Canon PowerShot G16 digital camera review. Canon G16 camera: review, specifications and owner reviews. Canon PowerShot G16 camera: Canon G16 model description: professional reviews

Canon PowerShot G16 is the next model in the series, designed specifically for people who value both high ergonomics, a fast lens, and the ability to use the latest technology. This camera is the successor to the highly regarded G15 build. The new model adds functional Wi-fi and a new matrix along with the latest Digic 6 processor - which as a result (according to the manufacturer) has accelerated the camera. Considering that the rest of the assembly has not changed, we can consider the Canon G16 as a slightly improved model of the G15.

We must recall that at the premiere of the Canon G16, the camera was rather coldly received among photographers and journalists. They expected revolutionary changes in the details that were criticized in the G15 model. They were looking, in particular, for a flip-down display or an electronic viewfinder, or something that could greatly improve the comfortable use of the camera.

Was the Canon G15 really that bad to have a replacement so quickly? On the contrary, the previous model earned generally high marks in all categories except for the quality of the optics used.

The G16 is the first G-series camera to take full advantage of BSI technology. The new processor really speeds up the camera, and the Wi-fi interface makes it more attractive to use.

Build quality.

The Canon PowerShot G16 is a slightly larger camera than other compact models aimed at advanced users. Its dimensions are dictated by a large number of controls placed on its body, as well as an optical viewfinder. Despite the fact that its body is made of magnesium alloy, the camera is relatively heavy: together with the battery and memory card - 354 g (313 g of the camera body alone), which puts it on a par with heavy compact cameras.

Compared to its predecessor, the G15, the only noticeable change in the machine's design is the reorganization of the rear control panel.

There can be no objections to the quality of performance. The elements of the body are perfectly matched to each other, and in general the device makes a good impression.

The main properties of the Canon G16 camera:

• Matrix BSI CMOS, size 1/1.7″ and resolution 12 Mpix
• sensitivity range ISO 80-12800
• f/1.8–f/2.8 lens with 28–140 mm equivalent focal length
• ND filter (3 steps)
• Shooting speed 12 frames / sec.
• 3″ LCD screen with a resolution of 920 thousand pixels
• hot shoe
• Optical viewfinder
• Built-in WiFi

Lens

Just like its predecessor, our hero is equipped with a lens with a focus range of 6.1–30.5 mm (28–140 mm in 35 mm film equivalent), or a 5x optical zoom. The lens structure consists of 11 lenses divided into 9 groups (2 double-sided aspherical lenses, 1 UD lens, 1 single-sided aspherical lens). The aperture of this lens is f/1.8–f/2.8.

Let's see how the aperture value changes depending on the focus used.

We can clearly see that the design of the lens was conceived in such a way as to hold a large aperture as long as possible. One can only wish that competitors took this design feature as a model. Bravo!

Let's see how the G16 stacks up against the competition in terms of lens parameters.

Model	Focal length range	Diaphragm
Canon G16	28-140 mm	f/1.8-f/2.8
Panasonic DMC-LX7

The lens is threaded to accept the LA-DC58L attachment, which allows the use of 58mm filters, or accessories such as the TC-DC58E teleconverter. To protect the lens during transport, the front lens is guarded by a special shutter that opens automatically when the camera is started.

For those who would like to achieve a greater approximation, the manufacturer has foreseen the option of additional digital image zoom. While we can afford 20x zoom (or the equivalent of 560mm on 35mm film), when using it, we have to forget about RAW format and put up with a loss in image quality.

In macro mode, the device is able to get a clear picture already at a distance of 1 cm from the front edge of the lens.

Controls

On the front panel, in addition to the lens, we can also find a viewfinder eye, an autofocus and self-timer indicator, a front wheel, and a ring release button that protects the thread for attaching accessories to the lens.

On the rear panel there is an LCD screen surrounded by: a viewfinder with a diopter control along with an indicator consisting of two LEDs (the functions of which are to indicate the power of the device, readiness for shooting, AF readiness and flash), the PLAY button and the control panel. The top of the panel serves as a support for the thumb, right next to the very edge, there is a video recording button, as well as a quick key S. Below we see two buttons: ISO sensitivity selection, as well as a button marked with an asterisk icon, the main function which is to lock AE / AF, as well as filtering pictures in preview mode. Next is, surrounded by a ring, a four-position switch that performs the following functions:

- Right - flash modes

- Down - DISP button

- Left - autofocus modes

- Up - MF mode

The middle switch button calls up the FUNC menu and confirms the selection of options.

At the very bottom we will find 2 additional keys:

- AF field selection (in photographing mode) / WI-fi activation (in photo viewing mode)

The AE lock key can also be used to quickly select exposure options when the unit is in M ​​mode (the exposure compensation settings are taken into account when setting).

The top panel is reserved for the flash and the lever for its launch, a standard hot shoe, on the sides of which there are stereo microphones, a double control wheel (the top wheel is responsible for shooting modes, and the bottom one for exposure compensation). Nearby is the shutter release, surrounded by a focus change lever, and below is a small switch with an indicator.

On the bottom panel we will find the battery cover and the memory card slot. Nearby is a thread for a tripod. Unfortunately, its location leads to the fact that after installing the tripod disk, we do not have the opportunity to open the battery compartment.

Side panels are used for communication ports (right panel), as well as a loudspeaker (left panel).

