Canon G 16. Canon PowerShot G16 test: great shooting fast action

Sometimes you test equipment “on duty”: if you need to do a test, then you do it. But more often it happens that we ourselves are interested in what happens as a result of the tests. It is especially interesting to compare models with similar characteristics, but with different prices.

So, we have two new models, Canon 16-35mm wide-angle zooms. The Canon EF 16-35mm f/2.8L III USM, a fast aperture model of the third generation, is brand new and very expensive. Another model was released three years ago, but by the standards of lenses, this is not a very long time. It is relatively fast, costs half as much, and offers to compensate for the lack of aperture with the help of an optical stabilizer. Here is the initial schedule. Now let's get acquainted with the performance characteristics in more detail - maybe we'll catch something else at the initial inspection stage.

Specifications

Lens		Canon EF 16-35mm f/4L IS USM
Bayonet	Canon EF compatible with Canon EF-S mount, can be used with APS-C cameras
Focal length	16 - 35mm for full frame 25.6 - 56 mm for APS-C format
Maximum aperture	f/2.8	f/4.0
Minimum aperture	f/22
Number of aperture blades	9 (round aperture aperture)
Optical design	16 elements in 11 groups	16 elements in 12 groups
Minimum focusing distance	0.28 m
Viewing angle	98° - 54° horizontal 74°10′ - 38° vertical (for full frame)
Maximum magnification	0.25x for full frame	0.23x for full frame
Autofocus	internal
Autofocus drive	Ring ultrasonic drive (USM)
Stabilization	No	Optical (IS), up to 4 EV efficiency
Protection against dust and moisture	there is
Thread for filters	∅82 mm	∅77 mm
Dimensions (diameter × length)	∅89 × 128	∅83 × 113
The weight	790 g	615 g
Peculiarities	metal case	metal case constant aperture over the entire range of focal lengths minimum focusing distance - 0.28 m 4 stop optical stabilizer

The performance characteristics table of lenses is small, it is easy to look at it carefully and understand ... that the Canon EF 16-35mm f / 4L IS USM lens is more attractive in terms of technical characteristics. It is half the price, it has a powerful stabilizer, it is lighter, more compact. It also does not change the maximum aperture when zooming. The only thing he loses in is aperture. In general, it is a known fact that aperture is expensive. Let's determine how much "faster" the Canon EF 16-35mm f/2.8L III USM is than the Canon EF 16-35mm f/4L IS USM.

Historically, the performance characteristics of photographic lenses do not mention such a valuable characteristic as effective aperture - which takes into account not only the geometric parameters of the lens, but also the degree of transparency of the lenses. For cinema lenses, instead of the familiar F numbers (geometric aperture ratio), more accurate T numbers (taking into account transparency) are often used. But for photographic lenses, the difference between the F and T numbers is considered insignificant, a “trifle”. Instead of giving a correspondence table, manufacturers write about "magic antireflection subwavelength coatings."

They know better, we will not teach them how to live. But we'll have to figure out what the Canon EF 16-35mm f/2.8L III USM's "magic sub-wavelength AR coating" is. Otherwise, it's hard to understand why this lens is twice as expensive as the Canon EF 16-35mm f/4L IS USM.

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
16 mm; f/4.0; 1/13 s; ISO 100 Max Lightness = 94	16 mm; f/4.0; 1/8 s; ISO 100 Max Lightness = 97

During the lens test, we received the following data: under the same shooting conditions, the Canon EF 16-35mm f/2.8L III sets the shutter speed 1/3 - 2/3 EV faster than the Canon EF 16-35mm f/4L IS USM. If the camera's exposure meter decides to set the shutter speed 2/3 EV faster, we get a slightly brighter white square in the Canon EF 16-35mm f/4L IS USM test frame. Therefore, the efficiency of a more advanced coating is just below 2/3 EV. We can't go wrong if we rate it at half an EV stop. This is an addition to what the geometric luminosity gives.

And the geometric aperture gives the lens 1 EV stop (the Canon EF 16-35mm f/2.8L III has a maximum aperture of f/2.8 versus f/4 for the Canon EF 16-35mm f/4L IS USM). In total, 1.5 steps are obtained in total, this is a very solid gain. But it comes at a cost: the Canon EF 16-35mm f/2.8L III is more expensive and heavier. Although, perhaps, the heavier design is partly due to the increased reliability of the Canon EF 16-35mm f / 2.8L III - according to the manufacturer.

Construction, design, management

Canon EF 16-35mm f/2.8L III

Of course, both lenses are made not just in good conscience, but in a particularly reverent conscience. This can be understood and explained. No manufacturer, and especially Canon, can produce very expensive equipment and not provide it with very high quality. If this suddenly happens, the company's reputation will sag, sales will fall, etc. Therefore, it is very, very difficult to find fault with how lenses are made.

	We were able to find a detailed optical scheme that consists of 16 elements in 11 groups and indicates where which elements are located, as well as where various coatings are applied. Here is a brief explanation of this diagram: SWC and ASC - see next slides. UD - Ultra-Low Dispersion Lenses. GMo is a technology for manufacturing aspherical lenses in molds. Fluorine coating is a fluorine coating that makes cleaning the front and rear lenses much easier.
	SWC (SubWavelength Structure Coating) - a coating with a structure, the elements of which are less than the wavelength of the light range. The effectiveness of such an anti-reflective coating is much higher than that of a traditional multi-layer coating.
	ASC (Air Sphere Coating) is a multi-layer coating to combat reflections. The top layer with spherical “bubbles” is especially effective here.
	The red ring is a sign of belonging to the elite L series. The near rubberized ring is the focus ring. Manual focus can be used at any time without switching to M mode. The far rubberized ring is the zoom ring.
	The lens mount is compatible with the EF-S mount. That is, the lens can be used with APS-C cameras. We took some measurements to compare lens performance when used with a Full Frame camera and when used with an APS-C camera. The general conclusion that we can draw is that when working with an APS-C camera, the performance of the lens drops, but not by much. The resolution is slightly reduced, the level of “chromaticity” is slightly increased. But still, in our humble opinion, buying a very expensive EF lens to use it with an APS-C camera does not make much sense - its "expensive" characteristics become not so "expensive". True, the lens retains a high aperture. Perhaps we will make a separate article on this topic with a detailed analysis.
	Lens control is simple: two rings (zoom and focus) and one switch (auto/manual focus). In addition, the lens is equipped with a focus scale. This tool is sometimes useful.

Short summary:

• The lens is quite massive: it weighs almost 800 grams.
• The optical scheme explains to us where the additional half-stop of lens aperture comes from: its lenses are covered with the most modern views illuminating coatings.
• According to the manufacturer, the lens has not only moisture and dust protection, but also increased reliability and durability.

Canon EF 16-35mm f/4L IS USM

Now consider the second lens. On his page on the Canon website, too, many good words are said - though not as loud as about the first lens. It is understandable: the price of the second is almost half as much. And its main trump card is a 4-stop stabilizer. In particular, good words rely on it, as well as on aspherical and UD lenses, a 9-blade diaphragm, etc.

	The 16-element, 12-group optical design uses three aspherical lenses and two ED glass lenses that (quote) "virtually eliminates chromatic aberration." The stabilizer lenses are highlighted in the red rectangle.
	This lens also belongs to the elite L series, and is also equipped with two rings (focus and zoom) and a focus scale.
	The Canon EF 16-35mm f/4L IS USM mount is also compatible with the EF-S mount, and the aperture also has 9 blades, providing an almost perfectly round aperture.
	Only the stabilizer on/off switch is added to the controls. Note that this lens also allows you to use manual focus at any time, it is not necessary to switch to “M” mode for this.

Short summary:

• Outwardly, it is impossible to determine which lens is better and which is worse - both lenses look solid, reliable, "expensive".
• At the same time, the presence of a stabilizer in the Canon EF 16-35mm f / 4L IS USM is an attractive factor.
• But the fact that the first lens is “faster” by 1.5 steps must be kept in mind. This is a very significant advantage.

