Camera & Camcorder Reviews

GoPro Hero3 White Edition (5MP)

2013-03-06T16:33:00.000-08:00

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AppId is over the quota
The good: The GoPro Hero3 is smaller, lighter, and features built-in Wi-Fi connectivity. The Black Edition offers a number of ultra-high-resolution capture modes and high frame rates for standard HD resolutions; burst speeds for still photos has been greatly improved.

The bad: GoPro's control scheme has a longer learning curve than the simpler slide-n-go setup of the Contour cameras. Only 15fps on 4K video renders this selling point mostly moot for action videography.

The bottom line: The GoPro Hero3 Silver and White editions are strong contenders in the sports camera market, but the faster, more powerful Black Edition is head and shoulders the best sports camera on the market today.

Lighter, smaller, sharper
The GoPro Hero3 is 25 percent lighter than the previous-generation Hero 2's camera. It's also 30 percent smaller. However, all of that reduction manifests in reduced thickness with a new depth of only 20mm. The height and width (42mm by 60mm) are unchanged to maintain compatibility with GoPro's line of BacPac add-on modules and rear doors for the clear plastic shell.

On the front panel, you'll find the new f/2.8, six-element aspherical lens that is supposed to offer twice the image sharpness and reduce the amount of barrel distortion at the extremes of its 170-degree field of view. However, the characteristic fish-eye look of the video and photos captured by the Hero3 hasn't been totally removed, as it's sort of a hallmark of the action-camera style, adding a bit of drama to scenery as it speeds by.

The Hero3 uses the same improved LCD of the Hero 2, with its monochromatic dot-matrix display. I found the screen to be easy enough to navigate using the GoPro's combination mode/power button to change modes and the shutter release to make selections. However, there is a bit of a learning curve. Expect to spend a bit of time on your first outing just looping through the menus and getting used to where the options are. I also found the LCD to be a bit difficult to read in direct sunlight.

The Hero3 (right) is the smallest GoPro camera ever, edging out the previous Hero 2 (middle) and the old-school Digital Hero 5 (left).

(Credit: Antuan Goodwin/CNET)

The front panel is also home to two indicator lights: one red to indicate that the Hero is recording and one blue that blinks to indicate that Wi-Fi is active. There are also smaller red indicator lights on the top, back, and bottom panels that are visible from most angles.

On the back panel, you'll find the removable cover for the 1,050mAh lithium ion battery. Swappable batteries are a good idea if you plan on being out shooting all day. Next to the battery door, you'll find the proprietary BacPac connection where the accessory BacPacs, such as the LCD and Battery BacPacs, connect.

On the right side of the unit (when viewed from the front), you'll find the Wi-Fi button that activates and deactivates the wireless connectivity with the GoPro app for smartphones or the Wi-Fi remote (which is included with the Hero3 Black Edition, but not the Silver or White editions). The details of how the Wi-Fi remote works have already been detailed as part of our review of the GoPro WiFi BacPac. However, this built-in Wi-Fi functionality renders the WiFi BacPac itself obsolete for this new generation -- although you'll still need it if you have a few older Hero 2s kicking around.

On the left side, behind a removable plastic panel, you'll find the Hero3's greatly simplified bank of connections. There's a Micro-HDMI output, shrunken down from the Mini-HDMI of the previous generation, and a microSD card slot, shrunken down from a full-size SD card slot for space savings. The Hero3 doesn't come with a microSD card, but supports cards with capacities up to 64GB. Finally, there's a Mini-USB port, which makes a return appearance, that is used for charging and syncing. However, with the aid of optional adapter cables, this Mini-USB port can also double as a 3.5 mm microphone input or an analog video output. I like to see GoPro doing more with less space here, but this connection scheme pretty much locks you into only using GoPro's first-party adapters, which may not be too big a deal for some users.

The Hero3 consolidates the previous generation's inputs and outputs down to two ports and a card slot.

(Credit: Antuan Goodwin/CNET)

On either side of the Hero3, you'll find a small pinhole microphone for audio recording alongside your video. GoPro claims that its wind reduction algorithms have been improved for this generation. Like the previous generation, the camera comes with a swappable Skeleton back panel for its clear plastic case that can be used to further improve audio quality at speeds below 100 mph at the expense of waterproofing.

Rough and tumble shell
The Hero3's clear plastic shell is as much a part of the GoPro system as the camera itself and has received an update as well to match the smaller Hero3 chassis. Now thinner than before, the Hero3's shell also offers three waterproof buttons that pass your inputs through to the power/mode select button, the shutter release, and the new Wi-Fi button.

The back panel is still removable to allow replacement, for example, with the aforementioned Skeleton door or deeper doors that accommodate the BacPac add-ons. The door also features a new two-stage lock that that requires a tab to be pushed to the side before the locking mechanism can be lifted and rotated out of place. This adds a bit of extra security, keeping the camera sealed in its case, but I never really had any issues with the old, single-stage lock, so this new, sometimes incredibly difficult-to-open lock seems a bit unnecessary. Users who often submerge their GoPro cameras might not think so.

Finally, the Hero3's new shell features a new, flat lens that is supposed to work better with the new lens' reduced distortion and offer better underwater image quality.

Contour+2

2013-03-01T02:29:00.000-08:00

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The good: The Contour+2 captures crisp, HD video. The new Instant On-Record slider greatly increases simplicity. Bluetooth allows app connectivity, GPS allows location data to be embedded in video, and the waterproof case is now included.

The bad: Even with the new lower price, the Contour+2 is more expensive than the GoPro HD Hero2.

The bottom line: The Contour+2 combines the best features of the entire Contour camera line in one simple, powerful flagship model.

Contour's line-topping Contour+ HD sports camera would have been one of our favorites, but we hesitated to recommend it because Contour's own less-expensive cameras, the ContourGPS and the ContourRoam, were cheaper, more rugged, and easier to use.

With the debut of the Contour+2, the replacement for the previous flagship model, the camera maker draws from the lessons that it's learned with all of its previous action cameras, giving it a lower price and even picking up a few tricks from the competition.

Design
The Contour+2 uses the same design as every Contour camera, going back to the VholdR ContourHD of 2009. It's a tube shape measuring 3.86 inches by 2.36 inches by 1.34 inches. The business end of the device is home to an ultrawide-angle HD camera with a 170-degree field of view. Just above the six-element glass lens is an LED that projects a red line for leveling the lens with its 270-degree rotating barrel.

On the bottom edge you'll find a discrete microphone input beneath a rubber cap and threaded tripod that Contour first added to its cameras with the launch of the entry-level ContourRoam camera last year.

The Contour+2 ships with a selection of mounts, cables, and a waterproof case (not pictured here).

(Credit: Antuan Goodwin/CNET)

The unit's back door features a status button, also borrowed from the ContourRoam, that illuminates color-coded status lights for battery level, memory space, and GPS lock. There are also rubber flaps that act as pass-throughs for the HDMI and Mini-USB ports behind the rear door. Open the door and you'll reveal the removable, rechargeable battery, microSD card slot, bi-mode switch, and a format button that wipes the SD card.

Behind the rear door are the Contour+2's inputs.

(Credit: Antuan Goodwin/CNET)

On the top of the camera tube is the Instant On-Record switch, borrowed again from the ContourRoam. Slide this switch forward to power on the camera and start capture; slide it back to stop and power down. What's new about this record switch is it has its own lock switch that prevents accidental activation while the Contour+2 bounces around in your backpack. Just ahead of the slider is the simplified Bluetooth activation button, which we'll get back to later, and the aforementioned LED indicators showing battery, card capacity, and GPS status.

On either side of the Contour+2 unit are its rail mounts, which are unchanged and compatible with all previous Contour mounting accessories.

Also in the box with the Contour+2 camera are a 4GB microSD card with SD size adapter, a microphone extension cable and an HDMI cable, an adhesive low-profile surface mount and a rotating mount with two adhesive pads and safety leash, a rubber lens cap, and a Contour vinyl decal.

The Contour+2 now comes with a waterproof case.

(Credit: Antuan Goodwin/CNET)

One of the best new inclusions in the Contour+2 package is a waterproof, clear plastic case. This was previously available as a separate purchase, but it's now included in the box, bringing the Contour+2's ruggedness on par with the likes of the GoPro HD Hero2 and the upcoming Sony Action Cam and Action Cam Wi-Fi. The Contour+2 itself is weather-resistant -- you can use it in the rain or snow without worrying about moisture -- but in the case, it gains the capability to survive being submerged up to 60 meters (196.85 feet). The case also adds an extra level of shock resistance, features pass-through controls for the record switch and status button, and retains the compatibility with rail mounts and tripod mounts.

Sony Handycam HDR-CX210 (black)

2013-02-24T22:06:00.000-08:00

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The good: Sony's entry-level Handycams, the HDR-CX190, CX200 and CX210 are small, lightweight and cheap. A captive USB cable that enables charging while connected to your computer is one of the few perks.

The bad: You can't really call the video HD quality, the camcorder feels flimsy and the lens is prone to fringing.

The bottom line: They're cheap and capture video, but don't buy the Sony Handycam HDR-CX190, CX200 or CX210 thinking that you're getting a great bargain on a real HD camcorder. If you're going to buy one, get the cheapest; nothing on any of these is really worth the extra bucks.

Sony's trio of entry-level camcorders -- the Handycam HDR-CX190, CX200 and CX210 -- seem amazingly, aggressively priced. But they're priced like standard-definition camcorders because they use SD-level components to produce video in HD format but not HD quality. Sony's not alone in this: both Canon and Panasonic play the same game to various degrees with their entry-level models. All of them use low-resolution sensors and interpolate the video up to HD resolution. In this case, Sony actually is using a sensor that's even smaller and lower-resolution than the 2-year-old CX110.

The three camcorders differ from each other in a few ways. The CX200 and CX210 incorporate touch screens; the CX190 has a small joystick and playback button on the LCD bezel for operation. In addition, the CX210 has 8GB of internal memory -- keep in mind when comparing prices between the CX200 and CX210 that an 8GB flash card costs less than $10. This review is based on testing of the CX190. (There's also a version of the camcorder with a built-in projector, the PJ200.)

As far as I can tell, the video quality doesn't look any worse than predecessors like the CX130, which many folks consider acceptable. If you view your video scaled down and played on a computer, or like to shoot close-ups, which usually deliver the best results for both cameras and camcorders, it looks good. But for typical tourist and home-video type shooting of middle distances and viewed at actual size or on a large-screen TV, I found it extremely soft and mushy. The combination of sensor and optics seem prone to fringing, and can produce an overall purplish cast on the video rather than just on edges. In low light -- say, early dusk -- it's even softer and quite noisy. The audio is typical for its class; a little too bright-sounding, but the mic picks up the sounds you want.

If you only view the video scaled down (inset), it can look fine -- provided you don't mind the occasional purple cast caused by fringing. At full size, though, it's kind of messy. (Frame grab)

(Credit: Lori Grunin/CNET)

Stills look pretty bad -- soft and overprocessed. Many camera phones are better. (Unsurprising given that Sony's "5.3-megapixel" photos are actually 1.3-megapixel photos bloated up for specsmanship.) Part of the problem is that you can't pick a focus area, at least on the CX190. You just have to point and pray. The CX200 and CX210 both have spot focus and exposure via the touch screen.

On the upside, the performance isn't bad, though the battery seems to run down a little faster than I'd like -- it lasts about an hour. The LCD actually remains quite visible in bright sunlight and the camcorder focuses relatively quickly and accurately. The image stabilization works well for about three quarters of the zoom range; I think part of the problem is that the camcorder is a little too light and harder to keep steady than some.

Of course, its compact, light design is one of the attractions of the camcorder, though it also makes it feel quite plasticky and flimsy. It fits comfortably in a roomy jacket pocket or bag. The design is also typical of these entry-level models, with a zoom switch, photo shutter and mode (movie/still) button on top and a record button in the back for thumb operation. A manual switch opens and closes the lens cover.

Sony Handycam DCR SX85 (silver)

2013-02-18T10:26:00.000-08:00

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The good: The Sony Handycam DCR-SX45, SX65, and SX85 are easy-to-use ultracompact camcorders with good active electronic image stabilization and a built-in USB cable for quick uploads.

The bad: The DCR-SX45, SX65, and SX85 produce very soft and noisy video with noticeable fringing on subjects even at small sizes. There are no mic or headphone jacks, and the electronic image stabilization won't help you with the lens fully extended.

The bottom line: Sony's Handycam DCR-SX45, SX65, and SX85 standard-definition camcorders pack a megazoom lens at a reasonable price; one look at the standard-definition video, though, and you might regret not spending a bit more for an HD model.

The Handycam DCR-SX series is Sony's flash-memory-based standard-definition ultracompact camcorder. It's made up of three models that differ only by storage amounts: the SX45 has no internal memory; the SX65 has 4GB built in; and the SX85 has 16GB of internal storage. This review covers the SX65, however the SX85 is the best value. All of them have a 3-inch touch-screen LCD, a 60x optical zoom lens, and few cool features like a built-in USB connector for quick uploads and easy charging by computer. However, none of the features do much to improve video quality.

No, unfortunately, there's apparently no reason to make an excellent standard-def camcorder these days; the SX65's movies are mediocre at best--especially if you're watching them full-screen on a large TV or are used to the sharpness and clear details of high-definition content.

