen.
Overall: An impressive spec, but tough rivals from Canon and Nikon.

Nikon D700

The D700 boasts many of the flagship D3's features, but squeezes them into a smaller and lighter D300-sized body. So the D700 sports the D3's 12.1 Megapixel full-frame sensor, 3in VGA monitor, 51 point AF system and Live View, but additionally features a popup flash and anti-dust features. The viewfinder may not deliver 100% coverage, but as a full-frame model it's still large, and continuous shooting remains a respectable 5fps - even with 14-bit RAW files. There's also AF micro-adjust and in-camera correction of vignetting and chromatic aberrations. The D700 faces tough rivals in Canon's EOS 5D Mark II and Sony's Alpha A900, but handles admirably while delivering great quality output. It's also steadily becoming the most affordable of the new full-frame models.

Pros: Superb build. Quick handling. Full-frame. VGA screen. HDMI.
Cons: 'Only' 12.1 Megapixels. No histogram in Live View.
Overall: A superb DSLR, but compare closely with its full-frame rivals

Canon EOS 5D Mark II

Canon’s EOS 5D Mark II is a powerful DSLR that represents a significant upgrade over the original 5D, and a tough rival in the growing ‘affordable’ full-frame market. The 5D Mark II may share essentially the same body and AF system as its predecessor, but almost everything else has changed. The sensor’s been boosted to 21.1 Megapixels, the sensitivity increased by three stops, continuous shooting accelerated to 3.9fps, and the screen greatly improved in size and detail to a 3in VGA model. There’s now also Live View, AF micro-adjustment, support for quick UDMA cards, an HDMI port, and High Definition movie recording in the 1080p format. It’s one of the best DSLRs for the money, although compare closely with the Sony A900 and Nikon D700.

Pros: High resolution and low noise; HD movies; VGA screen.
Cons: No popup flash; only 3.9fps; v/f not 100% coverage.
Overall: Highly recommended for stills or movies.

Nikon D300s

Nikon’s D300s builds upon the already highly capable D300. As such it inherits a 12.3 Megapixel sensor, large viewfinder, 3in VGA screen, powerful 51-point AF system, Live View, HDMI port and a tough body with great ergonomics. To this the D300s adds HD movies in the 720p format, a slight boost in continuous shooting speed to 7fps and dual Compact Flash / SD memory card slots, allowing you to backup images as you shoot them. The D300s also now features a Quiet shooting mode and a virtual horizon in live view. It remains one of the best semi-pro DSLRs on the market, but unlike its predecessor, faces a direct rival in the form of Canon’s EOS 7D. If you’re not already committed to a platform, compare both models closely.

Pros: Superb build and handling. Dual card slots. 720p movies.
Cons: No histogram in Live View or 1080p video.
Overall: A superb DSLR, but compare closely with Canon 7D

Canon EOS 7D

Canon’s EOS 7D is a high-end semi-pro DSLR positioned between the EOS 50D and 5D Mark II – which directly pitches it against Nikon’s D300s. Like the EOS 50D, the sensor is a cropped frame model, but Canon’s boosted the resolution to 18 Megapixels, and included both 1080p and 720p HD video options at a choice of frame rates. Canon’s also improved almost every other aspect, with the 7D boasting a viewfinder with 100% coverage and LCD graphics, 8fps continuous shooting, a brand new 19-point AF system with zoning, built-in wireless flash control and a new metering system which takes colour information into account. The body is also a little tougher than before, which all adds up to one of the most confident DSLRs on the market – but compare closely with the Nikon D300s.
Pros: Tough build, big viewfinder, HD video, zonable 19-point AF.
Cons: Needs a good lens to exploit resolution. Basic 3-frame AEB.
Overall: Canon's most confident semi-pro DSLR to date

Canon EOS 50D

Canon’s EOS 50D is a semi-pro DSLR which may share essentially the same body as the EOS 40D, but features a number of key differences. First is a significant boost in resolution to 15.1 Megapixels, and an increase in the maximum sensitivity to 12800 ISO; despite the higher resolution, continuous shooting is only fractionally slower at 6.3fps. The screen remains 3in, but is a new high resolution VGA model, and there’s also now an HDMI port for HD slideshows. Completing the spec are AF micro-adjustment, in-camera vignette correction, contrast-based AF in Live View, and software which lets you remote control the camera with your PC or Mac. The 50D is now a worthy rival to the Nikon D300 and a highly recommended model at this price point.

