Overview
The expressions 'superzoom' and 'bridge camera' are terms that have been thrown around for several years now, and both represent ways to describe an all-in-one digital camera with a long-reaching and versatile lens.
Unlike a DSLR or Compact System Camera the superzoom doesn't have a removable lens, instead a fixed one that will provide a huge focal range. Think wide-angle shots of groups of friends all the way through to long-reaching frames that can pick off far away subjects wrapped up into one camera body and you've hit the nail on the head.
The five models we've rounded up for our superzoom group test include the Canon PowerShot SX30 IS, Nikon Coolpix P500, Panasonic Lumix FZ48, Sony Cyber-shot HX100V and Fujifilm FinePix HS20 EXR.
With optical zooms ranging from 24x through to 36x the differences between each may sound substantial, but you'll want to refer to the equivalent focal length to get a better understanding of what's on offer.
A focal length of 50mm is similar to human peripheral vision, while anything wider, e.g. 24mm, will take in a wider vision than you see - imagine turning your head, but somehow taking everything in all in one go.
At the other end of the zoom scale the bigger numbers, e.g. 600mm, achieve shots that home in on a small, magnified portion of the frame – this results in a far away subject seeming close-up and dominant in the frame. The longest reach on offer from these five is an 840mm equivalent, as provided by the Canon SX30 IS.
Magic though all this may sound, it's difficult to hold a frame steady and pinpoint a subject at longer focal lengths, and here's where you'll want some backup: lens-based image stabilisation provides a real-time counter to subtle movements, while an electronic viewfinder can be another useful way to add some much needed support by using your body.
Some models, such as the P500 and HS20 only provide sensor-based stabilisation technology, so there's no active benefit to steady shots during framing.
As technology has improved so has image quality, and the latest models offer a variety of unique sensor-based features that promise to produce top quality images.
Backside Illumination (BSI) is an increasingly common sensor construction where the wiring is to the rear of the build in order for light to pass more 'cleanly' to the receptors. Faster refresh rates and output speeds, as represented by the Lumix FZ48, help with movie modes and speedy focus, while Fuji's unique EXR technology extracts data from the sensor in a different way to the norm (more detail or dynamic range) depending on the type of shot being rendered.
However, amid the many positives, superzooms are akin to compact cameras in that their sensor sizes are small. Don't anticipate that a superzoom will replace a DSLR in image quality terms as, frankly, it won't. But the compromise of price, size, and that all-important zoom range can more than make up for this.
We've been testing this fivesome in a variety of scenarios to put each camera through its paces in the lab and the field. Without further ado, read on to see which superzoom takes the top prize…
Canon PowerShot SX30 IS
Canon's 14.1-megapixel PowerShot SX30 IS is the older model of these five, and while some areas such as the 2.7-inch, 230k-dot LCD screen may be showing their age there are equally as many top performing aspects to this model.
Unlike the other five, the SX30's screen is mounted on a vari-angle bracket which means it can be twisted and rotated through almost any given angle - great for video work and unusual camera positioning.
The 35x optical zoom lens ranges from a wide-angle 24mm all the way to 840mm - making it the most significant telephoto zoom of any model on test - and Canon's Optical Image Stabilizer system (hence the 'IS' name in the title) does a fine job of holding shots steady when zooming in.
Performance
In use, the SX30 IS is a capable machine, even if a number of options are less advanced than some of the competition. The autofocus modes, for example, are a choice of Face Detection or Flexizone only.
The latter is a single focus area that can be moved around the screen, but the omission of multi-area or subject tracking modes leaves the SX30 in a less user-friendly place than some of the other models. Focusing is reasonable but not nearly as fast as the likes of the Lumix FZ48.
The Canon's 1.3fps burst mode is also slow to the point that it's hardly a 'burst' mode, but this is only dwarfed into such a state when considering the Sony HX100V's 10fps capability.
On the upside, the SX30's image stabilisation system is excellent and an absolute essential for a camera such as this.
Other small touches make the Canon that bit more 'pro' too: select the appropriate display option and just after capturing a frame the shot will playback with a small 100% (actual size) preview to help confirm that focus was accurate. If it wasn't, then you'll know about it and can take the shot again.
Image quality
There's something about the SX30's shots that makes them jump out of the screen. A richness to colours and overall vibrancy that's not matched by any of the other models on test, plus the Canon holds up well to all manner of lighting scenarios whilst avoiding overexposure.
Although not always the very sharpest shots (though still pretty good), the Canon's well-rounded images at the lower ISO settings (and it does only range up to ISO 1600 maximum) really do look the part. But it's the higher ISO shots where the Canon can't quite keep the pace and is overtaken by some of the competitors' abilities.