For Web use at small sizes the results are OK, though, and if you're not terribly concerned with video quality in the first place and want a reasonably priced camcorder that's easy to use, has a megazoom lens, and can fit in a coat pocket, this Sony is worth checking out.

Weight (with battery and media)4GB flash memory (3.8GB available); Memory Stick Pro Duo, SD/SDHC/SDXC cards3-inch LCD, 230K pixels (touch screen)Lens (zoom, aperture, focal length)60x, f1.8-6.0, 39-2,340mm (16:9), 44-2,640mm (4:3) (35mm equivalent)3 lux (1/30-second shutter speed)MPEG-2 (.MPG), Dolby Digital 2-channel stereo720x480 pixels (9Mbps)/640x480 pixelsRecording time at highest qualityBattery type, rated life (typical)Li-ion rechargeable, 60 minutesSony Picture Motion Browser, PMB Portable (Windows)

Available in blue, black, silver, and red versions, the SX65 is an attractive little camcorder. Its physical controls are textbook camcorder design with a start/stop button comfortably under the thumb at the back and a zoom rocker up top in front of a shutter release for snapshots in Photo mode. The whole package is roughly the size of a soda can. The hand strap is comfortable if a little low. Interestingly, it also acts as a cap for a full-size USB connector that's attached by a cable to the camcorder's body. This allows you to connect it directly to a computer to offload photos and video and charge the battery. Just above the strap is a small door hiding a power/charging input and AV output (a composite cable is included).

The battery juts out from the back, and above it is a button for changing between photo and video modes. Below the battery on the bottom of the camcorder is a card slot that supports both Memory Stick Pro Duo and SD/SDHC/SDXC cards.

Flip open the touch-screen display (there is no viewfinder) and you'll find four buttons in the body cavity, for power; entering Sony's Intelligent Auto mode; turning on and off an LED lamp under the lens; and changing over to Playback mode. The last of the I/O ports is in this cavity, too: an uncovered Mini-USB port. An optional cable can be used with this port to connect directly to an external USB storage device for quick saves without a computer. You can also copy content from the internal storage to Memory Stick or SD cards.

The touch screen is nice and sharp compared with other models in its class, but it was very difficult to see in direct sunlight. Luckily it rotates, so even if you can't see it you can change the angle. On the left edge of the screen there are virtual buttons for controlling the zoom lens and starting and stopping recordings, very helpful if you're shooting at a low angle or on a tripod. The menu system is good for those who don't make a lot of changes. In other words, it's responsive, but because all of the options are in one long row, it can feel like the list goes on forever. At least Sony lets you configure an opening menu screen with six items you frequently adjust.

Panasonic HDC-TM900

2013-02-06T12:35:00.000-08:00

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The good: Generally excellent video quality and a straightforward, if somewhat unglamorous, interface highlight the Panasonic HDC-HS900, TM900, and SD800's capabilities.

The bad: Wonky white balance and lack of a built-in neutral density filter are the two biggest drawbacks of an otherwise very good series of prosumer camcorders.

The bottom line: Panasonic's trio of prosumer camcorders, the hard-disk-based HDC-HS900 and flash-based TM900 and SD800, deliver generally excellent video quality and provide the full set of manual controls and features advanced users want. But you have to be willing to baby the white balance a bit. The TM900 is my top pick of the three for its EVF, but if you're on a tight budget the SD800 should suit just fine.

Panasonic has a history of producing solid prosumer camcorders that deliver excellent video quality and performance, but have unexciting, functional designs. That tradition continues with the latest crop of models. Updates to last year's 700 series, Panasonic's 800/900 models--the HDC-HS900, TM900, and SD800--are fundamentally the same as their predecessors with some modest enhancements and slightly better video quality. They do, however, use the same trio of sensors and lens, as well as an essentially identical body design.

Series information: We performed a hands-on evaluation of the HDC-HS900, the hard-disk version of the camcorder, but aside from the few functional differences inherent in recording to the different media, the HS900 and TM900 should be identical. The HDC-SD800, on the other hand, is basically a stripped-down version of the TM900; it has the same sensor and lens as the others, so delivers the same video, but lacks an EVF, lens ring, and accessory shoe, provides only two-channel audio, and has a smaller LCD and no built-in memory.

Models in this series
Download the manual (PDF)Primary media: 32GB flash, 1 x SDXCPrimary media: 220GB hard drive, 1 x SDXCPrimary media: 1 x SDXC
no EVF, no ring on lens, smaller LCD, 2-channel audio, no accessory shoe

When it's functioning correctly, the video quality looks very good. It's got a relatively broad tonal range, though bright highlights tend to clip and I couldn't recover them in software (probably because the camcorder has compressed out any recoverable data). The color and exposure rendered by the three-chip system are quite good, though the automatic white balance can get a bit wonky--usually switching to another setting and then back did the trick. Aside from the white-balance issue, all the automatic settings worked very well, including exposures with backlight. I didn't see any moiré. And while there was a little bit of cyan aberration on high-contrast edges, it exhibited minimal fringing.

In good light, the camcorder can produce nicely sharp video, although it has some auto white-balance problems. Changing the white-balance setting and then back to auto usually fixes them, though.
The low-light video quality is quite good, with relatively little noise (though some suppression artifacts) and decent color saturation.
Better bokeh is one of the main reasons you might want to opt for a dSLR or ILC over a pricey camcorder; even the more expensive consumer camcorders have unattractive polygonal apertures.

In low light there's practically no color noise, although you can see quite a bit of smearing from the noise reduction. Still, the video looks surprisingly good and remains naturally saturated.

The still photos are pretty mediocre viewed at full size, but might work as small reference images. You might be better off sticking to frame grabs at 1,920x1,080 pixels.

The HDC-HS900 performs well, too, with fast, accurate autofocus that's not easily confused, warm sound, and a decent wind filter. There's minimal lens distortion at its widest, but that's probably because the lens doesn't get very wide; Sony seems to be leading the pack with that, which is one of the significant ways this whole class of models could improve. That, as well as more attractive apertures. As far as I know, there's no technical reason a $1,000-plus camcorder can't incorporate a seven-bladed aperture.

As with most advanced AVCHD camcorders that shipped in early 2011, using the best-quality 1080/60p mode is a bit of a pain. Because the AVCHD spec wasn't updated until the summer to support 1080p (note that there is no 1080/30p), the camcorder makes you jump through some outdated hoops and throws up annoying warnings when you switch in and out of that mode. This is one of the few complaints I have about the series. But I'd just switch into it and stick there because you really do want to use the maximum bit rate and resolution.

Canon PowerShot SX40 HS

2013-01-30T14:31:00.000-08:00

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The good: The Canon PowerShot SX40 HS has a flexible lens range, very good image stabilization, excellent photo quality for its class, and shooting modes for every kind of user.

The bad: The SX40 HS's shooting performance lags behind that of the competition and has a couple potentially irritating design points.

The bottom line: If you're after a wide and long lens and excellent photo quality, the Canon PowerShot SX40 HS is a standout. In features, design, and performance, though, it's a bit lacking.

Editors' note: Several of the design and features are identical between the Canon PowerShot SX40 HS and the Canon PowerShot SX30 IS we reviewed earlier, so readers of the earlier review may experience some déjà vu when reading the same sections below.

The Canon PowerShot SX40 HS is a nice improvement over its predecessor, the SX30 IS. Sure, they look the same, have the same ultrawide-angle 35x zoom lens, and, for the most part, have the same shooting modes. But a switch to a new sensor and new image processor seemed to have improved both photo quality and shooting performance, though its performance is still sucking wind a bit behind competing models from Nikon, Sony, and Panasonic.

For that matter, so is its feature set and its design, particularly if you want to take advantage of its electronic viewfinder and manual controls. On the other hand, it has some of the best JPEG photo quality you're going to find from a high-end megazoom.

Weight (with battery and media)Megapixels, image sensor size, type12 megapixels, 1/2.3-inch backside-illuminated CMOSLCD size, resolution/viewfinder2.7-inch vari-angle LCD, 230K dots/NoneLens (zoom, aperture, focal length)35x, f2.7-5.8, 24-840mm (35mm equivalent)Highest resolution size (still/video)4,000x3,000 pixels/ 1,920x1,080 at 24fpsLi-ion rechargeable, 370 shots (400, EVF only)SD/SDHC/SDXC, Eye-Fi SD/SDHC cardsZoomBrowser EX 6.8/PhotoStitch 3.1 (Windows); ImageBrowser 6.8/PhotoStitch 3.2 (Mac)

Overall, photo quality is excellent for this class of camera. Images do get softer and noisier above ISO 200--typical for point-and-shoots--but ISO 400 and 800 are still very usable. Like other "HS" models I've tested this year, the noise and noise reduction are well-balanced so you still get good color and detail up to ISO 800.

Colors desaturate some at ISO 1600 and 3200, subjects look very soft, and detail is greatly diminished. While you might not want to view them at larger sizes or heavily crop them, the high-ISO results should be satisfactory for the Web or prints at small sizes, though, again, colors will look a little off. Keep in mind, too, that if you're shooting indoors with lens extended, you'll need the higher ISOs to keep shutter speeds fast enough to prevent blur. Also, the auto white balance is warm indoors, which doesn't help color when combined with higher ISOs; use the presets or use the custom option when possible. Unfortunately, there is no option to shoot raw files with this camera so if you're a pixel peeper and not happy with Canon's JPEG processing, you're stuck.

Color accuracy is excellent, producing bright and vivid results. Exposure is generally very good, but highlights tend to blow out. Other manufacturers have been solving this to some degree with high-dynamic range modes that will take two or three shots at different exposures and overlay them for a more-balanced shot. Canon doesn't offer a mode like that and its i-Contrast feature is more for rescuing shadow detail than highlights. However, the SX40 does have exposure bracketing, though it shoots slowly, so your subjects need to be still.

Video quality is on par with a very good HD pocket video camera: good enough for Web use and nondiscriminating TV viewing. The full HD video records at 24fps, and though panning the camera will create judder and there is visible trailing on moving subjects, the video is watchable. Those things are typical of the video from most compact cameras, too. You can drop the resolution to 1,280x720 at 30fps, but the judder actually seems to get worse. The low-light video is predictably grainy, but it's at least as good as this camera's high ISO photo performance. The zoom lens does work while recording; it moves very slowly, though, likely to prevent the movement from being picked up by the stereo mics on front. It can only really be heard in very quiet scenes.

ISO sensitivity (full resolution)Auto, 100, 200, 400, 800, 1600, 3200Auto, Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, Flash, CustomAuto, Program, Shutter-speed priority, Aperture priority, Manual, Creative Filters, Sports, Scene, Movie, Custom 1 and 2Face AF, Center AF, User-selectable AF (FlexiZone), Macro, Normal, Infinity, ManualEvaluative, Center-weighted average, SpotVivid, Neutral, Sepia, Black & White, Positive Film, Lighter Skin, Darker Skin, Vivid Blue, Vivid Green, Vivid Red, Custom Color (adjustment of contrast, sharpness, saturation, red, green, blue and skin tone are available)Burst mode shot limit (full resolution)

While it doesn't have a lot of trick shooting modes like the Sony HX100V or the plentiful controls over photo quality that you'll find on the Panasonic FZ150, the SX40 HS has all of the important things for the category. You'll find full manual and semimanual shooting modes. Available apertures at the wide end include: f2.7, f3.2, f3.5, f4.0, f4.5, f5.0, f5.6, f6.3, f7.1, and f8.0; available in telephoto are: f5.8, f6.3, f7.1, f8.0. Shutter speeds go from 15 seconds down to 1/3,200 second. If you come up with a set of values you'd like to use regularly, there are two Custom spots on the mode dial. For those times when you want the camera to do the thinking there is a very reliable full-auto mode as well as stock scene modes like Portrait, Landscape, and Fireworks.

In addition to the company's standard creative-shooting options--Color Accent and Color Swap--it has other creative options: Toy Camera, Monochrome, Miniature Effect, Fish-eye Effect, a Super Vivid mode that intensifies colors, and a Poster Effect that posterizes photos. These modes aren't necessarily must-haves, but they can be fun to play with, if only to add some interest to what would be an otherwise boring shot. Plus, they're available when shooting movies, too.

Canon kept the shooting-mode dial uncluttered so you can quickly find the option you're after.

With its new CMOS sensor and Digic 5 image processor, I had high hopes that the SX40 HS would be significantly faster than its predecessor. It's not. I mean, it's improved, but not by much. It goes from off to first shot fairly quickly at 1.6 seconds and then slows down to 2.5 seconds from shot to shot. Shutter lag--how long it takes from pressing the shutter release to capture--is very good at 0.4 second in bright lighting and 0.6 in dimmer conditions. That was in lab tests, though, and in my testing the camera felt slow to focus. What did show more improvement were continuous shooting speeds. Canon includes a full-resolution, eight-shot-burst scene mode that is capable of up to 10 frames per second. This sets focus and exposure with the first shot, but that's common with these modes. There is also a continuous shooting setting that hits about 2.3fps (again, with focus and exposure set with the first shot) and a continuous with autofocus that is far slower, but at least it's an option.

