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The good: Excellent color rendition and noise levels; large feature set; highly customizable; lightning-fast performance.
The bad: Full raw editor costs extra; flash sync of 1/200 second.
The bottom line: Nikon scores big with the D80, its new 10-megapixel, sub-$1,000 dSLR.
The last time Nikon updated its sub-$1,000 mid-range dSLR, a handful of minor, but certainly welcome, updates gave us the D70s. Now, Nikon has given the camera a serious overhaul, including a new 10.2-megapixel CCD imaging sensor, an 11-area AF system (up from 5), the obligatory larger LCD screen (2.5 inches, up from 2 inches), and a pile of in-camera editing and custom functions. With this newest revision, Nikon has put the camera more in line with its expected audience, which spans lower-end enthusiasts, all the way down to SLR newbies who crave more power than they can get with the company's entry-level dSLR, the D50.
The only downside to this slight shift in focus, is a slower top shutter speed--the D80 tops out at 1/4,000 second instead of 1/8,000 second--and a slower flash-sync speed of 1/200 second instead of the 1/500 second that the D70s offers, which was significantly faster than its competitors' in the first place.
This may irk sports shooters, who may appreciate the extremely fast shutter of the D70s, or other action shooters, who like to freeze movement with a fast burst of flash, but the majority of photographers won't notice the difference. But, given that more advanced enthusiasts now have the Nikon D200 to quench their needs--a D200 equivalent didn't exist when the first D70 came out--the advances in almost all other areas of this camera should outweigh these couple of changes.
The camera body is technically slightly smaller in all dimensions compared to those of the D70s, but current owners will find the design very similar. Most of the buttons are the same and in the same places, and there are dedicated buttons for many commonly used functions. For example, a cluster of buttons next to the shutter let you change metering mode, exposure compensation, drive mode, and AF mode.
Meanwhile, the buttons to the left of the 2.5-inch, 230,000-pixel LCD screen let you change white balance, ISO, and image size and quality settings without diving into menus. About the only function without its own dedicated control is AF zone selection, though the camera's programmable function button can be programmed to cover that if you so choose. The default for this button is to display the current ISO setting.
Three dials adorn the camera body. The mode dial lets you choose between program, aperture- or shutter-priority, full manual, full auto, or any of six preset exposure scene modes. The other two dials, located on the front and back of the grip, let you change aperture and shutter speed. Together, they make full manual shooting quick and easy.
Nikon's menu system is straightforward and, for the most part, intuitive. An option in the setup menu lets you hide some of the menu items by either selecting Nikon's preshortened Simple menu, which displays only what Nikon thinks are the most commonly changed menu items, or My Menu, which lets you choose which items the camera displays in each of the playback, shooting, custom setting, and retouch menus. Never heard of the retouch menu? That's because it's new.
The retouch menu lets you edit your photos in camera. Choices include resize, crop, red-eye reduction, filter effects, or monochrome. The coolest is probably the overlay option. It works only with raw images, but it lets you superimpose one image on top of another and even lets you choose the opacity, so the pictures can blend more smoothly. It won't replace Photoshop, but for simple overlays, it's pretty fun. Plus, since all the retouch menu functions save a new version of your image, you can always go back to the original later, and, in the case of overlays, you can lay more photos on top of already mashed-together images.
Other fun options include creating your own tone curves using the included Camera Control Pro software, as well as adjustable hue control, and a black-and-white mode with options for virtual yellow, orange, red, or green filters. A multiple exposure mode lets you shoot as many as three frames, which are then combined into one image by the camera. Of course, like most dSLRs, the D80 includes selectable white balance, as well as the usual metering and autofocus options. The image-processing and AF system are the same ones that come in the D200, while the 3D Color Matrix Metering II included here is the same as the one in the D50.
Like the D70 and the D70s, the D80 includes Commander Mode, which lets you control compatible Nikon Speedlights without the need for a separate wireless trigger, such as Canon's ST-E2 Speedlight Transmitter, which must be purchased separately to allow you the same level of control from Canon cameras and flashes. Unlike the D70s, which could only control one group of Speedlights on one channel, the D80 can control as many as three groups on any of the four channels Nikon offers.
In the "keeping up with the Joneses" department, Nikon has included SD-HC support, so you'll be able to use SD cards with capacities larger than 2GB. Also, Nikon will offer an optional vertical grip for the D80 called the MB-D80 which will hold up to one or two EN-EL3e rechargeable lithium-ion batteries or as many as six AA batteries. That means you won't be stuck buying a third-party grip as were so many D70 and D70s users. Without the grip, the D80 runs on one EN-EL3e battery.
Meanwhile, in the "not keeping up with the Joneses" department, Nikon continues to charge extra for its Capture NX software. PictureProject software is included for free, and will do rudimentary raw conversion, but if you want full raw control you'll have to shell out the extra cash for Capture NX. To their credit, Capture NX does include more image-editing functionality than that of the free software included with other manufacturers' dSLRs, but most buyers expect full raw conversion to be included with the camera.
Because of some nasty problems with third-party batteries in recent years, the camera will accept only Nikon's official EN-EL3e batteries. However, the company's new batteries let you see more detailed info. If you look under battery info in the setup menu, you can see remaining battery life as a percentage, as well as how many pictures have been shot since the last charge, and a loose gauge of how many times the battery has been recharged. It would've been nice to see average minutes or pictures remaining, as Sony's InfoLithium batteries provide, but we're not complaining about this extra info from Nikon, and the charge meter is a well-conceived idea.
Performance was among the fastest we've seen so far. In our lab, the D80 took 0.1 second to power up and capture its first image. Subsequent shots took 0.3 second without flash and 1 second with the flash turned on. Raw shots were just as fast, with a shot-to-shot time of 0.3 second. In our lab's high-contrast test, the shutter lag measured 0.45 second, slowing to 0.9 second in the low-contrast test. Continuous shooting yielded nine fine-quality 10.2-megapixel JPEGs in 2.7 seconds, for an average of 3.33fps and turned in about the same performance on basic-quality 2.5-megapixel JPEGs, capturing 99 images in 33.3 seconds for an average of 2.97fps.
The built-in flash has a Guide number of 13 at ISO 100, up from the D70s's Guide number of 11 at ISO 100. The extra power was noticeable in our lab test shots. Plus, the D80 did an excellent job of balancing the camera's fill flash with our scene's incidental lighting. In the field, we also noticed that fill flash from the D80 was consistently even.
Image quality from the Nikon D80 is quite impressive. Colors were accurate and neutral and the camera's meter did an excellent job of reading the scene and providing an accurate exposure. At times, mostly in extreme cases when the scene was dominated by darkness, the Matrix metering tended to preserve detail in the shadows at the expense of highlights, though typically, this is what one would've intended in that situation. Plus, switching to selectable zone metering or using the camera's massive plus or minus 5EV exposure compensation should help in those situations.
The 18mm-to-135mm, f/3.5-to-f/5.6 kit lens, which pushes the suggested price well above $1,000, performed well. We saw almost no colored fringing and were impressed with the lens's sharpness given its affordable price. Despite its plastic lens-mount, it feels more solid than many of the kit lenses on the market. Our only complaint was a slight amount of vignetting noticeable at the wide end of the zoom range.
Images from the D80 showed very little noise in our tests. At ISO 100, ISO 200, and ISO 400 noise was practically nonexistent, with only an extremely fine grain beginning to become apparent at ISO 400. Even at ISO 800, noise was a little more noticeable but still no more than a fine grain. At ISO 1,600, noise became noticeable but lacked the many off-color speckles that characterize many cameras' noise profile, and was similar to what we've come to expect at ISO 800 on some other dSLRs. At ISO 3,200--Nikon calls it H1.0--noise was obvious, resembling a coating of fine, snowy grain. A fair amount of detail was obscured by the grain but plenty still remained, and prints as large as letter size--and possibly even larger--should be acceptable, though far from perfect.
Buying an SLR is a complex process, which should include not only the camera body, but also a given manufacturer's--and third parties'--complement of lenses and accessories. That's exactly why manufacturers such as Canon, Nikon, Pentax, Olympus, and KonicaMinolta have built up such a large following over the years. Now that Sony has bought KonicaMinolta's know-how and released the DSLR-A100, which is compatible with past KonicaMinolta lenses and accessories, the consumer electronics giant has gained entrée into this market in a meaningful and substantial way. The same can be said for Samsung and Panasonic and their respective licensing of Pentax's and Olympus's technology. That means that big players, such as Nikon, have to continue to refine their technology if they want to remain competitive.
