Along with disc brakes, the biggest buzz in road riding is around bikes built for a variety of terrain (dirt roads, singletrack, etc.), not just pavement. These drop-bar machines tend to have longer wheelbases than a normal road bike, more upright positions, lower bottom brackets for stability, and clearance for wider tires. They’re being promoted as gravel bikes, adventure bikes, all-road or all-terrain bikes, and a host of other names.

Marketing aside, if one thing can be said about this emerging segment of bikes, it’s that there are no hard-and-fast rules about what falls into the category. Road bikes have always existed on a continuum, from light, fast, aggressive race models to longer, stabler touring machines. The gravel movement has a similar scale. Cross-bikes have been around forever, too, and though they generally have quicker steering and are oriented more toward short, fast, aggressive efforts, comparing geometry numbers shows that the differences between them and adventure roadies are blurry. Like mountain bikes, there’s even debate over wheel size, with several brands opting for 650B (and the additional tire clearance it affords) over 700c. All of which is to say: the adventure road category encompasses everything from a skinny-tired steel touring bike, like the Inversion Team, all the way up to a monster cross machine like the Rawland Ulv, with three-inch tires on 26-inch rims.

So how is a consumer to make sense of it all? Do we need all this variety? And are these bikes even that useful or fun to ride?

We had so many bikes (14) in the adventure road category at this year’s şÚÁĎłÔąĎÍř test that we dedicated an entire day to dirt road testing. Several of our more traditional road bikes also had tire clearance and other features to keep pace on dirt. I’ve been plugged into this scene for a while, having raced events like the Dirty Kanza and done quite a lot of dirt road bikepacking, but for many testers, it was their first or second experience riding drop bars on dirt, and feedback was all over the map. Some people loved the excitement and challenge of smashing along on skinnier tires on dirt. Others found it tough going and hard on the body, and they wondered why you wouldn’t just ride a hardtail mountain bike.

I put that question to Dave Koesel, general manager at 3T America, which produced one of the favorite roadies of our test, the . “If you primarily ride smooth trails and fire roads and don’t care about the speed, a hardtail may be a good choice. But for riding gravel at speed, a road-oriented position offers huge savings,” says Koesel. “A mountain bike position has somewhere in the neighborhood of 5,000 grams of drag, a good road position has 3,500 grams, and a good [time trial] position has 2,500 grams. In the same way that you are faster on a TT bike than a road bike, you will be faster on a drop-bar bike on gravel than you would be in a wide-bar upright position of a typical mountain bike. It’s free speed.”

Nonetheless, the offerings in the drop-bar category are still all over the place. To give you a sense for just how broad the category truly is, here’s a short list of some initial tester favorites.

Lynskey GR 250 (From $2,960)

Of the gravel bikes we tried, this is probably the exemplar of the category, with a rough-taming titanium frame, fairly long chainstays (435mm), a slack head angle (70.5 degrees), and slightly knobby 42mm tires on 700c wheels. (There’s an option for 650B wheels with 2.1-inch tires, which might be good for loaded touring, but we felt the bigger wheels were plenty for everyday use.) The carbon fork is pretty much mandatory as it helps take the hard edge off road vibration. Unlike most gravel bikes, the doesn’t come with a flared handlebar, which can add hand positions, stability, and control on loose, rugged surfaces. Testers, however, exclaimed over the bike’s balanced and comfortable feel. It feels like a nice, comfortable midpoint between a roadie and a mountain bike: fast and explosive yet stable and at ease in the dirt.

3T Exploro (From $3,000 for the Frameset)

This hybrid, billed as the world’s first aero gravel bike, was probably the most sought-after ride on the dirt road day. The biggest difference between the and its cousin, the Open U.P., is this bike’s chunky, aerodynamic tubing, which might seem strange for dirt road riding. But it actually makes sense if you consider that gravel races often entail lots of solo time in the wind. Our tester was equipped with 3T DiscusPlus 650B wheels mounted with 47mm WTB Horizon tires, a combination that’s the best of both worlds: the slicks are fast, but the width is still cushy for dirt. The Exploro illustrates the weird and cool nexus of ideas in this realm at the moment, as it’s both extremely racy (with super-tight chainstays and a short head tube) and wildly capable courtesy of all that tire clearance (room for up to 2.1 inches). And at just 17.4 pounds (less with skinny rubber), it’s still perfectly capable in a peloton.

