Samsung NX300 Review -- Initial Image Quality Report

by Dave Etchells
Posted 06/19/2013

The Samsung NX300 compact system camera appears to be a very promising entry in the mirrorless market. In fact, with this model, Samsung is serving notice on the old-school camera makers that they're in the market to stay, and a force to be reckoned with.

The extensive testing, vetting, and double-checking that we do for our reviews often results in a rather exhaustive review process, sometimes making it a long time between our receipt of a camera and the posting of the final review. Moving forward, we'd like to take you along for the ride as we review some of the more significant cameras in the market -- by posting our initial impressions and testing results as early as possible rather than forcing you to wait for our complete and final verdict.

Evaluating test images. I spent a little time today examining the test images we shot in the IR Lab with the Samsung NX300, comparing them closely with two other compact interchangeable-lens models that I felt compete in the same space with it. The Canon SL1 is a new super-compact conventional DSLR with an APS-C sensor, while the Olympus OM-D E-M5 is a Micro Four Thirds model, and arguably one of the best mirrorless cameras on the market. (It was our pick for 2012 Camera of the Year in the compact system category.)

Two things stood out when I examined the Samsung NX300's test images: First, that there was quite a bit of noise reduction going on in them, even when the noise reduction was set to "0," but second, that they were just amazingly clean, with very little noise in areas of flat tint. In the latter regard, the NX300 really blows away the competition. Its images are remarkably clean, even up to very high ISO levels. Of course, nothing comes free, and the trade-off for the exceptionally clean images is heavier-handed noise suppression, visible as noticeably lower detail in areas of subtle contrast. On the other hand, higher-contrast detail is rendered very sharply, thanks in part to the NX300's 20.3-megapixel resolution.

Noise reduction. At the lowest noise-reduction setting (our personal preference), the NR curve chosen by the Samsung engineers is interesting: At low ISOs, it's reasonably restrained, with plenty of subtle detail and very clean flat areas. At medium-high ISOs (1600 to 3200), the NR is much more aggressive, losing more detail than the OM-D, even when the NR setting is at its lowest value, but still generally doing better than the SL1 at its lowest NR level. At ISOs of 6400 and above, though, the NR seems to back off a little, letting in more noise, but also more subtle detail. At ISO 6400, we'd say that the OM-D and NX300 are pretty much neck and neck, with the OM-D's image being a little crisper, but the NX300's clearly showing less noise, and the SL1's shots trailing somewhat. At ISO 12,800, the differences are more evident, with the NX300 clearly pulling into the lead with the best overall combination of noise and detail -- apart from the dreaded red fabric swatch where all the cameras fail miserably, although the SL1 could be argued to at least show something that looks like detail.

Comparison crops for ISO 12,800 at lowest in-camera noise reduction setting
Samsung NX300	Canon SL1	Olympus OM-D E-M5
At its lowest noise-reduction setting, higher-contrast detail from the Samsung NX300 is pretty good, while still keeping noise in flat tints and shadows pretty low. We'd give it the nod for direct-from-camera output between the three models being compared here, at least for lowest NR at ISO 12,800.

At the default noise reduction setting, we don't see the same variations in noise-detail tradeoff, but rather a consistent increase in noise reduction as ISO progresses higher. I usually prefer a lighter touch in NR processing than the NX300's at its default setting, but that said, I was surprised by what I saw at ISO 12,800. While the OM-D managed a generally crisper look overall, it came at the expense of higher chroma noise, and in some cases much less distinct object boundaries. (For instance, check out the left shoulder of the Mas Portell bottle in the ISO 12,800 images from the OM-D and NX300.) Overall, I felt that the Samsung NX300 did the best job of suppressing noise (particularly chroma noise, something previous NX models struggled with) of the three, while at the same time presenting more accurate object shape and depth.

As of this writing, we haven't yet performed our print-quality analysis on the NX300's output, but judging from what I see on the screen, I think it's going to turn in a respectable performance, at least at reasonable print sizes. Much will depend on personal preferences. People who like really clean-looking prints will love the direct-from-camera output from the NX300, while those with higher tolerance levels for noise and a preference for more detail will probably prefer the NX300's images processed from RAW.