With the D80, Nikon has proven that it is very much still pushing ahead strongly. With 10.2 megapixels, lightning-fast performance, high-quality images with very low noise, and a heaping pile of convenience features, Nikon's D80 will not disappoint. We're just eager to see how it stacks up to Canon's Rebel XTi, which is due to hit stores just weeks from now. But, if you already own some Nikon lenses and have been waiting for an affordable 10.2-megapixel dSLR, this one is a sure winner.
CNET Editor Review
The Sony α (alpha) DSLR-A100 camera is an instant classic: the top-quality 10 mexapixel DSLR system camera that builds on a two-decade legacy of Minolta photographic leadership, accepts 20 years of A-mount lenses sold worldwide—and introduces Sony imaging innovations like high-sensitivity shooting with Super SteadyShot® in-camera image stabilization, Dynamic Range Optimizer to automatically increase detail in bright and dark picture areas, new anti-dust technology to keep the CCD imager clean for better pictures and Eye-Start ® autofocus system for faster camera response.
Superior Electronics, Amazing Simplicity
In the revolutionary new Sony® ? (alpha) DSLR-A100 camera, Sony digital technology takes you a giant step toward professional performance -- with advanced imaging, image stabilization and creative control functions, plus ease of operation that helps everyone take better digital pictures right from the start.
Advanced Lenses and Accessories
The Sony® ? (alpha) DSLR-A100 camera is your gateway to an incredibly sophisticated array of lenses and accessories -- including precision Sony® standard and zoom lenses, Sony® "G" Series lenses with advanced motorized autofocusing, amazingly bright Carl Zeiss® T coated lenses, professional-quality flash units, and compatibility with over 16 million Maxxum®, Dynax and A-mount lenses sold worldwide.
10 MP APS-size CCD Imager
A large APS-size CCD imager allows more light to pass to each pixel, increasing sensitivity and reducing noise -- and providing greater detail when you make big prints or crop in close on your subject.
Super SteadyShot® Image Stabilization
When you shoot with high sensitivity, the shutter remains open longer -- so to compensate for shaky hands or fast-moving subjects, the Sony® Super SteadyShot® system automatically reduces image blur. And because it works in-camera, you’ll get the benefit of Super SteadyShot® stabilization with every lens you use.
Sharp, Clear Photos that Preserve the Mood
With high-sensitivity (ISO 1600) shooting, the Sony® ? (alpha) DSLR-A100 camera captures great photos without flash even in low light -- which makes it an ideal system camera for shooting without a tripod or in locations (like museums and churches) where flash is prohibited.
Anti-Dust Technology
Changing lenses in a DSLR can allow dust to enter the camera -- so to keep the CCD imager clean for better pictures, the Sony® ? (alpha) DSLR-A100 camera utilizes both static-free anti-dust coating on the CCD filter and anti-dust vibration that automatically shakes the CCD to dislodge dust each time the camera is shut off.
Dynamic Range Optimizer
To recover details in dark or bright areasof the picture, the Sony® ? (alpha) DSLR-A100 camera provides two levels of Dynamic Range Optimization: Normal DRO, to improve shadow detail using standard gamma curves for fast shot-to-shot response time, or Advanced DRO, to adjust dynamic range area-by-area for the greatest precision.
Bionz™ Image Processor
At the heart of the Sony® ? (alpha) DSLR-A100 camera is the advanced Bionz™ Image Processor, using hardware-based Large Scale Integrated (LSI) circuitry that responds ten times faster than software image processors -- improving camera response time, handling Dynamic Range Optimization processing and extending Stamina® battery life.
Eye-Start® Autofocus System
Some DSLR systems don’t start focusing until the shutter button is half-pressed -- but that can slow down camera response. The Sony® ? (alpha) DSLR-A100 camera begins its precision autofocus adjustments the moment you bring your eye to the viewfinder, to capture fast-action subjects other cameras might blur.
2.5”1 Clear Photo LCD Plus™ Screen
The Clear Photo LCD Plus™ design of the Sony® ? (alpha) DSLR-A100 camera’s built-in screen makes it easy to read camera setup menus even in bright sunlight -- and gives you a better picture when you use your screen to set up shots and check results.
Continuous Burst Mode at 3 Frames Per Second
To catch fast action more effectively, the Sony® ? (alpha) DSLR-A100 camera offers continuous JPEG image capture up to the limit of your flash memory card -- plus RAW Burst Mode (up to 6 shots) with intelligent buffer management to allow more shots to be captured without waiting for the buffer to clear.
Super-Accurate Exposure Control
A 40-segment honeycomb sensing system provides multi-pattern measuring for superior exposure control accuracy.
Flexible Exposure Modes
For greater creative freedom in a wide range of shooting conditions, the Sony® ? (alpha) DSLR-A100 camera provides full manual exposure control as well as Program Auto, Aperture Priority and Shutter Priority.
9-Point Auto Focus Selection
The Sony® ? (alpha) DSLR-A100 camera gives you all the focusing options you need for composing your shot with foreground, background or off-center subjects -- including manual focus point selection, Spot AF, Continuous AF and AF Lock.
Lithium Ion Battery with Stamina® Power
A supplied NP-FM55H Lithium Ion rechargeable battery lets you take up to 750 shots4 on a full charge, recharges quickly with supplied battery charger.
Dual Media Options
The Sony® ? (alpha) DSLR-A100 camera accepts both CompactFlash™ Type I/II media and optional Memory Stick Duo™ media (with supplied adaptor).
Product Specifications
Weights and Measurements
Dimensions (Approx.) : (WHD) 5 1/4" x 3 3/4" x 2 7/8" (133 x 95 x 71 mm)
Weight (Approx.) : 1 lb. 3 oz (545g) body, not including battery, lens and media
Convenience
Burst Mode : Up to 3FPS; Unlimited to capacity of media (JPEG L/M/S); Maximum 3 frames (RAW + JPEG); Maximum 6 frames (RAW)
Color Mode(s) : Black & White, Standard, Vivid, Adobe RGB (Except for Adobe RGB, all other color modes use the sRGB color space)
Memory Stick PRO™ Media Compatibility : Tested to support up to 16GB media capacity; does not support Access Control security function
Red-Eye Reduction : On/Off (all modes)
Self Timer : Yes (10 seconds, 2 seconds, Off)
White Balance : Auto plus 6 Modes (Daylight, Shade, Cloudy, Tungsten, Fluorescent, Flash); +/-3 step adjustable Kelvin tempature control
Hardware
LCD : 2.5" TFT (230k pixels) LCD with Clear Photo™ design
Microphone : N/A
Viewfinder : Optical: TTL, 0.83x, 95% coverage
Power
Battery Capacity : 7.2V, 1600 mAh; CIPA standard: approx. 750 pictures4
Battery Type : NP-FM55 Lithium-ion rechargeable battery
General
Imaging Device : 10.2 (effective) APS CCD Sensor; 23.6 x 15.8 mm; RGB primary color filter
Megapixel : 10.2MP
Convenience Features
AF Illuminator Light : Yes, On/Off Select
Clear RAW NR : N/A
Histogram Display : Yes, Playback only
Movie Mode(s) : N/A
Multi-Pattern Measuring : 40 Segment, Center Weighted, Spot
Scene Mode(s) : Portrait, Landscape, Sunset, Night View/Night Portrait
Processor
BIONZ™ Engine : Yes (LSI with Dynamic Range Optimizer (DRO/DRO+))
Optics/Lens
EV Compensation : ±2.0 EV, 1/3 EV Steps
Exposure : Manual Exposure: Yes, w/EV indicator, Manual Exposure: Yes; Aperture/Shutter Priority, Manual, Program Shift: Yes, Command Dial
Focus : Auto Focus: TTL Phase Detection, Multi-point: 9 Area, 8 Line, 1 Cross Sensor, Auto Focus Mode: Yes, Adjustable Spot AF: Selectable Sensor, Visual Focus Confirm: Direct via VF Matte Screen, Manual Focus
ISO : Auto/160/200/400/800/1600/ Lo80/Hi200
Lens Type : Interchangeable A-mount
Shutter Speed : 30 <>
Given the budget Cyber-shot DSC-S700's position at the rock-bottom of Sony's 2007 camera line, all you should really expect from it is the ability to take usable photos with minimal fuss. And by those standards, it passes muster. Just.
Compact and weighing 6.8 ounces, the S700 fits comfortably in a jacket pocket. It uses a typical control layout: the mode dial and power switch sit on top, while on the back you'll find a zoom rocker; four-way-plus-enter switch for exposure compensation, flash, macro and self-timer; and image quality/delete, review, display, and menu buttons. All these controls are large enough--the 2.4-inch LCD leaves plenty of space for them along with a small thumb grip--and it's pretty comfortable to shoot one-handed. However, the buttons all feel a bit flat and hard to push, while the navigation switch doesn't always seem to register presses. Like many of its classmates, the S700 lacks an optical viewfinder, and there are times in bright sunlight that the LCD becomes unreadable.