Resolution, aberrations (lab test)

Canon EF 16-35mm f/2.8L III, FR=16mm

At a focal length of 16mm - this is an ultra-wide angle - the picture will never be perfect in terms of distortion. Even if you try to straighten it completely, that is, bring the displayed space to a perfect rectangle, the picture will turn out to be unnatural. A picture with a noticeable negative distortion ("barrel") becomes more natural. What we see in the case of the Canon EF 16-35mm f/2.8L III: vertical distortion -2.85, horizontal -0.75.

Permission		Chromatic aberration
frame center	Frame edge	frame center	Frame edge

At the same time, the resolution both in the center and at the edge of the frame remains high and very high from the widest aperture to the relatively narrow f / 14. At f / 16, the resolution at the edge drops below 0.8 lines per pixel, and then the center of the frame begins to “soap”.

"Chromatics" is very pleasing in the center of the frame - there it is almost invisible, and at the edge of the frame it is noticeable moderately, at the level of 5-7 percent.

If you carefully consider the enlarged frame of the test bench (see the frame next to the “Resolution, Chromatic Aberration Level” graph above), you can easily see that the “barrel” is straightened more horizontally than vertically, and this led to the fact that smooth lines at the edge of the frame become "snakes". It's entirely possible Canon's optical engineers did their best, but didn't get the perfect picture. If any rectilinear object falls on the edge of the frame (for example, when shooting architecture), it will also begin to bend in a “snake”.

Canon EF 16-35mm f/2.8L III, FR=24mm

We increase the focal length to 24 mm, this is not an ultra-wide angle, just a wide one. Here we see an almost completely corrected distortion - a “pillow” with parameters of the order of 0.5 both horizontally and vertically. The work of the optics is filigree, although the straight lines at the edge of the frame also serpentine, but not as noticeable as at a focal length of 16 mm.

Permission		Chromatic aberration
frame center	Frame edge	frame center	Frame edge
In all screenshots, top row: f/2.8 - f/5.0 - f/8.0, bottom row: f/11 - f/16 - f/22

The resolution both in the center of the frame and at the edge remains very high up to f/16. Even at f / 18 it remains high, and only at the narrowest aperture the picture “washes”.

But the “chromaticity” at a focal length of 24 mm is almost invisible: neither in the center of the frame, nor at the edge. Moreover (this is a very rare case) in the center of the frame, the “chromatic” is slightly more noticeable than at the edge.

Canon EF 16-35mm f/2.8L III, FR=35mm

We increase the focal length even more - up to 35 mm. This is the boundary at which the lens is still considered wide-angle. And here we also see that at any aperture up to f/18 the resolution remains very high both in the center of the frame and at the edge.

Permission		Chromatic aberration
frame center	Frame edge	frame center	Frame edge
In all screenshots, top row: f/2.8 - f/5.0 - f/8.0, bottom row: f/11 - f/16 - f/22

The "pillow" becomes slightly more pronounced than at 24mm, but remains moderate: 1.37 vertically and 0.78 horizontally. But the "snake" in the corner of the frame is almost invisible.

But chromatic aberrations become noticeable again: about 4-5 percent in the center of the frame, about 2-3 percent at the edge. This is not a high level of "chromaticity" for a wide-angle lens, and in general the manufacturer's statement that "ED glass lenses almost completely eliminate chromatic aberration" is true.

Canon EF 16-35mm f/4L IS USM, FR=16mm

Now we'll see how the second lens, the Canon EF 16-35mm f/4L IS USM, handles chromatic and geometric aberrations, and to what extent a high resolution he holds.

Resolution is held at a very high level from the widest aperture of f/4 to the relatively narrow f/14. Then the resolution drops very noticeably at the edge of the frame, and after f / 18 - in the center. We consider the high resolution threshold for L-series lenses to be 0.8 lines per pixel. This technique can and should be subject to increased requirements.

Permission		Chromatic aberration
frame center	Frame edge	frame center	Frame edge

The distortion at 16mm is corrected in the same way as the Canon EF 16-35mm f/2.8L III. This is a moderate "barrel", elongated vertically (D VER = -2.89, D HOR = -0.82). Chromatic aberrations are very pleasing in the center of the frame, but are too noticeable at the edges - here their level is about 7-9 percent.

If we look at how the distortion is corrected, we will see a familiar picture: at the edges of the frame, vertical straight lines turn into “snakes”, the same as in the case of the Canon EF 16-35mm f / 2.8L III. This is most likely a necessary evil that distortion-corrected ultra-wide-angle lenses suffer from. Optics manufacturers have to choose: either the horizontal image will be barrel-shaped (with very noticeable distortion), or straight lines will become “snakes”.

Canon EF 16-35mm f/4L IS USM, FR=24mm

We pass to the average value of the focal length - 24 mm. And we see an almost perfect picture: a very high resolution is kept up to f / 16, and the resolution at the edge of the frame almost does not lag behind the resolution in the center. Chromatic aberrations are barely noticeable, their level is almost zero.

Permission		Chromatic aberration
frame center	Frame edge	frame center	Frame edge
In all screenshots, top row: f/4.0 - f/5.6 - f/8.0, bottom row: f/11 - f/16 - f/22

As for the geometric distortions, they are completely corrected, the distortion values ​​both vertically and horizontally are close to zero. But, despite this, the horizontal lines on the edge of the frame are bent by "snakes" almost as much as at a focal length of 16 mm.

Canon EF 16-35mm f/4L IS USM, FR=35mm

And so we got to the “narrowest” focal length of 35 mm. Here we see a familiar picture: very high resolution at all apertures up to f/16. Further, the resolution drops and becomes not very high at the narrowest aperture. Although here again it is worth noting that at f / 22 the resolution drops to 0.7 lines per pixel in the center of the frame and to 0.65 lines at the edge. For a budget lens, these are good indicators, but for elite expensive optics, this resolution is better considered “soapy”.

Permission		Chromatic aberration
frame center	Frame edge	frame center	Frame edge
In all screenshots, top row: f/4.0 - f/5.6 - f/8.0, bottom row: f/11 - f/16 - f/22

Geometrical distortion at this focal length takes the form of a "cushion", elongated horizontally: D HOR = 1.11, D VER = 0.6. They are not very pronounced, for a focal length of 35 mm they are quite acceptable.

Canon EF 16-35mm f/4L IS USM, stabilizer

The last part of our laboratory work- determination of the effectiveness of the Canon EF 16-35mm f/4L IS USM stabilizer. Usually in this test, we set the focal length to 50 mm and shoot the "target" from a distance of 5 meters (our method for testing the stabilizer is described in detail). But for the Canon EF 16-35mm f/4L IS USM, we had to make an exception: we tested the stabilizer at 35mm with a full-frame camera.

In principle, this does not change much: we start from the rule "there will be no movement if the shutter speed is inversely proportional to the focal length." That is, at a shutter speed of 1/35 s, we should consistently receive clear frames. And since the gimbal gives us an extra four stops of EV, we should also be able to get crisp footage at 1/18 second, 1/9 second, 1/4 second, and 1/2 second.

According to our measurements, we will get a clear frame with a probability of 0.7 at a shutter speed slightly shorter than 1 / 2.5 seconds. That is, the effectiveness of the stabilizer, according to our method, is equal to 4 stops. Exactly as much indicates the manufacturer.

Lab Test Results

So, we have tested two lenses and we can confidently say that in terms of resolution, level of geometric and chromatic aberrations, the more expensive Canon EF 16-35mm f / 2.8L III USM model does not have noticeable advantages over the relatively inexpensive Canon EF 16-35mm f / 4L IS USM.

