Best Bridge Cameras 2017

Product Use case Rating
Panasonic Lumix DMC-LX100 Best Bridge Camera Overall 8
Canon PowerShot SX60 HS Best Ultra-Zoom Bridge Camera 8
Canon PowerShot G7 X Best Bridge Camera For Travel 9
Nikon Coolpix L340 Best Under $200 N/A
Sony Cyber‑Shot DSC‑RX10 Mark II Best Bridge Camera For Video N/A

If you're doing a lot of a traveling this holiday season, a bridge camera can be handy, since they generally have many of the high quality features and capabilities found on DSLRs or mirrorless cameras, but are typically lighter and more compact. A bridge camera, which "bridges" the gap between casual beginner-friendly shooters and more complicated and expensive enthusiast/pro models, allows you to capture noticeably better photos and video than what you'll get with your smartphone or point-and-shoot. Some are relatively inexpensive, which means they're good choice for beginner or mid-level photographers to shoot the family around the holiday feast or a nighttime snowball fight. Others nearly match the quality and capabilities of a mirrorless or DSLR, although you'll pay a lot for those high-end bridge models.

Based on our extensive testing, the Panasonic Lumix DMC-LX100 ($650) is the best compact bridge camera. It packs a sensor almost as large as those found on some DSLRs and mirrorless cameras. It also shoots 4K video in a body that's easy to carry. If you want to capture the action up close, the Canon PowerShot SX60 HS ($450) is an excellent choice. It has a 65x zoom lens and takes highly detailed photos.

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  • The Canon PowerShot G1 X Mark III ($1,299), sports a large 24.3-megapixel APS-C CMOS sensor, Canon's first point-and-shoot to include such a large sensor. It also includes dual pixel CMOS AF, a 24-72mm (f/2.8-f/5.6) 3x optical zoom lens, HD-resolution video (1080p at 60 fps), high quality electronic viewfinder, burst mode at 7 fps, a 3-inch swiveling touch LCD screen, and built-in Wi-Fi, NFC, and Bluetooth.
  • The 20.1-megapixel Sony Cyber-shot RX10 IV ($1,700) includes a long, 24-600mm (f/2.4-f/4) optical zoom lens, but still has a large, 1-inch sensor (although not as big as the APC-C-type sensor on the Canon G1 X Mark III). The Sony RX10 IV also comes with a wide ranges of features, including the ability to fire burst modes of 24 fps, a fast hybrid AF system, 4K-resolution video, a super slow-motion video mode, and many other features.

 

3 Ways Bridge Cameras Capture Great Winter and Holiday Photos and Video

Bridge cameras have larger sensors and better lenses than what you'll get on smartphones. They're also generally crammed with some very cool, advanced features that can take your photos to the next level. Since most can wirelessly connect to your smartphone, you don't have to miss out on posting your favorite shots of family holiday gatherings or New Years Eve festivities on Instagram, Facebook or Twitter. Here are three ways a bridge camera can make a difference in your photos during this time of year.


1. Try out a scene mode. If you're new to using scene modes, they're essentially specialized auto modes, which is why they can be very useful. During the holiday season, try a night portrait or indoor/party mode, which fires a flash but leaves the shutter open longer to capture the ambient light. This can produce some intriguing visuals if there are lots of colored lights in your image. Some bridge cameras include specialized scene modes, like the incredibly useful moon scene mode on the Nikon Coolpix P900, which lets you capture the craters on the moon.


2. Use a different flash setting for the built-in flash or attach an external flash. On lower-end cameras, you'll generally have few options for changing how you shoot your flash photos. But many bridge camera often include a number of options, such as flash exposure compensation, which adjusts how dim or bright your flash is when it fires. But if you really want to get creative with your flash photography, and your bridge model has a hot shoe, you can attach an external flash to your camera. With an external flash, you can often angle the head of the flash to allow the light to bounce off a wall or ceiling and create more natural-looking light.


3. Experiment by tweaking exposure settings.Although most bridge cameras have very impressive auto and scene modes, you can get incredibly creative by delving into the exposure settings and experimenting with them. For instance, set your bridge camera on aperture-priority mode ("A" on the mode dial), and select the widest aperture (f/2.8, f/2, or wider) to capture professional-looking images with a shallow depth of field.

Want to freeze the action in a hockey game? Set your camera on shutter priority mode ("S" on the mode dial), and select a very fast shutter speed (1/250th or 1/500th of a second). Just make sure you're shooting in decent light so the image is properly exposed. You'll be able to freeze the moment the player swats the hockey puck with his or her stick. And you'll capture it in crisp, sharp detail.