BMC Roadmachine (From $2,000)

This is the Swiss company’s endurance road machine, and not a gravel bike at all, but it illustrates the continuum in this category. Our top-shelf model from the test is a full road racer with Dura Ace Di2, DT Swiss RC38 carbon wheels, 25mm tires, and a hang weight of just 16.4 pounds. It also has the hallmarks of all-road machines, however, including thru-axles front and rear, hydraulic disc brakes, lots of vertical compliance built into the frame, and tons of tire clearance. I’ve ridden it with up to 35mm rubber, and you might even be able to squeeze in skinny 38s. All of this means that, like the , the , with its preference for pavement but the ability to easily go beyond, is one of the most versatile road bikes out there.

Moots Baxter 29 (From $4,330 for the Frameset)

On the other end of the scale from the Roadmachine is the . Even by its nomenclature—29 inches versus 700c—this bike leans toward the dirt side of the equation, and we would even go as far as calling it a drop-bar mountain bike. It has mountain components (XT Di2 in our case), a carbon fiber Enve fork to complement the already buttery titanium-frame ride quality, and low-profile 2.25-inch tires. The Salsa Woodchipper handlebars are wildly flared for excellent off-road manners, and overall the bike is upright and incredibly stable on dirt. It’s made for dirt road touring and events like the Tour Divide, and while you could ride it on the pavement just fine with a pair of slicks, it would look and feel a bit strange in a group of roadies.

All that variety may seem bewildering, but that’s part of what I like about this category of bike. Whether you’re a strict roadie, a tourer who mixes it up on dirt and pavement, or a mountain biker getting into bikepacking, the category has something for everyone. And who doesn’t want more versatility? Something like the Exploro, for example, (or the Diamondback Haanjo, or the Trek Domane SLR Disc) can stand in for both my road-racing machine as well as my dirt-road adventurer. That’s two bikes for the price of one and little compromise at either extreme.

What’s not to like about that?

My advice: Don’t get caught up in labels. Instead, look at the bike’s features and compare them to the type of riding you predominantly do. There’s a bike for almost every niche, and most are also capable and versatile enough to freelance in a variety of other conditions.

The post What the Hell Is a Gravel Bike? appeared first on şÚÁĎłÔąĎÍř Online.

The DSLR—the professional’s go-to camera since the early 2000s—is going the way of vinyl. Canon says sales of its interchangeable-lens cameras, a category that includes the DSLR (short for digital single-lens reflex), are , while Nikon .

The two behemoths are suffering, in part, because droves of photographers are buying mirrorless systems instead. These new cameras, which are smaller and more portable, can now take photos and video that are just as good, and in some cases better, than those of their old-school rivals.

The cameras shave weight by ditching the mirror and optical viewfinder of a DSLR, but gain power with ultra-high-resolution sensors. The best of these new devices comes from Sony, which reported this summer that revenue from its mirrorless sales was up 66 percent over the previous year. Canon and Nikon also make mirrorless cameras, and analysts predict those options will keep getting better in an effort to chip away at ł§´Ç˛Ô˛â’s lead.

This is great news for amateurs who want a light, powerful travel camera. It’s even better news for pros, who can use these cameras to shoot video and pictures father afield than ever before. , an outdoor photographer and filmmaker based in Salt Lake City, recently shot part of a mountain bike film and social media campaign with ł§´Ç˛Ô˛â’s flagship a7RII, which enabled him to capture 4K footage and 42.4-megapixel images. “I can go anywhere and do anything with that camera,” he says.

Mirrorless cameras aren’t perfect. At the moment, their main drawback is speed: DSLRs can shoot more frames per second and focus faster. Clark still uses his Canon DSLR whenever he needs to capture high-speed action. But mirrorless cameras will likely close that gap soon, says Barnaby Britton, editor of popular digital photography site .

Give it a couple of years and mirrorless cameras will be the number one choice for both pros and consumers, Britton predicts. DSLRs won’t completely disappear, but the technology will be obsolete.

“Think about it like this,” Britton says, “vinyl hasn’t gone away, but…there’s no real reason it needs to exist. It will be the same with DSLRs. These cameras will stick around, not because they need too, but because people happen to like them.”

The post Mirrorless Cameras Will Change Photography Forever appeared first on şÚÁĎłÔąĎÍř Online.

Have camera. Will travel. And take top-notch shots, too, if these six travel photography workshops have anything to say about it.

