How do we come up with these picks? It's easy actually because it's an aggregate of popularity compared to our own product review experiences, analysis (for research clients), and general estimation of product reliability. Takes some time to sort it all out, but once done the results are reliable and clearly reflect a bit of our own preferences and a lot of common sense.
Best Cameras for 2013 (so far)
What's the best camera in our view and in any category? Basically, it's the camera that most fully meets expectations and which most fully lives up to its marketing hype. We chose these cameras because, first and foremost, they're great photography tools. Read the camera manual, experiment with exposure controls, pay attention to the RGB histogram, shoot as often as you can, and any of these cameras will amaze you. Choose the one that best suits your technical skill level and creative directions. Remember too that while these winners represent the best in our opinion, all of the cameras we looked at in each category can be used to produce prize winning photos.
Best Large Professional Full Frame Digital SLR - It was a tough call: the Canon EOS 1D X. It's a superb camera and it gets the nod over the Nikon D4, Nikon D3x and Canon EOS 1D Mark IV for all the right reasons. Nikon's bizarre decision to go with an XQD and a CF slot has left all sorts of professional photographers completely baffled. The Canon EOS 1D X is currently the only new full frame pro body with a pair of CF card slots. Why Nikon decided to cripple the D4 with a pair non-similar card slots is anybody's guess. But it is more than just card slots that set the 1D X apart from the competition. Canon has addressed almost every single conceivable professional need. Sports, news/photojournalism, wildlife, studio, landscape or action - the Canon EOS 1D X can handle it all beautifully.
Best Standard Professional Full Frame Digital SLR - It was somewhat close: the Nikon D800, with the Canon EOS 5D Mark III right on its heels (because of somewhat more capable video). Then again though, DSLR video is rapidly taking a back seat to dedicated, larger sensor, high-resolution video component bodies from RED, the Sony PMW-F55, Canon EOS C500 EF and a couple of others. The Nikon D800 has a strong video subsystem too, but its clear strength is the superb 36 megapixel 35mm sensor, wrapped in an intuitively usable and fully professional body. Couldn't be bested in 2012 and won't be bested in 2013 either.
Best Non-Professional Full Frame Digital SLR - It was a tough decision: the Nikon D600. I can hear the cries and screams of protest right now about the Canon 6D and the Sony SLT-A99, but we've become deaf to all of it. The D600 covers the most usability territory, from street shooting, landscapes, sports, travel, fashion and photo journalism, in a manageable body that is lightweight (compated to its slightly larger, pro, big brothers), weather sealed, and with a 24 megapixel sensor at the top of its class. Nikon also offers a lens system that is second to none. Just note one thing. All of the top class, full frame cameras are so good that choosing one over the other is more a matter of picking the camera body which best fits your hands and which offers a control set that seems intuitive to you personally. The dual SD card slots (Nikon finally cleared its head of all that combo nonsense in the D4 - CF + XQD, and the D800 - CF + SD) make great sense in an era of 90MB/sec SDXC cards in capacities up to 256GB. The D600 is a photographer's dream, contains a wonderful video subsystem, and it's our winner, but all of the competitors are right there.
Best APS-C Digital SLR - This one was easy to pick: the Fujifilm X-Pro1. the sensor is superb, Fuji's image processing of data coming off the sensor is truly remarkable, and the Fujinon lens system developed specifically for the X-series bodies is excellent and then some. The built-in hybrid viewfinder is a wonderful design first seen in the Fujifilm X-100, but the X-Pro1 implementation is even better. The retro body design hints at cameras of the 60s and 70s, but the technical image quality is nothing short of stellar. Fujifilm made only one mistake. The RAW file format being used incorporates some algorithms that have proved to be supremenly difficult for third-party software makers to interpret actually, especially with respect to demosaicing (which is supremely important). That means the cranky Fuji RAW converter software supplied with the camera is your best bet for initial conversion. Adobe has updated ACR with excellent handling of Fujifilm X-series RAW files, ACD Systems is coming, and OnOne, DxO and others are doing good converters. Great camera.
Best Micro-Four-Thirds Camera - This one was also an easy pick: The Olympus OM-D E-M5. Once again, Olympus (despite all of the corporate trouble it got itself into during 2012) has reasserted its historic strengths in photography. The result is a retro-ish camera body with a superb, high resolution electronic viewfinder, a new sensor designed by Olympus, clean ergonomics, the kind of responsiveness that sets all the winners apart from their competitors, and stellar image quality. Olympus has effectively erased many of the image quality differences that used to exist between APS-C, full frame, four-thirds and micro-four-thirds. Great camera.
