canon camera lcd touch screen free sample

Problem #1 solved (the camera you bought is and older model that doesn"t have Live View... use the viewfinder to compose instead... the 60D you were using is a much newer model that has Live View, as well as other added features).

Problem #2... Might bean issue with the camera, but much more likely is simply incorrect settings causing the camera to massively over-expose the images you"re taking. Since you bought the camera used, it might be a good idea to do a "Factory reset", since the previous owner may have left some settings behind that are causing you problems. Go into the menu and look for "reset".

Then go into ISO and set it to 100, set the camera to Program ("P") auto exposure or fully "AUTO" mode (the little green box) on the dial on the lefthand shoulder of the camera) and try a few shots outdoors in daylight. Either of these exposure modes should compensate and give more correct auto exposure.

FYI: When settings are going to cause severe under or over-exposure or exceed the capabilities of the camera or lens, you will probably see some of the settings display in the viewfinder flashing as a warning.

You also might want to go to the Canon website of your choice and search for your camera model, then go to the support area for it and download the free PDF of the user manual. If you don"t have a manual, I"m sure that will help you get started using it. FYI: The EOS 350D is also known as the Rebel XT in N. America and the Digital Kiss N in Japan. Same camera in all three markets.... just different names. So the user manual for any of them can apply to all, so long as it"s in a language you can read.

The limited warranty set forth below is given by Canon U.S.A., Inc. (Canon U.S.A.) in the United States or Canon Canada Inc., (Canon Canada) in Canada with respect to the Canon brand EOS Digital Camera (the “Product”) *, when purchased and used in the United States or Canada. The Product purchased with this limited warranty is the only EOS Digital Camera to which this limited warranty applies.

Canon U.S.A., Inc. and Canon Canada Inc. (collectively "Canon") warrant to the original end-user purchaser, when delivered in new condition in its original container, that the Product will be free from defects in materials and workmanship under normal use and service for a period of one (1) year from the date of original purchase. Product returned to a Canon repair facility and proven to be defective upon inspection will, at Canon’s sole discretion and without charge, be (a) repaired utilizing new, remanufactured, repaired and/or recycled parts; (b) exchanged for a new Product or; (c) exchanged for a refurbished Product, as determined by the Canon repair facility. Warranty exchange or replacement does not extend the original warranty period of the Product.

THIS WARRANTY DOES NOT COVER ANY ACCESSORIES. This limited warranty shall only apply if the Product is used in conjunction with compatible computer equipment and compatible software, as to which items Canon U.S.A. or Canon Canada, shall have no responsibility. Non-Canon brand equipment and software that may be distributed with the Product are sold "as is" and without warranty of any kind by Canon U.S.A. or Canon Canada, including any implied warranty regarding merchantability or fitness for a particular purpose, and all such warranties are disclaimed. The sole warranty, if any, with the respect to such non-Canon brand items is given by the manufacturer or producer thereof.

Loss of or damage to the Product due to abuse, mishandling, improper packaging by you, alteration, accident, electrical current fluctuations, failure to follow operating, maintenance or environmental instructions prescribed in Canon U.S.A."s or Canon Canada"s user"s manual or services performed by someone other than Canon U.S.A. or Canon Canada, or a Canon authorized service provider for the Product. Without limiting the foregoing, water damage, sand/corrosion damage, battery leakage, dropping the Product, scratches, abrasions or damage to the body, lenses or LCD display or damage to the any of the accessories mentioned in the first paragraph above will be presumed to have resulted from misuse, abuse or failure to operate the Product as set forth in the operating instructions

Use of parts or supplies (other than those sold by Canon U.S.A. or Canon Canada) that cause damage to the Product or cause abnormally frequent service calls or service problems

NO IMPLIED WARRANTY, INCLUDING ANY IMPLIED WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, APPLIES TO THE PRODUCT AFTER THE APPLICABLE PERIOD OF THE EXPRESS LIMITED WARRANTY STATED ABOVE, AND NO OTHER EXPRESS WARRANTY OR GUARANTY, EXCEPT AS MENTIONED ABOVE, GIVEN BY ANY PERSON OR ENTITY WITH RESPECT TO THE PRODUCT SHALL BIND CANON U.S.A. OR CANON CANADA (SOME STATES AND PROVINCES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU)..NEITHER CANON U.S.A. NOR CANON CANADA SHALL BE LIABLE FOR LOSS OF REVENUES OR PROFITS, INCONVENIENCE, EXPENSE FOR SUBSTITUTE EQUIPMENT OR SERVICE, STORAGE CHARGES, LOSS OR CORRUPTION OF DATA, OR ANY OTHER SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES CAUSED BY THE USE OR MISUSE OF, OR INABILITY TO USE, THE EOS DIGITAL CAMERA, REGARDLESS OF THE LEGAL THEORY ON WHICH THE CLAIM IS BASED, AND EVEN IF CANON U.S.A. OR CANON CANADA HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. IN NO EVENT SHALL RECOVERY OF ANY KIND AGAINST CANON USA OR CANON CANADA BE GREATER IN AMOUNT THAN THE PURCHASE PRICE OF THE PRODUCT SOLD BY CANON USA OR CANON CANADA AND CAUSING THE ALLEGED DAMAGE. WITHOUT LIMITING THE FOREGOING, YOU ASSUME ALL RISK AND LIABILITY FOR LOSS, DAMAGE OR INJURY TO YOU AND YOUR PROPERTY AND TO OTHERS AND THEIR PROPERTY ARISING OUT OF USE OR MISUSE OF, OR INABILITY TO USE, THE PRODUCT NOT CAUSED DIRECTLY BY THE NEGLIGENCE OF CANON USA OR CANON CANADA (SOME STATES AND PROVINCES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE EXCLUSION OR LIMITATION MAY NOT APPLY TO YOU). THIS LIMITED WARRANTY SHALL NOT EXTEND TO ANYONE OTHER THAN THE ORIGINAL PURCHASER OF THE PRODUCT, OR THE PERSON FOR WHOM IT WAS PURCHASED AS A GIFT, AND STATES YOUR EXCLUSIVE REMEDY.

When you call, have your Product serial number and your date of purchase available to expedite service. A Canon Customer Care representative will attempt to diagnose the nature of the problem and correct it over the telephone. If the problem cannot be corrected over the telephone, you will be asked to follow the applicable procedures for MAIL-IN SERVICE. Note that a dated proof of purchase is required at the time of service. This requirement will be satisfied by providing a copy of your dated bill of sale.