While the SX30's ISO 1600 shots are still useable, the colour noise and processing-based softness that creeps in doesn't stand up as well against the likes of the Nikon P500 and other models.
Specificatons
Sensor
14.1-megapixel 1/2.3 type CCD
Lens
35x optical zoom; 24-840mm f/2.7-5.8 equivalent.
Image Stabilisation
Lens-based Optical Image Stabilizer
Memory
SD/SDHC/SDXC
Viewfinder
0.2in, 201k-dot electronic viewfinder (with dioptre correction)
Video resolution
720p at 30fps maximum; H.264 codec for MOV files straight from camera
ISO range
ISO 80-1600 / Auto ISO
Focus modes
Face Detection, 1-point AF (any position is available, fixed to centre or Face Select and Track); Single (AF-S) and Continuous (AF-C)
Max burst rate
1.3fps max
LCD screen size
2.7in, 230k-dot
Shutter speeds
15 - 1/3200th sec (total range)
Weight
601g approx
Dimensions
122.9 x 92.4 x 107.7 mm
Power supply
Rechargeable Lithium-ion Battery NB-7L
Nikon Coolpix P500
Despite having the smallest body size, the 12.1-megapixel Nikon P500 also has the biggest zoom range - its 36x optical zoom starts at a super-wide 22.5mm and advances to an 810mm telephoto. That makes the Coolpix the superzoom with the widest-angle lens of all those on test, though the Canon SX30 IS still trumps its top-end telephoto capability.
The P500's high-resolution 921k-dot LCD screen in mounted on a tilt-angle bracket to cater for more unusual framing, and is complemented by a 0.24in, 230k-dot electronic viewfinder (EVF) with an auto eye-level sensor for proximity-based activation.
The viewfinder is the largest and most resolute of all models on test and this is noticeable in use - the only slight qualm is that it can appear a little dark when viewed.
Sadly, there's no lens-based image stabilisation system, as the P500 instead employs a sensor-shift Vibration Reduction system that keeps shots sharp, but doesn't provide any benefit when framing up the shot. With such a long zoom range this is a serious omission from the P500's specification.
Elsewhere, a 1080p HD movie mode and 8fps burst mode (to a maximum of five frames per burst) ensure the Nikon has plenty to hold up against the competition.
Performance
Using the P500 produced a mixture of results. When focusing at the longer end of the zoom it wasn't uncommon for the subject to be missed and the background to end up in focus, despite an apparent continuous autofocus (C-AF) system. Move towards the wider-angle settings, however, and the P500 is more in its comfort zone.
With action-based work, the P500's autofocus struggles to keep up and even when subjects are still, it can take a little longer than some other models to acquire accurate focus after a half-depression of the shutter release. The C-AF is also noisy in use and produces a 'whirring' sound that's a distraction and problematic for the movie mode.
Image quality
At times the P500 can produce some great images, but on other occasions there are a variety of issues.
At the lowest ISO 160 settings the P500's images can reveal plenty of detail, and towards the centre of the frame it can be the best performer out of the five - but this isn't always the case in every scenario.
Slight overexposure can be problematic and corner softness is the most severe out of all the models on test. Where the edges of the frame lose sharpness there's also more pronounced chromatic aberration (blue fringing) than apparent from other models.
Move up the ISO range and, despite the issues outlined above, the P500 continues to produce decent images. Some softness is an expectation by this level, but the P500's processing leaves more perceptual sharpness than any other model on test, thus making the Nikon the favourite for high ISO work.
It's just a shame there's no raw shooting option to push that extra lick of sharpness and colour into shots to take them to the next level.
Specificatons
Sensor
12.1-megapixels, 1/2.3in-size, back-illuminated CMOS
Lens
36x optical zoom; 22.5-810mm f/3.4-5.7 equivalent
Image Stabilisation
Sensor-based Vibration Reduction
Memory
SD/SDHC/SDXC
Viewfinder
0.24in, 230k-dot
Video resolution 1080p at 30fps
ISO range
160-3200 / Auto ISO
Focus modes
Auto (9-area), Center, Face Priority, Manual (99 focus areas), Subject Tracking
Max burst rate
8fps max (up to 5 shots total)
LCD screen size
3-inch, 921k-dot, tilt-angle LCD
Shutter speeds
2 - 1/1500th sec
Weight
494g approx
Dimensions
115.5 x 83.7 x 102.5 mm
Power supply
Rechargeable Lithium-ion Battery EN-EL5
Fujifilm FinePix HS20 EXR
The Fuji HS20 is the only model of the five on test to feature a manual rather than powered zoom - you'll need to twist the lens barrel in order to zoom in and out.