All workshop outfitters listed here are led by professional photographers and include on-site coaching in real-world environments (versus the studio) and image review. They’re suited for amateurs, advanced hobbyists, and aspiring professionals.

Summit Workshops

Taught by a team of more than 10 photographers and creatives with impressive bona fides, offers on-location classes, including ones on sport, nature, and adventure photography. In the adventure workshop headquartered at Jackson Hole Mountain Resort, participants hone their skills at Grand Teton National Park where they’re the center of the action in kayaks, hanging from rock walls, or doing other action sports. The instruction team includes not only photographers, but also photo editors who provide a unique perspective during daily critiques. Of course, networking over a beer each evening with professionals from the likes of National Geographic and Surfer magazine doesn’t hurt either.

Master Image Workshops

Pro photographers Kerrick James, who’s published images in Smithsonian, and Jerry Ginsberg, whose images have been in Outdoor Photographer, lead . Destination-based classes for 2015 are set for Patagonia (February 21­­–March 6), Argentina (February 7–19), and Chile (March 7–14).  

Santa Fe Photographic Workshops

New Mexico’s legendary light, which inspired Ansel Adams, is at the center of many of . However, its instructors also lead trips to destinations such as Iceland (August 10­–15, 2014) and Aspen’s Snowmass (September 9­–14, 2014), the latter which is headed by Ansel Adams Award–winning photographer Ian Shive. 

American Nature Photography Workshops

Experts Tom Bol, named a visionary by National Geographic şÚÁĎłÔąĎÍř, and George Theodore, founder of , help participants turn their lenses on destinations such as Utah’s Canyonlands, Yosemite National Park, Glacier National Park, and other natural landscapes across the U.S.

Momenta

Exotic locales are on the agenda at , which specializes in travel and documentary workshops that create global dialogues about social issues. In upcoming sessions in Freetown, Sierra Leone (November 2–14, 2014), and New Orleans (April 8­–12, 2015), photographers will be paired with a local nonprofit to create a photo story about that group’s mission.

Within the Frame Photographic şÚÁĎłÔąĎÍřs

Founded by and for photographers, specializes in small group–sessions that focus on both technical prowess and creativity. Both fine-art and journalistic photographers lead workshops to destinations such as Istanbul, Turkey (September 6­–13, 2014); Kathmandu, Nepal (October 3­–12); and Maasai Mara, Kenya (January 10–18, 2015). Jeffrey Chapman and Winslow Lockhart lead all three sessions.

The post What Are the Best Travel Photography Workshops? appeared first on şÚÁĎłÔąĎÍř Online.

GoPro Hero3 Black Edition Camera

Yup, despite all the newcomers to the field, GoPro is still the leader. Its new manages to pack an f/2.8 wide-angle lens, a 12-megapixel sensor, and the power to shoot 30 still frames per second into a camera body that’s smaller than a bar of soap. It shoots super-hi-res video (1440p at 48 fps), ultraslow motion (240 fps in WVGA), and everything in between.

We’re still waiting for GoPro to add a play button to its waterproof, shockproof plastic case, and we wish the remote didn’t require Wi-Fi to use, but these are minor grumbles. This little hot rod still captures the highest-quality footage of any action cam. 

TECH: 5 
USABILITY: 4.5

Drift HD Ghost Camera

BEST FOR: Quick setup.

THE TEST: It shoots 1080p video or five 11-megapixel stills per second, is waterproof to ten feet, and has almost twice the battery life of any other action cam in the test. But the for how easy it is to use. It comes with a wireless remote that straps to your wrist and lets you operate a limitless number of Ghosts within 30 feet. Color-coded LEDs on the watchband provide intuitive mode indicators. And unlike with the GoPro or the Contour, you can download footage directly to your iPhone, so you can Facebook-brag minutes after capturing an epic line. The GoPro’s video chops are the only reason it edged out the Drift for Gear of the Year.

THE VERDICT: The best everyman’s camera. 

TECH: 4 
USABILITY: 5

Contour Roam2 Camera

BEST FOR: Budget-conscious shooters.

THE TEST: At 5.4 ounces, the of the bunch. It can shoot 30 fps at 1280p (or 60 fps at 720p), and its sliding on-off switch was refreshingly easy to operate with or without heavy ski gloves on, making this the best multi-season camera in the mix. Its wide-angle lens and mount rotate 270 degrees—enough that you can film behind you. We also loved that it has a built-in laser: when you press a button, a beam of light shoots where the camera is pointing. It comes in four brightly anodized color options so you can match your camera to your kit.