Power and connection

The camera is powered by a battery with the designation NB-10L and parameters 7.4 V and 920 mAh. The battery, according to the manufacturer, is enough for 350 shots (or even 770, provided that the user does not use the LCD screen). During the tests, we were not able to achieve the declared amount - the battery required charging after 280 photos (with the LCD screen on). An additional problem may be the non-linear speed of operation and high sensitivity to voltage drops. After the red battery icon flashes, indicating a complete discharge, it is enough to turn off and immediately turn on the device to see a half-charged battery again. After a few shots, the situation repeats itself.

The battery socket is protected against accidental attempts to install the battery incorrectly. Charging is carried out in a special CB-2LCE charger and lasts about 1.5 hours. The manufacturer does not allow charging via a USB port.

Another way to power the machine is to use the optional external power supply ACK-DC80. The battery compartment also has room for a Secure Digital (SD, SDHC and SDXC) memory card.

On the right side of the unit, under a protective cover, there are Class C HDMI ports, as well as a universal communication port that allows you to send an audio / video signal to a TV using the supplied cable. This port also works as a USB port. By connecting the camera to a TV via HDMI, we can control the opening of pictures using the remote control. Next to the named ports is a remote control socket.

Screen

The device uses a 3-inch TFT screen with a resolution of 921 thousand pixels. In order to ensure the best display of colors in different lighting conditions, we can adjust the brightness of the screen in the range of a 5-level scale.

The image has good image contrast. Anti-reflective coatings do their job perfectly - even with a strong reflection of sunlight, everything is visible and reflections of light do not burden the shooting process. Of course, you can complain about the lack of the ability to tilt the screen or the inaccessible touch screen interface.

Viewfinder.

The device has an optical viewfinder, the field of view of which changes with a change in the focus of the lens. Just like in the previous models of this series, the viewfinder has one problem - the position of the picture in the viewfinder may differ slightly from the fixed frame. The viewfinder is equipped with diopter adjustment, but lacks a proximity sensor that would ensure that the main screen is turned off.

It turns out that photographing using only the optical viewfinder does not allow you to use autofocus in face detection mode. Also, during video shooting, the device requires the LCD to be turned on.

Usage and ergonomics

The G16 feels good in the hand, but the front handle is not very well matched. The shutter button does not always work well - it takes some effort to take a picture, but the two-stage resistance does not work well enough.

In order to make the use of the camera convenient, the manufacturer has equipped it with a roller and an additional control ring, thus giving users more freedom while working with aperture and shutter speed. We also have an exposure compensation ring at our disposal, which works in M ​​mode, but is useless in AUTO modes.

An interesting possibility is the transfer of zoom control to the front control ring. In this case, each rotation will change the lens position to the next pre-set value. Here is their complete list: 28, 35, 50, 85, 100, 140 mm.

The Cannon G16 allows the use of a remote release cable. This is very convenient for users who take a photo in long exposure mode, which can be up to 240 seconds. Another solution is to use the self-timer. In this case, we have standard delay periods of 10 and 2 seconds, as well as a special mode in which we can afford to set the number of shots (max. 10), as well as the duration between them (max. 30 seconds). The G16 also has the ability to start shooting when a new face is detected in the frame (default: the face of the photographer), blinking or smiling.

During studio shooting, we can not only connect external power to the device, but also trigger external flashes using the built-in flash, which works in manual mode, using photocells. Unfortunately, the machine does not offer the user the option to turn off the exposure simulation on the LCD screen.

A unique feature of the device is the hybrid auto shooting mode, which is known to us from the previous model. Its characteristic feature is the ability to automatically record 2-4-second clips before pressing the shutter button. The device makes a film from these clips, which will include a video selection of the events of the day.

Shooting modes

On the camera's shooting mode selector, we will find the following options:

• Auto
• Auto hybrid mode (movie mode)
• P-semi-automatic mode
• Tv - shutter priority mode.
• Av- Aperture Priority Mode
• M - manual mode
• C1-C2- user settings
• Video mode
• Creative Filter Mode
• SCN - Special Scene Mode

Menu

The G16 has menus that are organized in the typical Canon compact camera fashion; it is quite clear and functional. It is divided into several groups, which are presented in the form of horizontal tabs. To get to a particular option, we have to scroll through the screen until we find the element we need. Unfortunately, in order to switch to another tab, we must patiently scroll to the beginning or end of the list - there is no possibility of an instant transition. Admittedly, this is not an obstacle, given that by default the device has only one tab with options such as shooting.

To have quick access to "My Menu", the camera allows you to change the key properties of the MENU button, so that when it is pressed, not the main menu opens, but only your own, personal one.

Another handy tool is the FUNC menu, which we can activate by pressing the middle key on the four-way selector (labeled Func/Set). After pressing, a menu appears on the left of the screen, where certain parameters become available for this shooting mode in the form of the displayed icons. Navigation in this menu is possible due to the four-way selector:

Down/up - select the element to change

Left/Right - select element value

Pressing the FUNC/SET button further will turn off the menu and return to the selected shooting mode.

During shooting, the DISP button is used to switch on and off the information available on the screen or also to turn off the screen completely. It must be said that from this point of view, the camera appears in a rather bad light. Of the additional elements displayed on the screen, we have the ability to include a digital grid and a histogram.

In the photo view mode, we have the ability to display additional information in three ways. Displaying basic information on top of the photo itself, a mode with thumbnails adjacent to short blocks of EXIF ​​information and through a histogram, including through an RGBY histogram. The playback mode also works while taking a photo, where we can see a preview of the completed shot if we change the settings from "fast" to 2.4.8 seconds or to infinity in the preview configuration menu.

