Olympus PEN Lite / E-PL3 Review

The Olympus PEN Lite/E-PL3 is identical in terms of output to the recently reviewed Olympus E-P3. We have tested to verify image quality (and of course include these tests in the review). Where appropriate, you will find our comments and judgements identical to those expressed in our in-depth review of the Olympus E-P3. Much of the original content in this article then is devoted to assessing features and functionality unique to the E-PL3.

From the outset, Olympus has positioned its E-PL lineup as a simplified, lower-cost alternative to its higher-end E-Px cameras. The release of the third generation Olympus PEN E-PL3 (dubbed PEN Lite) continues this tradition while sporting much of the functionality and nearly all of the performance gains of its big brother, the Olympus E-P3. One difference this time around, however, is the simultaneous arrival of the E-PM1/PEN Mini, which now becomes the entry-level model in the PEN lineup. The PEN Lite sits between the PEN Mini and Olympus' flagship E-P3, offering a combination of external control points and compact-camera-like handling that may appeal to those who want high image quality in a small package, and are ready to move beyond an 'auto everything' experience.

The PEN Lite introduces handling and operational changes from its predecessor, the Olympus PEN E-PL2. Among the most obvious of these are the lack of a hand-grip along the front plate, the addition of a tilting 16:9 format LCD screen and a clip-on flash unit that occupies the hot shoe and rear accessory port (in contrast to the E-PL2's built-in flash). While it shares a sensor and image processing engine with the higher-priced E-P3, the PEN Lite has more distinct styling and better feature differentiation from the high end model than we've previously seen. As such, the E-PL3 is a very different looking camera than its predecessor, the E-PL2. In fact, the design aesthetic and reduced size of the E-PL3 point more closely to that of the Olympus XZ-1 compact camera; a none-too-subtle hint perhaps at Olympus' intended target audience.

Make no mistake, however, the E-PL3 does not skimp on features. External control points, a mode dial, hot shoe and accessory port all carry over from the E-PL2. And, as we've come to expect from a PEN series model, the E-PL3 offers a high degree of customization over camera operation along with a variety of art filters and effects that can be applied to JPEG image captures. We're also pleased to note that, like the E-P3, the PEN Lite has an AF illuminator to assist low-light focus acquisition.

Having regularly acted as a trailblazer (Olympus was an early exponent of DSLR live view, in-camera image stabilization and art filters), and subsequently watching other manufacturers adopt similar features, the E-PL3 sees Olympus taking the opportunity to borrow ideas for a change. There's something decidedly NEX-like about the E-PL3's protruding lens mount and tilting LCD screen, not to mention its separate clip-on flash.

Curiously, the PEN Lite's flip-out screen is in the 16:9 aspect ratio - well suited for shooting HD video but much less so when shooting stills in the camera's native 4:3 format. This format mismatch leaves black bars down both sides of the screen, areas which are then solely devoted to displaying camera settings.

Olympus PEN Lite key specifications:

• Updated 12MP Live MOS sensor
• 120 Hz 'Fast AF' focus system with 35-point area AF
• Clip-on flash (included)
• Built-in autofocus illuminator light
• 460,000 dot tilting LCD screen (16:9 aspect ratio)
• Dual-core TruePic VI processor
• 1080i60 movies in AVCHD format
• Shadow tone adjustment control
• Revised and expanded Art Filter mode (with quick preview option)

 Compared to the Olympus PEN E-P3

 

 Differences between the PEN Lite E-PL3 and PEN E-P3

• Faster continuous shooting: up to 5.5fps vs. 3fps
• Tilt/flip LCD display vs. fixed OLED screen
• Lower resolution screen (460,000 vs. 614,000 dots) in 16:9 vs. 3:2 aspect ratio
• No thumb dial
• No orientation sensor
• Slower flash sync speed of 1/160th vs. 1/180th of a second
• Four fewer Art Filters (Loses Pale Light & Color, Light Tone, Gentle Sepia and Cross-Process)
• No built-in flash (clip-in unit included)
• No level gauge