This unique and DSLR-like feature makes it possible to dash from a wide-angle 24mm though to a 720mm telephoto in next to no time. However, although the zoom itself is fast the camera has to play catch up for the on-screen exposure to equal out to a representative level.
The latest 16-megapixel, back-illuminated EXR CMOS sensor is another unique technology that outputs the sensor read in a different way to the norm.
Using an automatic scene recognition system the camera is able to choose from three main presets: High Resolution utilises the sensor's most detailed 16MP readout; Wide Dynamic Range outputs an 8MP image where the camera uses different sized pixels to enhance shadow and highlight detail; while the High Sensitivity & Low Noise mode gives an 8MP output that combats image noise in lower light scenarios.
Rather than featuring a specific-fit rechargeable Lithium-ion battery, the HS20 takes power from 4x AA batteries. In our books this is a dated system that can add additional cost to when buying replacements or rechargeables, though the convenience may please some.
Performance
In the hand, the HS20 is the largest of the five models and it also looks the most DSLR-like of the bunch. Although there are plenty of buttons to take charge of a variety of settings, the overall user experience isn't helped along by the small viewfinder that appears dark to the eye and the reflective rear LCD screen.
The HS20's autofocus system is weak when compared to the other models on test. While it's more than able to obtain focus, there is a momentary pause and this causes big problems when shooting moving subjects. Despite the high 7.6fps burst mode the HS20 really lacks the ability to be used as an action-snapping camera.
The longest focal length is also difficult to hold steady as there is no lens-based stabilisation to be found here (it's sensor-shift only). This means that the slightest of handshake at the fullest zoom setting is multiplied and can make framing all the trickier.
Image quality
While the EXR sensor promises a lot on paper, the final shots may come as a disappointment. The level of detail is sufficient and holds up to a similar standard to much of the competition, but this is often irrelevant due to other issues.
First and foremost the HS20 has issues with accurate exposure, rendering many shots overexposed and requiring compensation often as severe as a full f-stop to counteract for blown highlights; secondly the 16-megapixel sensor has definition issues that make the previous HS10 a better piece of kit than this latest model.
Of course it's not all bad. Pop the camera into its EXR mode and the auto scene selection can save scenes in difficult lighting situations or low-light scenarios.
The HS20's high sensitivity shots are not as high scoring as some other models in our lab tests because although image noise is kept at bay, it is at the expense of sharpness and detail. While ISO 6400-12,800 are available sensitivities, detail is largely quashed and files are output at 8 and 4-megapixzels respectively.
Perhaps the biggest trump card that the HS20 has to play is its raw shooting ability. Not one of the other models on test can capture raw files - often seen as the holy grail of digital shooting - which makes it one for the post-production whizz.
Specificatons
Sensor
16-megapixel, 1/2in-size EXR CMOS
Lens
30x optical zoom; 24-720mm f/2.8-5.6 equivalent
Image Stabilisation
Sensor-shift
Memory
SD/SDHC/SDXC
Viewfinder
0.2in, 201k-dot, 97% coverage EVF
Video resolution
1080p at 30fps max; H.264 compression for MOV files straight from camera
ISO range
ISO 100-3200, ISO 6400 at medium 8MP JPEG, ISO 12,800 at small 4MP JPEG
Focus modes:
Center, Multi, Area, Tracking; Single AF / Continuous AF (EXR AUTO, Movie) / Manual AF (One-push AF mode included)
Max burst rate
7.6fps (full resolution); 11.2fps at 8MP
LCD screen size
3in, 460k-dot, tilt-angle LCD
Shutter speeds
30 – 1/4000sec
Weight
636g approx
Dimensions
130.6 x 90.7 x 126mm
Power supply
4x AA batteries
Sony Cyber-shot DSC-HX100V
Sony Cyber-shot DSC-HX100V
The priciest model of these five, Sony's HX100V is one of the more recent additions to the superzoom stable. There's a lot on offer and the price premium includes features such as Global Positioning Satellite (GPS) technology in order to 'tag' images with location data that can be used for cataloguing and other functions.
The 3-inch, 921k-dot LCD screen is the most resolute of any on test (on par with the Nikon P500's) and image playback looks excellent in the right light - in the wrong light, however, reflections are an issue making the screen tricky to see.
The HX100V has a 30x optical zoom lens for a 27-810mm focal length, making it the least wide-angle, but maintaining a significant zoom at the top end.