Characteristics	Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
16 mm resolution *	f/16 in the center; f/13 on the edge	f/18 in the center; f/11 on the edge
16 mm - "chromatic"	0% in the center; 5% on the edge	2% in the center; 5-7% on the edge
16 mm - distortion	DVER = −2.85; D HOR = -0.75	DVER = −2.89; D HOR = -0.82
24 mm resolution *	f/16 in the center; f/16 on the edge	f/16 in the center; f/14 on the edge
24 mm - "chromatic"	2% in the center; 0% on the edge	0% in the center; 1% on the edge
24 mm - distortion	DVER = 0.42; D HOR = 0.51	DVER = 0.34; D HOR = 0.32
35 mm resolution *	f/16 in the center; f/16 on the edge	f/16 in the center; f/11 on the edge
35 mm - "chromatic"	4% in the center; 2% on the edge	0% in the center; 0% on the edge
35 mm - distortion	DVER = 1.37; D HOR = 0.78	DVER = 1.11; D HOR = 0.6
* This column indicates the minimum aperture at which the resolution remains high or very high (above 0.8 lines per pixel), the picture does not “wash”

If we carefully examine the table with the results of test measurements, we will see:

• For both lenses, distortion is corrected in a similar way, small differences do not play a noticeable role.
• The Canon EF 16-35mm f/2.8L III USM has a slight advantage in resolution, but it small, and only at the edge of the frame.
• "Chromatics" of both lenses is approximately on the same level. At some focal lengths, the Canon EF 16-35mm f/2.8L III USM suffers more “chromaticity”, while at others, the Canon EF 16-35mm f/4L IS USM. The average temperature in the hospital is low.

This means that the advantages of the Canon EF 16-35mm f/2.8L III USM come down to a higher aperture, and nothing more. Although this "only" is very, very expensive - both literally and figuratively. After all, both lenses are designed for professional shooting, and professionals are well aware of how sometimes just one EV step is not enough to pull out a difficult shoot. Moreover, the stabilizer cannot be considered an ideal tool - it allows you to make the shutter speed longer, but at the same time the photographer may encounter a "hut" (when a dynamic object in the frame is smeared due to its movement, it cannot be "frozen" with a short shutter speed). The Canon EF 16-35mm f/2.8L III USM, on the other hand, gives the photographer one and a half additional stops - one due to a wider aperture and another half due to a more advanced anti-reflection coating.

The advantages of both lenses, of course, include the fact that at the widest aperture they retain high or very high resolution. The disadvantages are that at f / 16 they begin to “soap” the picture.

Practical photography

We conducted field tests of lenses in conjunction with a Canon EOS 5D Mark IV camera. The following parameters were used for this:

• aperture priority,
• center-weighted exposure metering,
• single frame auto focus,
• center point focus
• automatic white balance (ABB).

The captured frames were stored on the storage medium as uncompressed RAW files, which were subsequently converted to JPEG with minimal compression. In situations with complex and mixed lighting, the white balance was adjusted manually. In some cases, in the interests of the composition, they resorted to cropping the frame.

The first test series consists of paired shots of a scene with good lighting (sunlight). The scene is quite contrasty, but contains many zones with smooth tonal transitions and abounds in small details both in the center and on the periphery. All photos were taken at an average zoom range of 19mm for the Canon EF 16-35mm f/2.8L III USM and 18mm for the Canon EF 16-35mm f/4L IS USM; the difference of 1 mm is caused by the difficulty of manual setting with the required accuracy.

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
19 mm; f/2.8; 1/3200 s; ISO 100
19 mm; f/4; 1/1600 s; ISO 100	18 mm; f/4; 1/1250 s; ISO 100
19 mm; f/5.6; 1/800 s; ISO 100	18 mm; f/5.6; 1/640 s; ISO 100
19 mm; f/8; 1/400 s; ISO 100	18 mm; f/8; 1/320 s; ISO 100
19 mm; f/11; 1/200 s; ISO 100	18 mm; f/11; 1/160 s; ISO 100
19 mm; f/16; 1/100 s; ISO 100	18 mm; f/16; 1/80 s; ISO 100

When comparing paired shots, we see that all shots taken with the Canon EF 16-35mm f/4L IS USM are underexposed. Underexposure is about 1/3 stop of exposure, and for some reason the camera's automation allows this, despite the 1/3 stop slow shutter speed applied by it in the case of the Canon EF 16-35mm f/4L IS USM at the same aperture value. The difference in time between the shooting series with one and the other lenses was no more than 20 s. It turns out that for some reason the exposure meter worked the same scene in different ways. But this moment is unprincipled, easily corrected in post-processing and not at the expense of image quality. Obviously, these are the consequences of the loss of a less powerful optical instrument to a more powerful one in light transmission (transmission, T), described in detail above, when analyzing the results obtained in our laboratory.

The maximum vignetting is noted, of course, at the maximum opening of the lenses. It is over -2EV at f/2.8 for the Canon EF 16-35mm f/2.8L III USM. Then, at all comparable aperture values, this lens vignettes much stronger than its slower counterpart up to f / 5.6, and with further aperture, the vignette is no longer visually determined in pictures taken with both tools. The gradient pattern of vignetting is, in principle, in favor of the Canon EF 16-35mm f/4L IS USM: it has less darkening of the corners in diagonal extent and in area. However, this sometimes does not affect the picture in the best way, and it is more difficult to correct the consequences of such a phenomenon, which is greatly spaced to the far corners, in post-processing than a more pronounced, but smoother darkening.

At all apertures, the Canon EF 16-35mm f/2.8L III USM draws a picture with higher contrast, which in this scene has a beneficial effect on the notorious “picture”, which is distinguished by liveliness and richness of colors, as well as high definition due to excellent elaboration of the smallest details. . The Canon EF 16-35mm f/4L IS USM lags behind in micro-contrast, and this is especially noticeable in shadow detail, where it draws less expressively.

Sharpness and detail when shooting with both lenses is very high from f/4 to f/8. They are weakly dependent on the degree of aperture, which means a very high stability of the result, which does not require "pinching a hole" to ensure good sharpness, as is traditionally done with wide-angle optics. However, aperture down to f/16 already leads to a decrease in sharpness, which is almost equally pronounced for both lenses.

Of the minimally significant differences, the Canon EF 16-35mm f/2.8L III USM has a distinct tendency to produce images in warmer tones, while the Canon EF 16-35mm D4L IS USM tends to produce cooler ones.

In the second series of paired shots, we examine how our subjects behave when shooting an urban landscape in a scene with very high contrast. This is a view of the Kremlin (left bank) and Sofiyskaya (right bank) embankments of the Moskva River from the Bolshoy Kamenny Bridge in the early morning, a few minutes before the sun appears above the horizon (at 3 hours 32 minutes). All images were taken at a focal length of 16 mm. White balance and ISO setting worked in automatic mode.

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
16 mm; f/2.8; 1/250 s; ISO 100
16 mm; f/4; 1/125 s; ISO 100	16 mm; f/4; 1/125 s; ISO 100
	16 mm; f/5.6; 1/60 s; ISO 100
16 mm; f/8; 1/30 s; ISO 100	16 mm; f/8; 1/30 s; ISO 100

All comparable pairs of frames are equally exposed, without the error that we noticed in the previous series.

The Canon EF 16-35mm f/2.8L III USM vignettes more than its competitor; this is noticeable even at f/8, and at f/4-f/5.6 it can give the impression of a slight underexposure (but it is not).

Sharpness and detail are very high, especially in the center of the frame, and are almost independent of the degree of aperture of both lenses.

On all frames in the center, you can observe a fairly pronounced red-violet “fringing” (fringing), which can be mistaken for chromatic aberration. In fact, this is rather a hyperexcitation of those photodetectors of the camera sensor that are adjacent to the zones of maximum brightness. Therefore, this effect cannot be weakened in any way when the lenses are apertured even to f / 8.

The Canon EF 16-35mm f/4L IS USM paints a picture with slightly less contrast, which results in better detail in the shadows.

The color reproduction of the Canon EF 16-35mm f/2.8L III USM features a subtle warm shift.