In the case of movies, with the exception of the clarity control screen, the same views and summaries of information are available to us. We also start the video display, during which we can activate the extension panel (by pressing the SET key). We use this panel to enable pause, fast forward and rewind, as well as edit video. When editing is selected, another panel will appear where we can find the options to extract a fragment of the video and record it as a new clip or save it and replace the original video.

While previewing pictures, you can edit them. Available options:

• Change of size
• framing
• Color Adjustment
• Contrast correction
• Red Eye Correction

In the case of video, it is possible not only to open, but also to rewind and rewind, move one frame, delete and shorten the clip, by deleting fragments from the beginning and end of the movie.

Naturally, the camera also offers the possibility of zooming in on fragments of the image, as well as switching to thumbnail mode - there is a choice of 3x2, 4x3, 6x6, and 10x10.

An interesting feature is an animated plane that displays photo thumbnails while selecting a large number of photos at the same time. The effect is reminiscent of the way the credits were displayed at the beginning of each part of the Star Wars saga. There is also a mode for organizing pictures by categories.

Just like in the G15, the described camera has an automatic search for similar pictures (the condition for this is at least 50 pictures on the memory card). In short, for each displayed photo, the camera adds and displays about 4 suggestions of similar photos. With the help of a four-position selector, we move from the main photo to the specified one, and the camera will once again offer additions to the specified photo.

Work speed

The camera does not show slowdown during long operation, both during menu operation and while viewing photos. The time it takes the camera to change focal length between extremes is also not far behind what we expected. You should pay attention to the speed of autofocus. In this situation, it is really good - the camera focuses very quickly.

Burst shooting

The camera has 2 continuous shooting modes:

• Burst of shots (focus and exposure on the first frame)
• AF Burst

Other shutter release modes are:

Sequence of sharpnesses (for MF mode) – the camera takes 3 shots: the first one with the sharpness set manually, and the next ones with the sharpness shifted to the far and near positions, relative to the first shot.

Self-timer with a delay of 2 and 10 seconds, as well as a program mode that makes it possible to determine the delay (0-30 seconds) and the number of shots (1-10).

Continuous shooting is only available in P, Tv, Av, M, C modes

autofocus

The autofocus system in the Canon G16 is based on contrast identification. We have the following focus modes:

• Frame-by-frame
• Continuous
• Servo AF
• Manual

We can choose the focus area:

• Intelligent face search - the camera detects faces and focuses on them and sets the exposure, as well as white balance, it is possible to select a face if there are more than one in the frame.
• FlexiZOne - allows you to freely move around the frame and set the exposure.
• Follower

G16 also allows you to detect a smile (with automatic shutter release).

Focusing on the G16 is really fast and accurate. The use of the new processor made it possible to successfully reduce the time of focusing. Suffice it to say that during test shooting, we had no problems with either single mode or continuous AF. In low light, autofocus was assisted by an LED indicator. However, you need to keep in mind that the beam of light that it gives is not so strong, so it will help us only in case of focusing on closely spaced objects.

In manual focus mode, in order to focus, you must use the up / down keys of the four-position selector, or the selector ring. On the right side of the screen in this mode, a special scale will be displayed showing the focusing distance. We also have a magnifying glass at our disposal, which enlarges the part of the picture on which we want to sharpen. Whether the magnifying glass will be active, we can determine this in the settings menu.

Exposure metering

The Canon G16 has the following metering modes:

• Estimated
• center weighted
• Spot (may be linked to AF area)

An essential addition is the built-in ND filter, which we can only use in P, Tv, Av, M and video modes. The strength of this filter corresponds to 3 degrees of aperture and allows you to take pictures in situations where the amount of light is so high that even using the slowest shutter speed leads to overbrightening.

In practice, the evaluation mode (default) in most cases works properly and exposes the photo correctly.

Flash

The built-in flash has a range of 50 cm to 5 m for wide angle, and up to 4.5 m for maximum focal length (ISO Auto). Flash compensation can be adjusted from -2 to 2 EV, in 1/3 EV increments.

Under the right direction button, we will find the settings related to the flash mode.

• Auto flash
• forced flash
• Slow sync
• Flash off

The Canon G16 has a flash lock function that we can turn on with the button marked with an asterisk symbol. In addition, in the camera settings, we can choose whether the flash will be synchronized with the 1st or 2nd curtain, and whether the flash will remove red-eye.

Creative modes

The G16 camera has a set of several digital filters:

• vintage effect - shot with pale colors
• fisheye effect (the strength of the effect is presented as a 3-step scale)
• miniature effect
• toy camera effect
• background defocusing (the strength of the effect is presented in the form of a 4-step scale, and there is also an automatic setting)
• soft focus (strength of effect is presented as a 3-step scale)
• black and white
• super-bright
• poster effect

Video recording

The Canon G16 is capable of recording video clips in 2 modes: instant, available in each camera mode, and a separate one that we select on the mode wheel. The difference between them is the number of available options. We start and end the video recording process using a special button on the device.

Canon G16 offers video recording in the following resolutions:

1920 × 1080 at 60 or 30 fps

1280×720 at 30 fps

640×480 at 30 or 120 fps

320×240 at 240 fps

During video recording, the camera allows you to reduce noise, use image stabilization, an ND filter, and white balance settings.

Recording video is easy, and the quality of the resulting material is very good, thanks to the use of 1080/60p mode. The image is detailed, thanks to moderate compression of the material. A speed of 60 frames at the highest resolution ensures that fast-moving objects in the picture come out without blurry edges. We must remember the possibility of using various digital filters that help to create. An interesting detail allows you to create movies with slow motion. The quality of the filter to eliminate noise leaves much to be desired, in contrast to the image stabilization, which works perfectly.