One feature that really stands out is the focus ring around the lens that can double up as either a zoom or manual focus ring by the simple flick of a switch. Optical SteadyShot also features to keep shots steady at those long focal lengths and works to a high standard.
Performance
The HX100V's focusing system is reasonable (faster than the Canon SX30) and has an abundance of options to jump between Multi, Center Flexible Spot and Subject Tracking autofocus. A Focus button behind the shutter commands these main options to make focus access as quick and easy as possible.
The lens feels good in use, though the Sony camera suffers from the poorest return of minimum focus distance - zoom in a little to a close-up subject and focus won't always be achievable.
Those looking for a fast burst mode will appreciate the HX100V's 10fps continuous shooting option. Such speeds set the model way ahead of the rest of the competition and it's easy to reel off a sequence of shots that can be the difference between the shot and not (though continuous auto focus isn't possible in this mode).
Image quality
With its 16.1-megapixel sensor the Sony is among the most resolute of these five, indeed it's only the Fuji HS20 that holds the same pixel count. Big numbers may sound good but higher resolutions don't always work to your advantage - in the case of the HX100V it's a bit of a mixed bag.
On the one hand the HX100 does a grand job of holding image noise at bay throughout its ISO 100-3200 sensitivity range. Shots can often seem sharp, but closer inspection at actual size (100%) will reveal over-processed edges and areas of more complex detail can 'turn to mush' and lack clarity. Colour is a little cold and drab too. That's not to write the HX100V off though, we just like to be hypercritical.
Overall it produces decent images that have as many ups and they do downs, but sit images side by side of the Fuji HS20 and it's the HX100V that comes out on top.
Specificatons
Sensor
16.2-megapixel 1/2.3 type Exmor R CMOS
Lens
30x optical zoom; 27-810mm f/2.8-5.6 equiv.
Image Stabilisation
Lens-based Optical SteadyShot
Memory
Memory Stick Duo (inc. PRO Duo/PRO-HG) / Secure Digital (inc. SDHC/SDXC)
Viewfinder
Electronic viewfinder, 0.2in, 201k-dot
LCD Screen
3-inch, 921k-dot TFT LCD
Video resolution
1440x1080 at 50i (AVCHD format and 17Mbps bit rate)
ISO range
ISO 100-3200 / Auto ISO
Focus modes
Multi Area (9-area), Center, Flexible Spot
Max burst rate
10fps (approx)
Shutter speeds
30 – 1/4000
Weight
577g
Dimensions
121.6 x 86.6 x 93.1mm
Power supply
Rechargeable Lithium N NP-FH50
Panasonic Lumix DMC-FZ48
Panasonic Lumix DMC-FZ48
Panasonic's FZ48 (or FZ47 for our American friends) is the newest model of the five on test, though it has the shortest-reaching zoom - at 24x it tops out at a 600mm equivalent.
Although this may sound significantly less than some of the competition, and in some respects it is, there's still plenty of range from this Lumix.
Add the Power OIS (Optical Image Stabilisation) system and shots are held steady by a lens-shift mechanism that counters handshake – and of all the models we looked at this one was the most effective in providing stability.
Elsewhere the FZ48 has a 12.1MP CCD sensor (fewer pixels than the previous FZ45 model) with an enhanced readout that can channel more data than previous FZ-models.
In turn this lays the groundwork for a 'Sonic Speed' autofocus system (makes us think of blue hedgehogs, but it's the company's marketing, not ours) said to be faster than the competition.
The FZ48's 3-inch, 460k-dot LCD is of a good resolution, but it's the only one of the five on test not to offer any form of tilt- or vari-angle bracket to reposition the screen.
Performance
Here's where we eat our words for even trying to sound funny about the autofocus system. Living up to its name the Sonic Speed AF system is the fastest and most accurate of all the models we've tested here.
For action shots it was, without doubt, the Lumix that came out top for its ability to quickly focus on moving subjects and take the shot. The burst mode - which at 3.7fps isn't the fastest of the group - also worked to great effect.
Layout-wise the Panasonic feels right in the hand, the options are easy to access using the main mode dial and Q.Menu buttons. There are plenty of focus control types too, with a 23-area auto, 1-point flexible spot, Face Detection and Subject Tracking options all working well in practice.
Image quality
Rather than upping the resolution compared to the previous FZ45 model the FZ48's 12.1MP sensor may seem to take a step backwards in evolution on the face of it.
But this isn't the case: as these 1/2.3in compact sensors are small, putting too many pixels onto the surface can be harmful to final image quality, as seen with the Fuji HS20. Hence, lower resolution sensor of around the 12-megapixel mark is an ideal resolution-to-size ratio.