In a couple of pictures below, let's take an early morning look at the Cathedral of Christ the Savior from Bolshaya Kamenny Bridge, carrying vehicles across the Moscow River from Borovitskaya Square to Zamoskvorechye. When shooting, we stood on its left side, facing the Kremlin, turning away from the sun, which was about to appear over the horizon. Focal length 32 mm; f/5.6 aperture; ISO 320 (recall that the settings for the equivalent ISO value, as well as the white balance, were left to the mercy of automation).

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
32 mm; f/5.6; 1/30 s; ISO 320	32 mm; f/5.6; 1/40 s; ISO 320

Of the striking differences in this pair of shots, note the underexposure of about 1/3 of an exposure stop in the right image taken with the Canon EF 16-35mm f/4L IS USM. This is confirmed by the exposure times recorded in Exif (1/40 s versus 1/30 s).

In both cases, the "pincushion" distortion is clearly visible (see the solid marking line curved in an arc), and we find it difficult to determine in which case it is more pronounced.

Shot with the Canon EF 16-35mm f/2.8L III USM, the detail is higher, both in the center and on the periphery. And it is very important that this is achieved, on the one hand, by more pronounced sharpness, and, on the other hand, by more pronounced microcontrast in a more advanced optical instrument. By the way, the macro contrast of the less fast Canon EF 16-35mm f/4L IS USM is somewhat lower, and the overall tone of the image is slightly colder. And if the second feature is a matter of taste, and besides, it is easily corrected during post-processing, then contrast is a fundamental quality. Users consider this a particularly valuable property of optics, and manufacturers in every possible way strive to bring it to the maximum possible in their products. But in photographic practice, with this quality, everything is not so unambiguous, and a little later we will see this by returning to the analysis of the differences in the pictures taken by our two current subjects.

The second pair of frames offered for evaluation was taken on a different day, but almost at the same hour - at the last minute before dawn on the Krylatsky Hills with a view of Mnevniki, the red arc of the decorative arch of the Picturesque Bridge and the Church of the Nativity of the Virgin. Focal length 28 mm; f/5.6 aperture; ISO100.

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
28 mm; f/5.6; 1/30 s; ISO 100	28 mm; f/5.6; 1/40 s; ISO 100

The feature we identified earlier is confirmed again: when shooting with the Canon EF 16-35mm f / 4L IS USM, the automatics for some reason allow underexposure of 1/3 of the exposure step. Because of this, in the selected scene, the color saturation becomes higher. Our other hero, the Canon EF 16-35mm f/2.8L III USM, shows warmer tones in ABB conditions, as well as less pronounced field vignetting.

The sharpness in the center, even when viewed at a scale of 1:1, does not allow us to talk about the superiority of one or another lens. Another thing is interesting: the same image contrast, which, as we have already found out, is noticeably higher in the Canon EF 16-35mm f / 2.8L III USM, plays a cruel joke in this scene: in the predawn darkness, the trees and grass in the middle ground merge into a poorly structured black mass, the details of which are difficult to distinguish even when magnified. At the same time, the Canon EF 16-35mm f/4L IS USM's valuable contrast softening effect, similar to film-era leveling developers, was revealed in the right image, allowing us to see rows of trees in the dark, clearings on hillsides and generally enrich the image noticeably shadow details.

Now let's see what happens to the pictures at the maximum aperture value achievable on both lenses, that is, at the minimum relative aperture. The reason for this may be, for example, the desire to lengthen the shutter speed and "smear" moving objects - the same jets of water. Of course, it is more correct to use a neutral gray filter for this purpose, which reduces the light transmission of the optical system by the required number of exposure steps, but such filters are not always at hand. Therefore, stopping down to the maximum can help in the most significant way, especially if this very maximum is f / 22, as both of our test subjects.

The couple of shots below were taken in the park of the Tsaritsyno estate (Moscow) at the minimum focal length (16 mm) and the maximum aperture (f / 22).

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
16 mm; f/22; 1/50 s; ISO 100	16 mm; f/22; 1/50 s; ISO 100

The automatic set the shutter speed exactly (1/50 s in both cases), but the picture taken with the Canon EF 16-35mm f/2.8L III USM looks slightly underexposed. But these are trifles, but something else is important: on a fully closed aperture, the loss of sharpness is more pronounced, not only on the periphery, but also in the center. If the Canon EF 16-35mm f/4L IS USM is still tolerable, then the competitor is already becoming unpleasant. However, the Canon EF 16-35mm f / 2.8L III USM has a more pronounced effect of "blurring" water jets - apparently for the same reason.

Shooting in backlight

It is known that shooting against the sun is best avoided. Well-known photo equipment reviewer Ken Rockwell traditionally uses the following turnover on this occasion: “if you are crazy enough to shoot against the sun ...” (if you "re crazy enough to look directly into the disk of the sun). It turns out that this phrase refers to this material, because we believe that resistance to direct sunlight is a mandatory requirement for ultra-wide-angle lenses. Because of the wide angle of view, it is not always possible to exclude the sun from the frame. Therefore, we will evaluate how our subjects behave in such situations .

This is what happens at dawn when the sun is very low.

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
16 mm; f/8; 1/100 s; ISO 100	16 mm; f/8; 1/80 s; ISO 100

The right shot is clearly underexposed (-2/3 EV), but this does not hide the reflections from the lens surfaces (that is, "hares", as they say in photo jargon). In both cases, they are multiple, represented not only by small bright dots, but also by fairly large spots. We are inclined to evaluate such work on breeding "hares" as "C grade", not higher.

If the sun is already high enough, then the picture becomes completely different.

Canon EF 16-35mm f/2.8L III USM	Canon EF 16-35mm f/4L IS USM
16 mm; f/8; 1/500 s; ISO 100	16 mm; f/8; 1/800 s; ISO 100

This is also morning, but on a different day and much later (about 10 o'clock). As you can see, there is no trace of what we saw in the two photos above in the pictures. Moreover, the shape of the diaphragm blades in both cases made it possible to obtain numerous well-defined rays around the solar disk. Both subjects performed the scenes perfectly. Note that between this and previous estimates there is no contradiction: the “hare” of optics depends very much on the angle of incidence of direct sunlight, and the larger it (the angle), the easier it is for lenses to cope with this drawback.

Blurring the foreground and background

We will not discover America by saying that wide-angle (let alone ultra-wide-angle) lenses are not designed to demonstrate beautiful picture blur (boke). This complicates, firstly, a very significant depth of field (even with an open aperture), and secondly, high requirements to sharpness in those scenes that are shot with the help of such optics. However, this does not mean that acceptable bokeh cannot be obtained.

First, let's see what happens to the foreground if it is out of focus when the lens is heavily apertured.

If the foreground is located at a distance of 15-30 cm from the front lens, and focusing is done on the background "to infinity", then even at f / 8 objects in the foreground cannot be made sharp. However, in this case they play a secondary role, serving only as a natural frame for the building from behind. Therefore, we wanted to evaluate whether the picture of frontal blur (front bokeh) is good. To say that we see something very pleasant, of course, is impossible. That is, the degree of blurring itself is small; the (albeit fuzzy) motley structure of objects is preserved, which still pretty much interfere with the perception of what should attract attention in the first place - the colonnades in the background.

Canon EF 16-35mm f/2.8L III USM

35 mm; f/2.8; 1/80s; ISO 100

16 mm; f/2.8; 1/800s; ISO 100

At both the maximum (35mm) and minimum (16mm) focal lengths at full aperture, the rear bokeh looks just as poor as the front. Here, obviously, nothing more can be expected, since the background objects are not far enough away from the focus point. This applies not only to a faster and more expensive lens, but also to its competitor. By the way, what about the competitor?

Canon EF 16-35mm f/4L IS USM

35 mm; f/4; 1/1000s; ISO 100

The Canon EF 16-35mm f/4L IS USM is almost no different in blurring. In the photo above, the plot helps out, not the optical properties of this lens. However, in this shot we wanted to illustrate that with a focal length of 35 mm and an aperture value of f / 4, in principle, you can get acceptable bokeh ( acceptable, but no more).