MAIL-IN SERVICE is a program under which your Product is repaired by a Canon U.S.A. or a Canon Canada authorized service center for the Product. Authorized service center information can be obtained by visiting www.canontechsupport.com (US customers only) or by contacting the Canon U.S.A., Customer Care Center or Canon Canada Customer Information Centre at 1-800-OK-CANON (1-800-652-2666). You will be given the name, address and phone number of an authorized service center.

London, UK, 8th February 2010 – Canon today announces the arrival of the latest and most advanced touch screen IXUS – the new IXUS 210. Available in black, gold, silver and pink*, the IXUS 210 offers a sculpted metal exterior, a 14.1 Megapixel image sensor and 24mm genuine Canon lens - delivering premium imaging performance to match its iconic IXUS styling. A newly-developed touch user interface coupled with on-screen Hints and Tips, makes capturing, browsing and sharing images easier than ever before.

The IXUS 210 is the most advanced touch screen IXUS to date. By using large and easy-to-press on-screen icons while shooting, users can swiftly access commonly-used camera functions, while a simple-to-navigate touch menu system aids swift access to other camera settings. Touch AF allows the user to focus on their subject by simply ‘touching’ it on the screen. If the subject is moving, the camera’s integrated Servo AF/AE will automatically track it, maintaining both focus and exposure for the perfect shot.

Browsing images is also made easy and natural by enabling users to simply drag their finger across the screen and the camera will match the speed of image review with the speed of the gesture made on-screen. “Touch Actions” allow users to match gestures made on-screen to commonly used functions, such as tagging images as favourites or erasing, rotating, or protecting images in their collection.

The colour theme and on-screen icon layout can be customised - allowing users to tailor the interface to suit their preference and style. On-screen Hints and Tips also guide users through the camera’s functions, helping them to understand how and when to use each one to capture the perfect image.

A large, high-resolution, 8.8cm (3.5”) PureColor II Touch LCD screen offers plenty of space for users to easily navigate the finger-friendly touch interface. With wide colour reproduction and high contrast, users can also enjoy their images in rich colour from almost any angle. Active Display now allows users to browse through their images by simply tapping the sides of the camera, introducing a new dimension to sharing content on the camera with friends and family.

The IXUS 210 offers stunning image quality to accompany its stand-out design. Featuring a 24mm ultra-wide angle, genuine Canon lens – it’s ideal for landscapes and large group shots which require a wider field of view to capture the entire scene. The IXUS 210 also features a 5x optical zoom which allows users to get even closer to the action. An optical Image Stabilizer (IS) and Motion Detection technology work together to reduce image blur by effectively reducing camera shake and detecting the presence of motion in the scene. In addition, the IXUS 210’s high speed DIGIC 4 processor delivers outstanding responsiveness, rapid auto focus and natural-looking skin tones and colour in the final result.

The IXUS 210 features a range of technologies and functions to enable users to capture the perfect picture, every time. Smart Auto with Scene Detection Technology can identify up to 22 different shooting scenes, intelligently analysing shooting conditions and automatically applying the optimum picture settings to capture the image. So whether taking a picture of a loved one in sunny conditions, or a group of friends at night, users can relax in the knowledge that the camera is taking care of the complicated settings, all they need to do is point and shoot.

Smart Flash Exposure has also been introduced to the IXUS 210 - allowing the camera to effectively control the flash in a range of shooting conditions. For example, when taking portraits in sunny conditions, Smart Flash Exposure will identify shadows on the subject’s face and use just enough flash to eliminate them. To prevent over-exposure when photographing at close distances, Smart Flash Exposure will detect how reflective the subject is, its distance from the lens, and set the flash power accordingly.

With Face Detection Technology, the IXUS 210 can identify up to 35 faces in a single frame before adjusting focus, exposure, flash and white balance to achieve the best possible result. A new Smart Shutter mode also provides inventive ways to control the shutter using Face Detection Technology. In Smart Shutter mode, the user can trigger the shutter using a smile or - with Wink Self-Timer - a simple wink of an eye. FaceSelf-Timer also triggers the shutter two seconds after a new face joins the frame. With these innovative functions, IXUS 210 users can take great people shots, including self-portraits, without the need for another person to be behind the camera.

A range of new and creative shooting modes make taking exciting and unique shots easy and fun. Fish-eye Effect allows users to achieve the effect of a fish-eye lens with three levels of distortion to choose from, whilst Miniature Effect mimics the effects possible with a ‘Tilt–Shift’ lens - making buildings within a wider landscape appear of model-scale for dramatic results. The IXUS 210 also offers a Low Light mode, providing the ability to shoot in very low light at reduced resolution, expanding the range of conditions in which the camera can be used.

Users of the IXUS 210 can also capture special moments in High Definition (HD) video at 720p resolution. Thanks to a YouTube™ upload function, integrated into the bundled CameraWindow software, users who have already registered with YouTube™ can login and upload video clips from their PC at the touch of a button. The IXUS 210 also features an integrated HDMI port, allowing video and images to be viewed on any HDMI-compatible output device without loss of quality.

Allowing users to store more video and photos than the standard SDHC memory cards that are currently supported, the IXUS 210 is among Canon’s first products to support SDXC storage cards, offering up to 2TB of storage capacity.

For users who want to transfer content wirelessly, the IXUS 210 includes Eye-Fi** connected functions. The IXUS 210 features a dedicated Eye-Fi section in the User Interface, on-screen icons, and it disables the automatic power-down function when an Eye-Fi card is detected - allowing users to transfer content easily and without interruption**.

Owners of the new IXUS 210 are entitled to free membership of CANON iMAGE GATEWAY, an online facility for sharing photos and video. Users can take advantage of up to 2GB of personal storage capacity, creating enough room for hundreds of high-quality images. Mobile browsing is also supported, making it easy for friends and family to view photos on the move.

An articulating or vari-angle LCD – commonly called a flip screen – is a useful addition to a camera. The screen is mounted on a swivel, allowing you to flip the screen away from the camera body and rotate the LCD 360 degrees.

Flip screens have traditionally been useful for taking photos at unusual angles. For instance, framing a bug’s-eye view from ground level used to mean setting your camera down low and awkwardly trying to see through the optical viewfinder. There was usually a lot of guesswork involved.

With a vari-angle, or flip screen, you can now set the camera up at ground level and angle the articulating LCD up towards you and frame the scene in live view.

Likewise, a flip screen allows you to shoot overhead by swivelling the screen down. Street photographers might also appreciate a swivel screen because it can let you shoot more discreetly. Shooting from the hip is a lot easier with a flip screen and gives you more control. Hold the camera against your body and angle the swivel screen upwards so you can frame your shot, then shoot discreetly.

Despite all these advantages for shooting stills, it’s probably the rise of vlogging that has seen the popularity of cameras with flip screens soar. Like shooting self-portraiture, vlogging requires placing yourself on the other side of the camera, and before flip screens were a thing this required a lot of careful setup and trial and error.