Best Enthusiast Compact Camera - We struggled to sort this one out: The Fujifilm X20. We struggled with this one because Canon itself came up with competition in the form of Canon PowerShot G15, the Canon PowerShot G1 X, the Nikon Coolpix P7700, Panasonic DMC-LX7 and a few others. What Fujifilm did with the X20 represents an improvement on the already wonderful (but still flawed) X10. The result, especially the addition of the hybrid viewfinder, is a photography machine capable of astonishingly good results. It'll bulk up your coat pocket for sure, so it's not a tiny compact by any definition, but as a primary camera for photography enthusiasts or as a backup for amateurs, semi-pros and pros it can't be beat.
Best Standard Zoom Lenses and Best All-Purpose Zoom Lenses
We love prime lenses, we love tilt-shift lenses, macro lenses, telephoto wildlife, sports and birding lenses. But the most difficult lens for any maker to design and manufacture is the standard zoom. It has to combine all the best features of prime lenses - low distortion, flat field, fast aperture - with enough wide angle and enough telephoto to make it a truly one-lens kit, plus enough durability, autofocus accuracy and weather sealing to make it broadly versatile. Every one of these lenses contain compromises, but they also represent an impressive state-of-the-art in lens design. Note that we're chasing after the best overall choice, and that by definition takes into account price as well as image quality. You won't find any f/2.8, heavyweight, pro, stratospherically priced bazookas in this roundup. What we've got here are lenses that with care and attention on the photographer's part can be used to achieve astonishingly good photos.
Best Full Frame Standard Zoom Lens - It's a tie (as in previous years) and it's a repeat win for both lenses which were a) both introduced several years ago, b) have been around long enough to have proven themselves in every situation you can think of, and c) having been beaten by anything else that has come along: Nikkor AF-S 24-120mm f/4G ED VRII and the Canon EF 24-105mm f/4L IS USM. Nikon and Canon produced and manufactured these lens designs in 2007 and 2009 respectively and haven't changed a thing. And that's a good thing. These lenses get the nod because they're sharp, control distortion well, offer great contrast and brightness, accurate color, provide very fast autofocus response, are built tough, and are consistently favored for everything from family snapshots to gorgeous travel photos, landscapes, wildlife photos, memorable street photos and contest winners. You can't do better.
Best Full Frame All-Purpose Zoom - A careful balance of optics, distortion control, clarity, sharpness, color and contrast seems a straightforward set of goals. Wrap them up in a 28-300mm zoom lens that is going to be used on camera bodies sporting high resolution sensors from 12 megapixels all the way up to 36 megapixels, and the game changes into a design challenge of extreme difficulty. Nikon, Sigma and Tamron are all in the sweepstakes here, but the none of them quite hit the mark set by: Canon EF 28-300mm f/3.5-5.6 L IS USM. Canon took a steamroller approach to the design and gave the lens the stabilizing weight, a tripod foot, remarkably good glass and put it in a class of its own. The Nikon 28-300 VR is a reasonably close second, but just can't quite touch the Canon. The Sigma 28-300 OS and Tamron 28-300 VC models both show good center sharpness, but poor distortion control and poor autofocus speed. The Sigma and Tamron models can't touch the Canon or Nikon for build quality either.
Best Non-Full Frame Standard Zoom - Surprise, surprise, but the overall winner is not a Nikon or Canon lens. If you want to shoot with the current best walk around, standard zoom, we think you've got to get into Micro 4/3. Mount this winner on an Olympus OM-D EM-5 and the world will be yours (sort of): Olympus Zuiko 12-60mm f/2.8-4.0. You'll need a M4/3 adapter, but man oh man what a gorgeous lens. Image stabilization is built into all M4/3 camera bodies, so you're covered. The lens has been around for a few years, but nothing has come along to knock it off the top of the heap. Sharp, fast, low distortion, high contrast, superb color. What's not to like? By comparison, the Nikon 16-85 DX VR and the Canon 15-85 EF-S IS zooms are very good too, but not quite up to the stellar quality of the Olympus. If you've already got the Nikon or Canon gear, I wouldn't dump it. What I'd do instead is write to Nikon or Canon and demand that their now long-in-the-tooth models get updated. If you're a Nikon or Canon APS-C shooter and you're looking for a truly competitive standard zoom go for one of these two.