And now a few illustrations of why ultra-wide-angle zoom is needed at all. The three photos below show how we worked on the frame. Shooting options: f/8; 1/100s; ISO100.

At the second stage, we decided to lower the horizon so that the line of the embankment parapet turned into a gray plane. It got a little better, but still something was missing.

25 mm; f/8; 1/100 s; ISO 100

Eureka! As soon as the focal length was increased to 25 mm (and, accordingly, the image scale), the bridge that obviously interfered and the annoyingly bright wall of the building at the right edge of the frame disappeared. If it weren't for the zoom lens, you would either have to replace it with another one or crop the image in post-processing.

The rest of the photos taken during practical photography, we have collected in the gallery without comment.

Total for practical shooting

Canon EF 16-35mm f/2.8L III USM and Canon EF 16-35mm f/4L IS USM are not only interesting and useful, but often absolutely necessary optical tools. AT practical work a faster aperture is, of course, less convenient, since it is much heavier and larger. At the same time, being more advanced in terms of design and manufacturing technologies for optics, it allows you to get sharper and more contrasting images than an evolutionarily less new and less aperture competitor.

Both lenses work well against the sun and allow you to draw multiple beautiful rays from light sources minus one "but": in difficult conditions, at dawn, when the height of its standing above the horizon is small, both lenses allow the formation of "hares", that is, reflexes with lens surfaces.

The Canon EF 16-35mm f/4L IS USM in the f/4-f/8 aperture range is somewhat inferior to its faster competitor in terms of sharpness and detail, but at maximum aperture (f/22) it shows a clear superiority.

The main advantage of the Canon EF 16-35mm f/2.8L III USM is its aperture, which is a whole step larger. However, the optical stabilizer of a less fast competitor allows it to get a gain of 4 stops, as if we were dealing with a maximum aperture of f / 1.0. True, very often, in order to prevent “blurring” of moving objects, you have to choose a faster shutter speed than the one that becomes available when using the stabilizer, and in this case, even the maximum aperture of f / 4 will not be able to save.

The last factor (aperture versus stabilizer) is perhaps the determining factor for choosing a lens. If you really need aperture (a gain of about one and a half stops), then your choice is the Canon EF 16-35mm f/2.8L III USM. If you compensate for these one and a half steps with a stabilizer (for example, you don’t shoot dynamic objects with wide-angles), then it’s quite possible to get by with the not so expensive and massive Canon EF 16-35mm f/4L IS USM.

Gallery photo: Mikhail Rybakov

It is the first camera in the G-series, the Canon Powershot G16. An overview of this device allows you to fully reveal all the charms of BSI technology. This is a new processor, which at times speeds up the operation of the device. Availability of wi-fi. High power consumption, as well as a fast lens.

It also has a stylish and modern design. High-quality assembly, where the fitting of all parts is done in the most careful way. Rugged metal body with rubberized finger grips.

Canon G16 is more bulky than the usual "soap dish", but despite this, it can fit in a trouser pocket or handbag. On the body are many controls and an optical viewfinder.

The interface of the device is clear, and the menu is standard. There is a "my menu" function where you can add settings that are used most often. The camera works quickly, and viewing photos takes very little time. Sharp and fast autofocus allows you to photograph the subject in an instant. The fast shutter speed and the possibility of continuous shooting allows you to shoot dynamic scenes.

The Canon Powershot G16 is equipped with a set of filters that can be used for both photography and video. It is possible to shoot video clips in slow motion.

The device allows you to shoot in RAW format. The camera has a convenient and clear control menu. Large LCD screen. It is possible to create video in FULL HD quality and use an external flash, remote shutter. There is an HDMI port.

Canon Powershot G16: specifications of technical parameters

Ultra-fast compact camera designed for amateurs and professionals alike. In its functionality, it is somewhat superior to conventional soap dishes. It was released on August 22, 2013.

Canon G16 has a resolution of 12.1 MP. Equipped with a CMOS touch screen. There is automatic system image stabilization. The burst shooting speed is 12.2 fps. The maximum image size is 4000x3000. Available frame ratios: 5:4; 1:1; 16:9; 4:3; 3:2. Photos can be saved in JPEG, RAW and RAW+JPEG formats. The maximum focal length corresponds to 140 mm, and the minimum 28 mm. The luminosity of the device is 1.8 -2.8. In the presence of a five-fold zoom, and when using the ZoomPlus mode, it can be 10x.

Video is recorded in MP4 format in Canon G16. Video file resolution specifications are as follows:

• 1280x720, 30 fps;
• 640x480, 30fps shooting;
• 1920x1080, 60 fps;
• 1920x1080 at 30 fps.

The light sensitivity of the device ranges from 80 to 12800 ISO units. The maximum shutter speed is 1/4000s and the minimum is 250s. There is an autofocus light. The self-timer fires within 10/2 seconds.

The camera has two focus modes, manual and automatic. The latter can work in the mode:

• continuous;
• tracking;
• frame by frame;
• intellectual - AI Focus;
• face recognition.

The autofocus area can be spot, automatic and face. The exposure metering mode is presented in three versions, these are: evaluative, integral center-weighted and spot. The camera is equipped with nine shooting modes, these are:

• custom;
• art;
• manual;
• program;
• plot;
• video;
• automatic;
• with priority hold;
• aperture priority.

Image adjustment options include red-eye reduction, black and white format, and negative. The viewfinder of the device is optical. The flash is built into the device and can operate in several modes.

DIGIC 6 camera processor, 3-inch LCD diagonal, 922000 pixels resolution. The display is adjustable in five levels of brightness.

There are USB 2.0 and HDMI outputs, Wi-Fi is present. USB output type mini-B. The camera accepts SD, SDXC and SDHC memory cards. The device contains one NB-10L Li-Ion battery. An adapter is provided for receiving power from an external source. The mass of the device together with the battery and memory card is 356 g. Device parameters:

• length - 108.8 mm;
• width - 75.9 mm;
• height - 40 mm.

Camera package

Before putting the camera into operation, make sure that all accessories are attached to the device, these are:

• Canon G16 camera;
• battery NB-10L;
• Charger;
• shoulder strap for carrying the camera;
• user manual;
• warranty card.

The memory card is not included in the package and must be purchased separately. It must comply with SD standards. The camera accepts UHS-I memory cards.

Preparing the Camera for Use

The battery must be charged before using the Canon Powershot G16. You need to open the battery slot cover. Remove the power supply from the instrument by pressing the lock in the direction of the arrow.

On the charger, you need to remove the cover and place the battery there. Aligning the black arrows pointing up. Open the plug on the charger and plug it into an electrical outlet. When charging is in progress, the indicator will turn orange. Once the battery is fully charged, the charger indicator will turn green.

After charging, the battery is placed in the appropriate compartment on the camera. A memory card is inserted into the slot, and a strap is connected to the camera, which allows you to carry the device on your shoulder.

Next, you need to turn on the camera by pressing the ON / OFF button. On the included screen, you should set the date and time, as well as the time zone. If this is not done immediately, then the unset date and time will appear automatically every time the Canon G16 is turned on. An overview of all device functions can be found in the operating instructions.

Shooting process

Shooting can be carried out both in automatic and in special modes of photography. If the Start Auto function is defined, then the camera itself selects the optimal settings for shooting. Independently sets the conditions for photographing and the object. To use this mode, you need to set the mode dial to the Auto position.

The camera is focused on the subject. At this time, slight clicks may be heard, this indicates that the device selects a suitable scene for shooting. Icons appear in the left corner to indicate the selected operating mode, frame stabilization, and scene. A border around an object indicates that it is in focus.

The zoom lever selects the composition of the frame. To enlarge the object, the lever is placed in the telephoto position; to reduce it, the lever is directed to the wide-angle position.

Press the shutter button halfway while the picture is in focus. After focusing is complete, the camera will beep twice. A frame will appear on the frame.