Canon PowerShot ELPH 500 HS:

Hands On Review

Last year's Canon SD4000 IS was the first ELPH to approach high-end compact territory, a realm previously reserved for Canon's S and G series models. The SD4000 combined a bright lens, reliable image processor, and a new sensor that was designed for quick performance and extra sensitivity to light. It worked out well, and the SD4000 nabbed some strong reviews and favorable comparisons to the Canon S90 advanced compact. It set the stage for a wave of lower-cost Canons with the same processor/sensor combination -- now branded as the High Sensitivity (HS) system -- and changed the point-and-shoot landscape for the better.

As it tends to go in the camera world, Canon has already replaced the SD4000 with the ELPH 500 HS. The familiar lens/processor/sensor combo remains, but the interface has been overhauled, now sporting an enormous touchscreen and very few physical buttons. Can this trendy new design can make a great thing even better? Read on to find out.

Body & Design

The ELPH 500 is a small camera, but a bit too bulky to be considered an ultra-compact model. Its body is roughly the same size as this year’s S95, though the design is most similar to last year’s SD4000, with rounded corners, soft lines and a vaguely bulbous profile. It falls somewhere between the homely SD4500 and sharp-dressed ELPH 300, but of course, true beauty is in the eye of the photographer.

A 3.2-inch, wide-format, touchscreen LCD gobbles up most of the rear panel. Most of the controls flow through that monolithic monitor, so there are just a few physical buttons. A lonely playback key sits to the right of the screen on the rear. Up top, from left to right, there’s a slider to switch between Auto mode and, well, "not Auto" modes; a power switch; and the shutter release, encircled by a zoom tilter.

There isn't much of a button layout to speak of, so ergonomics are a secondary concern here (though I’ll get to the touchscreen’s implications in the User Experience section below). There is just one notable design issue: Like the other Canons we’ve tested this year, the shutter release is flush with the body. It looks cool, but it’s difficult to find by touch; a shaped or textured shutter release would improve usability.

A bright-and-wide 24-108mm (4.4x zoom) f/2.0-5.6 lens -- arguably the ELPH 500’s centerpiece, and one of the nicest lenses on any compact camera at this price -- sits up front, joined by the flash and LED focus-assist lamp. A big plastic panel covers the mini-USB, A/V out, and mini-HDMI ports on the right side of the camera. On the bottom, there’s a sliding door for the battery and SD/SDHC/SDXC card compartment, as well as a metal tripod threading.

 Performance & User Experience

Whether they’re ELPHs or EOS dSLRs, Canon cameras are almost always a pleasure to use. Grandma and grandpa can figure out how to use them, and more importantly, actually like it.

Canon tries to port that user experience to a predominantly touch-based interface on the ELPH 500. The results are lukewarm. Touchscreens work wonders for smartphones and tablet computers, but not cameras. The best implementations keep the tried-and-true tactile controls, and use touchscreens to complement the user experience with functions like tap-to-focus. One can shoot an entire session with a camera like the Panasonic ZS10 and never use its touchscreen, but the touchscreen does open up some extra possibilities when they're appropriate.

With the ELPH 500, on the other hand, it’s almost impossible to work around the touchscreen. Basic functions like the shutter release and zoom are still tied to physical controls, but aside from a dedicated playback toggle, all the navigation and setting adjustments are touch-based. If it was as responsive as the iPhone, it might’ve worked, but it lags, and it’s a major drag on the user experience. Missed shots abound. Clumsy navigation awaits. The “buttons” are often too small. Scrolling is particularly frustrating. The battery life suffers as well, managing a middling 180 shots per charge. Aside from tap-to-focus, there is not a single function that a button-based interface could not have done better.