Going RAW. Given such significant differences between the cameras' JPEG files, it's worth taking a look at their RAW images, as they are what will determine the ultimate quality you'll be able to obtain from them. Looking at RAW images from the Samsung NX300 converted to JPEGs with no noise reduction processing applied, reveals that the NX300's sensor is very much on par with the two competitors' at ISO 3,200 and below; the character and amount of noise is very similar, with the NX300 perhaps having a slight advantage. At ISO 6,400, the NX300's noise pattern becomes a little coarser than the OM-D's, with perhaps slightly higher amplitude, but the Samsung compares well with the Canon SL1. This continues at ISOs 12,800 and 25,600, where the NX300 continues perform roughly on par with the SL1, but slightly behind the OM-D in terms of noise.

Comparison crops for ISO 12,800 from ACR converted RAW files, no noise reduction
Samsung NX300	Canon SL1	Olympus OM-D EM-5
These ISO 12,800 shots were processed from RAW files through Adobe Camera Raw, with no noise reduction or sharpening applied. The Samsung NX300 holds its own against the Canon SL1, though the Olympus OM-D does perform slightly better.

Closely inspecting the low-ISO images from the NX300 suggests that perhaps the Samsung 60mm lens we use for our studio shots is slightly less sharp than the 50mm f/2 Olympus Macro on the OM-D or the Sigma 70mm on the SL1. (We try as much as possible to minimize lens differences in our camera tests, but it isn't possible to do so in every situation. We use the exceptionally sharp Sigma 70mm f/2.8 Macro for Canon, Nikon, Pentax, and Sony bodies, but we can't use that lens on Micro FourThirds or Samsung NX bodies, so have chosen the sharpest lens we were able to find for each of those mounts. They're pretty sharp, but it's entirely possible that the Samsung 60mm macro isn't as crisp as the superlative Sigma 70.)

Samsung NX300 at base ISO
Canon SL1 at base ISO
Olympus E-M5 at base ISO
These results are from RAW conversions via Adobe Camera Raw, with strong/tight unsharp masking (180%, 0.3 pixel radius) applied in Photoshop post-conversion. The more obvious stairstep artifacts in the NX300's image suggest that it actually has a weaker low-pass filter than the other two, so we'd expect to see more crisp images from it versus the OM-D or SL1 if we had a lens of equivalent quality to shoot it with.

We initially put the NX300's slightly softer results at low ISO down to a stronger low-pass filter, but when we sharpened the images carefully, we could see slight stair-step artifacts in the fine lines of the circular scale in our Still Life target, that were less evident in the SL1's images, and essentially invisible in those from the OM-D. This suggests that the NX300 is being limited a bit by the lens we're using, and could in fact deliver noticeably sharper results with a sharper lens.

Overall, the Samsung NX300 turned out excellent, high-resolution images. If you like exceptionally clean images, at the cost of some loss of subtle detail, you'll be very pleased with the from-camera JPEG output of the NX300. On the other hand, if you're an enthusiast or pro photographer accustomed to processing your images from RAW files as part of your static workflow, you'll likely be equally pleased by the quality of the NX300's RAW files, at anything under ISO 12,800 or so.

Operating performance. Looking briefly at the performance numbers that were recorded in tests conducted by the IR Lab, the Samsung NX300 acquitted itself very well, with AF times slightly slower than those of the SL1 (if we average center and multi-area AF results), and generally a bit faster than those of the OM-D. When prefocused on the subject, the OM-D won by about 15 milliseconds over the 71 millisecond time of the NX300, but the difference between 7 hundredths of a second and 5 hundredths of a second is hardly noticeable. However, based on these lab results, the Samsung NX300 doesn't necessarily back up a company rep's claim that it has the fastest AF system on the market.

When it came to shot-to-shot time, the NX300 was the slowest of the three in single-shot mode, but was twice as fast as the SL1 and only about 10% slower than the OM-D in continuous shooting. Buffer capacity was a respectable 14 frames in large/fine JPEG mode, but only 5 frames when shooting RAW. The OM-D and SL1 both did considerably better in terms of buffer depth, with Large/Fine capacities at 17 and somewhere beyond the 20 frames we routinely shoot, and RAW capacities of 16 and 8 frames, respectively. The NX300's buffer clearing was also noticeably slower than the others in this group.

Bottom line, the Samsung NX300 turned in a very respectable performance for a US$750 CSC, clearly holding its own against more expensive rivals, and coming in at a considerably lower price point than the OM-D.

Compared to the traditional camera manufacturers, Samsung has arrived from literally nowhere in the digital photography space to offering extremely competitive interchangeable-lens cameras in surprisingly little time. While we have yet to test Samsung NX lenses on SLRgear, our impressions from using a number of them have been very positive. It's clear that Samsung means to be a force to be reckoned with in the enthusiast camera space, and NX300 makes it equally clear that they're succeeding in that goal.