Feature wise, there's not a lot to the 7-megapixel S700. As with many budget options, it sports a relatively slow, narrow-angle lens, in this case an f2.8-4.8 35-105mm 3x zoom. From within the menus you can choose from some color effects, spot or evaluative metering, several white-balance presets, sensitivity up to ISO 1000, Fine or Standard compression quality, sharpness, flash compensation, and single or burst shooting.
Compared with many low-budget models, the S700 performs pretty well. It powers on and shoots in just under 2 seconds. In good light when there are no contrast problems to challenge the autofocus, it focuses and shoots in 0.8 second--tolerable, but not great. But when the lights dim and contrast decreases, shutter lag increases just a bit to 1.1 seconds, which is very good for its class. It typically takes about 1.8 seconds to shoot two consecutive frames, which jumps to a reasonable 2.5 seconds when flash comes into play. The S700 provides a limited three-shot burst mode that shoots at around 1.4-1.6fps, depending upon file size and quality settings.
The results look a bit more middling when it comes to photo quality. Though it certainly fares no worse than many competing cameras, its pictures don't match up to those of models such as the Canon PowerShot A550 or Fujifilm FinePix A900. You can get some decent snapshots in good light, as long as you stick to the lowest ISO sensitivity setting, though they might not stand up to printing larger than 8x10. There's surprisingly little fringing. Beyond that, however, problems arise. The default evaluative metering mode tends to underexpose shots and photos lack sharpness. There's visible vignetting at the widest angle of the zoom range. Depending upon the subject matter, photos shot at ISO 200 can be OK, but above that there's simply too much noise and detail smearing from aggressive noise suppression. The automatic white balance remains within acceptable limits, but occasionally gets confused. (Some photo samples are available here.)
In the highly competitive low-end camera market, it takes a bit more work to stand out from the crowd. Unfortunately, the frill-free Sony Cyber-shot DSC-S700 can't quite keep up with better same-priced models like the Canon PowerShot A550 or Sony's own, slightly more expensive DSC-W55.
The good: The Sony Cyber-shot DSC-S700 has respectable performance for its class.
The bad: Unfortunately, it has some issues with photo quality.
The bottom line: Other models do budget better than the Sony Cyber-shot DSC-S700.
Shoot dramatic close-ups and sharp fast-action shots with the 8.1 megapixel Cyber-shot® DSC-H7 digital camera. The Carl Zeiss® 15X optical zoom and Advanced Sports Mode with high shutter speed are perfect for crisp long shots and excellent detail when shooting at sporting events.
Super SteadyShot® image stabilization and high-sensitivity (ISO 3200) mode reduce blur when shooting without a flash and Face Detection technology brings out the best in faces. You can also manually control the exposure and focus of the DSC-H7, making it ideal for more artistic shots. And with HD (high definition) output, photos can look even more spectacular when you share them with friends and family on HDTV screens.
High-Power Carl Zeiss® 15X Optical Zoom
A superb lens for bringing long-distance subjects up close, the pro-quality Carl Zeiss® Vario-Tessar® lens design of the DSC-H7 provides 15X Optical zoom design -- with 25X HD Digital zoom to enlarge the center portion of the picture so you see even more detail.
8.1 MP Super HAD™ CCD
More megapixels give you more detail and definition for editing, cropping, and making large digital prints. Sony’s advanced Super HAD™ (Hole Accumulated Diode) CCD design allows more light to pass to each pixel, increasing sensitivity and reducing noise.
HD Output1
Thanks to Sony, your photo album can go high-def -- with direct HD output1 to compatible HDTV screens, so you can view DSC-H7 still photos in spectacular high definition clarity and detail. Your life never looked so exciting!
HD Slide Show with Music
It’s the high-definition viewing experience that makes photos come alive on compatible HDTV screens, accompanied by your choice of visual effects and any of four preset musical selections stored in memory or your favorite MP3 tunes downloaded from PC to your camera for use as background music.
Face Detection
By automatically controlling focus, exposure, color and flash, this new Sony feature reveals faces in shadow, makes skin tones look more natural and eliminates harsh facial glare -- to help bring out every expression on every face in every shot, so you’ll capture the personalities and emotions that make memories come alive.
High Sensitivity Mode
With Super SteadyShot® image stabilization to minimize blur, High Sensitivity Mode (ISO 3200) lets the DSC-H7 shoot effectively in low light without flash to preserve the mood -- and Sony’s original Clear RAW™ NR (Noise Reduction) image processing technology helps suppress the color noise that can accompany high-sensitivity shooting.
Advanced Sports Mode
To capture fast-moving subjects in split-second detail, the DSC-H7 provides a Sports shooting mode that combines high shutter speed (up to 1/4000 sec.) that responds more quickly to rapid motion -- a great way to catch the perfect moment in sports, children’s games, pet tricks and more.
Long-Distance Flash
A powerful flash provides extra illumination to light up subjects farther from your camera, with precise light control and the ability to adjust flash for both front and rear sync when shooting at low-speed sync setting.
Super SteadyShot® Optical Image Stabilization
Other image stabilization systems crop in to compensate for “camera shake” -- but with the Super SteadyShot® system, optical sensors detect camera movement and send correcting signals to a stabilization lens that allows even ultra-long-distance digital photos to capture more detail with less camera shake distortion.
9-Point Auto Focus
Because an off-center subject can make your shot more interesting, the DSC-H7 can measure auto-focus precision at 9 points on your screen -- giving you greater creative freedom to compose your image.
D-Range Optimization
Powered by the exclusive Sony Bionz™ high-speed processing engine, D-Range Optimization preserves image data in bright highlights and reveals more detail in shadows or backlit areas -- for great results even in difficult lighting conditions.
In-Camera Retouching
The DSC-H7 lets you add creative effects to photos after you shoot -- including soft edge filter to soften backgrounds, cross filter to place starry “dazzles” at highlight points, partial color filter to mute surrounding colors, even fish-eye filter to create interesting fish-eye lens effects.
In-Camera Red-Eye Reduction.
Irritating “glowing eyes” can ruin even the most creative photos -- so the DSC-H7 gives you in-camera correction at the touch of a button to reduce lingering red-eye effect that other systems might miss.
2.5”2 LCD Screen, Simple Controls
The DSC-H7 provides a large, bright LCD screen that makes it easy to compose shots, check results and read menus even in bright sunlight -- plus simple camera menus, a new GUI Home button, and Function Guide display that makes it easier to learn camera setup operations.
Electronic Color Viewfinder
In addition to its 2.5”2 LCD screen, the DSC-H7 has a built-in electronic color viewfinder that lets you shoot in traditional camera style and save battery power by turning your LCD screen off.
Remote Control Function
In both shooting and play mode, you can use a supplied remote control unit to control basic camera functions – including zoom, menu settings, etc. – so you can put yourself in the picture when shooting with a tripod or sit back andenjoy the show when you share images on your home TV screen.
Wheel Dial for Manual Exposure Modes
For more creative freedom, a simple wheel-dial control lets you quickly change camera settings in manual modes (shutter speed priority, aperture priority, manual exposure) and also control ISO sensitivity, focus area, and exposure value. In play mode, the wheel dial provides a quick way to view your next or previous shot.
31 MB Internal Memory
The DSC-H7 allows you to capture shots in-camera for later transfer to PC or Memory Stick Duo™ media -- so even if you forget your flash memory card, you can always get the shot.
Memory Stick Duo™ Media
The DSC-H7 has a built-in slot for optional Memory Stick Duo™ media or higher-capacity Memory Stick PRO Duo™ media -- the ultra-compact media for shooting, storing and sharing your photo images.
76X Smart Zoom® Feature4
Sony’s Smart Zoom® feature gives you an amazing ultra-close crop on the central portion of interest in your photo while avoiding the image degradation of other digital zooms.
MPEG Movie VX Fine Mode
The DSC-H7 can capture VGA (640 x 480) audio/video clips at high frame rate (up to 30 frames per second5) -- with Optical Zoom in movie mode to let you zoom in or pull back while taking action shots.
Stamina® Battery Power
The DSC-H7 provides up to 250 shots3 with a fully charged NP-BG1 Lithium Ion battery -- enough shooting capacity to cover a long weekend or a whole vacation.
Weights and Measurements
Weight (Approx.) : Weight: 13.2 oz (375 g) Body; 1lb 2.1 oz. (514 g) including Battery and optional Memory Stick™ DUO Media
Dimensions (Approx.) : Dimensions: 4 5/16" x 3 5/16" x 3 3/8" (109.5 x 83.4 x 85.7 mm)
Convenience
White Balance : Automatic, Cloudy, Daylight, Fluorescent 1, Fluorescent 2, Fluorescent 3, Incandescent, Flash, Manual
Self Timer : Yes (10 seconds, 2 seconds, Off)
Memory Stick PRO™ Media Compatibility : Tested to support up to 8GB Memory Stick DUO PROTM media capacity1; does not support Access Control security function.