WiFi connection

The Canon G16 is the first G-series model to feature a Wi-Fi wireless network that allows you to:

• Internet/social media connection (via CANON iMAGE GATEWAY)
• Connecting to a computer, smartphone or tablet so that you can view the captured pictures (when using the CANON CameraWindow app)
• Connecting to other cameras

From this it can be seen that the above steps apply to pictures already taken. And in fact - as usual, we do not have the ability to remotely control the camera. It's a pity.

To turn on Wi-fi, you need to enter the image playback mode, and then press the Wi-fi activation button on the camera (focus point selection).

When connecting the camera to a smartphone, no problems were found. In this mode, the camera acts as an access point to which the phone connects. Using the CANON Camera Window application, we can view the pictures (it is more reasonable to use a tablet instead of a smartphone in this case) and set our geographic location. The latter process should be interpreted as a very weak replacement option for the GPS module in the camera itself (the application on the smartphone must be constantly active, which leads to a relatively fast discharge of the phone's battery).

By connecting the camera to a Wi-fi network, we can also send pictures using www.canon.com/cig (CANON iMAGE GATEWAY). It is required to register in advance on this page and specify the data of your model. Then the camera exchanges identification codes with the site (the camera generates a keyword that we enter in the browser, after which we confirm on the camera whether the generated code is identical to the one we see on the computer). If so, then we determine how we want to upload our photos (Facebook, Twitter, YouTube, Flickr). After this rather complicated procedure, the camera should already upload the photos taken to the appropriate social networks. We have to admit that other than going through the full setup procedure, we weren't able to get the Canon G16 to send a photo on the first try. The camera software countered this by displaying a message that some (unspecified) services were not configured. Soon after a few days, suddenly, for no particular reason, everything worked.

Face memorization

C16 offers the possibility of remembering 5 faces with a name and date of birth attached to them. Information about recorded faces can be used to prioritize sharpness and exposure. As soon as we enter dates of birth, the camera will automatically focus on a younger person.

Hybrid auto mode

One of the most interesting features is the hybrid mode, which allows, in addition to normal photography in auto mode, to also record 2-4 second video clips in sequence before each press of the shutter button. The material recorded in this way will be combined into one iFrame file for each day that we took the picture. Thus, this clip will be a short record of the events that forced us to take a photo. Note that audio is also recorded, which means that using this mode will drain the battery faster.

It should be remembered that in order to get interesting video material, before taking a picture, we must work with the camera in an appropriate way. Otherwise, instead of the history of our events, we will get a chaotic video selection.

Image quality

G16 provides the ability to save photos in the following basic resolutions:

• L, or 4000x3000,
• M1, or 2816x2112,
• M2, or 1600x1200,
• S, or 640x480

Also in the following formats:

• JPEG,
• RAW (CR2)
• RAW+JPEG.

Pictures in this resolution can be saved in two quality options: good and normal, as well as in several formats with aspect ratio: 4:3, 16:9, 3:2, 4:5 and 1:1.

We can modify JPEG format files using the "My Colors" option:

• Bright
• Neutral
• Sepia
• slide simulation
• Brighten skin tone
• darken skin tone
• Bright blue
• Bright green
• bright red
• Manual setting

The latter option allows you to manually add color settings by setting the level of contrast, sharpness and color saturation, the intensity of red, green and blue, as well as skin tones. All these parameters can be set in the range 1-5. The above settings are not available if we want to save pictures in both formats at the same time (JPEG+RAW).

Changing the noise reduction strength leads to an even greater blurring of the picture, which follows from this - loss in photo detail. We have to admit that after this the photo takes on a pastel and pleasing look, of course, if the user is satisfied with the significant loss of photo detail.

white balance

The G16 allows you to set the white balance using the following modes:

• Daylight
• cloudy
• incandescent lamp
• Fluorescent lighting
• Fluorescent lighting H
• Flash
• Under water
• Manual mode 1
• Manual mode 2

In each of the modes listed above, we have the ability to fine-tune the white balance with A-B (orange-blue) and G-M (green-purple) accents in a multi-step range.

Results

So we have reached the end of a detailed review of the Canon PowerShot G16 camera. Now it's time to take stock and give the camera a final assessment.

Assembly and functionality

The camera design is compact and durable. Just like in other G-series cameras, it is worth appreciating the high ergonomics. The menu - typical for cameras from this line - is characterized by a fairly clear interface. However, a long scroll through the entire list of settings in order to get to the desired position is a little annoying - especially when we are not sure which group of settings it is in. A "My Menu" that allows you to select a few of the most commonly used options is a very good idea. However, it is a pity that it offers to choose only 5 positions. The speed of the camera is at a very high level, using the menu and photo viewing mode does not take much time. Available animations (clock, thumbnail highlighting and smart photo selection) show that the built-in microprocessor is working with a bang. The only pity is that this potential was not used for the possibility of high-quality panoramic shooting, as well as photos in 3D.

The autofocus is fast and sharp, thanks to which we can quickly take pictures. High shutter speed and a large number of shots, allows you to shoot dynamic scenes. This is a big improvement on the G15, where burst shooting was just awful. The device has a set of interesting filters that we can use not only when taking pictures, but also when shooting video. The video is of good quality and the creation of clips in slow motion can be used creatively. The only pity is that the sound filter does not work effectively.

New to this model is wireless connectivity. We got the impression that you function is not fully thought out. Of course, we can send our photo to the social. Net. To do this, the camera needs access to a WIFI network (shared hotspot or via smartphone connection) and a configured Canon iMage Gateway service. Lacks the ability to control the camera using a smartphone or tablet. Of course, we mean the shooting process itself, viewing photos on the tablet works fine.