Samsung NX300 Overview

by Mike Tomkins and Dan Havlik
Posted 01/03/2013

Big, bulky cameras aren't for everybody. You don't need chunky, SLR-like styling to get interchangeable-lens versatility, and some of us are more than happy to forgo a few features for street shooter anonymity. Back in 2011, Samsung answered that need, dropping the electronic viewfinder from the then-flagship NX11, and creating the stealthy NX200 mirrorless. The Samsung NX300 is the latest successor to the NX200, and unlike last year's NX210, it makes some pretty significant changes throughout. Nutshell view: It's gotten a little bigger, but should be quite a bit faster and more versatile than its predecessor. With list pricing of about US$750 for the 20-50mm kit, the Samsung NX300 looks to offer quite a proposition for aspiring street photographers. (Note that the 18-55mm OIS lens shown above is available in a kit for about US$800.)

The most immediately-apparent difference when you compare the Samsung NX300 to earlier models is its styling. While the basic layout is little-changed from the NX200 and NX210, the NX300 has a new two-tone finish with a single leather-grained finish wrapping around the entire front of the body. This gives it a much cleaner, rather retro aesthetic. Two body colors will be offered in the US market: either black or white, both of which are mated to brushed silver top and bottom plates. There are a few other notable changes on the outside. On the rear panel is a larger, touch screen display that's now articulated on one axis, there's a new Direct Link button on the top deck, the nearby speaker grille has vanished, and the movie record button has been relocated inside a more prominent thumb grip.

The increase in size is relatively modest, but body-only weight has increased quite a bit. With dimensions of 4.8 x 2.5 x 1.6 inches (122 x 63.7 x 40.7mm), the NX300 body is around 0.2 inches (5.5mm) wider, a little less than 0.1 inches (1.2mm) taller, and a touch under 0.2 inches (4.1mm) deeper than its predecessor. It tips the scales at 9.9 ounces (280g) without battery, about two ounces (57.8g) more than the NX210. That's a little more than 25% heavier, although once you attach a lens and place battery and flash card in the camera, the difference won't be quite so noticeable.

On the inside, the changes are much more significant. There's a brand-new 3:2 aspect, 20.3 effective megapixel APS-C CMOS image sensor, and while the resolution and size are unchanged from the chip used in the NX200 and NX210, the NX300's chip sports a brand-new capability. Since Fujifilm debuted on-chip phase-detection autofocus in some of its fixed-lens cameras back in 2010, we've seen several interchangeable-lens cameras from Canon, Nikon and Sony with similar technology. The NX300 marks Samsung's first foray into on-chip PDAF, and it will be interesting indeed to see how the Korean consumer electronics giant's system implementation compares. Much like its rivals' systems, the NX300 pairs both contrast detection and phase detection, likely using the 105 phase-detect AF pixels to get in the ballpark, and contrast detection to fine-tune focus. Sony and Nikon's systems performed admirably, achieving focus quickly and reliably, but Canon's underwhelmed us, so the mere existence of hybrid autofocus with phase detection is no guarantee of greatness.

The NX300 also has a brand-new DRIMe IV image processor which Samsung says it developed in-house. (The NX200 had a DRIMe III processor, and we believe this was shared by the NX210, although we've not seen Samsung directly state which variant that model used.) The newer sensor and processor together give the Samsung NX300 a one frame-per-second boost in burst shooting speed to nine fps, along with a one-stop increase in maximum ISO sensitivity thanks to improved noise reduction. Sensitivity now ranges from ISO 100 to 25,600 equivalents, plus the obligatory Auto ISO function. Samsung says that DRIMe IV also allows better color reproduction, as well as Full HD (1080p) high-definition video capture with a higher frame rate of 60 fps.

The sensor sits behind a standard Samsung NX mirrorless lens mount as seen in past NX-series compact system cameras. As well as third-party options, Samsung currently offers a selection of eleven first-party lens models, although a few of these are closely related. Ignoring the duplicates, there's a choice of five zooms (12-24mm 18-55mm, 18-200mm, 20-50mm, and 50-200mm) and five primes (16mm, 20mm, 30mm, 60mm, and 85mm). One further lens -- a 45mm prime -- has been announced but isn't yet shipping. Many of the lenses feature Samsung's i.Function technology, which allows camera settings to be adjusted quickly using the fly-by-wire lens ring and a dedicated i.Function button in concert.