Still Image Mode(s) : Burst, Normal JPEG, Bracket Exposure
Red-Eye Reduction : Yes (On/Off all modes)
Burst Mode : Up to 100 Shot at TBD fps (all resolutions)
Erase/Protect : Yes/Yes
Date/Time Stamp : No/ No
Media/Battery Indicator : Yes/Yes
Color Mode(s) : Black & White, Natural, Sepia, Vivid
Hardware
LCD : 2.5"2 (115K Pixels TFT LCD Screen)
Viewfinder : 0.2" 201k LCD, TTL EVF
Lens Construction : 13 Elements in 8 Groups, 4 Aspheric Elements/ 1 ED lens
Microphone/Speaker : Yes/ Yes
Lens Type : Carl Zeiss® Vario-Tessar®
Docking Station : N/A
Convenience Features
AF Illuminator Light : Yes
PictBridge Compatible : Yes
Multi-Pattern Measuring : Yes
SteadyShot® Image Stabilization : Yes
Scene Mode(s) : Advanced Sports Shooting, Beach, Fireworks, High Sensitivity, Landscape, Portrait, Snow, Twilight, Twilight Portrait
Movie Mode(s) : MPEG VX Fine with Audio (640x480 at 30fps) (MPEG VX Fine requires Memory Stick DUO PRO™ media), MPEG VX Standard with Audio (640x480 at 16fps), Presentation Mode (320x240 at 8.3fps).
Power Save Mode : Yes (after approx. 3 min. of inactivity)
In-Camera Editing : Red-eye reduction, soft edge filter, cross filter partial color filter, fish-eye filter
Power
Battery Type : Lithium-Ion NP-BG1
Battery Capacity : 3.6V, 960 mAh
Optics/Lens
* Focal Length : 5.2 - 78 mm
* 35mm Equivalent : 31 - 465 mm
* Focus : 9 Area Multi-Point AF, Monitoring AF, Flexible Spot AF
* Aperture Range : Auto, (f2.7-5.6W)/(f4.5-8T)
* Shutter Speed : 1/4-1/4000 sec. (Auto), 1-1/4000 sec. (Program Auto), 8" - 1/2000 (Aperture Priority), 30" - 1/4000 (Manual/Shutter Priority)
* Exposure Compensation : 2.0 EV, 1/3 EV Step Increments
* ISO : Auto, 80, 100, 200, 400, 800, 1600, 3200
* Smart Zoom® Technology : Up to 18X (5MP), 23X (3MP), 25X (16:9 2MP) 76X (VGA Resolution)4
* Digital Zoom : 0-2.0X (Precision)
* Optical Zoom : 15X
* Macro Mode : Yes
* Total Zoom : 30X
* Face Detection : Yes
Last year, Olympus released the SP-550UZ, a 7-megapixel digital camera with an impressive 18x zoom lens. We loved its lens' long reach and wide angle, and appreciated its great body design. Unfortunately, the camera was plagued with performance and picture quality issues. Now Olympus offers the SP-560UZ, an 8-megapixel follow-up. It carries over both good and bad aspects of last year's camera, but overall presents an improvement.
Body design was one of our favorite aspects of the SP-550UZ, so we were pleased to see that the new version looks and feels almost identical. Every design aspect is carried over, from the pop-up flash to the comfortably large, flat buttons. It even weighs nearly the same, standing at a hefty but manageable 16.4 ounces with four AA batteries and an xD memory card.
A whopping big lens stands out as the SP-560UZ's most prominent feature, just like its predecessor. The 27-to-486mm-equivalent lens is slightly wider and shorter than the SP-550UZ's 28-to-504mm-equivalent lens, but still offers the same f/2.8-4.5 range and 18x optical zoom. I could easily frame the spire of the Empire State Building from Hoboken, N.J., thanks to the camera's long reach. Sensor-shift image stabilization helps reduce camera shake, a vital feature when pushing the camera to its full zoom without a tripod to stabilize it.
Unfortunately, the SP-560UZ's biggest feature is also one of its greatest weaknesses. While its lens is long and wide, it simply isn't very sharp. Regardless of the lens position and focus, pictures taken on the SP-560UZ generally look soft. Fine details, like text focused upon from a great distance, can appear fuzzy regardless of focus, shutter speed, or ISO sensitivity. Beyond the softness, significant noise further hurts the camera's pictures. Notable grain appears at ISO 200, and gets significantly worse as sensitivity gets higher. At ISO 400 and higher, noise consumes fine details, rendering textures muddled.
Like most superzooms, the SP-560UZ targets experienced users, and so it is packed full of useful, advanced features. An electronic viewfinder offers a great alternative to the camera's 2.5-inch LCD screen for framing shots, especially when shooting in direct sunlight. The camera toggles between EVF and LCD screen, so you can't have both running at once. However, when shooting with the EVF, pictures still appear on the 2.5-inch LCD screen by default, so you have to take your face away from the viewfinder to review what you just shot. The SP-560UZ also includes a full selection of exposure controls, including Program/Aperture-priority/Shutter-priority, and Manual shooting modes.
While it didn't come loaded on our review sample, version 3.1 of the SP-560UZ firmware adds support for Olympus wireless flash units. If you install the optional firmware upgrade through the included Olympus Master 2 software (instructions can be found on Olympus' support site), the camera can be set to function on one of four different channels to wirelessly control Olympus' FL-50R or FL-36R flash units. This is the first time we've seen this feature on a non-SLR camera, and it can be useful for users who want to set up a small studio.
In our lab tests, the SP-560UZ far surpassed its slow predecessor but otherwise showed middling performance; it's responsive enough to shoot without much trouble, but it feels sluggish at times. After a 2.4-second wait from power-on to first shot, the camera could record a new JPEG every 2.1 seconds with the onboard flash turned off. With the flash enabled, that wait bumped up to 2.5 seconds between shots. RAW shooting was quite slow, capturing a single uncompressed picture every 13.5 seconds, though that's not abnormal for a non-SLR. RAW shooting is a welcome feature on any non-SLR camera, but the extra long shot-to-shot time definitely limits its usefulness. The shutter lagged a slightly sluggish 0.6 seconds with our high-contrast target, and 1.5 seconds with our low-contrast target. In burst mode, the camera captured 11 full-resolution JPEGs in 9.7 seconds for an average rate of 1.1 frames per second. The camera also features a high-speed burst mode that can shoot 15 still photos a second, though it can only record at 1280 x 960 or lower resolution, and doesn't refocus between shots.
If you want a camera with an extremely long lens for less than $500, the Olympus SP-560UZ is one of only a few choices available by retail. The Sony Cyber-shot DSC-H9 has a mere 15x optical zoom, but its slightly nicer pictures offset its slightly shorter lens. Otherwise, you'll need to invest in a digital SLR with a very long lens, and together they can cost a lot more.
CNET editors' review
Canon changed a bit more than the shape of the headlights between the PowerShot S2 IS and the S3 IS, but not much. The newer model integrates a 6-megapixel CCD instead of 5 megapixels, and Canon tosses in a few new features, but ultimately, it's the same camera. That's not necessarily a bad thing--the S2 remains a great camera, and the S3 carries on the tradition.
The Canon PowerShot S3 IS's aesthetic seems to be a cross between those of a classic Volkswagen Beetle and a Busy Box. Granted, it's the same body as its predecessor's, but the silver bits stand out more against the current version's iridescent, dark gray plastic than they did against the previous model's silver coloring. As with the S2, there's certainly enough here to keep you busy for a long time, though, and loving every minute of it. (For more details about the S2/S3's basic design and features, read the PowerShot S2 IS review.)
For the S3, Canon upped the size of the flip-and-twist LCD to 2 inches from 1.8, which is still disappointingly small. The company also added a ludicrous 16:9 aspect mode: not only does it simply crop and letterbox the standard 4:3 image, but the LCD is too small for a functional letterbox display. More useful is the new 320x240 60fps movie-capture mode, which produces slick little movies, as does the VGA, 30fps mode. Unfortunately, the camera still lacks raw format support.
Oddly, despite the different sensors--or perhaps because they use the same f/2.7-to-f/3.5, 36mm-to-432mm lens and Digic II imaging processor--the S3's photos look almost identical to the S2's. They display a broad tonal range, albeit with some clipping in the highlights and shadows, very good color accuracy and saturation, and acceptable edge-to-edge sharpness. Its noise profile follows suit as well: low until about ISO 200, then increasingly bad. Though the camera can now boost ISO sensitivity to as high as ISO 800, either manually or by enabling ISO Boost in a programmed-exposure mode, the noise at that setting is quite obtrusive. In general, the S3's photos look good but can't really shake the digital look, either onscreen or in print.