Once again, we have doubts about the optical viewfinder. In times when the quality of electronic viewfinders is already at a high level, using a small tunnel viewfinder is inconvenient.

Optics

The conclusions will be short, besides, there is nothing to talk about. The camera has the same lens that was on the G15. Its characteristic is poor angular resolution, high distortion, visual vignettes and chromatic aberration. It would be nice if a corrected design appears in the next model. The quality itself is too low for today's standards.

Matrix

Although BSI technology was used, presented to us as an advantage, during the operation of the matrix it was rather a disadvantage. Moreover, this matrix makes even more noise than in the G15. On the other hand, the data conversion algorithm that compresses the JPEG works fine and creates an image that many will find excellent in quality, so we get the quality that is no worse than in G15.

The assembly and ergonomics of the camera does not differ from the previous model. Is the calculation made for the usual buyer or is it a desire to limit the cost of camera construction? We have the impression that we are talking about the second. The addition of the WIFi function we consider as something completely normal at the moment. New processor and matrix? As far as the processor brings a fresh stream, the same matrix shows how great it is possible not to work on BSI technology. Thinking it over again, we see the G16 as a good deal (the same as the previous model, ie the G15) for people buying their first camera. Is it worth changing the G15 to the described model? Our opinion is no.

At the end, here is a list of the most important advantages and disadvantages of the camera:

Advantages

• Convenient focal length range
• Good resolution jpegs
• Slight vignetting and coma at longer focal lengths
• Ability to record photos in RAW format
• Convenient and intuitive operation
• Large LCD screen
• Sharp and fast autofocus
• Video in FULL HD quality
• Interesting digital filters
• User-friendly function menu
• HDMI port
• Rugged housing
• Ability to descend from a distance
• Ability to use an external flash

Flaws:

• Intense jpeg noise at highest sensitivity
• Relatively large distortion and chromatic aberration at short focal lengths
• Poor lens resolution
• Noticeable vignetting for wide angle shooting
• Noticeable glare when working in direct sunlight
• No proximity sensor in viewfinder
• Lack of panoramic shooting
• Lack of 3D mode
• Lack of remote control capability when connected to WIFI

The ubiquity of smartphones and tablets has led to the decline of inexpensive cameras, popularly called "soap boxes", as many ordinary consumers are satisfied with the capabilities of cameras built into mobile phones. But when the user begins to understand a little about photography and for the first time is disappointed in the results of shooting after a tour, he has a desire to acquire a real device that can shoot various events without misfires. To get a noticeable increase in quality, the buyer should not skimp and pay attention to advanced compact cameras such as the Canon PowerShot G16.

Text and photo: Anton Sharapov

Canon PowerShot G16. General form.

Specifications

Sensor - BSI-CMOS, 7.74×5.58 mm, 1/1.7” form factor, resolution up to 12.1 million pixels. (4:3);

Lens - rigidly built-in, with variable DF, 28-140 mm, F1.8-2.8;

Image stabilization- optical, 5-axis, built into the lens;

Viewfinder - built-in optical;

Display - built-in, diagonal 7.5 cm, 920,000 dots;

Focus - contrast auto and manual, 9 or 1 point, face detection, single/continuous AF, minimum distance 1 cm;

Shutter speed ranges— 1/4000 to 15 s;

Shooting modes- P, A, S, M, fully automatic, 58 scene recognition, Hybrid Auto, HDR, smart shutter;

Metering - matrix, center-weighted, dot;

Flash - built-in, range up to 7 m, short synchronization time 1/4000 s;

Sensitivity - 80 to 12800 ISO;

Photo formats— RAW (CR2), RAW+JPG, JPG (2 compression levels);

Memory cards- SD, SDHC, SDXC, UHS-1 SD;

Burst shooting- 12.2 fps (up to 5 frames), 9.3 fps (up to 522 frames), 5.7 fps (with AF);

Star time-lapse video — 15 fps

Video filming - up to Full HD (1920s [email protected] frames/s). Final format MP4 (H.264);

Interfaces - miniUSB, miniHDMI, Wi-Fi;

Food - battery 7.4 V, 920 mAh;

Dimensions - 108.8×75.9×40.3 mm;

The weight - 356 g (with battery and memory card);

Estimated retail price- 21,800 rubles.

A consumer inexperienced in technology very often “pecks” at the outside of a techno-innovation, without thinking about how many advanced technologies it uses, how long the manufacturer has been on the market and, because of this, has rich experience in creating a certain class of products. Indeed, even an eminent manufacturer may have “raw” novelties, with which he has just begun to enter a new market niche for himself, and in such an experimental project, innovations have not yet been sufficiently tested.

With the Canon PowerShot G family of cameras, the situation is completely different, since the history of its development goes back more than a decade, and the concept of this family is, without a doubt, mature. Of course, some priorities in the evolution of the family have changed to meet current market requirements, but the basics have been preserved, and to date, the G family still includes compact cameras that are equipped with an oversized sensor, a high-aperture lens with increased magnification, and advanced functions and settings.

Key Benefits of the Canon PowerShot G16

The evolution of Canon's PowerShot G family of cameras has taken them from being rather bulky and slow (by today's standards) to compact bundles of high technology. Moreover, with the last major design change (the transition from the G12 to the G15), it seems that miniaturization was the main trend. As a result, the camera lost the mobility of the LCD display (at the same time, its resolution doubled), but it became a little shorter and lost 8 mm at once. The same case was preserved in the latest model - G16.