But swivel LCD touchscreens mean you can now place your camera in front of you, frame your shot accordingly and simply tap the screen to take a picture or start recording. If you have even modest ambitions to post videos on YouTube, a camera with an articulating screen will undoubtedly be the best option for you. In this guide we’ll round up the best cameras with flip screens.

Maximum video resolution: Uncropped, internal raw recording 8K video at up to 29.97fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265), Uncropped internal recording 4K video at up to 119.88fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265) 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ, 4K output over HDMI at up to 59.94fps

The Canon EOS R5 leaves little doubt that Canon is now serious about the mirrorless camera market. It has phenomenal specification with features like a 45Mp full-frame sensor, phase detection autofocusing that covers the whole frame, eye AF for humans and animals that works in video and stills mode and a class-leading viewfinder paired with a vari-angle touchscreen.

The Canon EOS R5 is built to a similar standard to the Canon EOS 5D Mark IV and has a magnesium alloy construction along with weatherproof seals. Its handling is also similar, but the control arrangement has changed to accommodate the vari-angle screen.

It’s great to have a vari-angle screen on the EOS R5. It makes it much easier to shoot video from above or below head-height while keeping the kit size and weight down. Also, as the screen is touch-sensitive you can control the camera with a few taps.

While the R6’s viewfinder is the same size as the R5’s (it’s a 0.5-inch type), its resolution is lower at 3.69million dots instead of 5.76million. That’s the same as in the EOS R and on par with the electronic viewfinders in the Sony A9 and Nikon Z7. It’s a great EVF specification for a camera of this level.

There’s also a 3-inch vari-angle touchscreen with 1.62million dots. We’re a fan of vari-angle screens because they make shooting portrait or landscape format images from above or below head-height much easier than a fixed screen. And a tilting screen is only of help with landscape format images.

Both the viewfinder and the screen provide an accurate preview of the image as it will be captured. Overall, Canon’s control arrangement on the R6 and use of touch control is excellent and the vari-angle screen is a real asset.

After we reviewed the Sony A7 III, a flip-out touchscreen was at the top of our wishlist for improvements we’d like to see on the next iteration of Sony’s full-frame all-rounder. Sure enough, Sony has given the A7 IV a vari-angle screen that can be flipped face forward or be angled to help compose low- or high-level shots in either landscape of portrait orientation.

What’s more, the A7 IV’s 3-inch 1,036,800-dot screen is touch-sensitive and users can now navigate the menus and settings with a tap. In previous Sony touchscreen LCDs, you were limited to setting the AF point via touch.

Sony has also carefully thought through the design, as well, placing the A7 IV’s mic port just above the screen on the side of the camera so it can still move freely when an external mic is plugged in.

OM System has given the OM-1 a very bright 1.62-million dot vari-angle touchscreen. It’s a 3-inch screen and like on the OM-D E-M1 III and OM-D E-M1X and it’s mounted on a vari-angle hinge. This vari-angle hinge means the screen can be angled for clear visibility whether you’re shooting in landscape or portrait orientation.

Like the screens on existing Olympus Micro Four Thirds cameras, the OM-1’s screen is touch sensitive. It responds quickly to a tap and it’s a shame that OM System’s hasn’t extended the touch control to the new main menu.

In overcast conditions and indoors, the OM-1’s screen gives an excellent view it also performs well in brighter conditions. my toughest test for this was when skiing on a bright sunny day trying to video my companions ahead of me. Keeping them framed as we all moved over the piste was challenging, but thankfully, I was able to see them on the screen.

Although Panasonic Lumix S5 is smaller than the GH5, it has a well-proportioned and ergonomically shaped grip. A rubber-like coating also ensures that the camera feels secure in your hand. It’s also weather-sealed so you don’t need to worry if the weather changes when you’re out on a shoot.

Despite the shrinkage in size and weight, the Panasonic Lumix s5 has both a 3-inch 1,840,000-dot vari-angle touchscreen and a 2,360,000-dot OLED electronic viewfinder built-in.

The Panasonic GH5 has a vari-angle screen and it was high on the request list for the S-series camera when their development announcement was made. However, the S1 and S1R have 3-way tilting screens. These are useful if you’re shooting in landscape and portrait format images, but they’re not as intuitive or flexible to use as a vari-angle screen and they can’t be seen from in front of the camera.

Happily, the Lumix S5’s screen delivers what many were hoping for and it can be flipped around to face forwards. It means that the S5 could also be a good full-frame vlogging camera.

Further good news is that, like the viewfinder, the S5’s screen provides an excellent preview of the image. If you’re shooting outdoors in bright conditions it’s worth activating the Live View Boost to brighten screen to make the scene easier to see. The screen is also very responsive to touch.

The Panasonic GH6 has a 3.0-inch 1,840K-dot tilt and free-angle touchscreen with an aspect ratio of 3:2 on its rear. The tilting aspect of the screen isn’t immediately obvious, but pressing the button underneath the monitor’s bottom left corner releases the mechanism so the screen can be tilted up from the bottom.

There are two stop points in the screen’s tilt movement. The first one is at the right point to enable the screen to be flipped out to the side of the camera without catching on the viewfinder while the second one at about 45° gives a more comfortable viewing able when shooting at waist-height.

To the uninitiated, the tilt and free-angle combination may seem a bit over the top but it means that the screen can be flipped out and twisted to face forwards, up or down, without fouling on any of the cables that may be connected to the ports on the left side of the camera (mic, USB-C and full-size HDMI).

With 1.84-million dots, the 3-inch screen gives a good view of the scene and doesn’t suffer to badly from reflections even in sunny conditions (at least not in March in the UK). However, even when shooting video, there are times when it’s preferable to use the 3,680k-dot 0.76x OLED viewfinder. This has a contrast ratio of 10,000:1 and gives a sharp, accurate preview of the scene.

The GH5 is Panasonic’s flagship compact system or mirrorless camera and it has a mini-DSLR design, featuring a high-quality electronic viewfinder and vari-angle touch-screen. As a Micro Four Thirds camera it’s compatible with an extensive collection of Micro Four Thirds mount lenses from Panasonic and Olympus as well as third-party manufacturers.

Panasonic has also upgraded the rear screen and it now measures 3.2-inches across the diagonal and has 1,620,000 dots. It’s still a vari-angle unit but instead of an OLED screen it’s an RGBW LCD. It provides a nice sharp view and the revised menu, which has fewer pages but more lines, is clear. The screen also responds quickly to tap of your finger.

The GH5 is a complex camera and it will take some getting to know, but all the main controls that you want on a shot-by-shot basis, for example to adjust exposure and white balance or to set the AF point are within easy reach. There are also plenty of customisable buttons to help you get it working as you want.