When the touchscreen can stay out of the way, the ELPH 500 is a nimble performer. From power-on, it’s ready to shoot in under a second. Autofocus is quite fast and accurate in good lighting, though there’s a noticeable drop-off when light starts to fade. Even so, shot-to-shot times are less two seconds under dimmer artificial lights. At its best, it can churn out a respectable 3.4 frames per second in continuous drive mode, matching the speed of entry-level dSLRs and significantly out-performing most run-of-the-mill point-and-shoots. It can maintain that pace indefinitely, so there’s no need to worry about filling up the buffer and missing any shots while the camera writes to the card. Slow(er) and steady wins the race, sometimes.

Straight-up Auto mode is easy to use and grabs a good exposure most of the time. A small handful of specific scene pre-sets are available under the “not Auto” tab, including Portraits, Foliage, and Kids & Pets, but Auto mode usually detects when it should use those presets anyway, so some users may never need to manually select them. Canon’s typical fun effects and filters are present, too, including Color Swap, Color Accent, Black & White, Sepia, so on and so forth.

Then there are the more "serious" modes. Like most of Canon’s recent compacts, the ELPH 500 has an in-camera high-dynamic range (HDR) mode, known here as Handheld NightScene. It snaps three or more rapid-fire shots at slightly different exposures, and combines them into one evenly exposed, almost surreal-looking image. Bright areas are controlled, dark areas are visible, and colors really pop. There’s also a dedicated Low Light mode, which boosts the ISO sensitivity and drops the resolution down to three megapixels. It’s only really useful in super-dark situations if you just want some semblance of a photo to (kind of) capture a moment.

And of course, the enthusiast's bread and butter: Program, Aperture Priority, and Shutter Priority (no full Manual exposure control, though). They offer the hands-on exposure control that experienced users want and that casual users can use to explore and experiment. But the touchscreen cripples them. “Scrolling” through apertures and shutter speeds is slow, inaccurate, and horribly painful. It’s there if you need it, but be ready to wait.

So the user experience is a big mixed bag with the ELPH 500. It does offer the best of what the Powershot line has to offer: A dead-on auto mode, useful (or at least fun) scene modes, some hands-on control, and nimble performance. It’s just all trapped in an irritating touchscreen interface.

Image & Video Quality

Canon’s ballyhooed High Sensitivity system is at the heart of the ELPH 500 HS (hence the “HS” tag at the end there). It’s a combination of the vaunted Digic 4 image processor -- found in any Canon camera worth its salt, from the pro-level 5D Mk. II down through this year’s A Series shooters -- and a 1/2.3-inch backside-illuminated CMOS sensor, which keeps shots looking clear at high ISO settings. It also has a wide-open f/2.0 maximum aperture, which lets in about as much light as any point-and-shoot out there.

In layman’s terms, that means that the ELPH 500 HS can take great pictures in pretty much any setting. Low-light image quality is a big selling point in particular. My photos from some nights out at a bar and a local rock concert are clearer and more evenly lit than I’d usually get from a compact camera. Details are a bit soft by the highest standards of low-light photography, but it’s easier on the eyes than the rough, splotchy noise and sloppy noise reduction that so many cameras pepper their pictures with at high ISO settings. I also took fewer blurry shots than usual; since the aperture is so wide, the shutter speed remains pretty quick even in the dark, reducing the chance that hand-shake will ruin the photo.

Bear in mind that the laws of physics still apply to the ELPH 500. The lens and sensor scoop a lot of light compared to plenty of point-and-shoots, but it’s still a small camera with a tiny sensor; it can’t keep up with a big-sensor mirrorless compact or dSLR. Even so, it’s a great low-light shooter by point-and-shoot standards. Shots up to ISO 1600 are still detailed and color-saturated -- totally usable for medium-sized prints, in other words. Up at ISO 3200, things get a bit fuzzier, but they’ll work for viewing on a screen.

It's a great shooter in bright situations and low ISO settings, too. My initial reaction was that details are a bit soft at the low end of the ISO range, but after comparing it to some of last year’s CCD-based Powershots, the difference is barely visible. (I generally find that CCD sensors produce sharper results than CMOS sensor at the lower-end of the ISO range, but quality degrades faster at higher ISO settings.) It's adept at capturing nuances in lighting, both in the dark and the daylight, and the wide-open lens can sometimes achieve the eye-pleasing shallow depth-of-field look (sharp subject, soft background).