The SX40 HS uses the same design from 2010's SX30 IS, looking somewhat like a compact version of a Canon EOS Rebel dSLR. At the front of the large, comfortable grip is a shutter release with a lever for operating the extreme 35x zoom lens followed back by a shooting mode dial and power button. Though the motor moves the lens smoothly, it's slow and takes too long to move the lens in and out. A Zoom Frame Assist button on back next to the thumbrest helps a bit by pulling the lens back and sending it forward again when released, but it's still too slow when trying to track a moving subject.

Below the Zoom Frame Assist button to the right of the thumbrest are Play and AF Frame Selector buttons, the latter allowing you to move your AF frame according to where you want the camera to focus and change the size of the frame. Below that is a control dial that sits on top of a four-way directional pad. The dial is used for navigation as well as changing settings. This includes changes to shutter speed and aperture; notably absent is a thumb dial for doing these things. The dial moves too freely with no real stops, too, so it's pretty easy to blow past whatever it is you're trying to set.

The directional pad also sets focus type, exposure compensation, ISO, and the self-timer. The Func/Set button at the center of the dial selects options and brings up shooting-mode-specific settings. A separate Menu button below the dial brings up the rest of the camera options. It's joined by a Display button.

It's great Canon includes a programmable shortcut button, but switching between the EVF and LCD is infuriatingly slow using the Display button.

The Display button is what's used to move back and forth from the 2.7-inch rotating LCD to the small and somewhat dim electronic viewfinder (EVF) for framing shots. That would be fine if you didn't have to cycle through different display settings to switch from one to the other: low-info LCD, detailed LCD, low-info EVF, detailed EVF. What's worse is that there are some modes that use the Display button to access secondary functions, so if you're in one of those and want to switch from the LCD or EVF, you have to leave the shooting mode you're in first. Or, you can flip out the LCD, which automatically turns on the LCD if you're using the EVF. Similarly, flipping the LCD to face into its cavity turns on the EVF. It's ultimately a very frustrating design choice and Canon should have used an LCD/EVF button placed next to the EVF like every other manufacturer. There are buttons on either side of the EVF, though. On the left is a programmable shortcut button, and on the right is a one-press record button for capturing movies. If you want additional movie shooting options, though, you can select a full Movie mode on the shooting mode dial.

In the end, the controls are fairly easy to use, but definitely take some practice if you're not familiar with Canon's menus and controls. Even seasoned Canon users will want to examine the full manual, though, included on the software disc bundled with the camera.

If you're looking for AA-size batteries for power, you'll have to look elsewhere; the SX40 uses a large lithium ion rechargeable pack that's rated for up to 400 shots, which was backed up in my testing. The battery is located in a compartment in the base of the grip, which is where you'll also find the memory card slot. The compartment cover doesn't lock--an odd omission for a high-end camera. Out of the box you may think Canon dropped the hot shoe from previous versions, too, but it is there on top; it's just covered up. (There's also a lift-up flash activated by a button on the left side on top.) For connecting to displays and computers there are Mini-HDMI and Mini-USB/AV ports under a door on the right side.

Conclusion
The Canon PowerShot SX40 HS doesn't offer all the bells and whistles of competing full-size megazooms and its shooting performance lags behind them, too. However, it has plenty of positives including some of the best JPEG photo quality you'll find in this class as well as an extraordinarily long lens. If those things matter most to you, the SX40 HS is the way to go.

Shooting speed (in seconds)
(Shorter bars indicate better performance)
Typical continuous-shooting speed (in frames per second)
(Longer bars indicate better performance)

Find out more about how we test digital cameras.

Canon Vixia HF M400 (black)

2013-01-23T19:27:00.000-08:00

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The good: With a nice set of features for home-movie-type shooters and pleasing video quality, the Canon Vixia HF M400 series has lots to like.

The bad: A small, coarse LCD that's hard to view in direct sunlight and touch-screen-impaired menu system hamper an otherwise solid design.

The bottom line: A fine follow-up to last year's M3xx series, the Canon Vixia M4xx series should please most home-movie-oriented videographers despite its relatively high price. If you don't need the EVF, the M400 is your best buy, but if you'll be shooting a lot in sunlight, it's worth it to step up to the M41.

With the Vixia HF M4xx series of HD camcorders, Canon maintains its reputation for delivering a solid midrange consumer camcorder, once again at slightly higher prices than those of the competition. The series consists of three nearly identical models. The cheapest, the M400, has no built-in memory, the M40 adds 16GB, and the M41 adds another 16GB plus an electronic viewfinder. All use the same HD CMOS Pro sensor found in the HF G10, but paired with a smaller, less expensive lens. This review is based on the Vixia HF M41.

Overall, the camcorder's video looks relatively sharp--and like most looks even better played directly on a TV. There is some aliasing on edges, generally a result of the interlaced video format; one difference between the M4xx series and its step-up sibling is the lack of a native 1080 progressive encoding format instead of the AVCHD standard of encoding 24fps and 30fps video as 60i.

Exposure and color rendering look very good, with a broad tonal range--there's no excessive clipping in the highlights or shadows. Though the M4xx series uses the same sensor as the more expensive HF G10, the lenses are very different, and it shows in a variety of ways. In this case, the more pentagonal aperture renders less pleasing out-of-focus highlights. That probably won't matter to most potential users of this model, but will affect those seeking a more artistic look.

The camcorder's low-light video (about 17 lux) looks quite good; a little soft, but with a nice balance between sharpness and color saturation and accuracy in its noise reduction. Lower light--dim living-room quality--displays more softness and color noise, but I think most people would consider it acceptable.

For shooting stills, the low-resolution sensor may not suit some folks' need for large still photos. Like the G10, the stills look sharp and fall just short of looking too digital; they look fine onscreen and printed, but I wouldn't recommend printing them larger than 4.5x8 inches.

As for audio, the stereo microphone is quite sensitive with a bright sound, but the automatic wind filter doesn't work as well as I'd like. It has a decent set of audio tools, including the ability to mix internal and external levels, set directionality (mono, normal, wide, zoom), equalize (boost LF, low cut, boost MF), boost HF+LF), and attenuate.

2.07-megapixel CMOS
(Dynamic IS on: 1.47 megapixels
Advanced Zoom on: 1.04 megapixels ) 20x
f1.8-3.6
41.2-824mm (Standard IS)recommended: 100
standard: 5
low light: 0.4recommended: 100
standard: 5.5
low light: 0.4recommended: 100
standard: 1.5
low light: 0.1recommended: 100
standard: 4
low light: 0.3recommended: 100
standard: 4
low light: 0.3None/None/ 0.24-inch 260,000 dotsNone/None/ 0.23-inch 123,000 dots0GB/8GB/ 32GB internal; 2 x SDXC0GB/8GB/ 32GB/64GB internal; 1 x SDHC (SDXC on M32)0GB/16GB/ 32GB internal; 2 x SDXC0GB/32GB/ 64GB internal; 2 x SDHCAVCHD: 1080/60i @ 24, 17 Mbps; 1440 x 1080/60i @ 12, 7, 5 Mbps
(also encodes 30p and 24p as 60i)AVCHD: 1080/60i @ 24, 17 Mbps; 1440 x 1080/60i @ 12, 7, 5 Mbps
(also encodes 30p and 24p as 60i)AVCHD: 1080/60i @ 24, 17 Mbps; 1440 x 1080/60i @ 12, 7, 5 Mbps
(also encodes 30p and 24p as 60i)AVCHD: 1080/60i/24p @ 24, 17 Mbps; 1440 x 1080/60i/24p 12, 7, 5 Mbps
(also encodes 30p and 24p as 60i)AVCHD: 1080/60i/24p @ 24, 17 Mbps; 1440 x 1080/60i/24p 12, 7, 5 Mbps
(also encodes 30p and 24p as 60i)
2 channels;
mic, headphone jacks 2 channels (5.1 via optional mic);
mic, headphone jacks 2 channels (5.1 via optional mic);
mic, headphone jacks 2 channels (5.1 via optional mic);
mic, headphone jacks 2 channels (5.1 via optional mic);
mic, headphone jacks 3.0 x 2.9 x 5.5/
3.0 x 2.9 x 5.8 (S21)$549.99/ $599.99/ $699.99/ $999.99

Canon PowerShot G12

2013-01-19T08:30:00.000-08:00

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The good: Optical viewfinder; articulated LCD; built-in neutral-density filter; very good photo quality for its class.

The bad: Shot-to-shot performance still a little sluggish; some annoying controls.

The bottom line: Relatively unchanged from its predecessor, save the addition of 720p video, the Canon PowerShot G12 remains a very good, more-or-less compact model, designed to please photo enthusiasts.

Practically identical to its predecessor, the G11, the few updates to the Canon PowerShot G12 include 720/24p video capture--a much-needed boost over the outdated VGA movies--now with stereo audio and a Mini-HDMI connector. Like the S95, the G12 also adds an HDR scene mode that combines three shots. Unlike implementations that take advantage of fast BSI sensors, however, it requires the steadiness of a tripod, making it only marginally useful.

As you'd expect, the G12's image quality mirrors that of the G11's. It looks great at the lowest ISO sensitivities, with excellent color and exposure; you can start to see a slight bit of detail degradation starting at ISO 200 that becomes more overt (along with noisy) at ISO 400. ISO 800 is probably the highest usable setting under the most forgiving circumstances. Picky shooters really won't want to go beyond ISO 200.

Unlike the LX5, processing the G12's files as raw doesn't deliver an unambiguous advantage over the JPEGs. The artifacts and colors are a bit different, and you might be able to gain a little sharpness from the raw, but it doesn't gain you any shooting exposure advantages.

The G12 lens is quite sharp. Though it's not terrible, the G12 does display visible barrel distortion at its widest of 28mm as well as a bit of fringing on high-contrast edges, especially close the edges of the frame.

Unsurprisingly, the video looks better than the old VGA offering, and overall is pretty good for shooting short clips; it's certainly worth it compared to a typical mini camcorder. Plus, the articulated LCD, stereo mic, and mic jack add to its video flexibility. But it lacks the ability to zoom while recording, and there are no manual exposure controls save exposure compensation and the built-in neutral-density filter.

The G series' unremarkable performance hasn't changed significantly in generations either, and the field in general still lags behind the LX5. It powers on and shoots in about 2.1 seconds. In bright light, shot lag runs 0.4 second, and in dim light that increases to 0.6 second, shaving about 0.1 second off the G11's time. There's a relatively large 2.2-second gap between sequential JPEGs--2.5 seconds for raw--and adding flash recycle increases that to a ho-hum 2.9 seconds. While its continuous-shooting rate bumps up to 2fps from the G11's 1.1fps, that's still slow enough that you really don't want to count on it for burst shots. Especially if you're used to shooting with a dSLR, the G12 doesn't feel very fast. But part of that's perception; it's certainly zippy enough to catch animals a reasonable percent of the time. The articulated LCD remains big, bright, and useful, and in practice the optical viewfinder feels almost identical to the P7000's.

ISO 100 - ISO 3,200/6,400 (expanded)2.8-inch articulated
461,000 dots2.8-inch articulated
461,000 dots30fps VGA H.264 QuickTime MOV
Mono720/24p
H.264 QuickTime MOV
Stereo720/24p
H.264 QuickTime MOV
Stereo720/24p H.264 QuickTime MOV
StereoManual iris and shutter in video

It retains an almost identical design to the G11, including the usable optical viewfinder and large, easy-to-turn dials. A relatively functional design, I like it save a few caveats. In addition to giving the camera a retro feel, the dials on the G12 are, for the most part, practical and much faster to use than even direct-access buttons, which always require at least some navigation. Though a few ounces lighter than the G11, the G12 remains the heaviest camera in its class. Not the largest, though; that nod goes to the P7000.

On the top of the camera are an exposure compensation dial and an ISO sensitivity dial around the circumference of the mode dial. The latter offers the typical PASM and Auto options, as well as two custom settings slots and some scene program modes.

I've been complaining about the G series' controller, a four-way switch plus Set/Function button, for the past three generations. This makes it four: I love the scroll wheel, but find I tend to accidentally hit one of the Manual focus, macro, self-timer or flash switches when I'm trying to press the middle button. As for the wheel, I frequently press one of the switches while I'm scrolling as well. It's especially difficult to control in cold weather with numb fingers (why am I always testing this camera in winter?). Buttons above and below it control metering, focus area, display options and bring up the menu system. You can also assign a function to the programmable Shortcut button on the upper right, though it limits your choices to options without existing direct controls. Finally, there's a dial on the front below the shutter button. I don't really like the location because in a camera of this size it doesn't fall naturally under any of your fingers; the rear dial on the P7000 feels more natural for this type of configuration.

I'm a big fan of digital levels in cameras, and the G12's implementation is one of the more usable ones. When you hit the level area, the white indicator turns green and expands a bit, making it easy to see so you don't overshoot. Aside from that, the feature set is pretty typical for this type of camera. (For a complete rundown of the G12's features and operation, you can download a PDF version of the manual.)

The Canon PowerShot G12 remains a generally excellent camera that ends up lagging the LX5 overall mostly because of its relatively unchanged--and more sluggish--shot-to-shot performance. It delivers better JPEG photos than that model, but it's also less compact. Trade-offs abound.

