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Professional Point & Shoot Camera Comparison
Back in September I made a post announcing the release of the Cannon G12 point and Shoot camera. I did this primarily because I get asked a lot to recommend cameras to my workshop students and friends. As far as point and shoot cameras go I think think the Cannon G series is hard to beat. But there are some other professional level point and shoot cameras that are in the same price range and are very much worth considering.
B&H Photo and Video put together a great comparison of these professional point and shoot cameras. I thought it might be nice to pass this information on to you, so with the permission of Issaic at B&H I have copied their article below. It includes a short video that hits the highlights in case you don’t want to read all the way through. At the bottom there is also a comparison chart.
Professionals tend to expect more from the tools they use. They expect them to perform reliably, accurately and smoothly on good days and bad. On top of all that, they expect their tools to feel proper, secure and “right” in the hand. And these very same folk often have the same expectations when it comes to pedestrian items. We’d like to talk about a half-dozen point-and-shoot digital cameras that should appeal to serious-minded shooters seeking a pocket-sized camera that feels and performs like a “real” camera.
Each of the following cameras is unique in that it incorporates the sort of features serious shooters prefer even in their “down-time” cameras. These features include fast apertures, high-quality glass, sturdier-than-average construction, full manual override, JPEG+RAW still capture, a hotshoe for use with flashguns and accessories, analog-style controls for quick and intuitive on-the-fly exposure adjustments and a tactile feel that makes you want to take one wherever you go.
Five out of six of these cameras contain 10MP imaging sensors typical of their class. The exception is the Leica X1, which contains a larger APS-C sensor despite it’s easily pocketable size. As for optics, each of these cameras features premium glass with wide maximum apertures, the slowest among them f2.8 and the fastest a truely bright f/1.8.
Two of the cameras, the Canon PowerShot G12 and Nikon CoolPix P7000, feature optical viewfinders coupled to their respective zoom lenses as welcome (though peephole-ish) alternatives to composing and editing images on the camera’s LCD under bright lighting conditions. Similarly, you can slip optical finders (DMV-VF1) onto the hotshoes of the Panasonic Lumix DMC-LX5 and Leica D-LUX 5 that match the wide-angle field of view of the 24-90mm equivalent Leica DC Vario-Summicron lens that is shared by both cameras. Leica also offers a hotshoe-mounted optical finder matched to the angle of view of the camera’s fixed lens (Leica X1 Brightline Finder).
Canon
The Canon PowerShot G12 is the latest in a long line of top shelf pro point-and-shoot cameras.
Encased in a tough, all-metal housing, the G12 features a DIGIC 4-powered 10 MP CCD, an image-stabilized 5x (28-140mm equivalent) UA zoom lens, full manual override, close focusing down to 0.4″ from the lens surface and a 2.8″ (460,000-dot) Vari-Angle LCD.
In the imaging department the PowerShot G12 can capture JPEGs, RAW, JPEG+RAW, as well as 720p HD video with sound. The top shutter speed of the G12 is 1/4000th-second and you can squeeze off up to two frames per second when shooting flat out. In the power department, you can expect up to 1000 exposures-per-charge and for recording stills and video, the G12 accepts SD, SDHC, SDXC, MMC, MMC Plus, HC MMC Plus memory cards.
Nikon
Similar in design is 
Nikon’s CoolPix P7000, which in addition to a 10.1 MP CCD, a coupled optical finder, JPEG and/or RAW still capture, analog style control dials and a 3″ (921,000-dot) LCD, can also capture 720p HD video with stereo sound. The lens, a five-way optically stabilized 28-200mm equivalent zoom with a maximum aperture of f/2.8 and close focusing down to 0.8″ from the lens surface, has the widest focal range in its class.
Along with all of the above, a new EXPEED C2 imaging processor keeps things moving at burst rates up to 1.3 frames per second continuous shooting for up to 45 frames. Other important features found on the CoolPix P7000 include Active D- Lighting, a top shutter speed of 1/4000th-second and top ISO sensitivity of 12,800. The P7000 accepts SD, SDHC and SDXC memory cards, and for times you find yourself in dire straights, the P7000 contains about 79MB of internal memory. As for shooting times, according to Nikon, you can expect to squeeze off about 350 stills or two hours and 45 minutes of HD video per battery charge.
Samsung
Mention the name Samsung and most people think HDTVs, remote controls and cell phones, but as the
Samsung TL500 illustrates, Samsung’s engineers seem to take low-light shooting with sturdy pocket cameras seriously. Among its key attributes is a 10MP CCD, a fully-rotatable 3″ AMPLOD display, dual image stabilization systems, a hotshoe, analog-style control dials, JPEG and/or RAW, in-camera RAW processing, full manual overrride and MPEG-4 AVC/H.264 video with stereo sound.