A bold move indeed, and one that may have paid off to some extent, though the FZ48's images don't succeed in beating all the competition - in fact it's a rather 'middling' performance due to processing artefacts battling out with finer detail when viewed at actual size.
The camera's ISO 100-1600 sensitivity is a reasonable range, but above ISO 400 and the critical detail of shots takes something of a hit and produces softer, grainier shots.
However the Panasonic is tiptop when it comes to exposing; colours look decent too and for simple point and shoot work the FZ48 is a decent, well rounded performer on the image front.
Specificatons
Sensor
12.1MP 1/2.3in-sized CCD sensor
Lens
24x optical zoom; 25-600mm f/2.8-5.2 equivalent
Image stabilisation
Lens-based Power OIS (Active Mode for movies)
Memory
SD/SDHC/SDXC
Viewfinder
0.2in, 201k-dot EVF
Video resolution
1080i at 50 fields per second; 720p at 50fps; 17Mbps as AVCHD, 20Mbps as MP4 files
ISO range
100-1600 (3200-6400 reserved for specific low light modes)
Focus modes:
Face / AF Tracking / 23 pt / 1 pt (Flexible / Scalable)
Max burst rate
3.7fps (to 7 frames max)
LCD screen size
3-inch, 460k-dot LCD
Shutter speeds
60 – 1/2000sec (20,000sec in movie mode)
Weight
Approx 498g
Dimensions
120.3 x 79.8 x 91.9 mm
Power supply
Rechargeable Lithim-ion battery pack
Verdict
Five superb superzooms that each possess their own strengths and weaknesses. Picking a favourite is no easy task, but here's our overall take on things.
The Fuji HS20, despite its deceptive DSLR-like looks, falls down at a number of hurdles. We like the manual zoom control and there are more advanced options such as external flash control and raw file shooting that, for some, will make it the only camera to choose.
But for the more casual user there are an abundance of issues: images are frequently overexposed, colour muted and high ISO shots don't stand up to the anticipated standard that EXR technology should bring; while the autofocus is the slowest of all the models on test and even pauses at the critical half shutter press moment which renders action shots far from achievable.
The middle ground is very closely run indeed. The Canon SX30 IS is our choice when it comes to the best looking images straight from camera, though only at its lower ISO settings.
Shots are rich and punchy compared to the competition. However, the Canon does show its age in places and the small, low-res screen, slow burst mode and over-smoothed high ISO shots hold this model back.
The Nikon P500 was also a mixed bag. Its images may lack the punch and vibrancy of the Canon's shots, and edge softness is more prominent compared to the other models, yet the shots are the sharper-looking of the bunch throughout the ISO 160-1600 range.
The screen and viewfinder and also both excellent, but the lack of lens-based image stabilisation is a costly mistake for such a model.
Then there's the Sony HX100V. Packed to the rafters with lots of up-to-date tech, it may seem a little expensive compared to the other models, but it's great in use.
The dual zoom/focus ring is excellent, the 921k-dot LCD shows shots with plenty of clarity and there's even GPS technology than none of the other models feature.
Shots are decent enough for the most part, though closer inspection at full resolution may disappoint due to over-processing and an often drab colour palette. That said, the HX100V's shots are well rounded throughout the ISO 100-3200 range and given all the other plusses this model falls into second place by a whisker.
The Panasonic FZ48 has a number of features that position it as a favourite, though it does have its limitations too. First and foremost is the Sonic Speed AF system that trounces all the other models' autofocus abilities - the Lumix is far faster and more accurate.
Back the lens up with the excellent Power OIS (Optical Image Stabilisation) and framing up shots is also made all the more easy. But (there's always a but isn't there?) the 24x zoom is the narrowest out of the five and at 600mm is some 240mm shorter than the Canon SX30 IS's 840mm reach.
Not a bother for everyone as that's still a significant zoom, but something not to overlook. The FZ48's images are good all-rounders thanks to decent metering and colour reproduction but - image quality geeks beware - they're not absolutely the best looking of the group at either the lowest or highest ISO settings.
For the more point-and-shoot minded casual snapper there's very little between one model and the next. For a well-rounded model across the board it's the FZ48 that's our pick of the bunch, though image buffs should consider the Canon SX30 IS for its appealing low ISO shots straight from camera or the Nikon P500 for detailed shots right into its higher ISO settings (excluding edge of frame softness issues). They don't come much tighter than this, but there can only be one winner in the end.
Source : Google Reader
No comments:
Post a Comment