Shooting speed (in seconds)
(Shorter bars indicate better performance)
Typical continuous-shooting speed (in frames per second)
(Longer bars indicate better performance)

GoPro HD Hero2 Motorsports Edition

2013-01-16T04:09:00.000-08:00

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The good: The GoPro HD Hero2 boasts improved optics, a few new video- and still-photo-shooting modes, and backward compatibility with current HD Hero accessories. Most importantly, its interface has been overhauled and is now much easier to view and understand.

The bad: As improved as it is, the Hero2's interface can still be a bit confusing for the first-time user.

The bottom line: The GoPro HD Hero2 is easily the best GoPro camera yet, with the ruggedness and quality that we've come to expect and a new user-friendly interface.

I've had a bit of a love-hate relationship with the GoPro HD Hero that we've used during the recording of the Car Tech Live podcast for the last year or so. On the one hand, the Hero takes phenomenal wide-angle video, is ridiculously durable thanks to its polycarbonate shell, and (when you get the settings right) relatively easy to use. However, that last bit is also my biggest point of contention with the first few generations of the GoPro Hero cameras; I'm a self-proclaimed techie who's recorded hours of footage using the HD Hero and I still have to break out the poorly written instruction sheet to change any of the settings. More often than not, I just leave the settings where I left them and just point and shoot.

So, when the new generation GoPro HD Hero2 landed on my desk boasting an improved interface, I decided to challenge myself to full-test the device without cracking the spine on its (also improved) 90-page user manual.

Old design with a twist
Looking at the GoPro HD Hero2 side by side with the original HD Hero (hereafter referred to as the HD Hero1), reveals remarkably little change in the unit's form factor. Both units are dimensionally identical and feature the same lens, power button, shutter button, and LCD screen placement. This means that any waterproof cases or lens covers purchased for the HD Hero1 will still work with the HD Hero2, which is a good thing for GoPro devotees. Likewise, both units feature the same rear hook and connection port for GoPro's line of removable BacPacs, which we'll discuss later.

The HD Hero2 remains compatible with previous-generation GoPro accessories. Here it is fitted with a Battery BacPac and a suction-cup mount.

Closer inspection reveals that there's more than the addition of the number 2 to distinguish the new model from the old. For starters, the Hero2 features a new glass lens that should be sharper and more durable than the old lens. Where the Hero1 featured only one red recording indicator LED, the Hero2 features four (one enlarged indicator on the front of the unit and smaller lights on its top, back, and bottom edges). On the right edge (when viewed from the front) are the connections for the proprietary video output, the Mini-USB port for charging, and a 2.5mm microphone input. Thankfully, these three connections are actually labeled this go-round. On the left edge are the full-size SD card slot and a new HDMI video output. Onboard microphones are now located on the top and bottom edges of the unit. Finally, the rear panel is where you'll find the battery door that covers the user-replaceable 1,100mAh lithium ion battery.

I mentioned that the HD Hero2 ships with the same waterproof housing as the Hero1. For those unfamiliar with this housing, it's a clear, polycarbonate shell that holds the Hero camera to whatever mounting option you chose to use. Spring-loaded waterproof buttons give users access to the selection and shutter buttons and a clear lens bubble protects the HD Hero2's lens from scratches. In the event that this bubble is damaged, a replacement can be ordered and affixed with a small screwdriver. At the back of the shell is door that locks shut with a plastic latching clamp. (The plastic latch on our HD Hero1 busted after only a few weeks of use, so this bit worries me. Fortunately, it's a relatively simple fix.) Users are given the choice between two easily swappable doors that ship with the HD Hero2. The first is a sealed waterproof door that keeps the camera dry, even when submerged to a depth of 197 feet. The second door is a "skeleton door" with openings that sacrifice waterproofing for increased sound quality.

The mounting options included in the box will depend on which HD Hero2 kit you pick up. The Motorsports Edition, for example, ships with a suction cup mount on an articulated arm and five adhesive mounts. The Surf Edition packs a pair of surfboard mounts and a special "Floaty" back door that will keep your camera from sinking to the bottom of the ocean in the event of a detachment. Finally, the Outdoor Edition includes a helmet strap, a head strap, and a selection of adhesive mounts. Additionally, additional mounts for handlebars, roll bars, chest straps, etc. are available from the manufacturer for additional cost.

Users who want to add functionality can do so with addons, such as this LCD BacPac.

Same screen, new interface
Of all of the changes to the HD Hero, the most drastic is the overhauled interface present on the tiny monochromatic LCD. For starters the HD Hero2 uses larger, bolder icons for identifying the current recording mode. So tapping the selection button on the front of the unit fills the screen momentarily with a large icon for the newly selected mode that is easier to read with goggles on or at an arm's length. When the moment is passed, the screen returns to its default state with a smaller icon indicating the mode and a new text-based setting identifier. So rather than memorizing that "R7" is 1080p video at 30 fps, the unit simply displays "1080-30," which is much easier to decode. Likewise, photo modes are clearly identified with, for example, "5 MP 0.5 sec" which can easily be identified as "take a 5 megapixel shot every half second."

The Hero2's new interface is much easier to decode and navigate than the previous generations'.

Likewise, the menu system has also been made clearer, with more easily identified icons for each setting that leads to a drop-down menu where the different options can be viewed clearly. Navigating the GoPro's many options with just the select and shutter buttons is still an exercise in patience. For example, setting the date to 11:11am on 11/11/11 can take as many as 60 or more button presses. (Fortunately, the date is something you should only really have to set once.) That's an extreme example, but even simpler tasks (such as changing the video or still-photo resolution) can take as many as 10 button presses.

On the bright side, the fact that the GoPro HD Hero2 even offers granular access to all of its settings right on the camera is an advantage that it holds over simpler camera systems, such as Contour's.

There are still a few icons that don't make much sense. (I doubt many can tell me what this icon means without first checking the manual.) However, the important bits--changing the resolution of photos and video, setting time-lapse intervals--and the options that you're likely to find yourself wanting to fiddle with before bombing down that double-black-diamond slope are extremely easy to understand.

I started the review with the intention of never cracking open the GoPro HD Hero2's instruction manual and I'm pleased to state that I didn't need to use it. (Although, I did flip through the manual and found that it is both more thoroughly written and better organized than the old sheet. So if you do find yourself needing help, it's a great resource.)

Recording modes
So, we've discussed the chassis and we've explained that it's easy to use, but what sort of video and photos can you expect to get out of this camera?

Nikon Coolpix L810 (Black)

2013-01-12T01:20:00.000-08:00

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AppId is over the quota
The good: The Nikon Coolpix L810 is an inexpensive 26x megazoom point-and-shoot that's easy to use and runs on AA batteries.

The bad: The L810 performs poorly in low light and indoors without a flash, and its shooting performance is slow, as is its autofocus.

The bottom line: The Nikon Coolpix L810 offers a lot of specs at a low price. If you need fast shooting performance, though, you'll need to spend more money.

Editors' note: During my testing, I experienced some performance issues that Nikon attributed to my review camera being an early production sample. I tested a second L810 camera, and while its autofocus and overall shooting performance were still slow, it did not exhibit any other issues. If you have an L810 that is performing unusually, such as giving lens cap error messages when the lens cap is off or unexpectedly powering the camera off, contact Nikon customer service at 1-800-Nikon US. The rating and text of this review have been adjusted accordingly.

It's completely reasonable to expect a particular product, in this case a camera, to get better with each generation. That's not the case with the Nikon Coolpix L810.

Sure, on paper, Nikon is offering more for your money in the L810 than in its predecessor, the L120. But that's simply a matter of specs; you get a wider, longer lens and a higher-resolution sensor, neither of which gets you better photos.

Also, despite its looks, the L810 is very much a basic point-and-shoot camera, offering little more than fully automatic shooting. Not that that's a bad thing and, in fact, if all you need is a decent auto mode and a long lens for shooting in daylight and your photos are going straight to Facebook, the L810 is plenty.

Weight (with battery and media)Megapixels, image sensor size, typeLCD size, resolution/viewfinderLens (zoom, aperture, focal length)26x, f3.1-5.9, 22.5-585mm (35mm equivalent)Highest resolution size (still/video)4,608x3,456 pixels/ 1,280x720 pixels at 30fpsAA size (4, alkaline included), 300 shots

Photo quality
As with most entry-level point-and-shoots, you'll want to give the L810 as much light as possible. Photos are best at and below ISO 200. As the sensitivities increase, so do the noise and smeary details from noise reduction. Also, colors appear slightly washed-out and muddy from noise from ISO 400 and above. This, combined with the increased softness at higher sensitivities, means the indoor and low-light photo quality just isn't very good. So again, as long as you have plenty of light and don't do more than share photos online or make the occasional 4x6-inch print, the L810 takes good snapshots.

Photo quality gets noticeably worse above ISO 200.

(Credit: Matthew Fitzgerald/CNET)

The camera's color performance is its best attribute, though again it's dependent on using ISO 200 or lower. At those sensitivities, colors appear bright and vibrant. Exposure is good, but as usual with compact cameras, highlights will occasionally blow out. Its white balance is good overall, though the auto white balance is warm under unnatural lighting.

Video quality is the same as photo quality: good enough for Web use at small sizes. Panning the camera will create a little judder and you may notice some motion blur with fast-moving subjects; that's typical of the video from most compact cameras. The zoom lens does work while recording, which is definitely a selling point with such a long lens. Its movement is slow -- as is the autofocus, if it focuses at all -- and you will hear it moving in your clips.

ISO sensitivity (full resolution)Auto, 80, 100, 200, 400, 800, 1600Auto, Custom, Daylight, Incandescent, Fluorescent, Cloudy, FlashEasy Auto, Scene, Smart Portrait, Auto, Movie0.4 inch (middle zoom position)Evaluative, Center-weighted (when using up to 2x digital zoom), Spot (digital zoom of 2x or more)Standard, Vivid, Sepia, Black & White, CyanotypeBurst mode shot limit (full resolution)

Features
As I mentioned earlier, if you're looking for an uncomplicated automatic point-and-shoot, that's exactly what this is. There are two Auto modes on this camera. One is Easy Auto, which uses scene recognition (Nikon calls it Scene Auto Selector) and adjusts settings appropriately based on six common scene types. If the scene doesn't match any of those, it defaults to a general-use Auto. Then there is an Auto mode, which is similar to the program AE modes on other point-and-shoots, giving you a modicum of control over your end results. You can change ISO, white balance, and exposure compensation as well as color, flash, and continuous-shooting modes. Light metering is locked to multipattern unless you're using the digital zoom, and the focus area is fixed to the center of the frame.

If you're able to decipher the type of scene you're shooting, it may correspond to one of the camera's 16 selectable scene modes. All of the scenes are standards like Portrait and Landscape, and there is a Panorama Assist for lining up a series of shots that can be stitched together with the bundled software. Nikon's Smart Portrait System gets its own spot in the shooting-mode menu. Basically, it combines a Blink Warning, Skin Softening, Smile Shutter, and Face Priority AF (autofocus) features into one mode. The system works well, in particular for self-portraits, allowing you to take pictures without pressing the shutter release or setting a timer (limited to one 10-second option).

With enough light, the L810 produces good close-up shots. This is a 100 percent crop from the inset photo.

(Credit: Joshua Goldman/CNET)

If you like to shoot close-ups, the L810 can focus as close as 0.4 inch from your subject, but to do so you need to zoom in a little; an arrow on the onscreen zoom indicator turns green when you're at the right length. Worth noting is that if you try to use the flash when shooting close-ups, depending on how close you are, you can end up with a shadow from the lens barrel (common for long-zoom cameras).

Performance
Shooting performance is slow, though the L810 is on par with other lower-end compacts in this area. The camera starts up and shoots in 2.3 seconds in good lighting. Its shot-to-shot times are about 3.3 seconds without the flash and 4.1 seconds with -- both slower than the times of the model it replaces. The camera can continuously shoot at full resolution up to four photos at a rate of about 1.1 frames per second, which is decent, but focus and exposure are set with the first shot, so it's not ideal for fast-moving subjects. Shutter lag -- how quickly a camera captures an image after the shutter-release button is pressed without prefocusing -- is also worse than the L120's at 0.5 second in bright lighting and 0.8 second in dim conditions. Worth noting, too, is that its autofocus is very slow when you extend the lens. What this all means is that the camera is too slow for getting specific shots of active kids or pets, sports, or fast-moving wildlife without practice and a lot of luck.

(Note: Again, I tested two L810 cameras. My first camera experienced a few performance problems, including unexpectedly shutting down during use. Nikon attributed these to my camera being an early production sample. I tested a second L810, and while its autofocus and overall shooting performance were still slow, it did not exhibit any other issues. If you have an L810 that is performing unusually, contact Nikon customer service at 1-800-Nikon US.)

The L810 is easy to use out of the box. However, with no viewfinder, the 26x zoom is tough to keep steady without a support.

(Credit: Sarah Tew/CNET)

Design and use
Using the L810 is straightforward.The controls and menu system are fairly uncomplicated, so out-of-the-box shooting shouldn't be a problem. The menu system is broken into three tabs: Shooting, Movie, and Setup. The layout keeps you from doing too much hunting through settings, not that there's all that much to adjust. (For example, you can't even turn off the digital zoom.) That's not to say it won't take a little effort to get the most from this camera, but the basics of shooting a photo or movie are easy.