The biggest selling point of the Samsung TL500 has to be its Schneider 3x, 24-72mm equivalent wide-angle zoom, which with a maximum aperture of f/1.8 is a third-stop faster than its closest f/2 competitors. Even at the 72mm mark, the lens still transmits a respectable maximum aperture of f/2.4.
The TL500′s f/1.8 maximum aperture also allows for a wee bit more selective focus when shooting tight, narrow-focus images, which in the world of tiny imaging sensors, isn’t all that easy. The Samsung TL500 accepts SD and SDHC memory cards and contains a rather hefty 1GB of internal memory.
Panasonic
Panasonic’s Lumix DMC-LX5 is a trim, smartly-designed pocket camera that features an f/2, Leica DC Vario-Summicron Aspheric zoom lens with a 24-90mm equivalent zoom range, that along with a top ISO setting of 12,800, makes it an ideal pocket-sized street-shooting machine. To complement the camera’s 3″ 460,000-dot LCD, the Lumix LX5 allows you the option of slipping a 24mm FOV DMV-VF1 optical finder (optional ) onto the LX5′s hotshoe for fast and accurate, eye-to-the-ocular shooting.
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Like the other cameras in the pro-quality point-and-shoot category, the Panasonic Lumix DMC-LX5 features a hotshoe and captures stills in the form of JPEG and/or RAW. Other features include a top shutter speed of 1/4000th-second, up to 2.5 frames per second continuous shooting, macro focusing down to 0.39″ (1cm) from the front lens surface, and 720p @ 30 fps HD video capture. The Lumix LX5 accepts SD, SDHC or SDXC memory cards and contains about 40MB of internal memory.
Leica
From Leica we have not one but two distinct and unique models to choose from, starting with the Leica X1, which despite its compact profile contains a 12.2MP APS-C format CMOS sensor, similar in size and resolving power to the sensors found in compact DSLRs. To complement the camera’s hi-res sensor, the X-1 has a super-sharp, 24mm f/2.8 Leica Elmarit fixed focal length lens that renders the field of view of a 36mm lens on a full-frame Leica M-series camera, which as you might have guessed, was part of the master plan.
12.2MP APS-C Format Sensor and is available in Black or Silver.
Manufactured entirely in Germany and available in a choice of Blackor Silver, the Leica is strictly a still camera, and like it’s larger sibling there’s no video capture with this baby. Out of the box, the X-1 features a 2.7″ LCD for composing and editing imagery, but to better facilitate the full Leica experience, 
the Leica X1 Brightline Finder, designed to match the 62° angle-of-view of the camera’s lens, is highly recommended. There’s also an optional X1 Handgrip, which screws onto the base of the camera to add a positive handhold when grasping the camera.
Other features found on the Leica X-1 include JPEG and/or RAW (DNG) capture, analog controls with full manual overrides, Live View, 11 AF points, a two-year international warranty and a copy of Adobe Lightroom 3, which is downloadable when you register your camera online.
Our second offering from Leica is the Leica D-LUX 5, which (truth be told) is one and the same as the Panasonic Lumix DMC-LX5 described above once you dig down under the skin. The skin it’s been replaced with, however, is pretty sleek and features the ego-satisfying red Leica logo.
As for image quality, the firmware in the Leica D-LUX5 is designed to render color and tone more neutrally than its Panasonic counterpart, which like most cameras from Japanese manufacturers, renders color and tone at punchier levels.
Along with an f/2, Leica DC Vario-Summicron Aspheric zoom lens (24-90mm equivalent), the Leica D-LUX5 features a top ISO setting of 12,800, 3″ 460,000-dot LCD (and optional DMV-VF1 optical finder), JPEG and/or RAW still capture, a top shutter speed of 1/4000th-second, up to 2.5 frames-per-second continuous shooting, macro focusing down to 0.39″ (1cm) and 720p @ 30 f-p-s HD video capture. The Lumix LX5 accepts SD, SDHC, or SDXC memory cards and contains about 40MB of internal memory. The Leica D-LUX5 comes with a two-year international warranty, which is twice up from the industry standard of one year.