There's also one brand-new optic (shown at right) that -- although it's related to an existing one -- definitely deserves to be considered in its own right. The new NX 45mm f/1.8 2D/3D lens is based on the 45mm prime we just mentioned, which was unveiled at the Photokina 2012 tradeshow. The key difference will be obvious from the name, and applies only when used with the NX300 body. The 45mm 2D/3D lens allows the NX300 to provide a true 3D image from a single, monocular optic, without the need for panning as in some cameras -- and that means it also allows for 3D video!

The way the 3D effect is achieved is reminiscent of a system shown by Canadian firm ISee3D several years ago, but we understand that Samsung has developed the design in-house. The basic structure of the lens is similar to the existing 2D-only version, but features two retractable liquid crystal displays that swing into the optical path when the lens is switched to 3D mode. These LCDs alternately black out incoming light on one or the other side of the lens, allowing the camera to record the stereo pair from which to create a 3D image using two subsequent exposures. When in 2D mode with the LCDs retracted, the lens operates just as the 2D-only version would, and indeed it can be used on other NX-mount bodies in this mode. Samsung tells us that only the NX300 has the processing speed necessary to handle the 3D functionality of the lens, however, and so there's no plan to allow existing NX-mount bodies to shoot with it in 3D.

The 3D videos are recorded at the Samsung NX300's maximum Full HD frame rate of 60 progressive-scan 1,920 x 1,080 pixel frames per second, but with one or the other LCD shutter active at 1/60th second intervals, so that you effectively end up with two 1080p30 streams providing left and right-eye views. These streams can be saved in one of two menu-selected formats: either for side-by-side viewing, or as a single file with interleaved views for each eye on subsequent frames. 3D videos use the same H.264 compression which the NX300 uses for its 2D videos. You can also save 4.1-megapixel 3D still images in MPO (Multi Picture Object) format, which is essentially two JPEGs wrapped in a single container, which allows you to extract a single-eye view at a later time, if needed.

There's an interesting side-effect of the design of this lens: effectively, you have two apertures that are applied together when in 3D mode. There's the aperture of the lens itself, of course, but you also have to account for the two liquid crystal shutters that sit in the optical path. Their presence means that although the lens physically has an f/1.8 maximum aperture, your depth of field is equivalent to that provided by an f/3.5 lens, since the shutters are alternately allowing light only from one side or other, blocking roughly half the incoming light. Together, they also reduce the amount of light reaching the sensor by about a factor of six, yielding a light level roughly equivalent to that provided by an f/5.6 lens. What we haven't yet been able to confirm is the effective interocular distance of the lens, which will determine how effective its 3D effect will be.

It's an interesting concept, and one we're keen to compare to the alternatives, such as Panasonic's 12.5mm f/12 3D lens for Micro Four Thirds cameras, which we looked at in our review of the Panasonic GF2 mirrorless. Pricing for the optic is set at around US$500, or approximately $200 more than the 2D-only version of the same lens.

We've already mentioned that the Samsung NX300 has a larger, tilting display, but that's not the only change. As well as gaining a third-inch of diagonal size, the new 3.31" (84mm) AMOLED display is now a touch screen, and has both a wider aspect ratio and a higher total dot count. It still uses a PenTile subpixel matrix, with an 800 x 400 pixel resolution, and a total dot count of around 768,000. (By way of contrast, the NX200 and NX210 had VGA resolution with approximately 614,000 dots.) And although the NX300 now offers touch-screen control, allowing for direct interactions such as identifying your subject for focusing with a tap of the finger, fans of physical controls will be happy to see that these all remain as well.

The key upgrade in the earlier NX210 model was the addition of built-in wireless networking connectivity, and the Samsung NX300 doesn't just retain this, but gives it quite an overhaul. The earlier camera was only single-channel capable -- we're presuming 2.4GHz -- but the new camera offers 802.11b/g/n compatibility with dual-channel 2.4 / 5GHz capability. That should greatly increase both the variety of networks you can connect to, and your chances of managing a stable, high-speed connection suitable for transferring large images. The NX300 is Wi-Fi Direct-certified.

Social networking is one of the big drivers of in-camera Wi-Fi, and Samsung recognizes this by providing a new, dedicated Direct Link button on the top deck that lets you share your creations on social networks. (We don't yet have any specifics as to which networks will be supported, but it's a fairly safe bet that the dominant Facebook will be on the list.) The NX300 can also be controlled remotely from Android or iOS smartphones and tablets, with a live-view feed provided on the remote device, and you can -- of course -- download your images to phone or tablet, as well. An AutoShare function automatically sends every photo to your phone when Wi-Fi is enabled, while a Mobile Link function lets you browse and select images for manual transfer.