With the camera loaded with its four, AA-size batteries, it has a nice weight to it, and the ample handgrip gives you something substantial to hold. Unfortunately, without a viewfinder, the camera is difficult to keep steady with the lens extended.

On the bottom is a locking door covering the SD card slot and batteries. You can use alkaline, NiMH rechargeables, or lithium AA batteries. Nikon includes alkaline batteries, which will last for up to 300 shots; lithium batteries should last for nearly 750 shots. NiMH rechargeables are rated for up to 450 shots. On the left side of the body is a covered panel with a small DC input for an optional AC adapter, a Mini-HDMI port, and Micro-USB/AV port.

Conclusion
The Nikon Coolpix L810 is not a camera I would easily recommend. If you simply must have a 26x zoom lens and AA batteries for power, it's OK, especially for its price. However, you may want to seek out the older L120 if it's still available or check out the competing Fujifilm FinePix S4200.

Sony Handycam HDR-CX210 (black)

2013-01-05T21:27:00.000-08:00

The bad: You can't really call the video HD quality, the camcorder feels flimsy and the lens is prone to fringing.

If you only view the video scaled down (inset), it can look fine -- provided you don't mind the occasional purple cast caused by fringing. At full size, though, it's kind of messy. (Frame grab)

(Credit: Lori Grunin/CNET)

Toshiba Camileo BW10 Camcorder (yellow)

2012-12-31T18:14:00.000-08:00

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The good: The Toshiba Camileo BW10 is easy to use, waterproof, and small and lightweight.

The bad: The BW10 has almost no extra features, lacks embedded editing and sharing software, and produces merely passable HD video.

The bottom line: The Toshiba Camileo BW10 is a basic, waterproof minicamcorder that's good enough to capture a casual cannonball into a pool, but not more treasured memories.

Toshiba's Camileo BW10 is a simple, waterproof minicamcorder. And by simple, I mean it does little more than shoot full HD-resolution video and 5-megapixel photos on land and in the water to depths of 6.5 feet for up to 60 minutes. If you're looking for more than that, you probably want skip the BW10. But those who want an inexpensive pocket video camera for wet weather or poolside use might like what it has to offer--regardless of how little that actually is.

Though the BW10 isn't shockproof or crushproof, it does feel a bit tougher than a nonwaterproof minicamcorder. It's small and lightweight, so throwing it in a pocket or small bag isn't a problem. On the bottom is a locking, well-sealed door covering the SD card slot and removable battery pack. The left side has another door protecting its Micro-USB port (used for charging and file transfers) and Mini-HDMI port. There is no flip-out USB connector, so you'll need a cable or a card reader to move files to a computer.

Weight (with battery and media)Fixed focal length, f2.8 47mm (35mm equivalent)H.264 video, mono AAC audio (.MP4)1,920x1,080 pixels at 30fps (13Mbps; progressive)Removable lithium ion rechargeable, 70 minutesCamileo YouTube Uploader (Windows), Magix Video deluxe 15 (Windows; 30-day trial)

Despite the busy control panel below the small 2-inch LCD, the BW10's operation is straightforward. Press and hold the power button (it takes roughly 7 seconds to go from off to recording) and then press the video record button or shutter release for photos. There's a directional pad in the center: press right to change video resolution, left to change photo resolution, and up and down to control the digital zoom. There's a playback button for viewing photos and videos, and you can capture stills from videos by pausing the clip and pressing the shutter release. There's a menu button, too, but there's little reason to use it.

The BW10 is all automatic. The only shooting options are selecting resolutions for photos (5, 2, 0.9, and 0.3 megapixels) and videos (1080p, 720p, or 480p, all at 30 frames per second) and turning on face detection and tracking. There is a 10x digital zoom (not that you should use it), and there's electronic image stabilization that can't be shut off. You can't even turn off the beeping that accompanies menu selections or the shutter release sound.

Canon PowerShot S100 (Black)

2012-12-25T21:48:00.000-08:00

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AppId is over the quota
The good: A great little camera with advanced features, the Canon PowerShot S100 builds on the strengths of its excellent predecessor.

The bad: As a trade-off for extending the zoom range to 5x the lens' aperture narrows very quickly as you zoom out. And there's no improvement over the S95's so-so performance, despite the price increase.

The bottom line: The Canon PowerShot S100 is a generally great little camera for advanced shooters who don't mind slowing down a bit from a dSLR.

The Canon PowerShot S95 is a very good, popular camera with some commonly complained-about flaws: among those are the poor flash design, lack of a grip, narrow maximum aperture at the telephoto end of the zoom range, short battery life, slow performance, and relatively expensive price. With the S100, Canon addresses a few of these plus it adds some desirable new features: a wider-angle 24mm start to the zoom range, manual controls and zooming during video, and a built-in GPS. There's also a spiffy new silvery/champagney-color version in addition to the basic matte black.

Despite a slight bump up in resolution, the S100 maintains the excellent photo quality that contributed to the S95's popularity. Exposure and metering, color accuracy, and tonal range are good, and the lens is relatively sharp; there's some distortion but less than you'd expect given its minimum focal length of 24mm-equivalent. Given its size (and its relatively small sensor) it delivers excellent JPEG quality up to ISO 200, and photos remain quite good up through ISO 800. If you shoot raw you can even get quite usable quality out of ISO 1600, which is rare for a camera its size. Plus, there's quite a bit of fringing on high-contrast edges. The camera defringes the JPEGs, but if you shoot raw it's quite a bit of work to fix.

High ISO sensitivity performance is especially important for the S100, because the aperture narrows so quickly as you zoom through even its limited 5x range that you run out of available light fast. Shooting in late-afternoon November light became an exercise in frustration. Any zoom beyond its widest required boosting the sensitivity setting. The only thing that keeps me from dinging the S100 harder for it is that bumping up to a faster lens in the Fujifilm FinePix X10 adds a significant chunk of change, and as I haven't tested it yet there's always the possibility that the X10's photos won't be up to its price, or that it somehow manages to perform even more slowly than this generally slow class of cameras.

The S100 does a pretty nice job shooting video as well, and one of the enhancements over the S95 is the ability to use the zoom during shooting, which it does quietly and unobtrusively. The video is sharp if somewhat oversaturated (you can set it to a neutral color setting if that bothers you), and the audio sounds good. There's a slow-motion recording mode--you capture normally and it plays back at 240 or 120fps and saves out an MP4 file of the slow motion playback. It's better than some because it doesn't limit the capture time, but it also records at small 320x240- or 640x480-pixel sizes depending upon the frame rate.

Disappointingly, Canon didn't improve the S100's performance over the S95; it's still a bit slow overall and can't keep up with class performance leaders like the XZ-1 or the LX5. It powers on, focuses, and shoots in just under 1.6 seconds, which is reasonable. For single shots, it's about the same as the rest of the field: 0.4 second to focus and shoot in good light and 0.6 second in dim. But like the S95 it slows down notably when snapping two sequential shots, to 2.4 seconds for JPEG, 2.6 seconds for raw and 2.8 seconds for flash. While I wouldn't call raw+JPEG shooting glacial, it does feel sluggish. It can burst JPEG at about 2.4 frames per second, but as with its peers, you don't really want to buy this model for anything that moves quickly, including kids and pets. It also has the shortest battery life in its class, but that's one of the trade-offs you make for size: smaller camera, smaller battery.

It uses the same LCD as the S95, and it's bright and saturated and pretty usable in direct sunlight.

The addition of the grip inset makes a big difference in shooting comfort, and the control ring around the lens remains a nice interface convention.

The S100's design improves on some of the flaws of the S95. It now has a tiny grip in front and a rubberized thumb rest in the back which makes it much easier to hold and shoot. It retains the control ring around the lens that distinguishes the camera from competitors, except for the XZ-1, which copied it. The ring can be set to control shutter speed, ISO sensitivity, exposure compensation, manual focus, white balance, stepped zoom, i-Contrast, aspect ratio, or its function when in Custom mode. The functions can be set independently of shooting mode, so that, for example, it can control focus in Manual mode or shutter speed while in aperture-priority mode. The stepped zoom can also be a surprisingly useful feature for some; it jumps to popular preset focal lengths (24mm, 28mm, 35mm, 50mm, 85mm, 120mm), which is quite convenient if you need repeatable shots. You can quickly access the ring control assignments via a dedicated button on the back of the camera. If you don't plan to change the ring function that often, you can even reassign the button to a host of other options, including some important ones like metering, raw+JPEG override or the built-in neutral density filter.

Although you might think you want a really compact camera, people with big hands might find the S100 a little too small for comfort.

On top is a more prominent shutter button plus the mode dial, which has the usual PASM, auto, movie and scene modes, as well as a custom settings slot and special effects mode. The custom settings that save include a manual focus position and/or zoom position and My Menu items in addition tot the relevant shooting settings. The back has the typical set of controls, including focus mode, flash, and exposure compensation plus a quick function access button and dedicated movie record button. While the menus are structured into three seemingly short screens, you nevertheless have a lot of control and customization over the camera's behavior and the options. For instance, on the surface it seems like there are just the requisite flash options you'd expect, including flash compensation and first- or second-curtain sync, but if you dive a little deeper in the menus you'll find a manual setting where you choose from three levels of output intensity. That said, it would be nice if the flash were a little more intelligent on auto.

The most notable new addition to the camera is a GPS receiver for geotagging photos. The implementation is pretty basic--you can turn it on or off, and there's a GPS Logger feature that continuously records your location between shots to deliver a complete route of your travels. (To use the latter data, however, I think you have to use the bundled software.) The GPS logger operates while the camera is off, which is bound to drain the power, especially if it has a hard time getting a signal in places.

3-inch fixed OLED
610,000 dots3-inch articulated AMOLED
920,000 dots720/24p
H.264 QuickTime MOV
Stereo1080/24p
H.264 QuickTime MOV
Stereo1080/30p H.264 QuickTime MOV StereoManual iris and shutter in video

There are some less interesting but novel new features. Movie Digest mode automatically captures a few seconds of video before you snap a photo, which sounds good, except in that mode the movies and video are stuck at 640x480 pixels. A High-speed Burst HQ mode shoots 8 shots at 9.6fps--that's less than a full second capture--with completely automatic settings. You then have to wait about 4 seconds while it saves before you shoot again. It does operate at full resolution, however. In addition, there's the typical complement of scene modes and special-effects filters. For a complete guide to the S100's features and operation you can download the PDF manual.

Conclusion
Canon's PowerShot S100 is still the smallest camera you can buy that delivers good photo quality with a full set of manual capabilities and a wide-aperture lens. And it's a great little camera--well designed and comfortable to shoot, albeit with a couple of caveats. The lens may start out with a wide aperture, but it gets narrow pretty fast as you start to zoom, so make sure that's not going to drive you nuts; if it will you may want to check out a slightly more expensive model like the Olympus XZ-1 or Fujifilm FinePix X10. It's also not terribly fast--probably fine for street shooting, but it'll never keep up with unpredictable kids or animals.

Shooting speed (in seconds)
(Shorter bars indicate better performance)
Typical continuous-shooting speed (in frames per second)
(Longer bars indicate better performance)

GoPro HD Hero2 Outdoor Edition

2012-12-18T23:44:00.000-08:00

The bad: As improved as it is, the Hero2's interface can still be a bit confusing for the first-time user.

The bottom line: The GoPro HD Hero2 is easily the best GoPro camera yet, with the ruggedness and quality that we've come to expect and a new user-friendly interface.

The HD Hero2 remains compatible with previous-generation GoPro accessories. Here it is fitted with a Battery BacPac and a suction-cup mount.

Users who want to add functionality can do so with addons, such as this LCD BacPac.

The Hero2's new interface is much easier to decode and navigate than the previous generations'.

Recording modes
So, we've discussed the chassis and we've explained that it's easy to use, but what sort of video and photos can you expect to get out of this camera?

Sony Handycam HDR-CX200

2012-12-15T00:19:00.000-08:00

The bad: You can't really call the video HD quality, the camcorder feels flimsy and the lens is prone to fringing.

If you only view the video scaled down (inset), it can look fine -- provided you don't mind the occasional purple cast caused by fringing. At full size, though, it's kind of messy. (Frame grab)

(Credit: Lori Grunin/CNET)

Sony Handycam HDR-PJ10

2012-12-09T21:06:00.000-08:00

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AppId is over the quota
The good: The Sony Handycam HDR-PJ10's built-in projector and stereo speakers are very convenient for sharing home movies. Plus, the HD camcorder has the same wide-angle lens, built-in USB cable, and good automated performance as its projector-free siblings.

The bad: If you don't plan to use the projector, the rest of the camcorder's performance and feature set are a bit underpowered for the money.

The bottom line: You're paying a couple hundred extra for the projector in the otherwise frills-free Sony Handycam HDR-PJ10 over its identical twin, the CX160. But if you regularly show off your vacation videos in the homes of friends and family then it's worth it.

When I first saw Sony's PJ series of camcorders, with their built-in projectors, I flashed back to all the times I sat waiting for certain friends of mine to hook up their various devices to the TV in order to share their vacation videos. They eventually just left the necessary cables hanging off the TV, but for a lot of people, that's a suboptimal solution. The small projector in the Sony Handycam HDR-PJ10 is a far more elegant option.