Performance, while not identical to the S2's, is either the equivalent or better. Start-up to first shot takes only 1.5 seconds, which is quite zippy overall, and extremely good for a camera that has a long lens to extend. Shutter lag in bright light runs about 0.4 second and doubles to 0.8 second when the lights get low. The S3 is also relatively responsive: 1.1 seconds typically from shot to shot, plus another second if the flash needs to recycle. Though it maxes out at 1.5fps in continuous-shooting mode, there's no buffer-constraint on the number of sequential shots at maximum resolution; I find that much more useful than a fast but limited burst mode. It was certainly sufficient to capture active dogs and children playing in the park, including kids spinning in a tire swing.
Autofocus occurs quickly for the most part, although a few of my shots looked as if the focus hadn't locked before capture. I didn't experience any of the problems that the S2's reviewer did with SuperMacro mode; it worked fine for me, even with the lens almost pressed against the subject. The image stabilization bought me about two stops of shutter latitude, but my hands shake like an octogenarian's--a coffee-drinking octogenarian.
I'm not a big fan of electronic viewfinders (EVFs), and the S3's didn't convince me otherwise; though it's fine for framing, I hate that it freezes when the shutter is pressed. The LCD is certainly viewable in most light, but I prefer an eye-level viewfinder to the unsteady arm's-length approach.
True, a cheap dSLR will provide better performance, and a moderately priced one will deliver better photo quality. But the Canon PowerShot S3 IS's combination of features, performance, and relatively compact design certainly gives megazoomers a compelling alternative.
CNET editors' review
dSLRs on a shoestring The Canon EOS Rebel XS joins the ranks of digital SLR cameras that can be had for a song--to the tune of $750 or less, with lens.Remember when it was common to drop $500 to $700 on a nice digital point-and-shoot? These days, with the same money, you can pick up a digital SLR camera.
These aren't professional models or the very best that current technology has to offer, but for the photo enthusiast on a budget--or even the avid family photographer--they can be a big leap forward. With larger sensors and generally faster performance than snapshot models offer, these cameras provide plenty of tools to photographers who prefer a camera with more than one button. And if you save your pennies, you can increase their flexibility and image quality in the future with additional lens and accessory purchases.
But which to buy from this year's models? Here's my take. For the best overall value for the money, the Pentax K200D hits all the right notes with a dust- and weather-resistant body, sensor-shift image stabilization, and other premium features. It's biggest weakness is not-terribly-accurate colors and a tendency to underexpose, which can be overcome with some tweaking. For the best photo quality, the Canon EOS Rebel XS delivers, especially in low light, and its kit lens is the best of the group.
It does have some operational annoyances, though, such as hard-to-see AF points in the viewfinder and no spot meter, and it lacks in-body image stabilization. Though it's not a clear winner in every race, the Nikon D60 seems to have the best overall performance of the group. However, its photo quality and feature set can't match most of the other models for the money.
For the cheapest model that fulfills the dSLR promise--better performance, photo quality, and flexibility than a point-and-shoot--the Sony Alpha DSLR-A200 seems to have garnered its share of fans.
When a series of products is as successful as Canon's PowerShot line, it's almost impossible not to approach each new offering with high expectations. Canon has produced hit after hit, including our Editors' Choice picks, the SD790 IS and SD1000. While the SD890 IS ($399.99 list) doesn't quite have what it takes to be our next top compact camera, this 10-megapixel shooter still lives up to its PowerShot name, with plenty of features and innovations, as well as impressive image quality.
The SD890 IS is actually a little lighter than the Nikon Coolpix P60 I tested recently, but it's also far more compact, so the weight (about 5.5 ounces, body only) is more noticeable. And at 2.3 by 3.8 by 1.1 inches (HWD), the SD890 IS is small enough to tote around easily. Yet the camera strikes a nice balance between size and comfort, as it's big enough to hold easily without being too bulky.
The only controls on the top of the camera are the shutter button and a toggle switch for the zoom. I'm not a fan of the power button. It's a small, half-moon-shaped nub wedged into the curve of the camera next to the LCD and above the viewfinder, making it difficult to tap without a conscious effort. Turning the camera on requires a deliberate press from just the right angle, and it helps if you have a long-enough fingernail. (Those with big hands and fingers will likely struggle.) This complaint might sound minor, but it can be an issue, particularly if you're trying to turn the camera on in a hurry.
A dial next to the power button lets you toggle between automatic, manual, video, and scene modes. Underneath it you'll find the Print/Share, Playback, Display On/Off, and Menu buttons, along with the SD890 IS's scroll wheel, which also functions as a four-way controller. This last feature allows one-touch access to frequently used items like the ISO settings (only high or auto), the self-timer, flash modes, and focus options.
The SD890 IS features a slightly better-than-average 6.6mm to 33.0mm 5X optical zoom lens (35mm equivalent: 37mm to 185mm) with corresponding maximum f-stops of f/3.2 to f/5.7. The camera's 2.5-inch LCD worked well, even in direct sunlight. The display adjusts its brightness to match the light conditions, and images appear crisp and clear.
Once you're ready to start shooting, making various adjustments is straightforward. When you're in manual or scene modes, you can use the scroll wheel to select and preview specific shooting modes. For instance, with the dial turned to scene, you can frame a shot on the LCD and see how it looks when adjusted to match the scene specifications for indoor, sunset, foliage, and more. It's convenient to shuffle through and quickly preview scene settings in this manner, especially if you have the time to set up a shot carefully. For instance, while shooting in a park, I had the camera in child/pet mode but chose to switch into foliage mode while taking in the greenery. As I turned the dial, the plants went from slightly muted to a vibrant green that really popped. The same preview advantages are available for manual modes, like digital macro, color swap, and color accent. Unfortunately, toggling through the various modes using the scroll wheel can take some getting used to. The wheel is not the most intuitive or responsive, and sometimes selecting a specific mode quickly is difficult.
High ISO mode will crank up the camera to an impressive ISO 3200, though of course you'll see some serious graininess at that setting. The images actually start to show some grain at around ISO 200 and are significantly grainy past ISO 400. The camera's face detection works well and is surprisingly responsive to moving subjects.
While most cameras offer straight-up image stabilization, that of the SD890 IS comes in three flavors: Continuous, Shoot-only (activated when the shutter button is pressed), and Panning (which stabilizes only up-and-down motion). When taking pictures of moving subjects in a dimly lit restaurant, panning mode produced the best results, but all three options produced a significant improvement over the shots I took with image stabilization turned off.
The SD890 IS isn't short on shooting modes, offering 11 within the scene setting, plus four more within manual, similar to those offered by the Fuji FinePix J10. The manual settings, similar to those found on other recent Canon models, include Digital Macro, Color Accent, Color Swap, Stitch Assist. Manual also offers a number of more advanced controls, including exposure compensation, white balance, and various autofocus options. While the scene modes are fairly standard (portrait, kids/pets, and the like), there are some more-unusual options, such as separate settings for snow and beach scenes, and an aquarium mode to enhance aquatic shots, cutting down on glare and ensuring deeper, more accurate color.
In-camera editing options are fairly limited but include red-eye correction, cropping, resizing, and "My Colors," which can highlight a selected color in an image or switch to sepia, black-and-white, or other effects. Like the Nikon P60, the SD890 IS can be started in review mode by holding down the playback button. You can then jump right into shooting mode by hitting the shutter button.
The camera's performance in the lab was good. I have a few minor complaints, but the average user probably won't notice many of them. Daylight shots were a bit shadowy. Viewed alone they looked fine, but the difference was easier to see when compared with the brighter shots the Editors' Choice SD1000 produced. Flash shots tended to be underexposed but otherwise consistent, with vivid color. The images didn't exhibit any purple fringing. The lens suffers from some distortion at the widest angles, but this wasn't a major problem.
The SD890 IS is responsive enough, but it's not going to set any records. Boot-up time is fine at 2.7 seconds. Recycle time is decent at 2.98 seconds, though the SD890's shutter lag, at 1.4 seconds, was a bit disappointing. However, while using the SD890 IS in everyday situations, I didn't have any significant complaints about the time it took to power up and shoot.
Video looked crisp, and the audio was clear. Videos can be shot at 640-by-480 or 320-by-240 resolution, both at 30 frames per second. There's also a time-lapse option, to shoot video at 1 or 0.5 frames per second at 640-by-480 resolution. I was able to zoom in while shooting, though the audio was so sensitive that, while shooting in a quiet office, the sound of the lens extending was recorded with my video. Besides the video mode on the dial, you can record standalone audio in playback mode, available among other editing options in the menu.
