The crops as you’d hope, are clean and detailed, although there’s evidence of coloured fringing and softness towards the corners which we saw on our first results page.

This shot was also taken with the 1050 SW fully zoomed-out, although at an equivalent of 38mm, it’s not particularly wide and only just squeezed in the sail.

We shot this at a very low angle, from which the 1050 SW’s screen remained fairly visible.

As with the first gallery shot, the crops are clean and detailed as you’d expect at 80 ISO, although there’s some softening as you approach the edges and corners.

The screen is reasonably easy to view underwater, and flash good for distances of a couple of meters. So long as your subject is relatively close, you can grab good shots.

The 1050 SW opted for 80 ISO for a clean, noise-free result, and the camera’s done a good job of focusing and exposing here.

The camera locked onto the subject’s face with relative ease here, although can struggle with profiles. At its longest focal length and only one third of a stop from its maximum aperture though, there’s not much chance of ever achieving a small depth of field.

Like most compacts at 200 ISO, the crops show an increase in noise artefacts and a reduction in ultimate detail.

The 1050 SW claims a closest focusing distance of 7cm in this mode, but we managed to get at least 2cm closer and maintain sharpness.

Like most compact macro modes, there’s softening in the corners, but impressively little geometric distortion here.

The increase to 400 ISO hasn’t been too detrimental in this example, but the subject matter is quite forgiving.

Face detection was beginning to struggle a little here, but just about managed to lock-on.

Like most compacts under the same conditions, there’s a noticeable increase in noise artefacts here, especially in flat areas of colour, but the magazine covers still contain a fair amount of detail.

The result looks acceptable for most common print sizes.

Of greater concern though is the camera shake due to the relatively slow shutter speed and lack of any sensor-shift or optical stabilisation.

As you’ll see in our other galleries, a speed of 1/20 is well within the capabilities of anti-shake systems to counteract, but here the 1050 SW has no choice but to further increase the sensitivity and lose quality.

Here’s there’s a significant reduction in quality with undesirable artefacts through noise and noise reduction.

This is par for the course for most compacts, but the important thing to note here is most compacts can also avoid high sensitivities thanks to their image stabilisation.

Sadly the 1050 SW, like the Pentax W60, relies on high sensitivities for digital stabilisation.