Pros: High resolution. Quick handling. VGA screen. HDMI.
Cons: Needs a good lens to exploit resolution. Face Detect mode slow.
Overall: A feature-packed DSLR, but compare closely with D300.

Sony Alpha DSLR-A550 / A500

Sony's Alpha DSLR-A550 is a mid-range model sporting 14.2 Megapixels, a vertically-tilting 3in VGA screen and built-in stabilisation which works with any lens you attach. What really separates it from the competition though are its quick Live View mode and fast continuous shooting. The A550 boasts 5fps with AF or 7fps without, making it the fastest DSLR in its class, and one of the few which can shoot action in Live View. There's no video recording, but if action photography is your priority, it's one of the best for the money. Also consider the A500 which hits a lower price point thanks to some reduced specifications, but crucially keeps the 5fps continuous shooting with AF.

Pros: Fast shooting; built-in IS; tilting VGA screen; quick Live View.
Cons: No movie mode and minimal customisation.
Overall: Semi-pro shooting speed at mid-range price.

Nikon D90

Nikon’s D90 may be getting-on a little compared to the latest models, but remains a highly compelling choice for anyone looking for a good step-up from a budget DSLR. You get a 12.3 Megapixel sensor with excellent low-light performance, fairly swift 4.5fps continuous shooting, a maximum sensitivity of 6400 ISO, a large and bright pentaprism viewfinder, good build quality and a 3in VGA screen. As a feature-packed camera on first release, the D90 also sports Live View, and 720p HD video recording - indeed it was the first DSLR to record video. Completing the package is a decent 18-105mm kit lens with Vibration Reduction. A great package, but compare closely with Canon's EOS 550D / T2i, especially if you're into video.

Pros: Great ergonomics, VGA screen, 720p movies, 4.5fps.
Cons: Movie mode is manual focus and has video artefacts.
Overall: A feature-packed DSLR at the upper-end of this category.

Nikon D5000

The D5000 is Nikon’s upper entry-level DSLR, and successor to the D60. It features the same 12.3 Megapixel sensor as the higher-end D90, along with its 720p HD movie recording and 11-point AF. Continuous shooting isn’t quite as quick, but still very respectable at 4fps. The screen may also not be as large or detailed as the D90, but it is fully articulated allowing you to compose at unusual angles. The D5000 also inherits the easy-to-use interface of the earlier D60, making it ideal for beginners, although it’ll also suit enthusiasts on a budget. Be sure to compare with the Canon EOS 500D / T1i though.

Pros: Great quality images with low noise; articulated screen.
Cons: No AF for older lenses; user interface slow for experts.
Overall: A beginner-friendly but feature-packed DSLR.

Canon EOS 550D / Rebel T2i

The EOS 550D, or Rebel T2i as it's known in North America, slots between the 500D / T1i and Canon's semi-pro range. It actually inherits a number of features from the high-end EOS 7D, including the same 18 Megapixel resolution, same metering system and same movie modes, giving it the choice of 720 or 1080p at a variety of smooth frame rates, not to mention an external microphone input. The 3in screen is Canon's best yet with a wider 3:2 aspect ratio to match the shape of images. The viewfinder, AF, build and general handling are essentially unchanged from the 500D / T1i, but if high resolution and movies are your priority, it's a great choice.

Pros: 18 Mpixels; HD video with mic input; great screen.
Cons: Build quality, speed and AF same as cheaper 500D / T1i.
Overall: The best choice for high res images and movies on a budget.

Canon EOS 500D / Rebel T1i

The EOS 500D, or Rebel T1i as it’s known in North America, is Canon’s step-up from the budget 1000D / XS. It inherits a number of aspects from the semi-pro EOS 50D including the same 15 Megapixel resolution, 3in VGA screen and HDMI port, while additionally boasting HD movie recording. While there are technical differences between their sensors, both bodies shared essentially the same resolving power in our tests along with similar noise levels. This all makes the 500D / T1i a powerful DSLR for the money and a great choice if you’re after a step-up from an entry-level model. Be sure to compare with the Nikon D5000 and the higher-end EOS 550D / T2i.