I was really impressed with the SD890's rechargeable battery, which held a full charge during my entire extended testing period.
Thanks in large part to a generous feature set and good picture quality, the Canon PowerShot SD890 IS holds its own among compact cameras. Still, there's no getting around the high $400 price tag. The Kodak EasyShare M1033 is just one example of another 10MP shooter that rings up at about half that price. While the M1033 may not live up to the SD890 IS's performance, it's a great low-cost alternative. Nevertheless, I wouldn't hesitate to recommend the SD890 IS for its ease of use, versatility, and impressive images.
Article courtsey of pcmag.com
The saying that good things come in small packages doesn't always hold true (Sony Rolly anyone?), but it certainly does in the case of the Pentax Optio M50 ($229.95 list). Loaded with features like face detection and digital shake reduction, this well-rounded 8-megapixel compact (available in silver, pink, or blue) offers a lot of bang for the buck. Although some areas have room for improvement, the Optio M50's simple interface and overall good performance make this a point-and-shooter nearly anyone can enjoy.
At 2.2 by 3.7 by 0.9 inches (HWD), the brushed-metal 4.7-ounce Optio M50 is similar in size to the Casio Exilim EX-S880. Though tiny, the camera feels surprisingly sturdy and sports a 2.5-inch LCD, which is easy to view, both indoors and in direct sunlight—important, as there's no optical viewfinder. The lens has a range of 6.3 to 31.5mm (35mm equivalent: 36mm to 180mm), maximum f-stops of f/3.5 to f/5.6, and a 5X optical zoom. Like most point-and-shoot cameras, the M50 accepts SD and SDHC memory cards.
For the most part, the M50's buttons are thoughtfully placed and big enough for even large fingers to press squarely. But while the shutter button (located on top of the camera) is slightly elevated and easy to find by touch, the power button (next to the shutter button) is concave and offers no tactile feedback, making it harder to locate. The four-way controller serves as navigational tool for menus, and provides instant access to flash and focus modes, while a center button controls display information. The zoom control is relatively wide and easy to press with the thumb, and you get dedicated buttons for the face-detection and smile-capture features.
The menu system is uncomplicated and unlikely to intimidate novices. Options to adjust settings like white balance and sensitivity are well positioned and easy to find, although the M50 may have taken the friendly approach a bit too far. For example, the mode selection screen, while helpful and informative, features large icons that, in my opinion, mimic the drawings of a fifth grader; they might be a bit off-putting for some.
For automatic shooting, the M50 will select from six modes (standard, night scene, landscape, portrait, sport, flower) depending on the scenario, and an instant review option allows a picture to be previewed for from 0.5 to 5 seconds after it's taken. The M50 isn't too strong on manual settings. While you can, for example, adjust the M50's white balance, you have to choose from six preset options rather than fine-tuning it manually.
Face detection works well. Even in groups of more than four people, the camera recognized and focused the individual faces in the shot. Smile capture, on the other hand, wasn't reliable. It was able to detect smiles, but more than half the time when the LCD indicated that someone was smiling the M50 failed to snap a picture. (The Optio V20 did better here.) The M50's Digital Shake reduction was a mixed bag. The images I took while walking, at both a normal pace and briskly, showed very little blurring. Unfortunately, there was noticeable noise in many of the shots, likely because Pentax raises ISO settings in order to reduce blur. ISO settings range from 100 to all the way to 6400, but, in general, I found leaving the ISO at 100 was best, as using the higher settings resulted in more noise than I'd like to see. This means you're pretty much limited to bright daylight shots or, in darker settings, to those within range of the flash—somewhat problematic, because the camera's flash didn't wow me.
The M50 held up well in most areas during my lab tests. Image quality was slightly above average with good daylight consistency, although colors seemed slightly muted. Flash shots were inconsistent, with an overall dark cast; the V20's flash shots were much better and consistent. Achieving 2,000 lines, the M50 scored slightly above the average on our resolution test. (The average score for an 8MP camera is between 1,700 and 1,900.) Boot and recycle times were also good, at 3.33 and 2.33 seconds respectively. Shutter lag was very good as well, at 0.28 second. Barrel distortion wasn't apparent at the telephoto end but was significant at the wide angle of the lens.
The M50 does a great job of capturing 30-frame-per-second AVI video. Quality was superb, with little graininess and great color contrast. You can't use the 5X optical zoom while recording, but otherwise I had no complaints. The M50 doubles as a voice recorder as well, but the audio quality was slightly tinny.
There's a lot to like about the Pentax Optio M50. It's compact and responsive, and it offers solid overall performance; furthermore, it's loaded with features, is easy to use, and has a great price. If you're in the market for an inexpensive compact that doesn't skimp on features, the Pentax Optio M50 is worth a look. On the other hand, if you favor performance over style, the V20, which costs about the same, might be a better choice.
Article courtsey of pcmag.com
When a camera manufacturer releases a pricey D-SLR, it had better have killer features or some sort of hook to entice current users to upgrade to the latest model or to get new customers to take the plunge. The Nikon D60, while a very good camera, doesn't really deliver in that regard. With a 2.5-inch LCD, a 10.2-megapixel CCD sensor, and lacking a Live View system, the D60 is nearly identical to its predecessor, the D40. That's not necessarily a bad thing, because the D40x is a significant step up from a simple point-and-shoot camera, but I wish the D60 offered more new features. With so much competition in the entry-level D-SLR market, this camera is in danger of becoming obsolete before long.
When you place the D40x and the D60 side by side, it's hard to tell them apart. Weighing in at 20.6 ounces with a battery and an SD card and without a lens, the easy-to-hold D60 is much lighter than its big brother, the 33.6-ounce D300. The included AF-S DX Nikkor 18mm to 55mm, f/3.5 to f/5.6G VR (vibration reduction) lens (35mm equivalent: 27mm to 82.5mm) is light enough not to add much to the camera's body weight.
While not quite as intuitive as the D300's, the D60's menu system is much simpler than that of the competing Sony Alpha DSLR-A350. I really like that the LCD displays graphic representations of nearly every setting. For example, the lens is represented by a circle that opens and closes as you increase and decrease the f-stops. Shutter speed is represented by rotating bars around the lens. If the shot you wish to take is too dark, you'll get a message on the LCD telling you so. There's an Information button on the bottom left of the camera that lets you customize what you see on the display. This same button also lets you access frequently used settings, such as ISO, white balance, and metering modes. To get to all camera settings, you need to use the Menu button.
During testing I found that autofocus was sluggish, compared with the same feature on the Sony A350. The D60 uses only a three-point autofocus, while the A350 and Canon EOS Rebel XSi both use a nine-point system. Generally, the more focal points, the quicker the response time can be. Nikon also employs lens-based optical image stabilization here, as opposed to Sony and Olympus (with its E3, for example) which rely on in-camera sensor-shift image stabilization. This is something to keep in mind if the lens you already own lacks this feature, as it is not built into the camera's body. That said, the D60 performed well during testing, and I never had a problem with blurry images. Nikon offers plenty of DX lenses for the D60, but as with the D40, older Nikon or Nikon-compatible D-SLR lenses (anything other than Nikon Nikkor AF-S lenses) won't have autofocus capabilities when installed on this model because of its relatively compact construction. Check Nikon's Web site for a full compatibility list.
A handy and fun feature that you won't find on all D-SLRs is stop-motion movie mode. The camera takes a series of JPEG files and converts them into a movie—a 640-by-480 AVI file at a frame rate of 15 frames per second. I found it easy and fun to use. The D60 also offers in-camera editing, including corrections for brightness and red-eye. Like the D300, the D60 has 3D Color Matrix Metering II. When this mode is activated, the camera will determine the best possible exposure for the scene to produce accurate light and shadow detail. I found it worked as well here as in the D300: Shots came out clear and bright, even in a darkened environment. An additional feature is the automatic Dust Reduction system, which works in conjunction with a new airflow control to keep the lens clean.
The D60 has a number of manual settings, including white balance, ISO sensitivity, shutter speed (including continuous mode), auto and manual focus, exposure metering, flash modes, exposure compensation, and active D-Lighting. It also shoots in RAW and RAW + JPEG format for maximum flexibility.
ISO settings go all the way up to 3200, and, as with most D-SLRs, low-light shots were impressive. Noise was negligible at about ISO 400, and even at ISO 1600 noise was minimal—often completely unnoticeable. I did find that at ISO 3200 unacceptable noise was present in some shots.