The area of ​​the image that falls within the focus area is indicated. If a message is displayed on the screen, you will need to open the flash switch with the switch. After the above manipulations, the shutter button is lowered completely. At this point, a shutter sound should be heard. If the flash was open, it fires automatically in low light conditions. The camera must be held until the shutter sound stops. After the described process, the captured frame will appear on the screen.

The Canon G16 camera allows you to take not only pictures, but also video recording. To start the video, you need to click on the "video recording" button. A red recording icon and a time will appear on the LCD screen indicating the duration of the recording. Black bars will appear at the top and bottom of the screen to indicate that these locations are not being recorded. The image will be slightly enlarged. To end the video recording, press the video button again.

To play back footage, use the black arrow button on the back of the camera. To view photos, you need to spin the disk or click on the arrows located on the same disk. To use the scroll mode, quickly rotate the control dial. To return to shooting mode, press the FUNC/SET button.

If the image is not needed, then it is removed. To delete, use the arrows or use the disk to select an image and click on the trash can icon. Answer “yes” to the question about deletion. The picture will then be erased from the memory card.

Controls

On the front of the body of the Canon Powershot G16 is a lens and a viewfinder eye. There is also an autofocus indicator, front wheel and self-timer. Not far from them is a button that allows you to unlock the ring that protects the thread intended for the tripod.

The back of the camera is equipped with a large LCD screen. Above it, in the upper left corner, is a Wi-Fi antenna. Nearby is the diopter adjustment dial and the viewfinder. Above, above the viewfinder, there is a microphone, and on the right is an indicator of two LEDs. It indicates the remaining charge on the device, its readiness for operation and the AF readiness stage. To the right of the indicator is a play button with a black arrow drawn on it. Directly behind it, on the top panel, is the exposure compensation dial. In the upper right corner there is a button that starts the video recording. Below it you can find the shortcut button, marked with the letter "S". The asterisk function next to it indicates AE/FE lock. With its help, the displayed images are filtered. Next to it, a little closer to the screen, is the ISO button. It also allows you to erase unwanted images.

The main part of the right side of the screen is reserved for the control dial. It also acts as a four-way switch. If you press it to the right, you can adjust the flash modes. Pressing to the left will select the autofocus operation mode. The up position of the switch activates the MF function, and the down DISP.

The Canon Powershot G16 camera (consumer reviews believe that the viewfinder is not developed in this device) has a large FUNC. / SET button in the middle of the control dial, which is responsible for the menu and confirms the selected settings.
Below the control dial are two more buttons. The one next to the screen allows you to select the autofocus area and enable Wi-Fi, but only in image playback mode. Nearby is the MENU button.

The top of the device is occupied by a flash and a special switch to start it, as well as a hot shoe. Stereo microphones are located on the sides of the camera. Here you can also find a small wheel that helps control shooting modes and make exposure compensation. Nearby is the shutter release, and next to it is the zoom lever. Just below there is a switch equipped with an indicator.

On the bottom panel of the device there is a hole for the battery, closed by a lid and a slot for a memory card. Nearby is a thread for mounting a tripod.

Communication ports are located on the right side of the camera. The left one is reserved for the loudspeaker.

Device operating modes

The Canon G16 camera allows you to shoot with several modes, these are:

• Auto. Automatically selects the optimal options. The camera itself determines the shooting conditions and the subject.
• Hybrid automatic. Allows you to make a short movie from the captured photos. Before taking a picture, the camera captures a clip up to 4 seconds long. In the future, the clips are combined into one.
• Semi-automatic (P). Helps you take complex shots based on personal preferences. This is the program exposure mode. It allows you to select certain functions on the camera and customize them to your individual style.
• Shutter priority (Tv). In this mode, just before shooting, a certain shutter speed is set. In the future, the camera on the machine counts the desired aperture value, which will correspond to the specified value.
• Aperture priority (Av). When this function is selected, the aperture value is set before shooting. Then the device automatically determines the shutter speed.
• Manual (M). To obtain the desired exposure, manually set the aperture value and shutter speed before shooting.
• Custom (C1-C2). The photographer sets the settings for himself, and then saves them.
• Video. Designed for video shooting.
• Creative filters. Allows you to add various special effects during shooting. Here you can make the color brighter, add contrast. Use the poster effect and other decorations.
• Special Scene (SCN). A mode that allows you to select a scene, and under it the device automatically configures other functions.

The camera has a large enough functionality that allows you to creatively approach photography.

Camera cost

The Canon Powershot G16 is available at any major hardware and digital supply store. Its cost ranges from 22 to 30 thousand rubles.

Canon G16: professional reviews

Professionals believe that this model fully justifies the money that is asked for it. According to them, the Canon Powershot G16 camera has good performance and fast autofocus, which makes it possible to shoot at 9.3 frames / s. Its undeniable advantages are the ability to record video in Full HD, the HS system with 12.1 MP and the modern DIGIC 6 processor, which provides the camera with speed. The unit can zoom with the lens and has a high ISO sensitivity. The Image Stabilizer keeps your photos sharp.

Photographers also note the large LCD screen and optical viewfinder. They claim that the quality of the pictures taken on this device is at its best and is not inferior to SLR cameras. The JPEG images here are also of good resolution. The camera has a built-in HS system, which allows you to shoot in low light, without a flash and a tripod. Experts say that this system has no annals.

Praise professionals and optics, namely the parameters of the lens (28 mm), a five-fold zoom and the possibility of a 10-fold increase with the Zoom Plus option turned on. They note that in poor shooting conditions and in low light, this model allows you to get an image High Quality. They say that the indisputable advantage of the model is high-speed continuous shooting.

Photographers say the Canon Powershot G16 is comfortable to drive. RAW support lets you edit your shots to your liking, while ND filters let you shoot with slow shutter speeds and fast apertures. These people point to the control dial, which in an instant helps to make the desired settings, without looking up from the process. It is possible to fully control the composition and immediately edit the photo. The individual menu allows you to fully customize the shooting mode and all functions for yourself. In addition to these qualities, the camera has a stylish design and a sturdy body. There is an HDMI port and Wi-Fi.

The disadvantages of the photographers attributed the intense noise of shooting photos in JPEG format, at high sensitivity. Quite a significant distortion. They say that chromatic aberration appears at short focal lengths. Some professionals believe that the lens of the device has a weak resolution. At a wide angle of photography, pronounced vignetting appears, and when shooting under the sun's rays, glare is noticeable.

The disadvantages of experts include the lack of a proximity sensor in the viewfinder, as well as a 3D mode, a swivel screen and the ability to lead panoramic shooting. These persons claim that this device is designed for an average amateur photographer.

We'll start with a brief introduction about each model and then move on to the comparison.

Canon PowerShot G16

The G16 replaced the G15, which was announced on September 17, 2012. The G16 looks pretty much the same as its predecessor and unfortunately has many of the same quirks as the old model. The G16 features the same 1/1.7" (7.44 x 5.58mm) 12.1MP sensor, but uses the new DIGIC 6 image processor. The G16 has a 3" fixed LCD display with the same resolution and a lens with a focal length range of 28-140mm with an aperture of f/1.8-2.8, the same as the G15.

Compare Canon PowerShot G16 and G15

Canon PowerShot G16 and G15 (via camerasize.com)

Canon's PowerShot G16 was designed to be a compact camera capable of taking great photos in low light. Otherwise, the camera is not much different from the previous version of the model. Let's not forget that many photographers who bought the G15 probably expected something more than a simple increase in low light productivity. It is unlikely that any of the owners of the G15 will want to purchase an updated version of the model.

The camera has a very good ergonomic design, fits perfectly in the hand and is easy to operate. The camera provides you with excellent control, there is a separate button on the body that provides quick access to many frequently used functions. It also has a hot shoe for mounting any Canon external Speedlite flash.

Below the video record button, on the back of the camera, you can find a new button. This is a customizable button that you can customize to use the function that you need the most.