THE VERDICT: The Roam2 costs half as much as the GoPro but delivers surprising quality. It’s the best camera for the price.

TECH: 3 
USABILITY: 4

Pivothead Durango Camera

BEST FOR: Shooting discreetly.

THE TEST: With a comfortable fit and crisp, polarized lenses, it’s easy to forget the as a legit action cam. (They weigh only a smidge more than normal sunglasses.) The tiny camera between the eyes is operated by an intuitive rubber button on the side of the generically sporty frames, allowing you to capture 1080p video at 30 fps on the sly. Our only gripe is that you can’t switch out the SD card, which means you’re locked down to 8GB of internal memory—or about an hour of footage, half as much as traditional action cams.

THE VERDICT: A little Sky Mallish, sure, but let’s be honest: it’s less conspicuous than affixing a shiny box to the top of your helmet. 

TECH: 3 
USABILITY: 4

Nikon D600 Camera

(with 24–85mm Nikkor kit lens)

BEST FOR: Aspiring pros.

THE TEST: The dynamic range on the is so good, you can capture a ladybug in the foreground without blowing out the puffy clouds in the background. Its intuitive time-lapse mode can shoot an MPEG of stills, at any shutter speed, for almost eight hours. And while most DSLR action modes automatically adjust shutter speed, the D600 also tweaks the ISO—a measure of the sensor’s light sensitivity—to match conditions, so at 12,500 you can capture action shots even in alpenglow.

THE VERDICT: Superb manual controls make this the best pro-grade camera we tested. 

TECH: 5 
USABILITY: 4

Canon PowerShot G15 Camera

BEST FOR: Serious photographers who want to carry their camera in their pocket.

THE TEST: Our just got a little better. It’s now light enough (12 ounces) and slim enough to fit inside the pocket of your jeans. Canon managed to shrink the device, keep the features we love—such as the external viewfinder for easier composition—and also improve functionality with finger-friendly dials for manual adjustment of shutter speed, exposure compensation, and aperture. Extra kudos for a super-bright, f/1.8 lens with a 5x zoom and lightning-quick focusing.

THE VERDICT: On your next trip, leave the DSLR at home and bring this little powerhouse along instead. 

TECH: 4 
USABILITY: 5

Pentax Q10 Camera

BEST FOR: şÚÁĎłÔąĎÍř auteurs.

THE TEST: MILCs (mirrorless interchangeable-lens cameras) attempt to occupy the sweet spot between DSLRs and point-and-shoot cameras. They let you switch lenses, they’re packed with giant sensors and plenty of features, and they’re small—kind of. The knock on the category is that most MILCs aren’t appreciably smaller than DSLRs. . The seven-ounce cam fits comfortably into a jersey or parka but still shoots a blazing 1/8,000 second, features immediate focusing (there’s no annoying shutter lag), and fires off an action-sequence-worthy 5 fps. That we like.

VERDICT: Grown-up capabilities in a toy-size package. 

TECH: 4 
USABILITY: 4

The post The Top 7 Cameras of 2013 appeared first on şÚÁĎłÔąĎÍř Online.

When the was released, it sold out on Amazon in an hour, and the adventure filmmakers I knew were all gushing. A little prematurely, I thought. Until I got my hands on one. Nikon paired a 16.2-megapixel CMOS sensor with a new ultra-efficient processor, allowing the device to fire off 10 full-resolution frames per second. That’s quick enough to pinpoint your buddy’s cliff-huck-into-rag-doll moment in rich colors and with razor clarity.

Rather film it? The four-pound (with lens) D4 captures 60 frames per second—powerful enough for slo-mo footage. A 3.2-inch LCD shows audio levels (a first for DSLRs), and an HDMI port lets you tether the camera to a hard drive.

But what really got me going was the water-resistant coating on the camera body—the interior was way less likely to fog up in humid environments—and the slick time-lapse feature, which not only does all the math for you but also stitches together an audience-ready sequence automatically. Need I say more?

The post Nikon D4 Camera appeared first on şÚÁĎłÔąĎÍř Online.