Pros: High resolution; HD movies; VGA screen.
Cons: 1080 movie mode is not as smooth as the 720p option.
Overall: A powerful step-up from entry-level DSLRs.

Panasonic Lumix DMC-LX3

The Lumix DMC-LX3 is Panasonic's flagship compact for enthusiasts. Coming two years after its predecessor, the new LX3 features 10.1 Megapixel resolution, full manual control, HD movie recording in the 720p format, a flash hotshoe, RAW recording, a highly detailed 3in screen, and a 2.5x optical zoom with optical stabilisation, a bright focal ratio of f2.0 and unusually wide angle coverage equivalent to 24mm. It ticks all the right boxes for enthusiasts on the lookout for a high-end compact, with the ultra-wide coverage, bright focal ratio and a sensible approach to image resolution being highlights. The LX3 is also smaller and lighter than its arch rival the Canon G11, but there’s pros and cons to each model, so if you’re shopping for a premium compact, compare both closely. Also check out Canon's S90.

Pros: 24mm coverage, bright f2.0 lens, RAW, flash hotshoe.
Cons: Maximum coverage just 60mm, annoying lens cap.
Overall: An ideal premium compact, but compare with G11 and S90.

Panasonic Lumix DMC-GF1

Panasonic’s Lumix GF1 follows the same path as the Olympus E-P1 above, by squeezing a DSLR-sized sensor into a compact body, again with the bonus of interchangeable lenses and 720p HD video. Both cameras achieve this by employing the Micro Four Thirds standard, which means they can also share the same lenses. The GF1 may not have built-in stabilisation – and therefore relies on stabilised lenses to combat camera-shake – but it does have quicker autofocus, a more detailed screen and longer video recording times than the E-P1, not to mention a built-in flash. It’s a compelling compact, especially when fitted with Panasonic’s tiny 20mm f1.7 lens – the perfect combination for a high quality portable camera, but again compare closely with the E-P1 above.

Pros: Big sensor in a small body, great screen, HD movies.
Cons: No stabilisation in body or 20mm kit lens, pricey EVF.
Overall: Ideal compact for enthusiasts, but compare with E-P1.

Olympus E-P1

The Olympus E-P1 is the camera many enthusiasts have been waiting for. It packs a DSLR-sized sensor into a relatively compact body, with the added bonuses of interchangeable lenses, built-in stabilisation and 720p HD video. The advantage of using a DSLR-sized sensor is much lower noise, higher dynamic range and a potentially shallower depth-of-field than a typical compact can offer – and the E-P1 also has a kit zoom lens which collapses down to a shorter length when not in use for easier transportation. There may not be a built-in flash or viewfinder, and the screen is fairly average, but packing a DSLR sensor with stabilisation into a compact body makes for an extremely compelling camera – recommended, but compare closely with the Panasonic GF1 below.

Pros: Big sensor in a small body, built-in stabilisation, HD movies.
Cons: No built-in flash, no viewfinder, average screen.
Overall: Ideal compact for enthusiasts, but compare with GF1.

Canon PowerShot SX1 IS

Canon’s PowerShot SX1 IS is the best hybrid camera for stills and video at this price point. It takes the already capable PowerShot SX10 IS with its powerful 20x zoom and articulated screen, but swaps the sensor for a CMOS version which can deliver both HD video in the 1080p format and fast continuous shooting at 4fps. The SX1 IS also adds an HDMI port and support for RAW recording. The viewfinder and screen are now both 16:9 shaped, which means you won’t use their full area when composing in the native 4:3 aspect ratio for stills, but they’re perfect when filming widescreen video. Ultimately if you want to film HD video and take still photos with one camera, it’s the best solution at this price point. If you want faster shooting still, check out the Sony HX1.

Pros: 20x zoom, HD movies, RAW, flip-out screen, flash hotshoe.
Cons: Small viewfinder and screen image in 4:3 aspect ratio.
Overall: The best hybrid super-zoom camera to date.