As well as a host of improvements to its video specification, the Sony A7S III introduces the highest-resolution electronic viewfinder we’ve seen to date and it’s the first Sony A7-series camera to feature a vari-angle screen.

According to Sony, the 3-inch vari-angle screen wasn’t a request for the A7S III, it was a demand. It’s certainly something I’ve mentioned on many occasions.

In the past, the argument against one has been that a vari-angle hinge is less robust than a fixed screen and that ‘most dedicated videographers use an external monitor’. Those two points may still be true, but one of the key benefits of using a camera like the A7S III is its small size. If you start having to add an external monitor it makes it bigger and heavier.

It’s good to see that there’s an option to show a red outline around the on-screen image when the camera is recording. There are times when this is more useful than the usual flashing red dot.

After the 8K-capabilities of the Canon EOS R5, the Sony A7S III might seem a bit of an anti-climax. We’re sure some videographers were hoping for a big jump in resolution from the 12mp A7S II. However, Sony already has the 61Mp A7R IV and the 24Mp A7 III, so sticking with 12Mp means that the A7S III has even better low-light capability than its predecessor but with a much better autofocus system, a vari-angle screen and the highest-resolution viewfinder around.

As with Canon’s full-frame mirrorless cameras, including the flagship Canon EOS R3, the R7 has a vari-angle touchscreen. This is great for composing low- and high-level shots in landscape or portrait orientation. Because Canon has embraced full-touch control, it’s also useful for changing camera settings with a tap.

Overall, Canon’s new flagship APS-C mirrorless camera has a layout and design all of its own, yet it retains some of those signature Canon design marks that will help people quickly adapt to using it.

Although the 0.39-inch 2.36million-dot electric viewfinder on the Canon EOS RP doesn’t match those in recent high-end mirrorless cameras for resolution, it still provides a decent preview of images. And let’s not forget, the RP is much more affordable than other new full-frame mirrorless cameras.

With Exposure Simulation activated, you get an accurate view of the final image’s brightness as well as the colour. However, if you want to see the depth of field, you’ll need to customise one of the camera’s buttons to that purpose. Or of course, you can take a quick shot. That could be avoided, however, if Canon showed the preview with the selected aperture applied.

Like the EVF, the 3-inch screen’s 1.04-million-dot resolution doesn’t really wow these days, but the fact that it’s mounted on a vari-angle hinge is great. That means you can twist it around to give you a clear view whichever angle you’re shooting from. And unlike a tilting screen, it’s useful if you’re shooting in portrait or landscape orientation.

We love that Canon has enabled the RP’s touchscreen to be used for browsing the Quick and main menu, selecting settings and browsing through images as well as setting the AF point. It really speeds using the camera and makes it more intuitive. It’s also good that this isn’t at the expense of physical buttons and dials.

Among the many improvements Fujifilm put into the X-H2S over the X-H1 is an upgrade of the LCD screen. Instead of the 3-way tilting screen of the X-H1, the X-H2S has a vari-angle screen that can be flipped out and rotated to face forward for vlogging. This means it’s useful when the camera is above or below head-height in landscape or portrait orientation.

There are a number of handling changes in the X-H2S in comparison with the X-H1, and anyone looking at the camera with fresh eyes cannot fail to be impressed by its build and capability.

Its new 20.1MP high-sensitivity CMOS sensor promises excellent image quality, especially as it’s paired with Canon’s latest high-end DIGIC 8 processor. This also enables up to 10ps continuous shooting and 4K video capture with stereo sound.

The camera isn’t short on other features either, with a 2.36-million electronic viewfinder with an eye-sensor, flip-out LCD display, clever Zoom Framing Assist function, built-in Wi-Fi and Bluetooth for easy image sharing and remote camera control, plus plenty of creative effects.

We reviewed the Canon PowerShot SX70 HS"s predecessor, the SX60 HS, 4 years ago in 2014, and externally little has changed since then with the launch of the SX70. It"s really inside the camera where Canon have made improvements, with a new image sensor, processor, faster continuous shooting, 4K video recording, higher-resolution EVF, and Bluetooth connectivity all now on offer.

Externally the Canon PowerShot SX70 HS looks like the SX60 HS and most other high-end ultra-zoom bridge cameras too, which is to say it resembles a small DSLR camera. Considering it packs what’s currently one of the biggest zoom ranges in the business, the camera isn’t particularly large at 127 x 90.9 x 116.6mm, and at 610g it cuts 40g off the weight of the previous SX60 model. It boasts solid build quality, with a rugged plastic casing that’s free from flex or squeaks and a tactile rubber coating on the chunky hand and thumb grips.

Considering the SX70 HS is such a feature-packed camera, its control layout is fairly simple and logical. Some buttons are a little more unusual though, like those positioned on side of the lens barrel.

The upper button activates Canon’s Zoom Framing Assist function. When you’re zoomed in to the max, it only takes a tiny twitch of the camera to send a distant subject flying out of frame. Finding it again can be frustrating, but by pressing and holding the Zoom Framing Assist button, the camera automatically zooms out but leaves an outline of the original frame size on screen. Position the outline around your subject, release the button and the camera automatically zooms back in.

The lower button on the lens barrel then helps prevent you losing track of your subject again, as pressing it enhances the camera’s image stabilisation to further iron out camera shake. The effect is minimal though, however the Zoom Framing Assist feature is handy and effective.

A brand new control on the SX70 HS is a second Zoom control, located just in front of the Zoom Framing Assist buttons on the lens barrel. Naturally controlled with your left-hand thumb, we found it to be useful addition, especially when holding the camera up to eye-level and using the longer end of the telephoto lens.

Sadly the Canon PowerShot SX70 HS dispenses entirely with the proper flash hotshoe mount of its predecessor, so you can no longer connect a separate flashgun or remote flash triggering device to this latest version. The camera’s built-in flash still has to be manually opened by pulling it upwards, rather than using a typical button release. Next to the flash there’s a useful button for establishing a Wi-fi or Bluetooth connection, and alongside it is the On/Off power button.

Initial set-up of the Wi-fi and can be a faff, requiring you to manually connect to the camera’s wireless hotspot, especially as the camera no longer supports NFC pairing. The new Bluetooth feature is a lot easier to setup. However you connect though, the Canon Camera Connect app lets you wirelessly transfer images to a smartphone, tablet or computer, as well as print to a PictBridge-compatible printer. The app also allows you to remotely control the camera with your phone and add GPS data to your images (when connected via Bluetooth).