Essentially the same camcorder as the Sony Handycam CX160, the HDR-PJ10 gets its usefulness quotient increased quite a bit by a pico projector. (Much of this review is based on that of the CX130/CX160.) In part because the just-OK video quality matters a lot less when you're viewing it via the projector, and I'm assuming that if you bought this model it's because you're going to be projecting rather than connecting to a TV.

In sunlight, with the subject filling the frame, the camcorder produces good-looking video that passes for full HD. But in many other circumstances, especially when there's a lot of background detail and motion such as grass or trees waving in the breeze, the low-resolution (in this case, less than the native 2.07 megapixels required for HD) sensor simply isn't up to the task of resolving all that and you'll start to see artifacts from the interpolation and video compression, despite the relatively high bit rates.

As with the CX130/CX160, the colors look pleasing and sufficiently saturated, if a bit coolly white-balanced, and while bright highlights get blown out, that's an acceptable trade-off for the price that most people probably won't mind. Moderately low-light video looks decent, albeit a bit soft and noisy, and in very dim living-room light, the camcorder trades off color for visibility and sharpness, producing usable video with a not-unpleasant graininess reminiscent of black-and-white.

While the still photos are serviceable, you probably don't want to count on the camcorder as a camera. Photos are bright and colorful, but have that smeary, processed look of a cheap digital camera because they're scaled up from the native resolution of 1.67MP to 1.9MP.

Sensor (effective video resolution)recommended: n/a
standard: 11
low light: 3recommended: n/a
standard: 11
low light: 3recommended: n/a
standard: 11
low light: 3recommended: n/a
standard: 11
low light: 3recommended: n/a
standard: 11
low light: 30GB/16GB internal/160GB hard drive; 1 x SDXCAVCHD: 1,080/60p @ 28Mbps; 1,080/60i @ 24, 17Mbps; 1,440x1,080/60i @ 9, 5MbpsAVCHD: 1,080/60p @ 28Mbps; 1,080/60i @ 24,17Mbps; 1,440x1,080/60i @ 9, 5Mbps
AVCHD: 1,080/60p @ 28Mbps; 1,080/60i/24p @ 24,17Mbps; 1,440x1,080/60i @ 9, 5MbpsAVCHD: 1,080/60p @ 28Mbps; 1,080/60i/24p @ 24,17Mbps; 1,440x1,080/60i @ 9, 5MbpsAVCHD: 1,080/60p @ 28Mbps; 1,080/60i/24p @ 24,17Mbps; 1,440x1,080/60i @ 9, 5Mbps
2 channels/2 channels/5.1 channels, mic and headphone jacks5.1 channels; mic and headphone jacks5.1 channels; mic and headphone jacks5.1 channels; mic and headphone jacks5.1 channels; mic and headphone jacks2.1x2.3x4.9/ 2.1x2.3x4.9/ 2.4x2.6x5.1

Canon Vixia HF M400 (black)

2012-12-05T17:48:00.000-08:00

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The good: With a nice set of features for home-movie-type shooters and pleasing video quality, the Canon Vixia HF M400 series has lots to like.

The bad: A small, coarse LCD that's hard to view in direct sunlight and touch-screen-impaired menu system hamper an otherwise solid design.

Sony Cyber-shot DSC-RX100

2012-11-30T03:36:00.000-08:00

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AppId is over the quota
The good: Speed, good looks, and pretty pictures number among the Sony Cyber-shot DSC-RX100's strengths.

The bad: The camera tends to clip bright highlights more than we typically see, and the slippery body lacks a grip. Plus, the lack of a manually triggered macro mode might put off some fans of close-up photography.

The bottom line: The Sony Cyber-shot DSC-RX100's compact, elegant design, generally excellent photo quality, bright, fast lens, and speedy performance make a great package if you don't mind spending a little more money.

Sony may be a camera-come-lately with its Cyber-shot DSC-RX100 enthusiast compact, but boy, what a debut: a fast performer equipped with a relatively large sensor and a bright, fast lens, and wrapped in a small, sleek body. It seems like Sony made a lot of intelligent decisions about design and feature tradeoffs to get the job done. Compared with many of its competitors it's relatively expensive, but it doesn't feel overpriced for what you get.

Image quality
The RX100 generally displays good JPEG processing and noise reduction; it does a creditable job of balancing trade-offs between color noise and softness. Out-of-focus areas still suffer from mushiness as low as ISO 400 -- a common problem with cameras with smaller sensors -- but in-focus spots stand up pretty well until about ISO 800. Overall, the camera's JPEGs look solid up to ISO 400 and acceptable through ISO 1600, depending upon scene content. From a noise and artifact perspective, I was happy with an uncorrected 13x19 print of the ISO 1600 photo downloadable below.

But it's nice that you're not forced to rely on the high ISO sensitivities that often. While the lens aperture gets pretty narrow at the telephoto end of the focal range, it's still relatively wide for a nice chunk of the way. Here are the points at which the maximum aperture changes:

Keep in mind that while the aperture determines the amount of depth of field you'll have at a given focal length, so does sensor size. That means competing aperture specs are only moderately useful when it comes to comparing cameras: the f1.8 on the XZ-1 will look very different from the f1.8 on the RX100 because of sensor size difference. Larger sensors can achieve shallower DOF at a given focal length and aperture than smaller sensors, which gives the RX100 a compositional flexibility advantage over cheaper competitors. But typically, unless you're always shooting at a wide angle or close up, you'll probably still end up without a lot of background defocus. The more practical advantage the lens confers is simply allowing for more light.

The camera produces very nice low-ISO-sensitivity shots with lovely tonality. It doesn't have a neutral Creative Style, so the photos have Sony's typical Standard look, high contrast with pushed saturation. That said, it doesn't stress the range so badly that hues shift or shadow detail clips substantially. The one possible issue I encountered was that bright highlights on yellows get completely blown out. They're unrecoverable from raws in Sony's Image Data Converter software, but they might be there for better software. On the other hand, some clipped areas in bright, saturated reds of JPEG images proved moderately recoverable in the software.

The lens displays very good center sharpness through f5.6, with a slight falloff at f8 and noticeable softness at f11. There's also some aberration at f1.8, which is typical, and a little bit of barrel distortion on the left side at its widest -- it looks like Sony is performing in-camera distortion correction, which tends to make wide angle images look oddly linearized.

Video looks good, bright, saturated, and reasonably sharp, with no notable artifacts in bright light, and is relatively noise-free in dim. The autofocus works well while shooting video, and the lens is sufficiently quiet while zooming. Audio comes through loud and clear and doesn't sound too compressed or tinny.

Performance
Editors' note: We recently updated our testing methodology to provide slightly more real-world performance information, so the results aren't necessarily comparable with previous testing. Until we're finished refining our procedures, we will not be posting comparative performance charts.

The RX100 is significantly faster than its competition for all but continuous shooting. It takes about 2.1 seconds to power on, focus, and shoot -- while that's not blazing-fast, it's still ahead of quite a few other models. Focusing and shooting under all but the darkest conditions takes about 0.3 second; in very low light, the autofocus automatically expands to the entire scene. Two sequential shots with the first prefocused take about 0.2 second for raw or JPEG. That increases to 2.3 seconds with flash enabled, which is on the fast side for this crowd. Shooting raw+JPEG with a fast SD card (a 95MBps SanDisk Extreme Pro) is fast and fluid without any interface lag.

With a fast card, the camera can burst JPEGs at 2.5 frames per second for an effectively unlimited number of shots without slowing. You can shoot raw continuously at the same rate for around 17 shots; after that, it drops to around 2.2fps. However, while faster than many competitors' times, neither of these is really great. Continuous shooting with the RX100 and many other viewfinderless models is mostly a point-and-pray process, anyway. In the case of the RX100, the tracking autofocus seems to lag behind even slow-moving subjects, another not-uncommon problem.

The LCD becomes a little washed out in direct sunlight but remains sufficiently visible.

Design and features
With only a couple of possible exceptions, the RX100 is a sleek, well-designed camera; it's compact and attractive, with a sturdily built aluminum body.

No grip! Not even a textured surface.

My biggest problem with the RX100's design is the lack of a grip. That combined with the slippery metal body means I'm constantly in fear of dropping it, and forced to grip it extra tightly, which can get really tiring if you shoot one-handed a lot. Over and over again we've seen companies drop the grip to make the camera seem smaller or shinier or somethinger only to add it back in a subsequent generation. It's nuts.

Like the equivalent PowerShots and the Olympus XZ-1, the RX100 incorporates a multipurpose adjustment ring on the lens.<
What you see while zooming with the control ring.

I like the control ring, which you can program to operate for one default setting (such as zoom or shutter speed) and to use in conjunction with the Fn button, which you can program to access up to seven more settings. However, you can't use the control ring while the camera's on a tripod (unless you have a very small plate); the ring extends just far enough below the bottom of the camera that there's no clearance to rotate.

You can tilt the RX100's flash for more-attractive illumination.

The camera can be customized quite a bit. In addition to the Fn button, you can also reprogram the operation of the left and right navigation keys on the back dial as well as the center button. And there's a Memory Recall option on the mode dial so you can select from three custom settings slots.

ISO 80 - ISO 3200/12800 (expanded)5fps
12 JPEG/ n/a raw
(11fps without tracking AF)2.5fps
(10fps with fixed exposure)
n/a60-1/2,000 sec; bulb to 16 min3-inch fixed OLED
610,000 dots3-inch articulated AMOLED
614,000 dots1080/24p
H.264 QuickTime MOV
Stereo1080/60p AVCHD @ 28Mbps; 1080/60p QuickTime MOV @ 28Mbps
StereoManual iris and shutter in video

The top mode dial offers the usual manual, semimanual, and automatic modes, plus a dedicated movie mode (with a full set of manual and semimanual exposure controls) and Sweep Panorama.

I'd argue that the camera (like a lot of cameras, actually) offers too many automatic mode options: there's a scene program mode, intelligent auto, and Superior auto. I always thought the whole point of automatic was to not have to make any choices.

The movie button on the back is a bit hard to press because the location demands it be too recessed in order to keep from accidentally hitting it. The rest of the controls have just enough travel to keep from being difficult to operate.

I wish there were more control over what settings appear in this display.

In order to get rid of useless or screen-cluttering information like the Soft Skin or flash compensation setting -- the latter shouldn't even appear if the flash is forced off, for example -- you have to switch to the graphic display, which I find harder to parse quickly.

While the RX100 has a nicely rounded shooting feature set, I'd hardly call it expansive. The camera lacks a hot shoe, viewfinder, or articulated LCD. And even if you're willing to trade those off for the more compact size, it also lacks geotagging capability and wireless connectivity. It has features like the aforementioned Soft Skin Effect and Auto Portrait Framing, which I think are out of place in a camera for more advanced users. I'd rather have the ability to manually invoke macro mode, which, like with Sony's point-and-shoot models, here can only occur automatically. In addition to face detection, it can register up to eight faces, which it can then use for Smile Shutter or autofocus tracking.

For effectsionistas, the RX100 offers a handful, with a few very nice ones. But you've got to scroll through every variation -- a rotating cornucopia of 33 slots when there are really only 13 filters -- which gets seriously annoying. They're not accessible in raw or raw+JPEG mode (though the camera doesn't bother to tell you that's why they're grayed out) so you can't save a simultaneous version without effects, and you can't control any of the parameters.

Conclusion
While the Cyber-shot DSC-RX100 is pricey and imperfect, it's still darn good. Plus, based on past experience, even if competitors I haven't yet tested can surpass it in design or speed, I don't think they'll be able to match the photo quality. (Canon might be able to if it matched a fast lens to the G1 X's sensor.) Despite its drawbacks, I'd still rank it as one of the best compact cameras I've ever tested, and certainly the best under $700. But if you can't bring yourself to pay the premium price, one of these other enthusiast compact models will probably suit.

Panasonic Lumix DMC-SZ7 (Black)

2012-11-23T07:15:00.000-08:00

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The good: The Panasonic Lumix DMC-SZ7 delivers fast shooting performance and very good photo and movie quality in a slim package with a wide, long lens.

The bad: The SZ7's battery life could be better, and its pictures probably won't thrill pixel peepers.

The bottom line: A speedy little camera with a long lens, the Panasonic Lumix DMC-SZ7 performs beyond its tiny price tag.

For such a small camera, the Panasonic Lumix DMC-SZ7 has a lot going for it.

The ultracompact point-and-shoot weighs about the same as a smartphone, but has a 10x zoom lens and a 14-megapixel MOS sensor that supports full HD movie capture at 60i in AVCHD (it'll shoot MP4, too), and it shoots fast thanks in part to Panasonic's latest autofocus system, which keeps shutter lag very low.

All of that, very good photo and video results, and a reasonably low price make it a nice choice as a grab-and-go camera for automatic snapshots.

However, you probably won't want to go without a fully charged battery, and, while I liked its photo quality overall, it might not meet everyone's needs and expectations.

Picture quality
Depending on what your plans are for its photos, the Panasonic Lumix DMC-SZ7's shots are either very good to excellent or unusable. If you're looking to use its 14-megapixel resolution to enlarge pictures to full size and heavily crop in, don't buy this camera (or most other point-and-shoots). Things just don't look great when viewed at 100 percent.