 


Two Types of Bridge Cameras

Bridge cameras fall into two groups. The first group — advanced models — are primarily pocket friendly cameras such as Sony's RX100 series or the Panasonic Lumix DMC- LX100, which sport features such as large image sensors, very high-quality lenses, top-performing image processors — and sometimes, enthusiast niceties like a crisp electronic viewfinder (EVF). They also include powerful models like Sony's RX10 Mark II, which include a high quality lens that provides robust performance and versatility. You'll generally have to look for these advanced features, which are available in cameras that are priced from about $450 to over $1,000.

The other type of bridge camera is known as a long-zoom camera (what we call ultrazooms) — easily luggable models with built-in 30x to 80x zoom lenses. These cameras often give you even longer zooms than you would get from a traditional DSLR. However, they almost never have the ability to swap out lenses like you can on a normal DSLR or mirrorless camera.

Ultrazooms can range from under $300 to about $600. Canon's ultrazoom cameras, for instance, range from the 50x PowerShot SX530 at about $250, to the 65x zoom PowerShot SX60 HS, at around $430. Nikon's 83x zoom Coolpix P900 sells for about $600.

What to look for in bridge cameras

You could easily spend as much on an advanced bridge camera (about $400 to $800) as on a smartphone. So make sure it's worth it. Look for cameras with large image sensors, typically 1 inch or greater. (For perspective, a 1-inch sensor is almost seven times larger than a smartphone camera sensor.) The boost in quality is huge, especially when you're shooting in dim light. And in all cases, details will be crisper when you crop a photo (even online) or make a large print.

Look for a "fast" lens too, marked by a large maximum aperture of about f/1.8, or at least f/2.2 (smaller numbers denote larger apertures). The main benefit here is that these lenses let in more light for better low-light shooting. A similar-grade lens — just the lens — on a DSLR could cost more than the entire bridge camera. 

Performance bridge cameras tend to sport robust construction, often a metal alloy. It's a worthwhile feature for cameras that you'll be carrying around a lot, and sticking in pockets or tossing in bags. Screens that tilt or rotate make it easier to capture shots from creative angles. Touch screens make changing settings and reviewing photos much easier, but they aren't as common as you might expect, so you may have to do without. And more models now include 4K video, something that's well worth having if you can get it. 

With even pocket point-and-shoots boasting 10x or 20x zooms, you should expect a much longer telephoto lens from an ultrazoom bridge camera. It isn't too much to ask for a 50x lens, and some cameras have zoom all the way to 80x or greater. Apertures won't be as large as in the best performance bridge cameras (the physics of a big lens), but you should get one that goes down to at least f/4.5 (smaller number, bigger aperture).

Don't worry about the sensor size in these cameras. They are all pretty small — about 10 percent the size of an entry-level DSLR's; otherwise, the cameras would be several feet long. Most important are the features that make the long lens usable. Zooming in magnifies the effect of camera shake, so an ultrazoom needs to have excellent optical and electronic image stabilization.

A good electronic viewfinder is also important: Placing the camera up to your face allows you to hold it much steadier. You'll want an EVF that's very bright, with rich colors and decent resolution (at least 640 x 480 pixels or 921,000 dots).

You probably won't get a metal body in an ultrazoom, but you should get a swiveling screen — one that flips out to the side and then tilts, typically through about 270 degrees. Don't settle for less. You might not get a touch screen, though.

How We Test Bridge Cameras

As the name indicates, bridge cameras represent a "bridge" between casual consumer pocket cameras and enthusiast/pro models. We take that into consideration by shooting mostly in default settings but making a few judicious tweaks to settings such as aperture or ISO light sensitivity to test certain aspects of the camera.

Bright light is the main environment for these cameras, and they tend to perform similarly in this area. To look for fine detail and shading, we shot close-ups using shutter speeds of 1/100 second or faster and the lowest possible ISO to avoid motion blur or graininess, as well as an aperture of about f/8 or greater so that a shallow depth-of-field would not obscure detail.

We take wide shots of colorful scenes in order to judge overall color and exposure quality. To do so, we typically kept the cameras in their default picture style mode and with matrix/evaluative meeting that optimized overall lighting across the frame. We also photographed people, because after all, a lot of photos involve people. We also looked for accuracy and detail in skin, hair and eyes.

With the cameras steadied (on a tripod or placed on a table or railing), we shot in twilight conditions through the range of ISO settings, and noted the highest level before graininess became distracting and details were blurred out.

Autofocus tests were done in burst mode (with continuous AF turned on) so we could see how well the camera kept up with a moving subject such as a car, jogger or pet. With people, we often used face recognition, as it tends to be the best way to keep autofocus on a person.

We tested cameras' ability to autofocus during video recording (if the camera had this capability). To do so, we used the tracking-autofocus setting that allowed us to designate the subject on which to focus.

We also test the cameras' video capabilities by capturing scenes with minimal motion in bright and low light. It may not be exciting footage, but it's a good way to gauge detail and audio quality.

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