The manufacturer calls the Canon HS system, which includes a sensor with enlarged cells that collect more light and a powerful image processor, the main means of achieving high quality images. In addition, the sensor area is superior to those that are placed in typical compact cameras (form factor 1/1.7” instead of 1/2.3”). This advanced element of the camera's optical system is quite naturally complemented by a high-quality zoom lens with a high aperture.

It remains to pay attention to the fact that the camera offers convenient settings for the main parameters for experienced photographers, that is, they have all the ingredients for successful shooting.

Construction and ergonomics

As mentioned above, with the latest redesign of the camera body has become much thinner. Now it fits not only in the side pocket of a jacket or coat, but also in the back pocket of jeans. Although the design and package of the camera provide for wearing the G16 on a neck strap, it is quite possible to use a suitable wrist strap, since the camera weighs quite a bit (356 g). Actually, this is what the author of the article did, since this, without losing comfort, significantly reduced the space in the bag and made it possible, if necessary, to put the camera in the back pocket of jeans.

Canon PowerShot G16. Top view in working order.

The camera is made in a lightweight yet durable magnesium alloy body. It fits comfortably and securely in the hand thanks to two rubber-like pads. The large one covers the entire ledge on the front panel, and the small one is located at the back, in the usual place under the thumb.

If you hold the camera with your thumb and middle fingers, it is convenient to turn on the power, operate the zoom control, and press the shutter button. With this grip, you can contrive and press the video activation button with your thumb. This can only be done consciously, since this small button is deeply recessed into the body.

When shooting, it is convenient to rotate the exposure compensation dial with your thumb, and either the mode dial or the control wheel on the front panel with your index finger. If you hold the camera with your left hand, it becomes convenient to work with numerous controls - the multi selector, the four buttons surrounding it and the second small S button, which, to protect against accidental pressing, is recessed into the case in the same way as the movie button.

Canon PowerShot G16. Back view.

As in most compact cameras, the memory card compartment is combined with the battery. And all the few interfaces are concentrated on the right side under a single plastic cover-stub. The zoom lens in the non-working position completely retracts inside the camera body and is protected by an automatically closing shutter. In general, the build quality of the camera does not cause any complaints. The design looks solid and reliable - a kind of small high-tech brick.

Functionality

In terms of its functionality, the G16 largely overlaps with the flagship model of the Canon PowerShot G family, the G1 X Mark II, and even surpasses it in some characteristics. But, let's start talking about everything in order.

You can usually assess the potential of the camera right away by looking at the top cover of the case for the shooting mode dial. Its mere presence suggests that the camera is designed not only for those who take all the pictures in automatic mode, but also for more experienced photographers who know what they want to get from the camera and how to set it up for the desired result. Or at least for those who plan to understand the capabilities of the camera and consciously use one or another of its functions. For experienced photographers, the Canon PowerShot G16 offers a so-called creative mode dial (P/A/S/M) and a button to save custom settings.

Below the mode dial is the exposure compensation dial. In capable hands, this is a very handy exposure control tool. The presence of such a disk on the body in recent years has become a sign of the advancement of the camera. Also, any enthusiast will be pleased with the selection of functions called using the buttons located around the multi selector: ISO adjustment, exposure lock (AEL), focus area selection and main menu call.

In the center of the multi selector itself is the FUNC. / SET button, which, traditionally for Canon cameras, calls up a context menu with many settings. To call another setting that is very important for a particular photographer, a separate reprogrammable S button is provided, which can be assigned to one of the 19 available functions. However, the button for quickly activating video recording can also be reprogrammed to call another function.

But back to the description of the mode dial. Beginners, as well as those who picked up the camera for the first time, will be helped out by the intelligent automatic mode, which independently recognizes typical scenes. And for those who already understand the features of different typical scenes, a set of ready-made plot programs is offered. The Canon PowerShot G16 gives you plenty of room to experiment.

The creative impulses of the photographer will be supported by a set of filters for imposing various effects on pictures right in the camera. It is possible to “age” photos, emphasize their mood with the help of monochrome toning or enhancing the initial tones, change them beyond recognition with the help of a fisheye, or turn them into a poster, add additional depth to the background or add mystery with softening focus. Smart Shutter features help you capture self-portraits and group portraits that include the photographer himself.

The manufacturer is especially proud of the creative modes for capturing the starry sky. A separate program is used to shoot portraits against the backdrop of stars. The other two make it possible to obtain, after a long exposure, clear pictures of fixed stars or the light trails left by them in the sky. You can even create a short movie of the rotating sky with time-lapse video.

A few words must be said about the proprietary automatic hybrid mode. After it is activated (for example, in the morning when leaving the house), a mini-video lasting 2-4 seconds will be recorded before each photo. Then they can be combined into a video report about the entire shooting day.

The final icon on the mode dial, the camcorder icon, reminds you that the PowerShot G16 is capable of Full HD 60fps recording, something even the flagship PowerShot G1 X Mark II compact cannot offer.

Communication options

Any modern camera today has wireless connectivity, and the Canon PowerShot G16 is no exception. The built-in Wi-Fi module provided the owner with additional features such as remote control of shooting, sending footage to other Canon cameras, mobile devices, desktop computers and printers, and online resources. Also, through mobile devices, the camera can obtain the GPS coordinates needed to link pictures to the shooting location.

Capabilities of the Wi-Fi module built into the camera

Wi-Fi wireless communication allows you to connect to external devices, both directly and through an external access point. To share the camera with mobile devices, you must first install the CameraWindow application on them. It will allow you to download pictures from the camera to your phone, as well as use it as a remote control when shooting.