In the lab the D60 demonstrated its high speed. One of the key missions of a D-SLR is to eliminate shutter lag and enable continuous shooting. The D60 doesn't disappoint, with a boot-up time of just 0.2 second, and shutter lag of just 0.15 second—scores nearly identical to those of the $1,800 (body only) D300. At 1.5 seconds, recycle time was impressive, but not as lightning-fast as the D300's (less than a second). Still, this is much quicker than any compact point-and-shoot camera can manage. The camera's burst mode was effective and speedy, allowing for continuous shots to the capacity of the card. (The D60 conveniently supports SD and SDHC cards, so you don't necessarily have to upgrade your existing memory format.)
Using a DX-format CCD image sensor, the D60 produces exceptional images. The camera averaged 2,000 lines on our resolution test—on par for a 10MP camera. My daylight and flash still-life shots were superb, with accurate colors and more-than-adequate flash coverage. Shadows were true to life, with no under- or overexposure. I saw slight barrel distortion at the very fringes of the wide angle, but that's to be expected. Outdoor shots yielded fantastic color, especially in the vivid mode, and I was able to get some excellent shots of the city skyline.
I don't have many complaints about the D60. It is an easy-to-use camera that produces high-quality images, and at $750 (with lens), it's a terrific deal. But since there aren't too many substantial feature upgrades from the D40x, the D60 is in danger of falling behind the current competition. The Sony A350 offers an excellent Live View system, a tilting LCD, and 14.2MP resolution, while the Canon EOS Rebel XSi sports a 3-inch LCD and a 12.2MP sensor. Of course, both of these models cost more—about $800 (body only)—but you'll get more features in the bargain. Still, if you want a solid, simple, budget D-SLR, the D60 delivers.
Article courtsey of pcmag.com
Our current Editors' Choice superzoom, the Panasonic Lumix DMC-FZ18, packs a massive array of features—and an 18X zoom lens—into a relatively compact body. This 8.3-megapixel shooter delivers above-average image quality, and at only $399.95, it's a bargain. (Its biggest fault—noisy images in low lighting—is typical of cameras in this class.) A worthy follow-up to Panasonic Lumix DMC-FZ8, the FZ18 adds some key features like a longer zoom and wider angle, higher sensitivity and resolution, and Intelligent Auto Mode, which includes face detection, automatic scene selection, intelligent ISO, and continuous autofocus. It's also similar to the Fuji FinePix S8000fd, but the FZ18 delivers more advanced features, greater ease of use, and better performance.
The star component of the FZ18 is its 18X wide-angle Leica lens, which has a range of 4.6mm to 82.8mm (equivalent to a 35mm lens with a 28-to-504mm zoom). The wide angle is a welcome upgrade from the FZ8, allowing you to capture more in group portraits and landscapes. The zoom operates at two speeds, depending on how far you push the zoom lever, and operation is smooth and seamless.
ISO ranges from 100 to 1,600. The camera has an Intelligent ISO mode that detects moving subjects and automatically increases the ISO to decrease blur. Panasonic has added a high-sensitivity mode that enables you to capture photos at an ISO as high as 6,400, although the resolution drops to 3MP. (Needless to say, the image quality also takes a dive.) The maximum aperture varies from f/2.8 at the wide end to f/4.2 at 504mm. The FZ18 offers not only raw mode, it also provides a raw-plus-JPEG option, which isn't usually found on inexpensive superzooms.
The FZ18's design showcases Panasonic's thoughtful attention to ergonomics. At 14.4 ounces (including battery and SD card), the camera is lightweight for a superzoom yet feels solid and well constructed. The FZ18 has a nice, rubberized grip that puts your fingers in a logical position to control the top-level buttons and provides a nice hook on the back for your thumb. On top, the shutter-release button and zoom lever are logically placed for comfortable use. The mode dial lets you select one of 14 top-level settings, including the primary mode selections and most popular scenes. Panasonic has added discrete manual focus and macro buttons, allowing for direct operation.
The back of the camera is home to a 2.5-inch, 207,000-pixel display. The screen is very bright; I was able to frame shots even in full sunlight. On my field tests, however, I found the LCD was sometimes slow to refresh. If that's a problem, you can frame shots with the electronic viewfinder, which has a 188,000-pixel display and includes an adjustable diopter. That's a welcome addition not available in the DMC-TZ3, which lacks an electronic viewfinder.
The buttons on the FZ18's back are well positioned for ergonomic use. The two that you'll use most are the main menu cursor buttons and the joystick. The center button of the menu cursor puts you into the menu system; the four surrounding directional buttons let you control exposure, flash settings, the self-timer, and image playback. If you prefer, you can navigate the menu using the small joystick. It's convenient for accessing commonly changed settings, such as ISO and white balance.
On my field tests, the FZ18 was an impressive performer. It's a blast to use, thanks to its extensive list of features, intuitive menu system, and highly versatile lens. In general, the camera captured images with accurate, natural color and correct exposures, especially outdoor shots. Indoor and low-light shots sometimes suffered from noise (more on that later).
Image stabilization worked well. Panasonic gives you two stabilization settings: In mode 1, the image stabilizer is constantly working; in mode 2, the stabilizer is activated only when the shutter button is pressed. On my tests, both options worked fine, although I found mode 1 a little easier to use. The face detection function, new to the Panasonic's superzoom line, automatically sets exposures and focus. It can recognize up to 15 faces, and it worked well under normal lighting conditions, although sometimes not as well in low light. The FZ18 has 17 scene modes, plus an advanced mode that lets you fine-tune the settings in popular scenes. In portrait mode, for instance, you can choose among normal, soft skin, outdoor, indoor, and creative settings.
While testing the FZ18, I discovered two unique and useful features. The high-angle LCD mode helps when you hold the camera above your head to take a shot because it optimizes the display, increasing the viewing angle—on my tests, it worked well. Another feature I like is the Extra Optical Zoom mode, which enables you to achieve a zoom of up to 28.7X. When you use this feature, the resolution drops to 3MP, but images still looked good enough.
For video, you can record motion JPEGs at 30 frames per second (up to 2GB in size) at resolutions of 640 by 480 and 320 by 240 pixels at the traditional 4:3 aspect ratio, and 848 by 480 pixels in 16:9 aspect ratio. The camera adjusted well to various lighting conditions and color was impressive, but you can't zoom during video capture.
On lab tests, I saw some barrel distortion at the extreme edge, which is typical. Simulated daylight test shots at ISO 100 were rendered in accurate color and crisp detail, with no purple fringing. Noise was visible at ISO 200 and objectionable at ISO 400. The FZ18 didn't fare as well on indoor flash tests, yielding images that were less crisp and a bit noisier. The FZ18's boot-up time was 3.2 seconds, which is fast for this class of camera. The camera also did very well on the resolution test, achieving an average resolution of 2,000 lines.
The Panasonic Lumix FZ18 is at the top of its class in features, and its performance was marred only slightly by noisy images under low lighting conditions, which is typical of cameras in this category. It's a perfect option for the photographer who wants more than a point-and-shoot but doesn't need the advanced features of D-SLR models.
Panasonic provides a one-year warranty on the Lumix DMC-FZ18. Article courtsey of pcmag.com
Canon's $399.95 PowerShot SD950 IS is a high-performance point-and-shooter that's perfect for photographers who want brilliant, crisp images but don't want to mess with manual controls. While this very capable 12-megapixel camera might strain your pocket (and your pocketbook), it's a top-notch snapper loaded with high-end features for serious amateurs.
The SD950 is a step up from Canon's 8MP SD870. Canon has increased the resolution and added an optical viewfinder for use in bright daylight, though it had to reduce the SD950's screen to 2.5 inches to fit the viewfinder. (The SD870 left off the viewfinder to make room for a 3-inch LCD.) Another nice feature that's sometimes absent from point-and-shooters is an on-screen battery meter—a good idea and oh so useful. And for amateur videographers, the SD950 provides the option of high-def video at 1,024 by 768 (however, the frame rate drops to 15 frames per second, and the aspect ratio remains at 3:2).
The first thing you notice about the SD950 is its handsome, solid titanium body, which is rendered in snazzy curves and rounded corners. The 5.8-ounce camera feels substantial and durable in your hands. There's no real grip, although the rounded curve on the right-hand side makes for a more comfortable hold.
At 1 inch thick, this camera can fit into your pocket. It's not nearly as slim as Canon's Digital Elph series because its image sensor is almost twice as large—and that demands a larger lens. The SD950 is outfitted with a 3.7X optical zoom lens that runs from 36mm to 133mm (with corresponding maximum f-stops of f/2.8 to f/5.8). I'd prefer a slightly wider-angle lens, such as the 28mm-to-105mm lens on the Canon SD870, but those who go for more zoom will like the SD950. Its sensitivity ranges from ISO 80 to 1,600 (Canon includes an ISO 3,200 scene preset, but this lowers the resolution to 2MP). There's a 2.5-inch LCD for framing shots, as well as the optical viewfinder. Use the viewfinder with caution, though, because it doesn't provide the full view delivered by the display. On my tests, I found the LCD viewable even in bright daylight.