| Sensor | Lens | Image Viewing | Stills | Video | Highest ISO Rating | |
| Nikon CoolPix P7000 | 10.1Mp CCD (1/1.7″) | 28-200mm/f2.8-5.6 (Equivalent) | 3″ LCD(921,000-dots) Coupled Optical Finder (80% Coverage) |
JPEG
+RAW |
720p
@30fps |
ISO 12,800 |
| Canon PowerShot G12 | 10Mp CCD (1/1.7″) |
28-140mm/f2.8-4.5 (Equivalent) | Vari-Angle 2.8″ LCD (460,000-dots) Coupled Optical Finder (approx 80% coverage) |
JPEG
+RAW |
720p
@24fps |
ISO 3200 |
| Samsung TL500 | 10Mp CCD (1/1.7″) |
24-72mm/f1.8-2.4 (Equivalent) | 3″ OLED (614,000-dots) | JPEG
+RAW |
MPEG-4 AVC
/H.264 (Mono Sound) |
ISO 3200 |
| Panasonic Lumix DMC-LX5 | 10.1Mp CCD (1/1.6″) | 24-90mm/f2-3.3 (Equivalent) | 3″ LCD(460,000-dots) | JPEG
+RAW |
720p
@24fps |
ISO 12,800 |
| Leica D-LUX 5 | 10.1Mp CCD (1/1.63″) | 24-90mm/f2-3.3 (Equivalent) | 3″ LCD(460,000-dots) | JPEG
+RAW |
720p
@30fps |
ISO 12,800 |
| Leica X1 | 12.2Mp CMOS (APS-C) | 24mm/f2.8 (Fixed 36mm Equiv) | 2.7″ LCD (230,000-dots) | JPEG
+RAW |
None | ISO 3200 |
Rafting Cataract Canyon in Canyonlands National Park
http://wildernessimagesphotography.com/I was able to squeeze in one more river trip this year. Starting near Moab Ut, The Colorado river flows into Cataract Canyon through Canyonlands National Park. This is perhaps on of the most in-assessable sections of river in the country with no easy road or trail access to the river between the put-in and take out at Lake Powell. 
The first 50 miles of the trip is flat water meandering through a goose-necked sandstone canyon past the confluence with the Green River. Many people attach motors to their rafts and buzz quickly through this section. Our small 3 person 2 boat trip had no motor, and that was OK with us. This upper section of the trip is home to some of the most spectacular scenery, archealogical sites, petrified wood, and rock formations I have ever seen. The motorless experience really lets one relax into a wonderfully slow pace for the trip. Check out the 4 fingered child’s hand pictographs we saw in the photo to the right.
Just below the confluence of the Green River is access to the Doll House. The Doll House is an extremely remote section of the Maze District in Canyonlands. The windy passages between monolithic sandstone towers offers amazing hiking and photographic opportunities. This shot below is a Panorama I shoot while hiking back to the Spanish Bottom camp at the foot of the Doll House.
Below the Doll House the rapids begin. Cataract Canyon contains fourteen miles of rapids ranging in difficulty up to Class V. At this time of the year with lower flows the rapids are not as fierce as their reputation holds, but are still a lot of fun. This section of the river is probably the closest
The shot of me rowing to the right was taken by my buddy and fellow photographer Jack Moseley. Jack is using my Nikon D90 in an Ewa Marine underwater housing to catch the action.
As a photographic side note, I love this underwater housing. Housings can be very expensive, and although this one is still not cheap, it’s a lot less expensive that a hard case and performs well. I really like the fact that I can mount a strobe on my camera in the housing allowing me to add fill light ot a shot like this which would other wise suffer from a very dark shadowed face.
The last part of the trip returns to flat water. The varying levels of Lake Powell cause the exact mileage of the flat water to vary. On our trip the lake level was still a bit low (as it has been for many years now due to drought conditions). We floated past exposed high silt banks formed by sediment when the lake was higher gouged out by the return of flow when the lake level was lower.
For us the last 16 miles of the trip was flat water and very interesting from an environmental perspective. The canyon seems in a state of confusion. Silt was piled high on the banks hosting plants such as willows and tamarisk that would normally be at the waters edge. Side canyons were cutting through never ending slimy silty mud that got on everything you touched. Two days of chilling rain only made the muddy conditions worse as all the side canyons flash flooded.
We spent a lot of time thinking of how beautiful this canyon must have been in it’s un- altered state. Camping in this lower section became challenging as none of the land was stable or clear of brush. Rounding the corner getting a spectacular view of the Mountains over Lake Powell was the signal that we had reached the end.
Below is a slide show with more images from the trip.
Silverton Durango Narrow Gage Railroad
Last Sunday was the last train ride of the season for the Silverton Durango Narrow Gage Railroad. This last ride of the historic steam locomotive is reserved for the local residents of the region as a thank you to the communities that support the train. I have never ridden the train in the 11 years I have been living in the area and was really excited about going.
The Route travels from Silverton to Durango Colorado through the remote Animas valley within the San Juan National Forest skirting the Weminuche Wilderness. Shauna and I were seated in car number 5 along with, just by chance, a good many other Ridgway residents. It quickly turned into a terrific party. Several of the passengers brought instruments so there was live music and singing the whole way as we looked out at the stunningly beautiful Animas river valley pass by.
Here is a slide show of images form the day.