For official owners of photographic equipment, Canon offers the Image Gateway online service, which includes cloud storage and online albums. After registering your camera on the service website, a convenient function of automatic synchronization of images not saved outside the camera becomes available to the user. Moreover, you can make a copy both in the online service and on the computer. To make this process as easy as possible, one of the buttons on the camera body can activate the Canon Image Gateway service.

Practical Shooting

The camera's 5x zoom may not sound like much, but the optics in the PowerShot G16 are high quality and fast. The range of focal lengths covers typical scenes, ranging from landscapes to portraits and reports. Of course, the coverage angle at the minimum zoom factor (28mm equivalent) will not always be sufficient for architectural shooting in the city, but if you can move further away, then the problem disappears, and you will also get pictures with less perspective distortion.

Daytime shooting at minimum zoom. Good detail and sharpness throughout the frame. ISO 125, F4.0, 1/1250s, 28mm

Wide-angle landscape shot on a cloudy day. Due to the large area of ​​the sky in the frame, a small positive exposure compensation was required to lighten the shadows. ISO 125, F8.0, 1/60s, 0.33EV, 28mm

In the other extreme position of the 140-mm telephoto lens, in the same city bustle, you can quite successfully hunt for funny scenes and unusual characters, as well as “reach out” for interesting architectural details and objects.

Daytime shooting at maximum zoom. Excellent detail down to the texture of the stone. ISO 125, F4.5, 1/250s, 0.33EV, 140mm

Daytime shooting at maximum zoom. Convincing midtones and good detail. ISO 80, F4.0, 1/1250s, 140mm

In my opinion, the zoom turned out to be quick: from one extreme position to another, it is transferred in just a couple of seconds. And you don’t need to go faster - otherwise it will be difficult to “hit” the desired magnification.

Daytime shooting of a funny moment at maximum zoom. ISO 80, F4.0, 1/500s, 140mm

Autofocus works confidently and quickly. Of course, like any contrast type system, it is confused by surfaces and objects with a smoothly colored non-contrasting surface. However, it is easy to believe the manufacturer's claims that the autofocus speed has been significantly increased compared to the previous model.

With the PowerShot G16, the focusing speed is greatly increased and the reaction time (lag) is shortened.

If you have a certain skill, the camera allows you to shoot a portrait offhand, and not to miss an interesting spontaneous moment.

A double portrait shot thanks to the quick response of the autofocus system. ISO 80, F2.8, 1/250s, 140mm

A portrait shot in subdued backlight with positive exposure compensation. ISO 80, F4.0, 1/250s, 1.0E V, 140mm

The G16 also performed well in continuous shooting, which can continue until the shutter button is released or the memory card runs out of space (or more than 522 shots have been taken). Autofocus is able to hold on to the main subject even when there is interference in front of it. It is convenient that during playback in the camera, automation can select each series of images and, by a specific command, show it separately, as many times as you like. This is convenient for learning a sporting move, trick, or unique moment in detail.

An example of continuous burst shooting. ISO 160, F4.0, 1/400s, 74mm

What lovers of manually playing with the focus point lack is a large focusing ring on the lens, as, for example, on the flagship Canon G1 X Mark II model. For manual focusing, the G16 uses the multi selector ring.

Roughly set the distance helps the on-screen scale, which indicates the footage, and a more precise setting on the LCD screen is provided by the proprietary Focus Peaking function. It highlights the outlines of in-focus objects in one of the selected colors: yellow, blue, or red. The image can be further enlarged by a factor of two or four by using the side button on the multi selector.

Since the LCD screen in the camera is stationary, if you hold it significantly above or below eye level when shooting, you have to look at the picture at a decent angle. And I must say that such sighting was possible even in sunny weather, i.e. the screen is bright enough even at zero setting and has good viewing angles.

The landscape, which opened up in a narrow space ahead, was shot at a telephoto zoom position over the heads of tourists walking in front. ISO 80, F4.0, 1/400s, 109mm

A simple tunnel-type optical viewfinder can also be used as a sight. It has a zoom-adjustable zoom factor as well as a diopter adjustment, but it's still not very convenient. Although it could be quite useful when you need to hard save battery power - after all, the LCD screen can be completely turned off with the DISP button, framing only through the viewfinder.

When shooting in low light conditions, the proprietary intelligent optical stabilization system is of great benefit. Its effectiveness was evaluated in a proven way: the camera took several series of shots at different shutter speeds and calculated the proportion of clear shots.

The focal length was chosen close to normal (50 mm equivalent), and the shutter speed was taken as the starting point, which was approximately 2 steps away from the so-called safe, i.e. 1/15 s. At this setting, as expected, all shots are sharp. The same result was obtained by doubling the shutter speed (up to 1/8 s). At the next step (1/4 s), the percentage of clear shots dropped to 60%, and at the next doubling of the shutter speed - up to 40%. With a shutter speed of exactly 1 second, it was not possible to get clear pictures at all.

Night shots that demonstrate the operation of the Intelligent IS system when shooting handheld at shutter speeds of 1/2s, 1/4s, 1/8s.

It is worth paying attention to the fact that at a shutter speed of 1/8 s, the camera produced consistently clear pictures, and the automation used a low ISO value (320). Thus, the picture quality was practically not affected, neither by fuzziness, nor by digital noise, and as a result, when shooting without a tripod, we got decent shots of the night landscape with good detail.