Canon PowerShot S90

Canon’s PowerShot S90 is an ideal choice for enthusiasts who want a pocket camera without compromising on control and features. It squeezes the PowerShot G11’s quality into a considerably smaller body with a brighter lens on the front. Think of it as an IXUS / ELPH for the more demanding customer, sporting wide-angle coverage, manual control, RAW file support, a large detailed screen and a fast, bright lens; there’s also a neat ring control around the lens. Like the G11 though, there’s no HD video and the continuous shooting is poor, but if you’re after a truly pocket-sized camera with this degree of control and features, there’s not many alternatives. Do compare closely with the G11 and LX3 though.

Pros: Pocket body; bright, wide lens; 3in / 460k screen; RAW files.
Cons: No HD movies or zooming when filming, slow burst mode.
Overall: A great pocket camera for enthusiasts.

Canon PowerShot G11

Canon's PowerShot G11 is the latest model in the company's flagship G-series, targeting enthusiasts and those who want a pocketable backup to a DSLR. The successor to the popular G10, it shares the same 5x stabilised zoom, flash hotshoe, manual control, RAW recording and battleship build quality. New to the G11 are a fully-articulated screen, HDMI port and a 10 Megapixel sensor designed to deliver lower noise than its predecessor. It works too, but if you want really decent quality in low light you’ll still need a DSLR-sized sensor like that in the Olympus E-P1 or Panasonic GF1. The PowerShot G11 is also lacking HD video, but still fulfils the brief of delivering decent controls and good quality in a compact form factor.

Pros: 5x zoom, hotshoe, RAW, articulated screen, good low-light.
Cons: No HD movies or zooming when filming, slow burst mode.
Overall: A good premium compact, but compare with E-P1 and GF1.

Panasonic Lumix DMC-FZ38 / FZ35

Panasonic's Lumix DMC-FZ38 / FZ35 is the 12.1 Megapixel super-zoom successor to the popular FZ28. It keeps the compact light-weight body, 18x optical zoom range, 2.7in screen and RAW recording of its predecessor, but boosts the resolution, offers the choice of encoding formats for its 720p movies along with stereo sound and manual exposures, improves both the AF and stabilisation, adds face recognition (where it can remember specific individuals), and throws in an HDMI port too. Once again these may represent a minor upgrade over its predecessor, but given the earlier FZ28 was one of the best super-zooms around, it places the new model in a very strong position. A superb choice, but compare closely with Canon’s SX20 IS which boasts a 20x zoom, flip-out screen and flash hotshoe.

Pros: 18x zoom, RAW recording, HD movie mode.
Cons: Fixed screen, no flash hotshoe.
Overall: One of the best super-zooms, but compare with SX20 IS.

Canon PowerShot SX20 IS

The PowerShot SX20 IS is Canon's latest super-zoom. It retains the 20x optical zoom, flash hotshoe, stereo sound, AA battery power and fully articulated 2.5in monitor of the best-selling PowerShot SX10 IS, but boosts the resolution to 12.1 Megapixels, adds 720p HD movie recording and tops it off with an HDMI port. As before, the DIGIC 4 processor offers AF tracking, efficient video compression, and a neat self-timer mode which exploits face detection to wait for a new person to appear before starting the countdown. It’s an impressive spec, but there’s still no RAW, and the continuous shooting is even slower than before (perhaps to greater differentiate the SX1 IS, below). It’s still Highly Recommended, but compare closely with Panasonic’s FZ38 / FZ35.

Pros: 20x zoom, flip-out screen, flash hotshoe, HD video.
Cons: No RAW recording; slow burst mode.
Overall: One of the best super-zooms, but compare with FZ38 / 35.

Credit-crunch compact: Nikon COOLPIX L22

Nikon's COOLPIX L22 is the successor to the best-selling L20 and one of the cheapest compacts you'll find from a respected brand. Despite its low price, the COOLPIX L22 is pretty well-equipped with 12 Megapixels, a 4x optical zoom and generously-sized 3in screen. Sadly there's still no optical or sensor-shift stabilisation at this price, nor much manual control to speak of, but it’s a good choice for those on a tight budget who value simplicity. It also represents a significant and classy step-up from the cheap models aimed at kids if you want to treat the little ones in your life to something a bit more special.