As do most current point-and-shoot models, the SD950 comes with advanced face detection and an optical image-stabilization feature, which is especially useful at longer zoom lengths. You also get 11 scene modes, such as portrait, indoors, beach, snow, and so on.
Ergonomically, Canon has arranged the dials and buttons in a logical way that lets you access settings quickly. A cleverly canted mode dial at the top lets you easily choose between auto, manual, movie, and scene modes. Below that is a center function button—a feature that enables you to choose from the four options by circling your finger around the dial, much like a scroll wheel on an iPod. As you scroll, a graphic appears on the LCD to indicate what will be selected if you depress the button. This sounds gimmicky, but it lets you keep your eye on the LCD if you're changing a setting in the middle of a shot. You can also find this feature on the SD870.
The function button is flanked by four small buttons for PictBridge printing, playback, display, and menu. These four buttons are perilously tiny but are raised somewhat for tactile guidance. The Power button at the top is small and flush; those with large hands are sure to fumble. The large shutter button at the top left is very responsive, however, as is the zoom toggle.
If you've ever used a Canon digital camera, the menu system will be familiar. It's marvelously simple to use. All settings are a click or two away and are arranged so conveniently that you can't get lost in the menu—although you won't have full control when using the manual setting. You can easily change the ISO and white balance, but the camera gives you no way to set the aperture manually. For a camera this sophisticated, Canon should consider adding full manual control. The 12MP Fuji FinePix F50fd offers more advanced settings, including flexible low-light and action shooting tools—for $100 less.
On our lab tests, the PowerShot SD950 delivered very strong performance. Daylight shots were awesome in their detail and clarity at ISOs of 100 and 200. At ISO 400, noticeable fuzziness crept in, and anything above that level was very noisy. Flash photos were similarly beautiful at ISO 100 and 200—and just as disappointing at high sensitivities. Boot-up time was a relatively fast 3.4 seconds, and recycle time using flash was about 3.2 seconds. Shutter lag was noticeable but not a deal-breaker. On the resolution test, the camera averaged 2,025 lines, which is outstanding for a 12MP camera. There was no pincushion distortion at the telephoto end of the range and just the average amount of barrel distortion at the widest angle. The FinePix F50fd yielded similar results on lab tests.
The camera performed beautifully on my field tests, capturing detailed images with true color. In Auto mode, many of the photos snapped at ISO 200 were crisp, with no noise. In many cases, photos taken in dark shadows at ISO 400 were also surprisingly crisp and impressive. Face detection worked as advertised, as did the image-stabilization technology. Again, these results were similar to the F50fd's.
Canon's Auto ISO Shift feature, which automatically increases the ISO setting to capture an image at a shutter speed that compensates for camera shake or low lighting, was hit or miss. On my tests, it delivered adequate exposure but recorded images at ISO 800, resulting in unacceptably fuzzy photos. This was particularly acute at longer zooms.
The camera's high-def video capture, at 1,024-by-768, is a nice touch. Details were very sharp, although the trade-off was a stuttering 15 fps. You can kick the resolution down to 640 by 480 at 30 fps for smoother video with less detail. It's your choice.
Canon bundles a proprietary rechargeable lithium ion battery and a 32MB SD storage card. You'll want to invest in a much higher-capacity card to hold your photos, since at 12MP resolution the included card can hold only eight images shot at best quality.
Primarily because of its high cost, the Canon PowerShot SD950 IS isn't for everyone. If you're not a Canon stalwart, the Fuji FinePix F50fd is definitely worth a look. But for those who don't mind paying top dollar for a point-and-shooter, this one delivers high resolution and truly impressive photos.
Canon offers a one-year limited warranty against defects in materials or workmanship. For online support visit: http://www.usa.canon.com.Article Courtsey of pcmag.com
For most of us, a massive D-SLR is way too much camera to carry around all the time. Trim and lightweight, Sony's $349.99 Cyber-shot DSC-W300 is small enough to keep in a pocket and at the ready, but just because it's tiny doesn't mean it isn't capable. The speedy, super-high-resolution 13.6-megapixel DSC-W300 snaps some sharp photos with rich, pleasing colors, especially when outside. On the other hand, the camera's flash is a bit heavy-handed, and its physical controls may prove difficult for large fingers to operate.
The DSC-W300's attractively styled all-metal frame feels solidly built. About the size of a deck of playing cards, the camera measures 3.7 by 2.3 by 1.1 inches (HWD) and weighs 6.6 ounces. It features a relatively standard 3X optical zoom lens with an aperture range of f/2.8 to f/16 and a focal length of 7.6mm to 22.8 mm (35mm equivalent: 35mm to 105mm). The 2.7-inch screen, which dominates the back of the camera, is bright and easy to read except when viewed in strong, direct sunlight. There's also an optical viewfinder for framing shots.
Button layout is typical for a slim point-and-shoot camera. Along the top left edge are the power and shutter release buttons—both within easy reach of your index finger. Since the big display takes up so much real estate on the back of the cam, the dedicated Menu, Home, Picture Playback, and Slideshow viewing keys are extremely tiny. The mode dial, which lies flat on the camera body (right next to the screen), is also a challenge for larger hands, like mine, to manipulate.
Located within the SCN function are eight handy scene modes to make shooting simpler. You'll find helpful modes like SoftSnap, which shoots subjects with soft backgrounds, as well as Twilight, Beach, and Snow. Turning the mode dial to the Smiley Face icon flips the device into Smile Shutter mode, a feature integrated across Sony's Cyber-shot camera line. With this mode enabled, the camera locks onto faces in the frame and automatically snaps shots as your subject smiles. Yes, it's a bit of a gimmick, but it worked well on my tests. Other handy features include a face-recognition engine that can track up to eight faces at a time and a nine-point autofocus system.
The camera's menu system, unlike those of competing models such as the Canon PowerShot SD790 IS, takes a little while to understand. The interface is similar to that of Sony's own Cyber-shot DSC-T2, but unlike the T2, the DSC-W300 doesn't have a touch screen to help you out. Hitting the Home button pulls up a list of global settings. You navigate by using the aforementioned flat, circular mode button. The experience is reminiscent of Sony's XrossMediaBar interface (found on its TVs and PlayStation 3 consoles). Think this may be what he's after: "Pressing the Menu key yields a list of options you can change—but, confusingly, there's a different list for each mode. On the plus side, descriptions of menu items appear as you select them.
During labs testing, the DSC-W300 displayed nimble performance. The camera's average boot-up time was a swift 2.1 seconds. Shutter lag was minimal at 0.2 seconds, and I measured recycle time as an acceptable 3.1 seconds between shots. The camera's optics weren't bad, either. Though I observed a touch of barrel distortion at the lens's widest angle setting, there was no trace of pincushion problems when I zoomed up close. As far as image quality goes, the DSC-W300 delivered pleasing daylight pictures, possessing rich colors and crisp detail. Flash shots, on the other hand, were inconsistently exposed, with bright, flaring hot spots in the foreground and murky darkness plaguing the background. The DSC-W300 averaged 2,100 lines on our resolution test, confirming that it is capable of delivering its advertised 13.6MP resolution.
Informal shots taken outside in bright daylight were lovely, with vivid color and proper exposure. Dark environments were another story. Despite the device's ISO range (which tops out at 6400), shots taken without the flash or inside dimly lit bars resulted in heavy blurring of moving objects. These pictures also exhibited a fair amount of noise. Under the same conditions with the flash enabled, inconsistency issues popped up again. Subjects in the foreground had a tendency to be blindingly bright while those in the background were correctly exposed. Still, this type of problem is common among point-and-shoot cameras. If you want to take natural-looking night photos, you'll need to spring for an expensive D-SLR model.
As for video, the DSC-W300 captures MPEG movies in 640-by-480-pixel resolution at 30 frames per second. My test videos looked smooth and sounded fine. The camera stores video and pictures to Sony's proprietary Memory Stick Duo and Memory Stick Pro Duo media.
With its stylish design, high resolution, and agile performance, Sony's Cyber-shot DSC-W300 is a compelling compact camera. If you plan to shoot most of your pictures outdoors or within well-lit environments, the W300 captures some great-looking images. And at $349, it's not outrageously priced when compared with other high-end models like the $399 Canon PowerShot SD950 IS. But there are better bargains out there—in particular, the $150 Casio Exilim EX-Z9, which also exhibited good daylight picture quality and excellent video capture. Of course, none of these cameras displaces our reigning Editors' Choice point-and-shoot camera, the top-notch Canon PowerShot SD790.Article Courtsey of pcmag.com