In cases where there is movement in the night scene that is undesirable to blur, the Handheld Night Scene program will come to the rescue. She selects a shutter speed no longer than 1/50 s (if the lighting allows, then shorter) and takes a series of shots, and then combines their information into one frame. Although this program uses high ISO values, digital noise is effectively removed during processing.

An example of shooting in the scene program "Hand-held Night Scene". ISO 1250, F2.0, 1/100s, 35mm

An example of shooting in the scene program "Hand-held Night Scene". ISO 1600, F2.5, 1/80s, -0.67EV, 78mm

Focusing on digital noise, we emphasize that for a camera with a small sensor (relative to SLR cameras), the use of high ISO values ​​\u200b\u200bis more critical, both at night and during the day.

An example of shooting indoors with a large negative exposure compensation. ISO 640, F5.6, 1/200s, -1.67EV, 103mm

An example of shooting in a large room with mixed (daylight + artificial) lighting. ISO 800, F2.2, 1/60s, 42mm

A landscape shot on an overcast day that required a high sensitivity setting. The effect of digital noise on detail is moderate. ISO 1000, F8.0, 1/160s, 67mm

Shooting indoors at maximum zoom and wide aperture. Despite the use of high sensitivity, the level of detail is at an acceptable level. ISO 1600, F2.8, 1/250s, 140mm

The results of the night test shooting showed that pixel-by-pixel detail starts to deteriorate noticeably from about ISO 1600, and at ISO 3200 it is already seriously “blurred”, not counting the contrasting bright details against a dark background. If we consider the quality as a whole, then the picture retains a decent look up to ISO 3200, and sometimes even up to ISO 4000.

The specifics of a small sensor is also manifested in the fact that fine detail can be improved if the aperture is slightly covered when shooting landscapes: at F3.2 it can be noticeably better than at F5.6 (ceteris paribus). This is also explained by the fact that the depth of field for the landscape is enough even at an almost open aperture, but at the same time it will be possible to shoot at a faster shutter speed (this will reduce the likelihood of blurring), and more light will enter the sensor, which will reduce the effect of digital noise.

Continuing the theme of a small sensor, we add that with the help of the optical system of the compact G16, of course, it is much more difficult than with the help of a “reflex camera” to get a shallow depth of field. But if you are attentive enough to the background and build the frame correctly, then you can get pictures with this little one with a beautifully blurred background. Mostly these will be shots taken from short distances.

Shooting in the opposite-side light on an open aperture. Good in-focus detail and nice background blur. ISO 100, F2.8, 1/250s, 140mm

An example of beautiful bokeh when shooting close-up wide open. ISO 80, F2.8, 1/200s, 84mm

From the point of view of color reproduction, test shooting could only please. With standard settings, the colors in the pictures are natural and moderately saturated, but not flashy. The auto white balance does a good job of getting the colors right.

Still life, made indoors under mixed artificial light, with focus through the glass. The color reproduction is convincing. ISO 800, F5.6, 1/60s, 86mm

To expand the dynamic range, the camera has the functions of auto-correction DD (affects the development of lights) and auto-correction of shadows. But users should take note that if they select simultaneous dual recording of pictures (JPG + RAW) in the settings, then the functions described above will be disabled. And then, when shooting high-contrast scenes, the lightest shades of pictures recorded in JPG have a chance not to fit into the dynamic range. However, a take saved in RAW format when processed in a converter usually solves this problem.

Daytime wide-angle landscape photography. Scene contrast too high: highlights are lost. ISO 80, F4.0, 1/640s, 28mm

Daytime wide-angle landscape photography. As a result of processing the RAW file in the Adobe Camera RAW converter, information in the highlights has been restored. ISO 80, F4.0, 1/640s, 28mm

conclusions

After testing in a variety of conditions, the Canon PowerShot G16 left a very positive impression of itself. She showed herself well when shooting in the daytime and at night, did not misfire when it was necessary to instantly capture an interesting moment on the go, and proved herself well in high-speed burst shooting and video recording.

Thanks to a high-quality zoom lens, a modern processor and flexible manual settings, this camera in the hands of an experienced photographer can solve very difficult creative tasks.

A lot of automated functions will allow users who are not too sophisticated in photography to create. Wireless functions will enable you to quickly share your successes with friends on social networks, where among smartographs, the owner of the Canon PowerShot G16 has every chance to stand out for its excellent image quality.

In any case, this camera is a very serious candidate for the role of a daily companion of a creative person with high demands on the quality of photo and video shooting.

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 an automatic image stabilization system. 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 say 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 a high quality image. 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 include the absence of a proximity sensor in the viewfinder, as well as a 3D mode, a swivel screen and the ability to take panoramic shots. These persons claim that this device is designed for an average amateur photographer.

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 speed comes from: its lenses are covered with the most modern types of anti-reflective 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 more horizontally straightened 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 how high resolution it 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

Geometric 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 lab is to determine 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 be able to get crisp footage at 1/18 second, 1/9 second, 1/4 second, and 1/2 second as well.

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 an additional one and a half 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
28mm; f/5.6; 1/30 s; ISO 100	28mm; 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 significantly 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 there is no contradiction between this and the previous assessments: the “bunching” 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 won't open up the Americas by saying that wide-angle (let alone ultra-wide-angle) lenses are not designed to show beautiful blurring (bokeh). This complicates, firstly, a very significant depth of field (even with an open aperture), and secondly, high requirements for sharpness in those scenes that are shot using 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. In practical work, a faster lens 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

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 LA-DC58L attachment, 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 x 1080 at 60/30 fps, 1280 x 720 at 30 fps, 640 x 480 at 30/120 fps, and 320 x 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.