Canon PowerShot G1X Camera

Nearly every major manufacturer jumped on the mirrorless interchangeable-lens camera (MILC) trend this year. While we’re big fans of the technology, we also like that, with the G1X, bucked the trend and honored a simple truth: most photographers prefer one versatile lens to a quiver of them. Canon wisely dropped the interchangeable-lens mount from the mirrorless G1X in favor of a 4x digital zoom that stretches from a very useful 28mm to 112mm and shoots between f/2.8 and f/5.8—fast enough for 90 percent of everyday situations. Canon also beefed things up with a 14.3-megapixel CMOS sensor and a viewfinder that makes using the G1X feel like shooting with a vintage Leica. Other slick features include a tilt/swivel LCD screen, HD-video capabilities, and an ISO range of 100 to 12,800. All told, the G1X may not fall squarely into the MILC category, but it’s exactly the niche we hoped somebody would fill: DLSR quality in a package that takes up less space than a paperback in your travel bag.

FEATURES: 5
VALUE: 4.5 (OUT OF 5)

Panasonic DMC-TS4 Camera

BEST FOR: Heavy-handed gadget geeks. THE TEST: A barometer on a might seem like overkill, but it’s fitting for the nearly indestructible DMC-TS4, which can withstand drops of 6.6 feet, is waterproof to 40 feet, and will keep on snapping when temperatures tumble to 14 degrees. The Lumix also includes a GPS that pinpoints where an image was shot, which makes uploading multimedia maps of your adventures to Google Earth a snap. It has ten photo modes, including macro, tilt-shift, and even 3-D. The features feel a bit gimmicky, and we’d prefer that it kept working to negative 14 degrees, but the respectable 12.1-megapixel image quality and armored body compensate. THE VERDICT: The Lumix is a fixture in our pack.

FEATURES: 5
VALUE: 4

Nikon D4 Camera

BEST FOR: Pros; aspiring moviemakers. THE TEST: Acknowledging that most serious photographers also want to be able to shoot cinema-grade short films, souped up the video capabilities of its new flagship HDSLR, the D4. It features a 3.2-inch LCD with onscreen audio levels as well as an in-camera editing mode. Nikon stuck with the 16.2-megabyte full-frame CMOS sensor of its D7000 but added an ultralight carbon-fiber shutter that fires at 1/8,000th of a second. It also tailored ergonomics to videographers’ needs, with a handy record button beside the shutter release and a repositioned joystick that makes it easier to adjust f-stop and exposure while shooting in vertical orientation. THE VERDICT: Warrants the hype.

FEATURES: 5
VALUE: 2

Pentax K-01 Camera

BEST FOR: Downsizing Pentax devotees. THE TEST: took its K-01 in the opposite direction of the Gear of the Year–winning Canon G1X, making it compatible with hundreds of K-mount lenses. This baby accepts everything from fish-eyes to a 600mm telephoto, though the included ultrathin 40mm f/2.8 lens will be plenty for most enthusiasts. The lens options make it versatile, but the K-01 was still the most intuitive camera we tested. The ribbed rubber grip felt solid, and Pentax didn’t skimp on horsepower: a 16.3-megapixel CMOS sensor powers the K-01, it can fire seven frames per second, and you can edit HD video onscreen. THE VERDICT: This brawny MILC was a close runner-up for Gear of the Year.

FEATURES: 4
VALUE: 3

The Pentax is among a new generation of cameras with interchangeable lenses but, unlike DSLRs, no mirrors between the lens and sensor. So-called mirrorless interchangeable-lens cameras (MILCs) blend DSLR performance with the ease of a point-and-shoot.

Sony DSC-TX200V Camera

BEST FOR: şÚÁĎłÔąĎÍř travel; nights on the town. THE TEST: We liked the simplicity of latest point-and-shoot: it has just three buttons (on/off, shutter, and zoom), and the 3.5-inch touchscreen’s interface is as easy to use as an iPhone. We also loved that in burst mode it can shoot giant 18-megapixel images at a jaw-dropping ten frames per second, which is considerably faster than most DSLRs. The Sony also includes a sweep mode for easy panoramic shooting, is waterproof to 16 feet, and is the size of a deck of cards—all of which makes its steep price tag palatable. THE VERDICT: Elegant, high-tech, and surprisingly rugged.