And there are plenty of changes in other areas, too. The fastest shutter speed is now 1/6,000 second, up from 1/4,000 second in the NX210. Samsung says it has upgraded the Smart Camera functionality, adding 14 different Smart Modes (Beauty Face, Landscape, Macro, Action Freeze, Rich Tone, Panorama, Waterfall, Silhouette, Sunset, Night, Fireworks, Light Trace, Creative Shot, and Best Face), as well as an i-Depth function that Samsung says offers depth-of-field control directly from i-Function lenses. Features held over from the NX210 include an intelligent flash hot shoe -- but no internal strobe -- and an autofocus assist lamp on the front panel.

Images are still stored on Secure Digital cards including the latest SDHC and SDXC types, but Samsung has also added support for higher-speed UHS-I badged cards. Images can be stored in either raw or JPEG compressed formats, and the latter allows a choice of the native 3:2 aspect ratio plus 16:9 and 1:1-aspect crops. Movies are saved in a .MP4 container using MPEG-4 AVC / H.264 compression, and include AAC audio.

Connectivity includes HDMI 1.4a high definition video output as in the earlier camera, but the supplied battery type has been changed. The Samsung NX300 now accepts proprietary BP1130 lithium ion packs rated for 1,130mAh, where the NX210 used BP1030 packs with a 1,030 mAh rating. Information on battery life hadn't been provided at press time, and it wasn't immediately clear whether the new battery pack is interchangeable with the older pack.

One final change of note can be found in the software bundle, and it's one we wholeheartedly support. In place of Samsung's own Intelli-Studio and Raw Converter software, the NX300 now comes bundled with Samsung iLauncher and the extremely popular Adobe Photoshop Lightroom. The latter has been well-received by photographers for a reason, and even if you happen to own it already, it can't hurt to own another license to use on a second desktop or notebook! (Adobe's license allows use on one desktop and one notebook, but not two machines of the same type, and nor for simultaneous use on two machines.)

As noted previously, the Samsung NX300 ships in the first quarter of 2013, priced at about US$750 with the unstabilized 20-50mm kit lens, and US$800 with the 18-55mm OIS kit lens.

Hands-On with a Pre-Production Samsung NX300

by Dan Havlik

"Retro" is the predominant buzzword in digital camera design today, with many new models going for a vintage, analog feel. And the NX300 takes it one step further with a sleek, throwback look that Samsung is calling "retro modern." All marketing jargon aside, the Samsung NX300 is an attractive compact system camera with a stylish and comfortable camera body, sporting a generous grip wrapped in textured faux leather.

At Samsung's launch event, I got most of my hands-on time with the classic-looking black-and-silver two-tone model and -- for my money -- that's the more handsome of the two. (Though some may prefer the more modern-looking white model.) The NX300's handgrip is large but rounded and smoothly sculpted, making it easy to hold but unobtrusive. While the NX300 is a mix of metal and polycarbonate, the top-plate is stainless steel, giving the camera a high-end feel.

From the rear, what most impresses about the Samsung NX300, is its very large, 3.3-inch AMOLED tilt screen, which tilts down 30 degrees and up 90 degrees. It's a touchscreen, as well, and though the NX300 wasn't as responsive as an iPhone, Samsung's simple and clear user interface made changing settings by touch relatively easy. You can also use NX300's traditional buttons and controls for quickly adjusting the settings, if touchscreens aren't your thing.

In terms of operational speed, the pre-production Samsung NX300 seemed fast and responsive. We've had issues with overall sluggishness in Samsung's previous NX-series CSCs, and while it's too early to tell whether it's improved, we're optimistic based on our hands-on time with it. For one, Samsung's new DRIMe IV image processor showed lots of promise with the NX300 capable of firing off photo bursts of up to 8.6 frames per second with full autofocus.

While the main benefit of the DRIMe IV processor is that it allows the camera to shoot in full 1080p at both 60 fps and 30 fps -- along with both 2D and 3D stills and video with Samsung's new 45mm 2D/3D lens -- it seemed quicker on the draw on all fronts. Also zippy, the camera's new Hybrid Auto Focus system merges a 257-point Contrast AF with a 105-point Phase Detection AF.

Samsung's Jay Kelbley boasted to the press that the Samsung NX300 was now the fastest focusing camera on the market. That's a big claim, and one we're eager to fully test in the IR lab. True or not, my hands-on time with the NX300 certainly seems like Samsung is making a step in the right direction.