Pros: Inexpensive; simple operation; 3in screen; classy front.
Cons: No image stabilisation; limited control and feedback.
Overall: If this is your budget, the L22 represents your best bet.

Credit-crunch compact: Canon PowerShot A495

The PowerShot A495 is one of Canon's most affordable compacts. The specifications are what you'd expect for the price, with 10 Megapixels, a 3.3x unstabilised zoom and 2.5in screen, and in these respects it doesn't seem to represent as good value as the Nikon COOLPIX L22 below. But don't let the average specifications fool you, as the PowerShot A495 is capable of surprisingly good results; indeed in our tests it delivered superior image quality to some models costing more, while also offering greater manual control over settings than most budget compacts. It's a good choice for anyone on a tight budget, but compare closely with the Nikon L22 below.

Pros: Great image quality for the money; simple and elegant design.
Cons: No stabilisation; relatively small screen; slow flash recycling.
Overall: A capable budget model with great image quality.

Best touch-screen compact: Canon IXUS 210 / PowerShot SD3500 IS

If you like touch-screen gadgets, you'll love Canon's IXUS 210 / PowerShot SD3500 IS. This latest model in the range ditches virtually all buttons for a large, wide touch-sensitive display, with a well-designed control system. In use the touch-screen works very well, especially when it comes to simply tapping the subject you'd like the camera to focus on. The screen may be the headline feature, but the IXUS 210 / SD3500 IS also sports a decent 5x (24-120mm equivalent) optical zoom, 720p HD video and 14 Megapixel resolution. Sony's Cyber-shot TX7 is also a contender with many of the HX5's clever modes, but for us the Canon had the edge overall.

Pros: Large, wide touch-screen display; 5x wide-angle zoom.
Cons: Can't zoom while filming video; flash slow to recycle.
Overall: The best touch-screen camera we've tested to date.

Best underwater compact: Canon PowerShot D10

Canon’s PowerShot D10 is the company’s first underwater camera, and it certainly looks the part with its bright colours and submarine styling. The D10 can operate at depths down to 10m, and is also dust and shock-proof, making it ideal whether you're into water-sports or simply want a camera that's protected from sand or splashes at the beach or pool. This is the great flexibility of a waterproof camera, and the D10 even avoids the poor image quality often associated with underwater models in the past. In our view, the PowerShot D10 is the best waterproof camera on the market right now - an impressive debut.

Pros: Waterproof down to 10m, good image quality.
Cons: Basic 3x zoom range and no HD video. A bit bulky too.
Overall: Despite a basic zoom, the D10 is the best underwater cam.

Best budget super-zoom: Sony Cyber-shot DSC-H20

Sony's Cyber-shot DSC-H20 is the company's latest budget super-zoom, packing 10 Megapixels and a 10x stabilised zoom into a compact and affordable package. It also features 720p HD video, smile and scene detection, along with manual control. In a market increasingly packed with super-zoom cameras, the H20 boasts a big lens at a low price and has justifiably become a best-seller. If you want a super-zoom camera, but can’t stretch to models like Canon’s PowerShot SX20 IS or Panasonic’s Lumix FZ35 / FZ38, this is the model to go for. You can find out more about the higher-end models in our Premium compacts section.

Pros: 10x zoom, 720p video with zooming, low price.
Cons: Lacking true wide-angle coverage, slow flash recharge.
Overall: The best super-zoom for those on a strict budget.

Canon Digital IXUS 100 IS / PowerShot SD780 IS

Canon’s Digital IXUS 100 IS / PowerShot SD780 IS is a very stylish compact, with its slim build and rounded corners attracting admiring glances wherever we took it. Despite its tiny dimensions, Canon’s included 720p HD video, HDMI output, scene detection, and even a tiny optical viewfinder, and while the 2.5in screen may sound small, it looks great and there’s literally no room for anything bigger. On the downside, the 3x zoom is lacking true wide angle and you can’t adjust it while filming video, but there’s no denying the overall physical appeal of the camera - if you’re after a slim, stylish compact which handles itself well in general-use, it’s a great choice.