There are also two dials on top of the SX70 HS. One is the front control dial just like you’d find on a Canon DSLR, which makes it far easier to adjust common settings like exposure compensation and aperture, rather than fiddling with buttons and menu settings. The main shooting mode dial sits behind this and provides instant selection of the camera’s auto, program auto, aperture and shutter priority modes, as well as a fully manual option, all great to see on a camera like this.

The Canon PowerShot SX70 HS"s has both an LCD screen and EVF for image composition. Unfortunately the LCD screen still isn’t touch-sensitive, something that we complained about 4 years ago, and it also has exactly the same 922k-dot resolution, which is pretty low for a new camera in 2018. On the plus side, it does have great viewing angles which translate to accurate colour and contrast reproduction, regardless of your angle of view.

The screen also benefits from being a fold-out unit, making it easy to compose high and low angle shots, as well as a good old selfie. Screen brightness is also high enough to be usable under direct sunlight, but if things get too bright, the electronic viewfinder is a useful alternative.

The EVF has been improved since the SX60, now having 2.36-million dots rather than the 922k-dot resolution of its predecessor. It also gains an eye-sensor which automatically switches from the LCD screen to the EVF when you hold the camera up to your eye, again something that the SX60 HS didn"t offer, and again directly addressing another complaint that we made about that camera.

Move to the back panel and we find a one-touch video record button to the right of the EVF, and then two buttons, the top one for exposure lock and the bottom one for selecting and locking the focus point. The function of these two buttons can be switched around if you so desire.

Navigating the SX70 HS’ menu system is easy thanks to Canon’s tried and tested design and layout. Pressing the Menu button directly underneath the rear directional pad displays a menu overlay of commonly used shooting settings, though these do change according to which mode you’re in.

When it comes to shooting with the Canon PowerShot SX70 HS, the camera will turn on and be ready to fire a shot in a pretty quick 1.5 seconds. Focusing in good light is almost instantaneous, but dimmer conditions slow things to a sluggish 1.5-2 seconds. Zooming-in to the longer focal lengths can also cause some focus hunting and general slowness, and the system is sometimes unreliable in these situations, too. Exposure metering is absolutely dependable though and isn’t fazed by high-contrast scenes. The 10fps continuous shooting rate, up from 6.5fps on the SX60, is exceptionally fast for this kind of camera.

The Canon PowerShot SX70 HS’s 325 shot battery life from its smaller 875mAh rechargeable Li-ion battery isn"t quite as good as its predecessor"s 340 shot life. By activating the SX70 HS’ Eco mode, though, the battery life can be eked out to around 405 shots through subtle power-saving measures.

The move to a 20 megapixel snesor hasn"t done the Canon PowerShot SX70 HS any favours in the noise department. Its predecessor, the SX60, suffered from a small amount of noise at even the lowest sensor sensitivity, and unfortunately this is accentuated on the SX70. As ISO sensitivities increase, the high-end DIGIC 8 processor struggles to restrain image noise without sacrificing fine detail. Even by ISO 400, grain is prevalent and fine detail in the image appears smudged.ISO 800 is worse still, and we wouldn"t recommended using ISO 1600 or 3200 if you can avoid it. All of which makes the Canon PowerShot SX70 HS a camera that you can only really use in good light.

On the plus side, the Canon PowerShot SX70 HS’s lens performs very well, with excellent corner sharpness and minimal distortion. Chromatic aberrations (purple fringing) can be spotted in high-contrast areas when viewing images at 100% size, but it’s not too distracting. Macro performance is also impressive as the camera can focus whilst touching your subject.

However, image quality can be prone to some deterioration when shooting at extreme telephoto zoom lengths. Unless you’re in very bright conditions, the image stabilisation system alone isn’t enough to compensate for camera shake and the relatively narrow f/6.5 maximum telephoto aperture doesn’t let enough light through for fast shutter speeds. Consequently higher ISO sensitivities are required, which in turn can make images taken at long focal lengths look very soft indeed.

The Canon PowerShot SX70 HS has sixteen sensitivity settings available at full resolution, ranging between ISO100 and ISO3200 in 1/3 EV steps. Here are

The Canon PowerShot SX70 HS’s 65x optical zoom lens gives you a focal range of 21-1365mm (in 35mm-camera terms). Canon’s ZoomPlus feature can double this to 130x with a minimal reduction in image quality, whilst an additional 2x conventional digital zoom will give a combined maximum 260x zoom, albeit at the expense of image quality.

With a 0cm macro focusing distance, you can literally touch the Canon PowerShot SX70 HS to your subject and it’ll still focus. This is only the case at maximum wide angle; zoom in and you’ll need to start backing the camera away from your subject.

The Canon PowerShot SX70 HS’s built-in flash includes four modes: Auto, On, Slow Synchro and Off. Red-eye reduction needs to be activated via the camera’s main menu.

The Canon PowerShot SX70 HS longest shutter speed is 15 seconds, which is just about long enough for most night scenes when mounting the camera on a tripod or other support.

Canon’s Intelligent IS optical image stabilisation system does a great job at ironing out the effects of camera shake and is essential when using the full range of the SX70 HS’ focal length.

This is a selection of sample images from the Canon PowerShot SX70 HS camera, which were all taken using the 20.3 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

The Canon PowerShot SX70 HS enables users to capture RAW and JPEG format files. We"ve provided some Canon RAW (CR3) samples for you to download (thumbnail images shown below are not 100% representative).

The new Canon PowerShot SX70 HS is something of a mixed bag overall - it takes a few steps forward in terms of the features that it offers, but one big step backwards in image quality.

We praised the SX60 HS for its excellent image quality, but unfortunately the same can"t be said for the new SX70 HS. The new 20 megapixel sensor is just too noisy, even at base ISO 100, with the camera effectively offering a usable range of just 100-400 before fine detail gets obliterated. This is only made worse by the camera"s massive zoom range, which demands that use the higher ISO speeds in anything but good light to help keep shutter speeds fast enough to avoid camera shake. As most people buying this camera will be doing so for the massive zoom lens, they"re only going to be disappointed when looking close-up at their zoomed-in shots.

On the upside, Canon have made a number of key improvements to the SX70 in the 4 years since the launch of its predecessor. Chief amongst them is 4K video recording, 10fps continuous shooting, a much better EVF, Bluetooth connectivity, eye-sensor and a useful second zoom control on the lens barrel. And it still retains the same high-quality 21-1365 mm lens. Sadly, all of these new features can"t quite make up for the camera"s still image quality.

Somewhat inevitably, the Canon PowerShot SX70 HS is also quite a lot more expensive at launch than the SX60 was, at least in the UK, jumping from £449 to £519.99 (although the US price is the same).