However, those viewing on a screen at less than 100 percent or making prints up to 8.5x11, which is probably the majority of buyers, will be really happy with the results.

Looking at its pictures closely, you'll see subjects are somewhat soft and noisy even at the camera's lowest ISO sensitivities where things should be their sharpest. As you go up in ISO, such as when you're shooting in low light, you'll pick up more noise, particularly yellow blotches. Panasonic's JPEG processing has gotten much better at these higher ISOs, making them usable. Things definitely get worse at ISO 1600 and above, however, so you'll want to avoid using them whenever possible. Also, subjects generally look soft above ISO 200; if it's something you're sensitive to, you can always sharpen somewhat with editing software. (You can read more about picture quality in the slideshow above.)

Video quality is very good, with limited ghosting on fast-moving subjects. Judder, too, is minimal when panning the camera. Basically all the pluses and minuses of the camera's photo quality are true for movies as well. That includes blown-out highlights in bright scenes.

Shooting performance
Note: We recently updated our testing methodology to gauge slightly more real-world performance, so the results aren't necessarily comparable with previous testing. Until we're finished refining our procedures we will not be posting comparative performance charts.

Probably the biggest reason to get the SZ7 is its shooting performance. About the only thing it does somewhat slowly is power up; from off to first shot takes about 2.1 seconds. After that it's very fast at 0.7 second from shot to shot. Using the flash drives the shot-to-shot time up to 2.5 seconds, but that's still very good for this category.

(Credit: Sarah Tew/CNET)

Shutter lag -- the time from pressing the shutter release to capture without prefocusing -- is just 0.3 second in good lighting. In low-light conditions it goes up to 0.5 second and zooming in under the same conditions will extend the lag to just less than 1 second. For this class of camera at its price, these are excellent times.

The SZ7 is also excellent for burst shooting. Panasonic claims it can shoot in four-shot bursts at 10 frames per second at full resolution, and it basically hit that in my tests, reaching 9.7fps. However, that's with focus and exposure set at the first shot. What sets the SZ7 apart from similar cameras is that it can capture at 5fps with autofocus; most competing models don't even offer that as an option, and if they do, they aren't nearly this fast.

(Credit: Sarah Tew/CNET)

Design and features
The DMC-SZ7 looks like a shrunken, slimmed-down version of its longer-zoom linemates, the ZS19 and ZS20. Despite being just less than an inch thick, the SZ7 still has plenty of zoom range, going from an ultrawide-angle 25mm to 250mm. Plus, the camera is so lightweight, you can easily slip it in a pocket and not feel weighed down.

3.9 inches by 2.4 inches by 0.9 inchWeight (with battery and media)Megapixels, image sensor size, type14 megapixels, 1/2.3-inch high-sensitivity MOSLCD size, resolution/viewfinderLens (zoom, aperture, focal length)10x, f3.1-5.9, 25-250mm (35mm equivalent)JPEG/AVCHD (.MTS), H.264 AAC (.MP4)Highest resolution size (still/video)4,320x3,240 pixels/ 1,920x1,080 at 60fps (AVCHD interlaced; 17Mbps), 1,920x1,080 at 30fps (MP4 progressive; 20Mbps)Lithium ion rechargeable, 220 shotsYes, via USB connected to computer or wall adapter (included)PhotofunStudio 8 Advanced Edition (Windows)

Controls are relatively easy to master. About the most frustrating part is the use of switches for power and going from shooting to playback. If you're used to buttons for these things, it can take some time to adjust, especially if you're the type to look at your shots right after you take them.

(Credit: Sarah Tew/CNET)

Panasonic fit a 3-inch high-res LCD on back while leaving plenty of room for its controls. The LCD gets reasonably bright, though even at its max brightness you may struggle to see it in direct sunlight. It does have a high-angle setting, however, so if you're shooting above your head it won't completely wash out.

The DMC-SZ7's battery and SD card slot are squeezed into a small compartment on the bottom with a locking door. Battery life is somewhat short if you do more than take some snapshots in auto. Using the zoom lens a lot, burst shooting, or capturing long movie clips will empty your charge quickly. If you're considering the SZ7 for going out and shooting for the day, you'll want to pick up a second battery. The battery is charged in-camera via USB so you may want to get an external charger, too, or plan ahead.

ISO sensitivity (full resolution)Auto,100, 200, 400, 800, 1600, 3200Auto, Daylight, Cloudy, Shade, Incandescent, CustomIntelligent Auto, Normal (program AE), 3D Photo, Scene, Miniature EffectFace Detection AF, 1-point AF, 23-point AF, Spot AF, AF Tracking2 inches (Wide); 4.9 feet (Tele)Standard, Black & White, Sepia, Vivid, Happy (only in iA mode)Burst mode shot limit (full resolution)

The SZ7 is light on shooting options, but if you're mostly concerned with its fully automatic performance, its Intelligent Auto (iA) performs well. If you like a little more control, there is a Normal mode that lets you select things like ISO and white balance, as well as turn on and off Panasonic's Intelligent technologies for improving contrast, sharpness, and other things.

(Credit: Sarah Tew/CNET)

There are also 15 scene modes that include the usual suspects like Portrait, Scenery, and Food, but Panasonic's added new pan-and-shoot Panorama Shot and a multiexposure Handheld Night Shot that takes a few pictures rapidly in a row and then combines them into one to reduce motion blur and noise. The downsides are that it only works well if your subject is stationary, and the white balance is a bit too warm indoors.

Worth noting, too, is that Panasonic lets you turn on both Handheld Night Shot and a multiexposure HDR mode for its Intelligent Auto mode. That way if it detects low-light conditions or a backlit subject when in iA, it can use those options instead of you having to switch to them manually.

There are a couple other extras available, like Miniature Effect and Panorama Shot modes, but if you're looking for a camera to leave in auto, the SZ7 handles most shooting conditions well.

Conclusion: Recommended
The Panasonic Lumix DMC-SZ7 is great little pocket camera. Even at its original price of $180 it was a good deal, but now that it can be found for less than $150, it's a steal. That's mostly because of its fast shooting performance and its small size and long lens. Its battery life could be better and it has some limitations when it comes to photo quality, but if most of your photos are ending up online and you don't need to make prints larger than the occasional 8x10, it's a solid choice for the money.

Canon Vixia HF G10 (black)

2012-11-17T18:21:00.000-08:00

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AppId is over the quota
The good: The Canon Vixia HF G10 delivers great video quality and a lot of useful features for advanced shooters.

The bad: Design issues that affect frequently used adjustments may annoy the very people the camcorder is designed to attract, and for the money it should ship with a double-capacity battery.

The bottom line: While it's got a great shooter feature set and good video quality, the Canon Vixia HF G10 still feels a bit expensive for what it offers.

With a street price well above $1,000, the Canon Vixia HF G10 needs to deliver a lot more than just its extensive manual feature set--especially since Canon is creating a potentially confusing lineup by putting its HD CMOS Pro sensor in this model, skipping the next one down, and then using it in the midrange HF M4xx series. The sensor is the one currently used in the company's entry-level pro models, albeit by itself rather than in a trio. Because it's larger than a typical consumer sensor, with 2.75 micron pixels rather than 1.7 micron pixels, Canon claims a 280 percent improvement in dynamic range over previous prosumer models, with a new minimum recommended light level of 1.5 lux.

There's also a significantly more expensive "pro" version of this camcorder, the Canon XA10, which adds a detachable handle that includes dual XLR inputs, audio switches, an infrared light, a tally lamp, a removable microphone holder, zoom and record switches, and a pass-through accessory shoe.

The combination of the larger-pixel sensor and a high-quality lens results in some of the best video quality I've seen in a consumer camcorder. While the video can be just a hair softer than I like, overall it's quite good--and when you play it back directly on a TV, it looks sharp. Overall, the G10 offers an excellent dynamic range, with only the brightest of white highlights clipped. If you're editing, you may want to crush the blacks a little to improve the contrast, but for video going straight to TV it will look great. While the automatic white balance tends to be a little bit cooler than I like, the colors are good: bright, saturated, and relatively accurate.

While I would have expected the G10's eight-blade iris to produce slightly rounder bokeh, it nevertheless looks quite good. There's little fringing, even on the edges of bright highlights. I did see a bit of haloing on the edges of saturated colors, though, and extremely bright, saturated oranges and yellows next to each other approach indistinguishability.

At its top rate of 24Mbps, the G10 displayed no compression artifacts except in really low light. What you will see is some aliasing caused by the interlacing of 60i video. However, one of the distinguishing features of the G10 compared with the rest of Canon's camcorders is support for true 24p video; not just the 24 frames per second captured as progressive but encoded as 60i, as is most common for AVCHD models, but 24p encoding. You can use that to get around interlace issues. (The European version of the camcorder, the Legria HF G10, supports 25p.)

The G10 renders excellent low-light video, to a point. In my test scene of about 17 lux, it yielded some of the best results I've seen in its class. Just a little darker, though--dim living-room-level light--and it's the typical noisy mess, at least with automatic gain control enabled.

The audio quality is quite good as well. The sensitive stereo mics provide decent separation and a nice warm tone without the tinniness of the lower-end models.

One theoretical drawback of the sensor--and likely the main reason for a similar model with a different sensor, the HF S30--is that the low resolution may not suit some folks' need for large still photos. The G10 does deliver sharp stills which fall just short of looking too digital; they look fine onscreen and printed, but I wouldn't recommend printing them larger than 4.5x8 inches.

By most measures of performance, the G10 does well. It meters and exposes correctly and consistently. The image stabilization is solid; the Dynamic setting works well up to about 75 percent of the way through the focal range, and Powered IS is rock-steady at maximum telephoto. It focuses quickly, though you can adjust how gradually that happens (Instant, Medium, and Normal), and you can customize both the zoom speed, which is common, and softness--how quickly the zoom stops and starts--which is rarer. The autofocus works well, but not significantly better than we've seen in previous models, and like all camcorders can inappropriately lock on the background instead of the subject.

Sony Handycam HDR-CX210 (black)

2012-11-13T11:22:00.000-08:00

The bad: You can't really call the video HD quality, the camcorder feels flimsy and the lens is prone to fringing.

If you only view the video scaled down (inset), it can look fine -- provided you don't mind the occasional purple cast caused by fringing. At full size, though, it's kind of messy. (Frame grab)

(Credit: Lori Grunin/CNET)

GoPro HD Hero2 Motorsports Edition

2012-11-06T23:36:00.000-08:00

The bad: As improved as it is, the Hero2's interface can still be a bit confusing for the first-time user.

The bottom line: The GoPro HD Hero2 is easily the best GoPro camera yet, with the ruggedness and quality that we've come to expect and a new user-friendly interface.

The HD Hero2 remains compatible with previous-generation GoPro accessories. Here it is fitted with a Battery BacPac and a suction-cup mount.

Users who want to add functionality can do so with addons, such as this LCD BacPac.

The Hero2's new interface is much easier to decode and navigate than the previous generations'.

Recording modes
So, we've discussed the chassis and we've explained that it's easy to use, but what sort of video and photos can you expect to get out of this camera?

Canon Vixia HV30

2012-11-03T08:18:00.000-07:00

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AppId is over the quota
The good: Generally excellent video quality; solid feature set for its class; well designed

The bad: Tape housing feels a bit flimsy; fixed eye-level viewfinder needs a better eye cup; manual focus dial a bit loose

The bottom line: An extremely minor upgrade from the HV20, the Canon Vixia HV30 remains a quality HDV camcorder with a couple of performance issues.

Don't look for any great advances here: the Canon Vixia HV30 is a very minor upgrade from the admittedly top-notch HV20. It has a sleeker-looking black body, introduces 30p progressive mode, and supports the high-capacity BP-2L24H lithium-ion battery, but otherwise remains the same as its 2007 predecessor.

Of course, that makes it a well-designed prosumer camcorder with a useful feature set, good overall performance, and excellent video quality. It's relatively big, weighing 1 pound, 5.4 ounces, though it fits into a large, loose jacket pocket. I like the black chassis more than the silver, but the tape housing feels a little flimsier than I remember; when gripped for shooting, the cover moves a bit. In all other ways the build quality seems solid, though, with tethered covers over the Advanced Accessory Shoe, HDMI/FireWire ports, and mic/headphone/component out jacks.

On the left side of the body sit a few, slightly difficult to feel, controls: backlight compensation, display, and video light, plus a manual focus toggle and somewhat loose focus dial.

The 2.7-inch wide-screen LCD is kind of small and at 211,000-pixels not very high resolution, but it's sufficient for manually focusing. The eye-level viewfinder is relatively large, but doesn't pull out or up, and I wish it had a softer eye cup. In addition, I just had to laugh at the Catch-22 diopter control. Since it's right on the viewfinder, you have to move your head away to get your finger on the switch, which means you can't set it for your eye pressed close. The HV30 supplies both a video light and a flash for shooting stills. As always, I really like the built-in electronic lens cover.

All the frequently used shooting controls--except for manual focus and zoom--fall comfortably under your right thumb.
The HV30's zoom switch has quite a bit of play. You can set it for variable speed or one of three fixed-speed zoom options.

Canon PowerShot A2300 (Silver)

2012-10-29T05:24:00.000-07:00

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AppId is over the quota
The good: The Canon PowerShot A2400 IS and PowerShot A2300 have very good picture quality for their class and are loaded with effects and filters.