Pros: Slim, stylish, HD video, HDMI output, viewfinder.
Cons: Basic 3x lens with no wide angle or zooming when filming.
Overall: Basic zoom, but still one of the best super-slim compacts

Canon Digital IXUS 95 IS / PowerShot SD1200 IS

The Canon IXUS 95 IS / PowerShot SD1200 IS is a small, light and stylish compact that will appeal to anyone who places a premium on looks and ease of use, but can’t stretch to models like the IXUS 100 IS / SD780 IS below. The IXUS 95 IS / SD1200 IS a capable little compact that produces great quality with the minimum of fuss. Sure, the zoom could be a little longer and HD video would be nice too, but those aren't features you'd expect in this price bracket. For our money, Canon has got it right where it matters - style, portability, ease of use and great picture quality. The IXUS 95 IS / SD1200 IS is one of the best budget compacts right now.

Pros: Compact; good quality; viewfinder; low price.
Cons:Basic 3x lens with no wide angle or zooming when filming.
Overall: Stylish compact with good quality at a great price.

Sony Cyber-shot DSC-HX5

Sony's Cyber-shot DSC-HX5 is the company's first pocketable super-zoom camera and it's hit the ground running. It features a 10x (25-250mm equivalent) optical zoom, a Full HD 1080i movie mode, very fast burst shooting at 10fps and a built-in GPS which can pinpoint the locations of your shots. The HX5 also exploits its fast burst shooting in modes which combine multiple frames to reduce noise, or automatically generate panoramas with a simple sweep of the camera. Despite also recording altitude details, the GPS feels less integrated than the TZ10 / ZS7 above, but overall it's a highly compelling pocket super-zoom camera.

Pros: 10x zoom, 1080i video, 10fps burst, GPS, clever modes.
Cons: GPS less integrated than TZ10 / ZS7. Limited manual control.
Overall: A great all-round compact that's packed with innovation.

Panasonic Lumix DMC-TZ10 / ZS7

Panasonic’s Lumix TZ10 (or ZS7 as it’s known in North America) is the successor to the enormously popular Lumix TZ7 / ZS3, and like that model, packs a super-zoom range into a compact form factor. The TZ10 / ZS7 inherits the 12x (25-300mm equivalent) optical zoom, compact body and detailed 3in screen of its predecessor, along with its 720p HD movie modes. New to the TZ10 / ZS7 are manual control over exposures, improved stabilisation and, the ultimate travel companion, a built-in GPS receiver to pinpoint the locations of your shots and ensure the clock is always telling the right time; a built-in database even displays the city and country name, along with nearby landmarks. Another classic, but compare with Sony's HX5 below.

Pros: 12x stabilised zoom with 25mm; 720p video; GPS.
Cons: No altitude info from GPS and database not upgradeable.
Overall: One of the best all-round compacts around.

Panasonic Lumix DMC-G1

Technically speaking the G1 is not a DSLR as it dispenses with the mirror and optical viewfinder to deliver a particularly compact body – but it does have a DSLR-sized sensor and removeable lenses, which is why it’s here. The G1 sports 12 Megapixel resolution, a large and detailed articulated screen, a superb electronic viewfinder and a responsive Live View system. The body is smaller and lighter than rival DSLRs without compromising comfort and ergonomics. Action or low light photographers will prefer a true optical SLR system, but the Lumix G1 remains a great camera and an impressive debut for the new Micro Four Thirds format. If you'd like a version with HD video, check out the Lumix GH1.

Pros: Compact body; articulated screen; superb EVF.
Cons: Viewfinder not best-suited to low light or action shots.
Overall: A small but impressive camera.

Olympus E-620

The Olympus E-620 is a feature-packed DSLR which offers a step-up from entry-level models at an affordable price. It takes the 12.3 Megapixel sensor, Live View and fully articulated 2.7in screen of the higher-end E-30, but packs them into a compact and surprisingly comfortable body. It also features built-in stabilisation which works with any lens you attach. Responding to criticism of the earlier E-520, Olympus has also enlarged the viewfinder and improved the AF to a 7-point system, while keeping the superb ant-dust system. Olympus has really done its homework, delivering a DSLR which features just about everything a modern DSLR buyer is looking for. A superb choice and great value in its twin lens kit.