Differences between G15 and G16:

1. The cameras have similar designs, with minor changes. The new model has an additional customizable button on the back.
2. Processor DIGIC 6, instead of DIGIC 5
3. The body of the G15 is made of durable aluminum
4. The new camera is much faster. The continuous shooting speed is 12.2 fps, while the old model only has 2.1 fps
5. Improved shutter lag - 0.22 sec. vs. 0.13 sec.
6. Increased auto focus speed - 0.17 sec. vs. 0.10 sec.
7. The number of frequencies at which the camera records video has increased. Now you can shoot high quality video at 60 frames per second
8. New model 2.2mm wider and 0.2mm thicker
9. New exposure compensation button
10. Shutter button is now slightly smaller
11. Support MP4 format for video recording
12. Built-in Wi-Fi IEEE 802.11 b/g/n
13. Both cameras also have the same ISO range and pretty much the same battery life (+/- 10 fps).

(module Yandex direct (7))

The G16 was created for photography enthusiasts. The camera is equipped with a bright f/1.8-2.8 lens, 5x optical zoom and Canon's Intelligent Optical Image Stabilization, a variety of controls and dials for quick access to popular functions and easy adjustment of camera settings. The new model also features Wi-Fi, for wireless communication, which allows photographers to quickly and easily share their shots with friends. You will be able to send your photos and videos to your tablet or mobile phone.

G16 is equipped with HDR function. In this mode, the camera creates several images that will later be combined into one frame. In this case, the new photo will be optimally exposed, and you will get colorful and clear images of the night sky, and other complex subjects.

Enthusiasts will also appreciate the MF Peaking function for manual focusing, which helps to get a clearer view of the out-of-focus area, which is very important when shooting at bright apertures and at close range, where the depth of field is very shallow. The G16, like the G15, has features that will help even inexperienced photographers get good quality images.

You can buy an updated model for $ 550, as you understand, the G16 is not cheap. Some of you may be interested in considering purchasing a mirrorless camera or a DSLR. However, in this case, you are paying for a compact and lightweight model, which at the same time has a beautiful bright lens and takes clear pictures. For example, you can buy a Nikon D3200 with a Nikkor 18-55mm f/3.5-5.6 lens for the same money. At the same time, you will have at your disposal a model with an APS-C type matrix, which guarantees even better image quality, the ability to change lenses, a good optical viewfinder, the best time battery life and the ability to take photos with a shallow depth of field (depending on the lens used). The thing is, the G16 isn't small enough to be called a pocket camera, so you'll need to carry a camera bag anyway, just like with the Nikon D3200.

Making the decision to purchase one or the other model can be difficult. The G16 is an in-between model that on the one hand will offer you a large zoom range, high burst speed, bright lens, fast auto focus and better manual control than a mobile phone. But, on the other hand, when it comes to price, and it turns out that an entry-level DSLR costs the same as the G16, you have to think carefully before making a choice.

The G16 is a very good camera for those who don't want to carry extra weight around as extra lenses. The photographer using this camera wants to create high-quality, beautiful pictures and share them with your loved ones easily and quickly. Also, let's not forget that you can use a Wi-Fi connection to create geotags and send photos to your computer, without the need for additional equipment.

Canon PowerShot S120

The PowerShot S120 is the successor to the S110 which was announced on September 17, 2012. The S120 boasts significant changes over its predecessor. In terms of exterior design, the S120 looks almost identical to the S110, with slight changes in design and button placement on the panel.

Compare Canon PowerShot S120 and S110

Canon PowerShot S120 and S110 (via camerasize.com)

The S120 is a compact camera, much smaller than the G16. You can definitely fit this model in your pocket and do without the use of a case or bag. The PowerShot S120 features the same 12.1MP, 1/1.7-inch (7.44 x 5.58mm) sensor, ISO 24-120 range, and the same 5x optical zoom as its predecessor. However, the new S120 now has an F1.8-5.7 lens, while the S110 has an F2.0-5.9 lens that was significantly less bright. Like the G16, the S120 also features Canon's latest DIGIC 6 image processor, which enables the camera to shoot up to 12.1 frames per second in burst mode, built-in Wi-Fi, HDR mode, and can record high-quality 1080p60 video with stereo sound.

The Canon PowerShot S120 is equipped with a 3-inch 922K-dot LCD touchscreen. Despite the fact that the S1100 has a screen of the same size, its resolution is half that of 461k dots.

The PowerShot S120 will cost approximately $450, which means that the model is $100 cheaper than the G16. This camera will interest users who dream of a versatile compact that performs well in various shooting conditions and with different focal lengths. The camera has high-quality image stabilization, supports RAW format, Wi-Fi and has a touch screen for easy and productive work.

Differences between S120 and S110:

1. DIGIC 6 image processor instead of DIGIC 5
2. Minor design changes, but nothing major
3. Brighter Lens
4. High Burst Speed
5. Big battery power
6. The new model is slightly larger (1mm wider and 2mm thicker), 19g heavier
7. 60p, 30p and 24p video recording capability
8. Auto focus is significantly faster (0.20 sec. vs. 0.10 sec.)
9. New background defocus mode
10. Availability of new modes

(module Yandex direct (9))

What is the best model?

The size

The Canon PowerShot S120 and G16 have a lot in common, but there are some differences. The most notable difference is the size. In the days when mobile phone cameras are as good as compact cameras, it's hard to convince people to buy non-pocket models. G16, unlike S120, is considered relatively big cam. You can verify this by looking at the picture below.

Canon EOS 100D is the smallest digital SLR camera in the world. Looking at the S120, it's clear that the camera has a big advantage. You can carry the S120 in your pocket or in your small purse without burdening yourself with a separate camera bag. Camera size, especially if we are talking about compact cameras, is an important factor for the target audience.

The massiveness of the camera can be an advantage, in some cases. For example, the G16 has a viewfinder while the S120 doesn't. The G16 has additional buttons that allow you to quickly access popular and frequently used functions. In addition, the camera has a hot shoe that allows you to attach an external flash to the G16. Both models have a pop-up flash.

Lens

Both cameras are equipped with matrices of the same size, resolution, as well as the same image processors. Thus, with regard to the filling of soap dishes, they are the same. The main difference is in the lens itself. The S120 is equipped with a lens whose wide angle is 24mm, while the G16 is 28mm. This means you can enjoy a wider field of view, which is great when shooting landscapes, interiors, and photographing large groups of people. On the other hand, G16 has two advantages: greater value at the telescopic end of the lens and a larger f-number.

The presence of brighter optics is, in my opinion, the most important and significant difference between the two cameras. The G16 is able to work productively under the worst shooting conditions. Even at the maximum position of 140mm, the brightness of the lens is f/2.8, making the G16 an excellent low-light compact camera. Given the relatively small sensor size, a bright lens will allow photographers to shoot at relatively lower ISO sensitivities.

Size comparison between Canon S120 and Sony RX100 II (via camerasize.com)

Recommendation: I would also like to add that if you are looking for a large sensor digital camera, then consider purchasing a large sensor compact such as the Sony RX100 II. The RX100 II has a 13.2 x 8.8mm sensor, which is larger than the sensor found on the models shown. In addition, the Sony RX100 II is quite a miniature model. The RX100 II has a 20.2-megapixel resolution, Wi-Fi + NFC, a sensitivity range of up to ISO 25600, a 28-100mm f/1.8-4.9 lens, and a large, albeit non-touch, 1229K-dot display. dots and 1080p60 video recording capability. Perhaps this camera will interest you, you can also find out more details about this model on our website.

In October 2013, the sale of the Canon Powershot G16 compact high-speed camera began on the domestic market. Reviews from experts and first owners characterize it as a device with great potential, which is great for both beginners and professionals. In terms of image quality, the model outperforms most of the so-called point-and-shoot cameras and approaches semi-professional mid-range SLR cameras.