The bad: The cameras' flat buttons and cramped layout may make use difficult for some and shooting performance is slow, particularly shot-to-shot. The lenses require a lot of light or high ISOs when zoomed in. Battery life is short.

The bottom line: The entry-level Canon PowerShot A2400 IS and its IS-less linemate the A2300 are simple cameras with nice picture quality for casual snapshooters, but the price difference isn't worth sacrificing the image stabilization.

When it comes to entry-level point-and-shoots, Canon's A-series PowerShots consistently excel in picture quality. That certainly holds true for the 16-megapixel A2400 IS and A2300.

The two simple sub-$150 ultracompact cameras are good choices for anyone whose needs don't extend far beyond the occasional fully automatic snapshot of patient subjects taken in daylight. I say that because the cameras perform fairly slowly and their photos get noticeably softer above ISO 200.

I reviewed the A2400 IS, but the only difference between the two models is optical image stabilization; the A2400 IS has it, the A2300 does not. For the $10 price difference between them, spend the extra money for the A2400 IS -- especially if you'll be doing any indoor shooting with the camera.

If low-light photos without the need for a flash or tripod are important to you, consider saving up a bit more money and getting the PowerShot Elph 110 HS, which is actually a better camera all the way around.

Picture quality
As with most compact cameras, the A2400 IS' photo quality noticeably drops off at higher ISOs, so getting the best pictures really depends on how much light you have -- the more, the better. Fine detail and sharpness are very good up to ISO 200 (though a little sharpening with photo-editing software improves things). Photos get noticeably softer at ISO 400 due to heavier noise reduction.

Comparison of ISO sensitivities at 100 percent

(Credit: Joshua Goldman/CNET)

Pixel peepers will see the image noise and artifacts at all ISO sensitivities, but it's really not visible at reduced sizes until you get to ISO 800. As long as you don't mind increased softness and noise -- including faint yellow blotching -- ISO 800 is usable for small prints and Web sharing. The camera's highest full-resolution sensitivity is ISO 1600 and I'd stay clear of it unless you really need to take a low-light photo.

On the other hand, because of consistent color at higher ISOs, the photos are better than those of other cameras at this price; they just get slightly washed out at and above ISO 400. In fact, color performance overall is excellent from the A2400 IS -- bright, vivid, and accurate.

(Credit: Sarah Tew/CNET)

Something to keep in mind, too, is that although the camera's lens starts at a bright f2.8 aperture, it shrinks to f6.9 with the lens zoomed in. That means when you go to use the full zoom, you're going to need a lot of light or a high ISO sensitivity to keep the shutter speed fast enough to prevent blur from motion or hand shake. (Another good reason to skip the A2300.)

Video quality is good enough for Web use, but nothing spectacular. Panning the camera will create judder that's typical of the video from many compact cameras, and you'll notice motion trailing on fast-moving subjects. The zoom lens does not function while recording, but you do have a digital zoom; I suggest not using it, as the results are not pleasant.

Shooting performance
Shooting performance is OK; not fast enough for regularly photographing kids and pets, but not so slow that you'll get frustrated. From off to first shot takes about 2.4 seconds. The wait between subsequent shots averaged 2.8 seconds for us; using the flash bumped it up to nearly 4 seconds. Shutter lag -- the time from pressing the shutter release to capturing a photo without prefocusing -- is 0.4 second in bright lighting and 0.7 second in low-light conditions.

The continuous shooting speed is pretty slow, too, at 0.9 frames per second with focus and exposure set with the first shot. Again, if you're just walking around taking snapshots, these times are fine, but if you need something that's always ready when you are, this isn't the camera.

(Credit: Sarah Tew/CNET)

Design and features
The A2400 IS is a small, lightweight, and attractive camera. It easily slips into a small pocket without weighing you down and its metal casing makes it look and feel nicer than all plastic.

Part of the reason it is so small, though, is that Canon went with a 2.7-inch LCD; 3-inch displays are not uncommon at this price. It's not a bad size, though, and the screen gets bright enough that you can use it in the sun and still see well enough to frame shots.

A2400 IS: $149.99; A2300: $139.99A2400 IS: 3.7 inches x 2.2 inches x 0.8 inch; A2300: 3.7 inches by 2.1 inches by 0.8 inchWeight (with battery and media)A2400 IS: 5 ounces; A2300: 4.4 ouncesMegapixels, image sensor size, typeLCD size, resolution/viewfinderLens (zoom, aperture, focal length)5x, f2.8-6.9, 28-140mm (35mm equivalent)Highest resolution size (still/video)4,608x3,456 pixels/1,280x720 pixels at 30fpsA2400 IS: Optical and digital; A2300: Digital only A2400 IS: Li-ion rechargeable, 180 shots; A2300: Li-ion rechargeable, 230 shotsCameraWindow DC 8.7 transfer utility, ImageBrowser EX 1, PhotoStitch 3.1/3.2 (Widows, Mac)

Also helping keep the A2400 IS slim are its flat buttons, which can be difficult for those with larger fingers to press accurately. I found the Func. Set button at the center of the control pad was particularly tricky to press. Also, past Canon models either used a knob or switch to change between Auto and other shooting modes. With the A2400 IS it's done with the top of the control pad, which is too easy to accidentally hit.

(Credit: Sarah Tew/CNET)

One thing that is nice to see is the new Help button that brings up a menu of topics including explanations of shooting options as well as shooting advice.

On the right side of the camera is a Mini-USB port for connecting to a computer or TV. The battery and SD memory card compartment is in the bottom of the camera behind a sliding door. It doesn't lock and slides open a bit too easily if you're going to be keeping this in a bag unprotected. Battery life is below average; you get about 180 shots per charge, less depending on your settings and use of the zoom lens and movie capture.

ISO sensitivity (full resolution)Auto, 100, 200, 400, 800, 1600Auto, Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, CustomAuto, Program, Live View Control, Portrait, Face Self-timer, Low Light, Fisheye Effect, Miniature Effect, Toy Camera Effect, Monochrome, Super Vivid, Poster Effect, Snow, Fireworks, Long Shutter, Discreet, iFrame MovieNormal AF (Face, Tracking, Center), Macro, Infinity1.2 inches (Wide); 3.9 feet (Tele)Evaluative, Center-weighted average, SpotBurst mode shot limit (full resolution)

The A-series models are pretty much meant to be left in Canon's Smart Auto, which recognizes up to 32 scene types and adjusts settings accordingly. For more control, the Program mode lets you select things like white balance, ISO, and autofocus mode. Sadly, Canon dropped the My Color options from previous models that let you, among other things, adjust contrast, sharpness, and saturation. However, you do get the Live View Control mode, which enables you to adjust brightness, color, and tone with onscreen sliders and see what the photo will look like as you make the changes.

(Credit: Sarah Tew/CNET)

All of the shooting modes are laid out in one long row, requiring you to hunt through them all to find what you want: Program, Live View Control, Portrait, Face Self-timer (sets off a timed shot when a new face enters the frame), Low Light, Fisheye Effect, Miniature Effect, Toy Camera Effect, Monochrome, Super Vivid, Poster Effect, Snow, Fireworks, Long Shutter (exposure settings from 1 to 15 seconds), Discreet, and iFrame Movie (a format made for easy editing and viewing on mobile devices). There's plenty here to experiment with, but if you just want to leave it in auto, it does very well.

Conclusion
If you're looking for an easy-to-use camera to slip in your pocket before you go out to an event or a walk around town, the Canon PowerShot A2400 IS is a safe choice. It might not be the fastest camera or the best deal, but you'll get reliably good results leaving it in auto. However, I can't recommend getting the A2300; the cost savings isn't worth giving up optical image stabilization.

Canon PowerShot S95

2012-10-25T16:06:00.000-07:00

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AppId is over the quota
The good: Attractive and well-designed; capable of producing very nice photos; complete set of manual controls; solid 720p video.

The bad: On the slow side, with subpar battery life; no low-compression JPEG option.

The bottom line: Though we'd like it to perform better, dSLR shooters looking for a sidekick camera will find the Canon PowerShot S95's top-flight photos and a full manual feature set worth the tradeoff of its compact size.

Editors' note September 29, 2010: We updated the review to reflect that the HDR feature is not part of Canon's "HS System," which is really just Canon's way of marketing improved low-light performance.

When Canon shipped its PowerShot S90 about a year ago, it made a big impression on advanced photographers. Tiny with a wide-aperture lens and all the essential manual shooting features, it was practically irresistible for dSLR luggers. It did have a few flaws, however, some of which Canon has attempted to address with the successor, the S95. These include a 720p video-capture upgrade, improved image stabilization, and some minor tweaks to the design and feature set. Performance, though, remains on the slow end of acceptable.

The image quality is top-notch for a compact, although it's a shame that Canon doesn't offer a less-compressed JPEG option. One of my photos shot in best-quality JPEG was about 7:1, but most of them come in at about 12:1 compression. There's a visible difference between raw and JPEG shots. (I suspect the problem is that bringing back the Super Fine compression in its PowerShots would slow the cameras to a crawl.)

That said, the S95's JPEG photos are exceptionally clean and relatively usable up to ISO 400; plus, you can probably squeeze out a stop more if you shoot raw. That's a lot better than your typical ultracompact. The lens is sharp and bright, but there's some asymmetrical distortion at its widest. Metering and exposure are both good and consistent. I found that the defaults pushed the color saturation excessively, though our quantitative test results report that the S95 has relatively accurate color; the neutral color setting is not available in raw+JPEG shooting. The colors are similarly overwrought in videos, but overall the movie quality is pretty good, and despite being tiny, the stereo mics produce a surprisingly full-bodied sound for a compact.

The S95's performance improves over the S90's in some respects; unfortunately, it falls behind it in others. With a time of 2 seconds, it takes about 0.2 longer to power on and shoot. It's about 0.1 second faster at focusing and shooting in bright light, but the same duration slower in dim: 0.4 and 0.7 second, respectively. For two sequential JPEG and flash shots, it's slower by at least 0.5 second, running 2.3 seconds for JPEG and 3.3 seconds for flash, compared with 1.8 and 2.5 seconds for the S90. That's flipped for raw shooting, however, with the S95 clocking at 2.6 seconds shot-to-shot vs. 3.4 seconds for the S90. Burst shooting rises to 1.9 frames per second, but at low speeds like that it's immaterial. I don't yet have performance data for the S95's competing models, but aside from the one exception of daylight shooting, the S95 feels like it operates at a leisurely but not overly frustrating pace. The image stabilization works well, but the fact remains that the battery life is pretty short.

I have to admit: the S95 just has a body that feels nice. It's well built, with a slightly more textured finish than the S90. It's the smallest and lightest among its class, but as a tradeoff it's also the only model that lacks a hot shoe and the option for a viewfinder. Though it was nice to review a camera that fit comfortably in my front pocket for a change, it might feel a bit too small for some photographers. You should definitely try before you buy to ensure you don't need to move up to a slightly larger model like the G12, LX5, or TL500. Small can be great on ultracompacts where you're not trying to change the settings too often, but there's no point buying the S95 to run in complete auto.

The front ring can be set to control shutter speed, ISO sensitivity, exposure compensation, manual focus, white balance, stepped zoom, i-Contrast, or aspect ratio. The functions can be set independently of shooting mode, so that, for example, it can control focus in Manual mode or shutter speed while in aperture-priority mode. Am I the only one who wishes the ring controlled metering instead of i-Contrast or aspect ratio? It's a nice design, and because of it I ended up holding the camera more like a dSLR than a compact. You can quickly access the ring control assignments via a dedicated button on the top of the camera.

On top of the camera is a mode dial for access to the typical manual controls and scene modes. Plus there's the ability to save a group of custom settings for quick mode-dial access. I find the placement of the shutter button a little too far toward the middle--I feel like I have to reach--but that's just a personal preference.

The back controls remain basically unchanged from the S90, although the dial, which you use for adjusting contextual settings, operates better and isn't quite as free-spinning as the previous model. I do have the same problem as Josh, who reviewed the S90, with the review button: I kept hitting it accidentally. Otherwise, the camera follows Canon's typical PowerShot conventions. The Func/Set button pulls up adjustable shooting parameters, including ISO, white balance, color, bracketing (exposure or focus), drive mode (single, continuous, continuous with autofocus), metering, aspect ratio, quality, and dynamic range correction.

One not-so-pleasant holdover from the S90 is the inconvenient flash placement. Although it makes sense from a red-eye prevention perspective, most people hold their fingers right where the flash pops up.

2.8-inch articulated
461,000 dots3-inch fixed AMOLED
920,000 dots720/24p
H.264 QuickTime MOV
StereoManual iris and shutter in video

Though the camera isn't big on whizzy features, it does incorporate a now-common HDR mode, which automatically brackets and combines three exposures. For more details on the scene modes and special effects, read the review of the S90 or download the PDF of the S95's manual.

You'll still have to schlep your dSLR to photograph kids, pets, wildlife, and anything else that moves quickly or randomly, but the Canon PowerShot S95 is probably the best--if expensive--alternative that an advanced shooter will find in such a small package.

Shooting speed (in seconds)
(Shorter bars indicate better performance)
Typical continuous-shooting speed (in fps)
(Longer bars indicate better performance)