Pros: Built-in stabilisation; articulated screen; best anti-dust.
Cons: No video recording or HDMI port.
Overall: A step-up from entry-level models at a great price.

Nikon D3000

Nikon’s D3000 is the company’s latest entry-level DSLR and the replacement for the D40, D40x and D60 models. D3000 employs the body and sensor of the earlier D60, adds a bigger 3in screen and swaps the basic 3-point AF system for the considerably more sophisticated 11-point AF system (not to mention the useful viewfinder grid-lines) of the D5000 and D90. The headline new feature is the Guide mode, which really does make the D3000 the most approachable DSLR to date. Coupled with the excellent metering and AF system behind the scenes, the D3000 is arguably the best choice for first-time DSLR owners who are willing to swap Live View for a helping hand.

Pros: Very friendly and easy to use, 11-point AF, decent metering.
Cons: No Live View, exposure bracketing or AF with older lenses.
Overall: A great choice for DSLR beginners who want guidance.

Best buy - Canon EOS 1000D / Rebel XS

The EOS 1000D / Rebel XS is the entry-level DSLR in Canon’s range, sporting 10.1 Megapixel resolution, 3fps continuous JPEG shooting and a 2.5in screen. The big new feature here is Live View, although the 1000D / XS is also Canon’s lightest DSLR to date at just 450g. The 1000D / XS also comes supplied with a stabilised kit lens and software which lets you remote control the camera with your PC or Mac. The AF system may have been downgraded from the 400D / XTi's 9-points to a more basic 7-point system, but that's still more than some models here. Ultimately the 1000D / XS remains a great choice for entry-level buyers.

Pros: Live View. Stabilised kit lens. Remote control software.
Cons: Continuous shooting slows down in RAW mode.
Overall: An affordable 10 Mpixel DSLR with Live View and a stabilised lens.

Best buy DSLR - Sony’s Alpha A230

Sony’s Alpha A230 is one of the cheapest DSLRs on the market right now, but offers a solid specification for the money. It’s equipped with a 10 Megapixel sensor, built-in stabilisation which works with any lens you attach, a 9-point AF system, 2.7in screen and an HDMI port. The A230 may not feature Live View or a Movie Mode, but the presence of built-in stabilisation, not to mention an HDMI port, take it beyond many budget models. The A230 is also very easy to use with a new control system aimed at DSLR-beginners. It’s a great choice for first-time DSLR owners on a budget, and if you can’t live without Live View, consider the Alpha A330 which additionally features a tilting screen.

Pros: Built-in IS, easy controls, one of the cheapest new DSLRs.
Cons: No Live View, slow continuous shooting, unusual grip.
Overall: Ideal for first-time DSLR buyers on a budget.

Sony Alpha NEX-3 / NEX-5 review

The Alpha NEX-3 and NEX-5 are Sony's first cameras to squeeze large sensors and interchangeable lens mounts into compact bodies. Unlike traditional DSLRs, the mirror and optical viewfinder have been removed to make the body much smaller, leaving all composition to the screen like a point-and-shoot camera.

This promises the quality and lens flexibility of a DSLR but in a much more portable package. It's the same theory behind the Micro Four Thirds standard developed by Panasonic and Olympus, but rather than adopt this existing system, Sony has taken a different route, both physically and in terms of target audience.

Most importantly, the NEX cameras employ larger sensors than the Micro Four Thirds standard – in terms of surface area they're over 50% larger. Indeed the NEX sensors are exactly the same size as those in Sony's range of cropped-frame DSLRs. Rather than recycling an existing sensor though, Sony's developed a new CMOS model for the NEX cameras which offers 14.2 Megapixel resolution and HD movie capabilities. The latter is one of the major differences between the NEX-3 and NEX-5, with the former supporting 720p resolution and the latter boasting 1080i, but the still image quality on both models is identical.