Ultimately, the move to a new sensor and processor combination has given Canon"s DSLR-like super-zoom camera more features, but poorer image quality. If you like the photos that the SX70 produces, then it"s a sound buy, but for us, there are super-zooms that take better pictures on the market...

The new Canon PowerShot SX60 HS super-zoom camera has an astonishing 65x lens with a massive focal range of 21-1365mm. The Canon SX60 HS also offers a 16 megapixel back-illuminated CMOS sensor, 3 inch vari-angle LCD screen, electronic viewfinder, full manual controls, RAW format support, 6.4fps burst shooting, built-in wi-fi and NFC connectivity, and full 1080p HD movies. Read our detailed Canon PowerShot SX60 HS review to find out if it"s the ultimate do-it-all camera...

The Kodak PixPro AZ901 superzoom camera has a jaw-dropping 90x optical zoom lens, which offers a maximum telephoto length of 1980mm - try doing that with your smartphone! Other stand-out features include 5fps burst shooting, an articulating LCD screen, RAW file support and wi-fi connectivity. Find out if the Kodak PixPro AZ901 can live up to its far-reaching potential by reading our in-depth review...

The Nikon Coolpix B700 is a new super-zoom compact camera with a whopping 60x zoom lens. Retailing for around $499 / £359, the 20 megapixel Nikon B700 comes complete with built-in wi-fi connectivity, manual control, Raw support, a 3-inch tilting screen and 4K movie recording. Read our Nikon Coolpix B700 review to find out if this superzoom camera is worth a look...

The Nikon Coolpix P1000 is a new super-zoom bridge camera with an astonishing 125x zoom lens, providing an effective focal range of 24-3000mm! The Nikon P1000 also has a back illuminated 16 megapixel CMOS sensor, 3.2-inch vari-angle LCD screen, electronic viewfinder, 4K Ultra HD movie recording, and RAW file support. Read our in-depth Nikon Coolpix P1000 review now...

The Panasonic Lumix DMC-FZ82 super-zoom camera (also known as the DMC-FZ80) features a massive 60x zoom lens with a focal range of 20-1200mm. Other highlights of the FZ82 / FZ80 include a 3 inch LCD touchscreen, 4K movies, 10fps burst shooting, P/A/S/M modes, RAW support, a flash hotshoe and an 18.1 megapixel MOS sensor. Read our in-depth Panasonic Lumix DMC-FZ82 review now...

The Panasonic Lumix DMC-FZ2000 is a flagship super-zoom compact camera, offering a large 1-inch image sensor with 20 megapixels, 4K video recording, and a 20x zoom lens with a 26-480mm focal range. Priced at £1099.99 / $1199.99, read our expert Panasonic FZ2000 review to find out if this is the ultimate do-it-all camera...

​The Sony Cyber-shot RX10 IV is a super-zoom camera with a 24-600mm lens and 20 megapixel sensor that can shoot still images at an amazing 24 frames per second, complete with full-time auto-focusing. Is this the only camera that you"ll ever really need? Find out by reading our detailed Sony Cyber-shot RX10 IV review...

Wi-Fi use may be restricted in certain countries or regions. Wi-Fi support varies by device and region. For more information visit www.canon-europe.com/wirelesscompacts

The Canon PowerShot SX70 HS super-zoom camera features a 65x optical zoom, 20.3 megapixel CMOS imaging sensor, high-resolution 2.36-million dot electronic viewfinder, built-in Wi-Fi and Bluetooth technology and 4K video recording.

MELVILLE, N.Y., September 20, 2018 – It’s a common saying that good things come in small packages and today, Canon U.S.A., Inc., a leader in digital imaging solutions, demonstrates this with the introduction of the new PowerShot SX70 HS compact digital camera. Featuring a 65x Optical Zoom Lens (equivalent to 211-1365mm1), 20.3 Megapixel2 CMOS imaging sensor and 4K video capabilities, the PowerShot SX70 HS camera is an ideal fit for anyone who wants powerful optical performance in a compact package. With a minimum focusing distance of 0cm3 and a zoom up to 2730mm1 (with ZoomPlus), the PowerShot SX70 HS allows users to create beautiful close-ups and stunning wide shots without changing lenses.

“In this day and age, cameras are becoming smaller while the desired list of features continues to grow,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon continues to be committed to incorporating the latest features in our compact cameras and the new PowerShot SX70 HS is our very latest version, providing the dynamic combination of a compact body, powerful zoom and robust features that photo and video enthusiasts alike will love.”

The PowerShot SX70 HS features a 0.39-inch, approximately 2.36-million dot, high-definition OLED Electronic Viewfinder (EVF) for clear, crisp representation of what the lens is seeing. This camera also features 4K video shooting and frame grabbing,4 and is the first Canon point-and-shoot camera compatible with the latest RAW format (.CR3). With the addition of a new eye sensor, the camera automatically switches to the EVF display simply by bringing the camera up to the eye. Additionally, the inclusion of built-in Wi-Fi®5 and Bluetooth®6 technology offers quick and easy sharing, making the switch from smartphone photography to the PowerShot SX70 HS camera simple and fun.

The DIGIC 8 processor enables the PowerShot SX70 HS camera to achieve five stops of IS with dual-sensing image stabilization (IS). Even during handheld shooting, IS allows users to take pictures with minimal worry about camera shake. The camera also features high-speed continuous shooting at up to 10 fps. A Zoom Framing Assist button on the side of the lens barrel enables quick adjustments of the view angle, which is especially useful during telephoto shooting. With a large grip for comfortable, stable shooting and an EOS-like user interface, the PowerShot SX70 HS will make it easy for artistic vision to come to life in the hands of photographers at any level.

The PowerShot SX70 HS will be available for purchase in November 2018 for an estimated retail price of $549.99. To learn more information about Canon U.S.A products, visit usa.canon.com/.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions to the United States and to Latin America and the Caribbean markets. With approximately $36 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents granted in 2017† and is one of Fortune Magazine"s World"s Most Admired Companies in 2018. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based service and support for all of the products it distributes in the United States. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. In 2014, the Canon Americas Headquarters secured LEED® Gold certification, a recognition for the design, construction, operations and maintenance of high-performance green buildings. To keep apprised of the latest news from Canon U.S.A., sign up for the Company"s RSS news feed by visiting www.usa.canon.com/rss and follow us on Twitter @CanonUSA. For media inquiries, please contact [email protected]

5 Compatible with iOS® versions 8.4/9.3/10.2, Android™ smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

6 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect App Ver. 2.0.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.