FEATURES: 5
VALUE: 4

Leica V Lux 3 Camera

BEST FOR: Aspiring wildlife photographers. THE TEST: managed to pack blazing-fast speed into a body that’s a third the size of Nikon’s D4. The V Lux 3 can shoot 12.1-mega-pixel images at 12 frames per second, and if you’re willing to drop the quality to 3.5 mega-pixels, it’ll fire an astounding 60 frames per -second. The digital-zoom lens spans from 25mm, wide enough to shoot Himalayan landscapes, to a long-lens-mimicking 600mm, which you can use without a tripod, thanks to admirable image-stabilizing technology. THE VERDICT: It’s pricey, but the ability of Leica’s glass to reach out and touch faraway objects is unsurpassed.

FEATURES: 4
VALUE: 3.5

Olympus TG-320 Camera

BEST FOR: Backcountry shooters; parents. THE TEST: The TG-320 delivers all the waterproof, shockproof, freezeproof protection we’ve come to expect from the Tough series, with more power than ever. This compact packs a 14-megapixel sensor, an optical-zoom lens that stretches from 28 to 102mm, and a whole suite of postproduction features, including 3-D and a kid-friendly filter that turns images into Crayola-like master-pieces. The TG-320 doesn’t have the speed or video capabilities as the similarily rugged Panasonic, but it comes close‚ and it costs $200 less. THE VERDICT: A resilient point-and-shoot that won’t break the bank.

FEATURES: 2
VALUE: 5

Looking for a camera that can handle the occasional inadvertent wallop or dunk? The Olympus and Panasonic are both waterproof and shockproof, while the Sony is just waterproof.

The post The 7 Best Cameras of Summer 2012 appeared first on şÚÁĎłÔąĎÍř Online.

Canon‘s EOS Rebel T3i DSLR reminds you of what even the best smartphone cams can’t do. They can’t stop action at 1/4,000 second or turn night into day with an ISO up to 12,800, nor can they capture stunning 1080p HD video at 30 frames per second. The Rebel T3i can, and its 18-megapixel sensor is 30 times the size of the average smartphone’s, producing richer images at larger dimensions. Yes, it’s another gadget to throw in your bag, but at just under two pounds (including battery and lens) it’s smaller and lighter than most DSLRs. Bonus: the articulating screen helps you frame overhead images.

QUIRKS + CONCERNS: Big-mitted users may find the controls too Lilliputian.

The post Canon EOS Rebel T3i DSLR Camera appeared first on şÚÁĎłÔąĎÍř Online.

The Sell: The world’s smallest interchangeable-lens camera.

The Test: Olympus’s Micro Four Thirds tech­nology uses a larger sensor instead of mirrors, so the E-PL2 can swap lenses without requiring a hulking body. We liked the pro feel, but this camera was too feature-heavy, and its slim profile was ­negated by its nonretractable lens. It took above-average stills and 720p HD ­video, but we’d have been just as ­happy with the Canon Power­Shot, which runs $250 less.

The Verdict: Great for camera geeks who like extras, but the pics don’t justify the added cost. Image Quality: 3.5. Ease of Use: 3.5.

The post Olympus E-PL2 appeared first on şÚÁĎłÔąĎÍř Online.

The Sell: A DSLR at an entry-level price.

The Test: It isn’t quite as nice as Nikon’s popular D7000 (a pro-grade shooter with a more versatile lens and a tougher body), but at $600 less the 14.2-mp D3100 is plenty of camera for most. Like all Nikons, it has unparalleled ­autofocus and color fidelity, plus 1080p HD video capabilities. DSLR newbie? The D3100 has an easy-to-use guide mode, translating stuff like aperture and F-stops into language that even the most inexperienced can understand.

The Verdict: Perfect first DSLR. ­Image Quality: 4.5. Ease of Use: 4.

The post Nikon D3100 appeared first on şÚÁĎłÔąĎÍř Online.

THE SELL:A Leica for the rest of us. THE TEST: This camera sits right at the border of a point-and-shoot and a full-fledged HDSLR, with all the benefits of both. The zoom lens has an effective optical range of 25–600mm, making it perfect for shooting everything from the inside of a tour bus to surfers on a distant break. It’s also ridiculously fast. In burst mode, the V-Lux-2 can crank out 11 frames per second, and in low-res 320-by-240p video mode it gets 220 frames per second—enough to catch an arrow leaving a bow. But where this camera really excels is up close, in high resolution (1080p video or 14-megapixel stills), taking full advantage of that legendary Leica glass. THE VERDICT: If you’re trying to find a camera for your European vacation this summer, you just did.
Features: 4
Value: 2

The post Leica V-LUX-2 Camera appeared first on şÚÁĎłÔąĎÍř Online.