Viewed at full resolution, the ELPH 500’s shots do have a bit of a dabbed-on texture, smooth rather than sharp, but I’d call it an aesthetic quality rather than a problem. Most compact-cam shooters rarely view their shots at full resolution anyhow. I'd bet my lunch money that if we lined up medium-resolution shots from the ELPH 500 and critically acclaimed Canon S95 side-by-side, most people would not be able to determine which camera took which photos, and some folks would even prefer the shots from the cheaper ELPH.

The ELPH 500 does run into a few issues, though, most of which S95 manages to avoid. At the widest, brightest lens settings, shots show some noticeable barrel distortion, though this is somewhat expected coming from a lens like this. There's also a slight tendency to blow out highlights (very bright areas of a shot), also likely due to the light-greedy lens. Some occasional green and purple fringing popped up in high-contrast areas, but again, this is expected to a degree, and far, far from the worst case I've seen. As usual with Canon compacts, automatic white balance tends to cast a yellow tint on pictures taken under artificial lights, so either find a better preset, or take twenty seconds to customize the white balance.

The most puzzling quirk, to me at least, was the random tendency to slightly underexpose shots taken in comfortable outdoor conditions. It happened to a couple shots in each of my test batches. It may have just been my particular camera, as I haven't heard of anyone else running into this problem. Weird. Anyhow, none of these issues should be deal-breakers, as they almost never ruin shots (nothing that 30 seconds of post-processing can't take care of), and the great overall image quality outweighs these minor inconveniences.

Video mode, as we've come to expect from Canon, is very good. The ELPH 500 shoots 1080p video at 24 frames per second for that classy cinematic look. Optical zoom is available while recording without much of an audible motor zoom. Low-light video quality holds up nearly as well as the still image quality. It's a perfectly suitable substitute for a standalone pocket camcorder -- it has a better zoom range, for sure -- and can capture some better-than-average clips for YouTube, though it's still just a compact camera video mode.

Conclusion

Canon's goal was clearly to make an ELPH that was high-end in every sense, but they got too ambitious. With the SD4000, they nailed down the formula for great performance and picture quality, and it didn't take a rocket scientist to figure out that they should use that formula in another camera. They didn't need rocket scientists to design a touch interface either, but they should've at least found somebody who's used an iPhone for five minutes. The interface isn't frustrating just because it's a touchscreen. It's frustrating because it's just a bad touchscreen.

Ultimately, the ELPH 500 is still a solid camera. We recommend it, since it's almost impossible to find this kind of picture quality for $300. We're giving a low A minus rating, but it could've been a solid A or even a rare A plus if Canon had played it safe and paired the HS system with a tried-and-true button-based interface (for the same price, of course). There will be plenty of users who learn to live with the ELPH 500's control scheme. Those folks will probably have small fingers and shoot almost exclusively in Auto mode.

But any prospective buyers would do well to look at cameras like the Canon S95, a true advanced compact with an oversized sensor and a robust control scheme, or perhaps the Nikon P300, a high-end point-and-shoot with similar specs as the ELPH 500 but a traditional interface and higher price tag.

Sony SLT A57 Hands-on Preview

Sony's original SLT models - the A55 and A33, showed the company was willing to try something different to compete with the well-entrenched SLR makers. With the SLT-A57, it looks like Sony is intent on competing more fiercely than ever. The specs may hint at a gentle update but, from what we've seen, it's an overall package that DSLR makers should take seriously.

For a start, it's based around the excellent 16MP sensor seen in many of the best current DSLRs and features a body more like the A65. But it also offers to make its wide range of features more easily accessible than before, helping the first-time user to get the most out of the camera.