Appearance

The device has a compact, durable body, which is made of magnesium alloy. There are several non-slip pads on it, thanks to which the camera does not slip out. Moreover, the user can shoot while making some adjustments in parallel while holding it with one hand. The weight of the device is 356 grams. The dimensions of the model somewhat exceed the dimensions of many analogues, which is due to the presence of a viewfinder and a large number of controls. Whatever it was, the camera fits easily into a trouser or jacket pocket. You can also wear it on a strap, for which special fastenings are provided at the ends. Next to them are interfaces and A / V Out under the plugs. On the top edge, the developers of the Canon G16 installed a flash with a button to remove it, two mode wheels, a hot shoe, as well as shutter and on / off keys. At the bottom you can see a socket for mounting on a tripod, as well as compartments for a memory card and batteries. On the back side is a three-inch LCD screen.

Main characteristics

The Japanese developers equipped the model with their proprietary Canon HS system, which includes a 12.1 megapixel backlit CMOS matrix and a DIGIC-6 processor. ISO sensitivity values ​​for the Canon Powershot G16 range from 80 to 1280. The quality of the pictures taken with the camera is quite high. It should be noted that the device is equipped with a digital zoom. At the same time, as evidenced by the reviews of its owners, they should be used only in case of urgent need, since this negatively affects the picture. In general, the detail can be called decent, but there is some blurring in the images of landscapes when zoomed in.

The performance of the Canon G16 model is also good in terms of serial work. In particular, its speed is about 9.3 frames per second when shooting before the memory card is full, and about 12.2 frames per second in a series of 5 shots. Thus, the camera can be called a good solution for capturing even very dynamic scenes in development.

Optics

The Canon Powershot G16 is equipped with a 5x zoom lens. At the same time, it is in the range from 28 to 140 millimeters. This is enough to effectively cover the vast majority of typical scenes in architectural, portrait, genre, macro or landscape modes. High aperture allows the device to focus clearly even under conditions of not the best lighting. Feedback from the owners of the model is a clear confirmation that beautiful pictures with a blurred background can be obtained even at a distance of one centimeter from the subject being photographed.

Auto Focus

The upgraded autofocus system has become one of the significant advantages of the Canon G16. Reviews of experts indicate that at the time of the release of the camera, in this indicator it became the best among all compact models from this manufacturing company. The response time of the system is less than 0.1 second, while the response delay takes only 0.22 seconds. If necessary, quickly shoot a suitable interesting episode, the user can do it instantly. In other words, the chances of catching the right moment depend more on its reaction, and not on the device itself.

Transfer of information

A very important feature of the model, many owners call the presence of a built-in Wi-Fi module. Through a wireless connection, you can directly share footage with other cameras from this manufacturer. In addition, it allows you to send pictures to mobile devices (this is very convenient for storage and active use of social networks). In addition, thanks to the module, you can link pictures to the place of their creation, as well as remotely control the camera using a tablet or smartphone. At the same time, do not forget the possibility of direct printing photos on the printer directly from the camera.

In case of registration on the Canon Image Gateway service, the owner of the camera automatically receives free access to the cloud storage of information, as well as to a number of functions (for example, automatic synchronization and remote processing of material). You can activate the service, not only through a computer, but also by pressing a special button on the device case.

Other features and functions

One of the main features of the Canon G16, as for a device in its class, is the ability to record images in RAW format. It should be noted that this function is usually characteristic only for professional-level cameras. It allows the photographer to improve or correct color reproduction (especially for pictures taken in poor lighting).

For those people who like to experiment directly in the process of shooting, the developers offer a number of all kinds of creative filters that allow you to apply various effects to images. Among them, both standard options and those that are Canon's proprietary development are provided.

Quick access to the main settings is provided by the presence of a selector dial for operating modes, as well as a front control wheel.

The Canon G16 model, among other things, is equipped with an optical viewfinder. Thanks to this, the photographer can turn off the liquid crystal display during operation, thereby saving battery power. In particular, in the standard operating mode, a full charge of the battery lasts an average of 350 frames, and when the LCD screen is turned off, this number doubles.

The device is capable of recording videos in Full HD quality at a rate of 60 frames per second. In fairness, it should be noted that at the time of its release, far from all the more expensive modifications could boast of such an indicator.

Results

In conclusion, the Canon G16 compact camera, which is priced at approximately US$550, boasts a range of features and is capable of producing high quality photographs. It surpasses in most aspects almost all ordinary "soap dishes" and is able to unleash the creative potential of not only a professional photographer, but also a beginner in this field.

Canon has released a fresh camera called the PowerShot G16. He came to replace the PowerShot G15, but was met with little enthusiasm in photography circles. We already mentioned the PowerShot G16 earlier on the pages of 24Gadget, and now it's time to consider the new product and the reasons for its lack of great success in more detail.

Appearance

The model stands out a little from the line of compact cameras with its slightly large dimensions. This is due to a large set of manual controls, as well as an optical, rather than digital, viewfinder. The body is made of magnesium alloy. Its dimensions are 108.8 x 75.9 x 40.3 mm. The fully assembled weight reaches 354 grams, which seems quite weighty in relation to the size. The layout itself and controls are quite standard. All the necessary settings are available for adjustment with the fingers of the right hand. On the back panel there is a 3-inch TFT-screen. Contrary to what you might expect, it doesn't recline, swivel, or even be touch-sensitive.

On the top of the case there is a standard connector for connecting additional equipment. Directly below them is an optical viewfinder with a diopter adjustment wheel. All other tuning wheels have a fairly aggressive faceted cut for better control. The holding handle has a rubber-like coating. Unfortunately, its ergonomics may not seem very comfortable to many. The shutter button has a two-stage stroke, which, alas, is not very smooth. The standard lens is equipped with a thread for mounting the attachment LA-DC58L, which in turn allows you to use various filters or accessories. The optics are protected by built-in shutters that open automatically when the camera is turned on. There is a built-in spring-loaded flash, which is hidden in the niche of the case. The overall build quality is top notch.

Technical equipment

The camera is equipped with a new sensor with BSI backlight technology. It has a resolution of 12.1 megapixels and a sensitivity in the range of 80 - 12800 ISO. The manufacturer positions the innovation as the main advantage, however, according to the test results, it turned out that the new matrix has a higher noise level at high sensitivity than the G15 model. The lens remains the same. It has f/1.8-f/2.8 and a 28-140mm focus in 35mm equivalent. PowerShot G16 received a built-in WiFi module. It can be used to remotely view captured footage using a tablet computer or smartphone. The camera is defined as a regular access point. But the possibility of remote control shooting is missing. There is also an HDMI port for connecting to a TV, protected by a flip cover, and another universal communication port that can be used for the same purpose, or as USB. Recorded footage is stored on SD, SDHC or SDXC cards.

The optical viewfinder changes its field of view as the focus of the lens changes. When recording video, the optical viewfinder does not work. It also cannot be used in conjunction with autofocus in face detection mode. Video shooting modes supported are: 1920 × 1080 at 60/30 fps, 1280 × 720 at 30 fps, 640 × 480 at 30/120 fps, and 320 × 240 at 240 fps. Autofocus is fast and accurate. Burst shooting option is supported. The menu interface is similar to other Canon models. There is a standard set of modes and effects. You can set up your own submenu for quick access to the options you need.

Display

The diagonal of the TFT screen is 3 inches, the total resolution is 921,000 pixels. There is a five-step brightness adjustment option. There is no touch input.

autonomy

The battery capacity is 920 mAh. According to the manufacturer, this is enough for 350 shots in a row. And if you do not turn on the display, then by as much as 770 frames. A full charge takes 1.5 hours. It is also possible to connect an external battery.

Snapshot examples

pros

fast focus
- great video quality
- convenient manual control

Minuses

Relatively large dimensions in its class
- noise at high sensitivity
- no remote control

Verdict

The Canon PowerShot G16 isn't far behind its predecessor, the PowerShot G15, gaining little in video quality and losing out in photo mode. The presence of a WiFi interface, without full remote control, is not particularly necessary. You can safely recognize the project as unsuccessful and consider other options.