United Kingdom, Republic of Ireland, Thursday 20th September 2018 – Canon Europe announces the launch of the PowerShot SX70 HS, a bridge camera with a powerful 65x optical fixed lens zoom, equivalent to a 21-1365mm focal length. Featuring DSLR-style looks and handling, a 7.5 Vari-Angle LCD screen, 20.3 Megapixel sensor and 4K Ultra High Definition video, the Canon PowerShot SX70 HS is an ideal all-in-one camera, capable of handling all types of shooting scenario, without the need to carry multiple lenses.

The PowerShot SX70 HS’s 65x zoom extends to an impressive 2730mm equivalent focal length with Canon’s ZoomPlus functionality, ideal for capturing distant scenes from afar. With a focal length of this strength, the camera is well equipped to capture everything from a concert, graduation ceremony or even the details on a distant plane. The 0cm macro mode enables users to focus on objects that are virtually touching the lens, ideal for capturing the intricate detail of a watch face, plate of food or wild flowers in bloom. The Zoom Frame Assist Lock function helps maintain framing when taking super-telephoto images, suitable for capturing fast-moving sports or wildlife.

The classic DSLR-style ergonomics of the camera and its high-resolution OLED electronic viewfinder delivers sturdy handling and control when composing photographs, particularly helpful at popular tourist attractions or while on the move.

The power of the Canon PowerShot SX70 HS lays with the cutting-edge and superfast DIGIC 8 processor, which produces high resolution images, 4K Ultra High Definition video and a continuous shooting speed of 10 fps (frames per second). The autofocus is highly responsive and adaptive, even in low-light and continuous autofocus is possible when shooting at 5.7 fps, allowing spontaneous moments to be captured with ease.

The DIGIC 8 processor also powers the cameras 4K Ultra HD video capabilities, including 4K time-lapse and 4K frame grabs, so stunning landscapes or special memories can be captured and preserved in the highest of resolutions.

The camera’s enhanced 20.3MP 1/2.3-type CMOS sensor delivers a 25 per cent increase in resolution, compared to the Canon PowerShot SX70 HS predecessor, the SX60 HS at 16.1MP, bringing a new level of detail and vividness to images. This sensor upgrade also means that large photo prints look beautiful when taken on the camera, doing justice to precious family memories as they take pride-of-place on the wall.

In addition to sharp JPEGs, the Canon PowerShot SX70 HS can capture images in RAW or compact RAW format, opening a world of professional post-production techniques, providing limitless ways to impress with optimised photographs.

It has never been easier to sync images or videos to a smart device, PC or Mac[1] via the Auto Image Sync and Transfer mode using the Canon Camera Connect app (iOS/Android), or Image Transfer Utility 2 for PC and Mac. The PowerShot SX70 HS also features Remote Live View, which enables images to be taken remotely via a smartphone[2], meaning no-one is ever left out of a family portrait.

Canon’s new premium bridge camera delivers a truly portable and versatile shooting experience, capable of capturing everything from a vlog to wildlife on the African Savanna or a portrait of a loved one at a family occasion. This multi-purpose camera will get users closer to the action, when it matters.

Ahead of our full review, here are some sample JPEG and Raw images taken with the new Canon PowerShot SX70 HS super-zoom camera, including the full ISO range.

The Canon PowerShot SX70 HS enables users to capture RAW and JPEG format files. We"ve provided some Canon RAW (CR3) samples for you to download (thumbnail images shown below are not 100% representative).

Other new features that have been added to the Canon EOS M200 include the latest Canon DIGIC 8 processor, Dual Pixel CMOS autofocus system, 4K and 120fps HD movie recording, a guided user interface, new creative functions and vertical movie shooting for social networks.

As we write there’s been a flurry of new Canon camera and lens activity in recent weeks, as well as rival unveilings from most competing major photo brands. It all points to the fact that, had we still had big European trade fair Photokina this September just gone (it’s instead been scheduled for next May), such launches would have been surely scheduled around it.

With news of the Canon EOS M200 arriving hot on the heels of the EOS M6 Mark II and EOS 90D DSLR a couple of weeks previously, then, it would have been very easy to overlook the M200 in favour of those more noteworthy models; particularly if you"re a dyed in the wool photo enthusiast rather than someone looking to make the initial jump from a smartphone to a dedicated interchangeable lens digital camera.

The Canon M200 is very much a mirrorless camera for that first time user market, for those who don’t want the bulk of an SLR, for someone young getting into photography for the first time, or even, perhaps, an older relative who trusts the Canon brand doesn’t want a camera with a lot of potentially distracting buttons.

Canon has attempted to make the camera as appealing as possible to such an imagined and potentially very broad audience. For starters, in weighing just 299g without lens affixed, the Canon M200 is no heavier than your traditional pocket-sized 1/2.3-inch sensor point and shoot compact, that wouldn’t have offered even half of this camera’s functionality or versatility. Indeed, Canon’s pitch this time around is that the M200 offers DSLR quality – via an incorporated 24.1 effective megapixel APS-C sensor – yet a smartphone’s approachability and convenience.

The larger sensor here is coupled with Canon’s Digic 8 processor – what this adds it’s hard to tell, but the camera is certainly responsive - while its interface has been designed to hold the hands of those new to the idea of manual control.

As we’ve noted before, Canon’s on-screen user interface and menu system is already one of the most straightforward and approachable in the industry, so even first timers will quickly be able to get to grips with the camera’s complexities.

The Canon EOS M200’s LCD screen offers further flexibility in that it’s of the flip-up variety; meaning it can be rotated fully through 180° to face the subject and appease selfie addicts, or angled so the photographer is looking down on it, in medium format fashion.

What we don’t get here, however, for anyone who may have used a more advanced camera before, is a hotshoe for the attachment of any accessories such as an electronic viewfinder or flashgun.

That said there is a pop-up flash that’s otherwise neatly secreted within the top plate when not in use, and which is activated like a projectile via a slider switch on the camera’s flank. All images are composed and reviewed via the self-same LCD, which is also, helpfully, a touch screen – furthering the sense of the familiar for anyone more acquainted to shooting on a smartphone and making the camera more intuitive to use.

While those eyeing up whether to invest in Canon’s still not quite fully established EOS M system may grumble there’s a paucity of directly compatible EOS M (or EF-M) lenses, help is at hand in the shape of an EF-EOS M mount adapter that can be purchased as an optical extra, thereby providing access to Canon’s entire 70+ EF and EF-S lens range.

Something that Canon was initially slow to adopt on its cameras was 4K video – in wanting to get it right first time, it had previously told us - but, again, we get 4K capture from the off with the EOS M200, with the ability to shoot time lapse 4K videos too.

If you like what you see and read here you’ll want to know there are two Canon M200 bodies to choose from, in either a white or black finish. We were sent the former for review, which with its slightly roughened faceplate to make for a tighter grip in the absence of a more rounded handgrip, plus smooth silver top plate, is certainly more striking than the black, in our opinion, though there will be those who prefer the more ‘serious photographer’ look the darker hue bestows.