We've enjoyed using the SLT cameras we've used so far. Concerns about light-loss, electronic viewfinders and ghosting may have made DSLR purists nervous, but most people who tried using the cameras couldn't help but be impressed. Having light constantly directed to the AF sensor meant the SLTs could offer autofocus both during video shooting and 10 frame-per-second shooting - a combination still unmatched at the consumer end of the market.

Even if you don't need any of the tricks its design allows, the fixed, semi-transparent mirror design also allowed Sony to make good on its ambitions of cameras that offer a seamless shooting experience whether shooting SLR-style or in live view. And this is an ability that shouldn't be under-appreciated - even if you're only used to shooting through a viewfinder, being able to shoot using the rear screen and have consistent operational behavior and speed is a real bonus.

The A57 can still shoot at 10 frames per second (or 12fps in an 8.4MP cropped mode), but it gains the ability to shoot 1080p video at 60 or 24 fps (50 or 25 on European models) and the high-contrast edge enhancing 'peaking' mode for manual focusing in video and with non-AF lenses. It also gains the now expected image processing 'Picture Effects,' such as retro, pinhole and miniature filters. But, more significantly, it gains the 'Clear Image Zoom' digital zoom mode that uses an image database to 'intelligently' interpolate between captured pixels to give full resolution output.

Making practical use of this ability, the A57 also has a mode that will re-process your people pictures with what it thinks is a better composition. It does this by searching for faces and re-cropping into portrait orientation with the subject's eyes positioned according to the rule-of-thirds. The crop is then re-sized back up to 16MP, using the Clear Image Zoom scaling.

The viewfinder, like the A55's, is still an LCD rather than the high-resolution OLEDs used in the more expensive models but even this has been tweaked. The magnifying optics in front of the LCD panel have been redesigned to allow more of the screen to be seen. There are also two magnification modes within the viewfinder, designed to change the eyepoint (viewing distance) of the finder to make life easier for users with glasses.

Key Specifications :

16.1MP CMOS sensor
Latest Bionz processor
Larger, FM500H battery (same as A65 and A77)
ISO 100-16000
Auto ISO 100-3200
1,440,000 dot LCD electronic viewfinder
920,000 dot bottom-hinged rear LCD
10 frame per second continuous shooting mode with AF (12fps at 8.4MP crop)
Picture Effects processing options
Clear View Zoom up-sizing digital zoom
Peaking manual focus guide overlay
1080p AVCHD 2.0 movies at 60 or 24 fps (50 or 25 in Europe)

Compared to the SLT-A55

Nikon D3200 Hands-on Preview

Nikon has updated its entry-level DSLR offering with the addition of a 24MP CMOS sensor. This makes it equal to Sony's A65, A77 and NEX-7 in offering the highest pixel count we've yet seen at the APS-C sensor size, and second only to the full-frame professional-grade D800 in Nikon's entire range. The significant thing, though, is that it does so at a starting price of $699 (the same launch price as the D3100 and Panasonic DMC G3, for comparison). It may not be revolutionary, but it promises a lot of camera for a competitive amount of money.

Pixel-count aside, the changes from the D3100 are subtle but, with 1080p30 video, a 920k dot LCD and the option to add an affordable Wi-Fi transmitter, there are clear benefits over the D3100's pretty capable specification. As usual for Nikons at this level, the D3200 doesn't feature a built-in focus motor, doesn't offer auto exposure bracketing and has simplified Active D-Lighting options but beyond these, there's little missing that you could reasonably expect for this class of camera. It even regains the option to trigger the camera with an infrared remote - with the inclusion of sensors on the front and rear of the camera.

The inexorable rise of the mirrorless camera has undoubtedly put particular pressure on the entry-level end of the large sensor market. The smaller body sizes of mirrorless cameras, combined with their more compact-camera-like operation has helped win-over some people who would otherwise have bought a DSLR, as well as drawing people away from high-end compacts. However, entry-level DSLRs still offer a very attractive and polished photographic tool - and with continuous autofocus behavior that no mirrorless camera has come close to matching (aside from Nikon's own 1 V1 and 1 J1, which feature smaller 'CX' sensors). With this in mind, it's understandable Nikon would wheel-out a camera with a big headline specification to look impressive on the shop shelf.