Sony Alpha NEX-3 / NEX-5




Review contents
1 Design and build quality
2 Controls
3 Flash and accessory port
4 Screen
5 Menus and user interface
6 Lenses and stabilisation
7 Focusing and face detection
8 Shooting modes
9 Handheld Twilight / Anti Motion Blur
10 Sweep Panorama
11 3D Panorama
12 PASM modes, bracketing and HDR
13 Sensor and processing
14 Drive modes
15 Movie Mode
16 Results: Real Life resolution
17 Results: 18-55mm kit lens at 18mm
18 Results: 18-55mm kit lens at 55mm
19 Results: High ISO noise
20 Results: Handheld Twilight mode
21 Results: Anti Motion Blur mode
22 Results: Sample images gallery
23 Verdict
24 Rival comparisons
25 Final verdict and rating


The NEX cameras may share the Alpha branding, but to exploit their shorter lens-to-sensor distance, a new mounting has been developed. The new E-mount supports three lenses at launch: an 18-55mm standard zoom, an 18-200mm super-zoom and a 16mm pancake model. The lens mount may be different from Sony's DSLRs, but by sharing the same sensor size, the field-reduction remains 1.5 times. So the 18-55mm kit lens delivers an equivalent range of 27-83mm and the 16mm pancake works like a 24mm.

Unlike the Alpha DSLRs though, there's no room for stabilisation to be built-into the NEX bodies, so instead Sony's equipped the two zooms with optical stabilisation; there's no stabilisation for the 16mm pancake. Sony also offers an adapter which allows the NEX cameras to use Alpha lenses, but they become manual focus only.

Despite their compact dimensions, Sony's fitted both the NEX-3 and NEX-5 with high resolution screens which vertically tilt for easier composition at high and low angles. They also offer fast continuous shooting options at up to 7fps, so long as you're willing to have the focus and exposure locked at the first frame.

This fast continuous shooting is also exploited in a number of innovative modes first seen on selected Sony Cyber-shot compacts, like the HX5. Like that model, the Handheld Twilight and Anti Motion Blur modes automatically combine six exposures to reduce noise or camera shake respectively. Then there's the HDR mode which automatically combines three different exposures to extend the dynamic range of the image. The NEX cameras also feature Sony's clever Stitch Panorama mode, which automatically generates a wide panoramic image with a single sweep of the camera; NEX cameras updated to firmware version 2 even offer an option which generates a 3D panorama for compatible TVs.

All this is packed into tiny bodies which actually make existing Micro Four Thirds models look relatively large, and adding extra class are metal-bodied kit lenses. What makes the NEX cameras really different to rival cameras which pack large sensors into small bodies though is their target audience and user interface. While Panasonic, Olympus and Samsung all target point-and-shoot owners looking to upgrade, they also acknowledge enthusiasts looking to complement (or even replace) a DSLR with a degree of control and customisation they'd expect.

Not Sony though, which unashamedly aims the first two NEX cameras at those upgrading point-and-shoot cameras. While there is full manual control available, both NEX cameras have minimal buttons and a user interface designed for beginners. Many settings are buried away in various menus, and while this keeps things simple for beginners, it could infuriate more experienced users.

In our full review, we'll take a close look at the innovative features of the NEX cameras, along with the software which drives them. Does the big sensor really deliver DSLR-quality and is the kit zoom a good match for it in practice? Is the movie mode a viable replacement for a conventional camcorder? Do the innovative shooting modes extend the performance of the camera, or are they best-suited to traditional compacts? And as importantly, what's the handling like on such a small body and does the beginner-friendly user interface help or hinder? Read on to find out!

Sony Alpha NEX-3 and NEX-5 differences

The Sony Alpha NEX-3 and NEX-5 are identical apart from the following:

NEX-3 body is made from plastic / NEX-5 body is made from magnesium alloy.
NEX-3 body is fractionally larger with different shaped grip.
NEX-3 best quality video is 720p with MP4 encoding / NEX-5 best quality video is 1080i with AVCHD encoding.
NEX-3 does not have an IR remote option / NEX-5 does have an IR remote option.

Testing notes

We tested a final production Alpha NEX-5 updated to run firmware version 2. The cheaper NEX-3 shares the same sensor, so the image quality seen here is reflective of what's possible with that model. While the review is based on using the NEX-5, we'll illustrate the minor differences between it and its cheaper sibling throughout. We tested the NEX-5 with a final production 18-55mm kit lens. We were also supplied with a pre-production 16mm pancake, but due to widely reported issues with the image quality, only used it for physical evaluation; all results here were taken with the 18-55mm.