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Conclusions and Winners Eight superzoom cameras compared, 2. Functionality and feel are also highly important, but IQ is the king of the hill. Novelty features may sell cameras to novices, but they don't matter at all to us if the image quality isn't sound. For that reason, we didn't pay much attention to ancillary features in this shootout, and instead concentrated our efforts on what these models are meant to do first and foremost, and that's deliver clear, sharp, low-noise and high detail images of distant subjects.
If you've read through any of the previous pages and looked at any of the image comparisons, you probably know what our recommendations will be, but we'll walk through our winners below anyway, pointing out some strengths and weaknesses of each.
We found that three of these eight models can perform their primary function with a degree of image quality sound enough to recommend to even discerning Imaging Resource readers.
Taking a quick glance for the first time on a computer monitor against the other superzooms, the 1: That first portrait shot was far superior to what we saw from any of the other cameras. We were particularly surprised, given that the P is also the longest-zooming of the bunch, with a max tele focal length of mm eq.
Going forward, the P held onto its crown in pretty much all of our other test shooting. Besides its Online quiz 1 cis2000 s1 2014 image quality, its image stabilization was among the best, especially important with such a long zoom lens.
On the downside, its battery life is on the short end of the group, at shots, and it doesn't come with an external charger, so you can't be charging one battery while shooting with the other.
The biggest limitation we found with the P was its full-resolution continuous shooting speed. This was frankly pretty maddening. When it was clearing a burst, we couldn't fiddle with menus or camera settings or work on framing our next image.
The camera was basically a paperweight for 30 seconds after every burst. We tried several different fast memory cards in it, to make sure it wasn't a fluke with one particular card.
So it's a mixed bag; we wouldn't recommend the P for fast-breaking sports action. We were also a little surprised to see that it didn't have a RAW mode.
As we saw back on page 3 of this review, RAW processing often doesn't add a lot in terms of image quality, when you're talking about small-sensored cameras, but we'd still like to have seen the option on the P, regardless.
Even taking its limitations into account, we felt that the Nikon was the hands-down winner in this shootout. The P is simply the best superzoom on the market as of this writing.
It's clear from its performance that Nikon knows a thing or two about making great lenses, but they also wrung the maximum out of the small sensor required to make a equivalent tele zoom lens a practical reality. The difference in image quality between the P and some of its competitors is frankly astonishing.
If you can live with its slow buffer clearing for full-resolution bursts and you don't need much in the way of weather resistance, there's no better choice currently on the market.
Purchasing your P through one of the links below directly supports our efforts! Buy your Nikon P from: It has weather resistance built in, and virtually everything about the body and design suggests it's ready to head out into the natural world without complaint or issue.
Perhaps in part due to its weather sealing, there's a sureness and solidity to all its controls, and the body as a whole just feels well-built. It also seems to have one of the better image stabilization systems of the group, and delivered by far the best-looking moon shot.
The Fuji S1 also does quite well in the performance department, capturing a minimum of 9 full-resolution frames at 9. Like the Nikon P, it's effectively dead while writing to the card, but at least spends only 4.
The S1 has two notable shortcomings, though, one of which is literally shorter: While all of the superzooms we tested except the Olympus SP showed shorter focal lengths in our testing than they were rated at, the Fuji S1 holds the dubious distinction of being the one that came up the shortest.
It seems to have a very good lens, just not as long a focal length in practice as advertised. A bigger issue at least to our eyes is the extent to which its JPEG images appear over-sharpened and over-processed.
While individual tastes may vary, we found the images it produced in all our shots other than the one of the moon to be overly contrasty, with finer details blurred by the noise-reduction processing, and then grossly oversharpened to compensate.
This again could be somewhat reflective of the proclivities of its target market, as oversharpened images like those produced by the S1 tend to pop when printed at smaller output sizes. We do wish, though, that Fuji had given users the ability to dial back the sharpening and processing in-camera, via a menu option of some sort.
Alas, there's none such, so JPEG users have to simply accept what the camera gives them. Note that we said "JPEG shooters," though. If you want to go that route, though, you may want to invest some time and effort in creating or finding online a color profile for it; Adobe Camera RAW's ACR's default color mapping produces images with significantly lower-contrast and less-saturated color.
That's a shame, as Fuji does have some special magic in their color management, and the S1's JPEG color looks really great as a result.Unit 1 Micro Econ - Download as PDF File .pdf), Text File .txt) or read online.
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