Although its upgrades aren't necessarily the product of great leaps of ingenuity, the D3200 is a continuation of a carefully evolved - and tailored to suit its market - line of cameras, that offers tremendous capability with well thought-out ease-of-use. If the image quality comes anywhere near that of the 24MP Sonys, the D3200 is going to be a tough camera to compete with.

The only thing that seems odd on the D3200 is the lack of image processing filters at the point of capture. Since Olympus introduced its Art Filters to the E-30 back in 2008, processing filters have become increasingly common on most cameras. And, while they're not an essential feature by any means, they're nice to have, especially in a camera at this level. Given that Nikon's P7100 offers a selection of special processing effects, it's a little odd not to see them here. There's an option to re-process JPEGs, though - with examples in our preview samples gallery.

Nikon D3200 specification highlights

24MP CMOS sensor

ISO 100-6400 (plus ISO 12,800-equivalent Hi1 setting)

Expeed 3 processing

3.0", 920k dot screen

Full HD 1080p30 video (with 25p and 24p options)

Microphone socket

Twin IR remote receivers

4 frame-per-second continuous shooting

Guide mode

Compared to its peers:

 

Wi-Fi option (WU-1a)

Alongside the D3200, Nikon announced an optional Wi-Fi transmitter for the camera. The WU-1a clips into the USB socket of the D3200 and allows you to broadcast its images to smartphones and tablets running a Nikon app. The unit allows the camera's live view output to be streamed to the smart device and allows images to be shot remotely (at a distance of up to 49ft, but with no control over the camera's settings).

Initially an app will be available for Android phones and tablets, with an iOS version expected in fall/autumn 2012. We're told the app will allow either full-size or VGA-resolution images to be transferred from the camera, but we have yet to see how long it would take to grab a 24MP image. We would also like to see how securely the unit attaches to the camera, given that it sticks out of the side, and looks like it might be a little easy to dislodge. It also requires the port cover that reaches all the way up the camera's flank to be left hanging open all of the time that it's in use.

Canon Powershot G12 Quick Review

This is the latest in our series of 'Quick Reviews.' We use this format for cameras that are operationally similar and identical in terms of output to models we've already reviewed. We test to confirm the image quality is identical (noise tests and shots of our 'compared to' studio scene at all ISOs), then concentrate the review on the differences between the two cameras. To learn everything about the camera you are interested in we recommend reading not only the Quick Review but also the full review of the Canon Powershot G11.

  

Canon's Powershot G-series is a stalwart of the high-end compact camera market. Originally designed to offer film SLR users a (relatively) affordable ladder into enthusiast digital imaging, over the past ten years G-series cameras have evolved to become what they are now - aspirational, high-quality compact cameras and attractive second bodies for existing DSLR users, fitting into the niche between 'mainstream' compact offerings and small DSLRS.

 As you may have seen in our recent high-end compact camera group test, competition in this segment of the market is fierce. But not only does the Canon Powershot G12 have to contend with this most recent crop of compact cameras, it also faces stiff competition from an entirely new category - mirrorless interchangeable lens cameras. In recent months, Panasonic, Olympus, Sony and Samsung have started attacking the high-end compact market aggressively with high-quality, but small cameras with much larger (APS-C or Four Thirds) sensors. A camera like the recently unveiled Olympus PEN E-PL2 with its collapsible 14-42mm kit zoom isn't much bigger (or more expensive) than the G12, and it has a considerably larger Four Thirds sensor (over 5x the light-collecting area).

Along with the Nikon Coolpix P7000, the Canon Powershot G12 is the largest 'traditional' (i.e. fixed lens, small sensor) compact camera currently available. Is the convenience of its 28-140mm (equivalent) built-in zoom and articulated LCD enough to make it stand out from today's crop of compact and mirrorless interchangeable lens cameras? Read our quick review to find out. 