Both options cost the same in the UK – a manufacturer’s suggested £499.99. This currently includes a manually retractable 15-45mm f/3.5-6.3 IS STM kit zoom lens; manually retractable so as to aid with overall compactness, even if we still found the combined camera and lens a little too much of a squeeze for a jacket pocket.

As with the same kit lens supplied with the previously reviewed EOS M6 Mark II, which sits above this in Canon’s range, costing £250 more, the lens has to be first unfurled by hand before a shot can be taken – which obviously adds a few more seconds to the camera being ready to take its first shot from scratch.

Designed so as to be approachable, the Canon EOS M200 looks, and indeed feels, fairly minimalist – much more so than the already approachable EOS M6 Mark II. The top plate buttons of the more obviously pared back M200 feature a much simplified shooting mode dial that locates an obvious on/off power button at its centre. The options presented here are fully auto or program stills capture, or video clip capture, and that’s it.

The only other button on the top plate, ergonomically dipped forward, is a large and springy shutter release button, encircled by a control wheel with a comfortably roughened edge. A spin of this allows us to quickly scroll through on-screen menu options in capture mode, or zoom into or out of images in playback mode – so far, so self explanatory.

Such options include being able to adjust colour saturation on the fly and see the results in real time on the screen before taking the shot. Background blur and brightness can also be adjusted like one would with a mobile phone camera – i.e with use of an on-screen sliding scale to make gradual adjustments.

Colour tones – to make the image warmer or colder can also be tweaked – while there are several adjustable monochrome options too, allowing for images to be given a sepia, blue or purple tint, for example. Should things get too weird or these settings take the user too far out of their depth, a lozenge shaped ‘reset’ button is provided for them at the right hand side of the screen.

Such settings allow us the ability to adjust ISO light sensitivity settings, which here are impressively comprehensive, mirroring the more expensive EOS M6 Mark II in allowing us to go from auto or ISO100 equivalent setting all the way up to ISO51200 equivalent. Again these are presented on screen via a sliding toolbar which means that a swipe of the finger will quickly get the user from one setting to another.

Apart from said touch screen at the Canon M200’s rear, which takes up four-fifths of the available space, there are a few physical buttons alongside. Again these have been pared back to the essentials, so here we find a clearly labeled menu button next to a red dot signifying a video record button.

As mentioned earlier, the maximum selectable video quality is 4K at a respectable 25fps. Press record and after a second or so’s pause, video recording begins, with an on-screen counter signifying recording has indeed begun.

Ranged around this dial are flash settings – which can, unusually, be accessed even if the pop up flash hasn’t been manually raised. Here we get the option to have the flash on or off, or it to be set to auto flash as the camera determines it’s needed. There is a red eye reduction setting, but this has to be activated separately via a dig around in the main menu screen.

We also get a setting at 12 o’clock on the dial that provides access to the Canon EOS M200’s exposure compensation settings – here a relatively standard +/- 2EV – when in image capture mode, and the essential feature of a delete button when, alternatively, the camera is in playback mode.

Located at 6 o’clock on the dial meanwhile is an ‘info’ option, which, as it sound, calls up the various modes and options that have been selected on screen. Further presses bring up a live histogram revealing the areas of brightness across the image and fill the screen entirely with shooting information, as you’d find on a DSLR if using its live view feature.

This does however mean that you can’t see what’s before the Canon M200’s lens until you subsequently half squeeze the shutter release button which then brings us straight back to capture mode. The final button on the camera back is a self-evident playback button. So, as we’ve indicated, all the essentials are here, although you probably wouldn’t want them pared back much further than they have been.

While the right hand flank of the camera – if viewed from the back – features a built-in speaker working in conjunction with the stereo microphones located on the Canon EOS M200’s top plate, the opposite end features a flap covering HMDI and USB ports, just above a second larger flap protecting the SD card compartment.

The base of the Canon M200 is where we find the battery compartment and a centrally placed screw thread for mounting the camera on a tripod. Helpfully, and unlike an increasing amount of digital cameras these days which let the user rely on a USB lead and mains plug, a standalone mains charger is supplied alongside the camera, so those who choose to invest in a spare battery can avoid having the camera tied up when there’s a need for a re-charge.

Battery life incidentally is a relatively modest – although standard for this class of mirrorless camera – 315 images from a full charge in regular shooting mode, though an eco mode option is selectable to extend this up to a more impressive 485 shots.

Talking of which, how does the camera handle when it comes to the images it delivers? Are these on a par with what we’d expect from a physically larger APS-C sensor incorporating camera or, in the race towards miniaturization, has anything been sacrificed to bring the Canon EOS M200 to market? Read on to find out...

The default image ratio on the Canon EOS M200 is 3:2, there’s the ability to shoot Raw as well as JPEG, and, of course, both file formats in tandem, with little if any noticeable slowdown as a result. So we chose the latter option for the duration of our test period.

This being a Canon camera, colours are rich and veer towards being warm. Though the kit lens offers a maximum aperture of a so-so f/3.5, it’s still possible to get shallow depth of field results simply by shooting wide and moving in close to your subject.

Detail is there, albeit with some slight fall off towards the edges of the frame on close inspection, but for the most part shots look pleasingly crisp straight out of the camera, auto focus gets it spot on more often than not, with little in the way of post production required on behalf of the photographer.

In terms of low light results, here too the Canon M200 makes a decent fist of it, and it’s only really when get towards the higher end of the scale – ISO12800, 25600 or 51200 – that we’re seeing noticeable grain without having to enlarge portions of the images to check for it. Incidentally there’s the ability to limit the auto performance of the camera to not go beyond ISO6400, 12800 or 25600 if so desired.

The flash settings on the Canon EOS M200 are Auto, Manual Flash On/Off, and Red-Eye Reduction. Here are some portrait shots. As you can see, neither the Flash On setting nor the Red-Eye Reduction option caused any amount of red-eye.

The Canon EOS M200"s maximum shutter speed is 30 seconds and there"s a Bulb mode for even longer exposures, which is excellent news if you"re seriously interested in night photography.

This is a selection of sample images from the Canon EOS M200 camera, which were all taken using the 24 megapixel Fine setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

The Canon EOS M200 enables users to capture RAW and JPEG format files. We"ve provided some Canon RAW (CR3) samples for you to download (thumbnail images shown below are not 100% representative).

If you’ve not got £850 to spend on Canon’s recently released EOS M6 Mark II, then the even more approachable and beginner friendly EOS M200 may yet steal your heart (and wallet) at a penny less than £500 (making it a sizeable £250 cheaper than the EOS M6 Mark II).

You could use