Compared to Canon Powershot G11 - key differences

•  The G12 is extremely similar to its predecessor the G11 in terms of specification, but Canon has made some significant improvements. Here is a list of the key differences:
• Slightly lighter (by 4g)
• Higher resolution video mode (720p up from VGA)
• ISO expansion up to 12,800 (at 2.5MP)
• ISO control in 1/3EV steps
• New front control dial (similar to that found on EOS DSLRs)
• Greater choice of aspect ratios
• Hybrid IS mode
• HDR mode
• Electronic spirit level
• Tracking AF mode 

S90, G11 and G12 compared (key differences)

 

Digital Cameras: The Top 10 Things You Need to Know

1) Resolution is less important than you think

 There is a popular misconception that more megapixels lead to better pictures. This is not the case.

 Sure, higher resolution gives you the ability to crop more aggressively or print large pictures, but only a fraction of digital photographers will benefit from this ability. If you're a casual shooter who won't be printing pictures larger than 8x10" or doing extensive computer editing, then a camera with 5- or 6-megapixel resolution will be sufficient.

 More advanced photographers will likely appreciate the flexibility of higher resolution, but a 10+ megapixel camera is by no means necessary to create stunning pictures. Choose a camera you can understand and afford, and don't be fooled by glitzy high-resolution specs.

2) Zoom is more important than you think

Whether you're shooting distant wildlife or close-up portraits, you can never have too much zoom. The majority of digital cameras have 3-, or 4x optical zoom, but you will never regret choosing a model with more telephoto power.

Fortunately the extended zoom camera category is growing rapidly, and there is a great selection of models with 8-, 10-, or even 12x optical zoom. For the ultimate in zoom control and quality, look for an extended-zoom camera with image stabilization, which will ensure that shots taken at full telephoto will be tack-sharp, even without a tripod.

3) Travelers should use cameras with AA Batteries

Digital cameras come in two varieties: those that use AA-size batteries and those that are powered by proprietary lithium-ion batteries. If you are a traveler, particularly someone who enjoys remote or rustic locations, choose a camera with AA batteries.

When a camera that uses proprietary batteries runs out of power, you have no choice but to plug the battery into a power outlet to recharge it. This requires an available outlet, a battery charger, and, if you're in a foreign country, a power converter. If access to an outlet is ever in doubt, or if you don't want the hassle of carrying cords and chargers, then the limitations of this system are obvious.

When a camera that uses AA-size batteries runs out of power on a trip, you can simply throw out the old batteries and drop in a new set of high-performance AAs like the Energizer E2 Lithium line. Two or three sets of such batteries can usually take you through a 10-day trip. If you're out of high-performance batteries, you also have the option of using standard alkaline batteries, which are available anywhere in the world, and make a cheap and convenient source of backup power (though they only offer a fraction of the life of high performance batteries).

Recent trips to Asia and Africa have borne this theory out—after my companions' cameras had been sidelined by dead batteries, I was still happily shooting away with my AA-powered Canon PowerShot.

4) Small cameras get shots that big cameras don't

Sure, that big, black SLR with the long lens may look fancy, but it won't do you any good if you're not carrying it. Never underestimate the importance of having a camera that is small enough to fit into your pocket—you'll be amazed at the spontaneous pictures you'll have the opportunity to take. While the photo quality produced by an ultra-compact does not equal that of a large SLR, the ability to whip it out and snap a shot while others are fumbling for their bulky cameras more than outweighs this drawback.

5) Canon makes great cameras

Canon digital cameras receive consistently great reviews, and for good reason: Over the last 2+ years, Canon has time and again proven itself capable of producing well-designed cameras that produce impressive results. From the EOS line of digital SLRs to the diminutive PowerShot ELPHs, Canon invests substantial time in the design process, and the results pay off—photographers of all abilities rave about their Canon cameras.

There have been some mistakes along the way—the Canon A70 was built with a design flaw that produces crippling error messages and black lines on the LCD, but newer models seem to be free of this problem. If you're looking for a great combination of features, price, and performance, Canon will almost always deliver. (NOTE: Digital Camera HQ is in no way affiliated with Canon, nor do we derive any benefit from recommending one brand over another).

6) Kodak makes great, easy-to-use cameras

When I bought my mother her first digital camera, I chose a Kodak, having read countless reviews that raved about their user-friendly controls. The reviews were right—Kodak's EasyShare digital cameras are remarkably easy to use: the menus are simple, the LCD text large and clear, and the controls largely self-explanatory. The results are just as impressive, with attractive, saturated colors and crisp definition. Don't be fooled into thinking that Kodak digital cameras are just for beginners, however—their simplicity aside, many of the high-end EasyShare models offer a full suite of manual controls for ambitious photographers.

7) Digital cameras can and will break

Whether it's due to accidental damage or simple wear and tear, digital cameras are not as durable as their film counterparts. Many photographers have film cameras that are ten or twenty years old—don't expect this kind of longevity from your new digital toy. Some cameras suffer from design flaws (like black lines on the LCD screen of the Canon A70), while others fall victim to the kind of mechanical breakdowns that effect every kind of electronic gear.

Does this mean that you shouldn't buy a digital camera? Absolutely not. A digital camera will so fundamentally change the way you think about photography that you will wonder how you ever got along without one. You must, however, be comfortable with the fact that one day your camera will cease to work.

For some, this knowledge may keep them from spending top dollar on a fancy camera; others simply accept it as the sole downside of working with digital. The most important thing is to do your homework before you buy—any fundamental design flaws will be quickly apparent in user reviews.

8) Don't put all your pictures on one card

After returning from a trip to Asia, I eagerly inserted one of my memory cards into a card reader to download my new pictures. For still unexplained reasons (likely a static electricity discharge), a card that should have held over 200 pictures was suddenly rendered blank. Two weeks and $250 later (thanks to www.drivesavers.com), I had recovered about 90% of my pictures, but the rest were lost permanently.

The moral of the story? Like any other technology, flash memory is not flawless. It is very rare to lose images, but it does happen, and the fact that I had spread my pictures between 5 memory cards protected me from the possibility of losing two weeks' worth of irreplaceable vacation memories. Given the choice between choosing a single 1GB memory card, or four 256MB cards, I will always choose multiple cards.

9) Find & use a simple photo editing program

Most digital photographers will never take the time to master expensive and powerful photo editing programs like Adobe Photoshop or Jasc Paint Shop Pro—these programs are too complex and time-consuming for all but the most dedicated photographers. Fortunately there are a variety of easy-to-use editing programs that even novice photographers can use to edit, improve, and organize their digital photos.

My favorite program is Picasa, and it is absolutely free at www.picasa.com. With Picasa you can perform all the basic editing tasks like sharpening, contrast correction, cropping, and straightening—most with just the touch of a button. Spend a few minutes on your best photographs and you will be amazed at the results. Picasa also make it incredibly easy to organize your best shots so you don't have to sift through hundreds of unwanted pictures to find your prizewinners.

10) Print and display your pictures

Far too many people take great digital images, only to have them languish in obscurity on their hard drive, never to be enjoyed by others. Don't let this happen to you.

Online image hosting and printing companies like Snapfish or Kodak Gallery can turn your digital images into high-quality prints of any size. You can simply upload your pictures onto the website. From there you can order prints of every size as well as photo mouse pads, calendars, t-shirts and other gifts. You can also send a link to friends so that they can view your pictures online and order their own copies.

If you want to see more of your own pictures, nothing beats using them as a screen saver on your computer. Simply right-click on your desktop, choose Properties/Screen Saver/Settings, and you can direct your computer to the pictures you wish to use. Set the screensaver to change images every 10 seconds and you'll have an instant slide show every time your computer is idle.