Digital cameras are confusing to a lot of new users. In this basic guide to digital camera technology we hope to try to give digital beginners at least some basis to use in deciding which digital camera is appropriate for them. When shopping for a digital camera it’s at least good to know what the basic terms like white balance, pixel, ppi and dpi mean and how they affect image and print quality. It’s also important to know the difference between things like optical zoom and digital zoom as well as the advantages and disadvantages between storage formats such as Compact Flash (CF), Microdrives, Sony Memory Stick, Secure Digital (SD), Multimedia and camera interface technologies such as USB 1.1, USB 2.0 and Firewire IEEE 1394.

Pixels

A pixel is a contraction if the term PIcture ELement. Digital images are made up of small squares, just like a tile mosaic on your kitchen or bathroom wall. Though a digital photograph looks smooth and continuous just like a regular photograph, it’s actually composed of millions of tiny squares as shown below.

On the left the full image, on the right the area in the red square magnified to show individual pixels

Each pixel in the image has a numerical value of between 0 and 255 and is made up of three color channels. So for example a pixel could be 37-red, 76-green and 125-blue and it would then look like this . If it was 162-red, 27-green and 12-blue, it would look like this . There are over 16 million possible combinations using this scheme and each one represents a different color. Computer savvy readers will note that each color in this scheme can be represented by an 8-bit number (byte), so the color of each pixel is defined by three color bytes. This scheme can be expanded, for example to use 16-bits (two 8-bit bytes) for each color. Images using three 8-bit values are sometimes called 24-bit color images. Images using three 12-bit values for color definition are called 36-bit color images, and those using three 16-bit values are called 48-bit color images.

Pixel Count

One of the main ways that manufacturers categorize their digital cameras is in terms of pixel count. What this is is the number of individual pixels that go into making each image. Today this number varies between 1 million (1 Megapixel) to around 14 million (14 Megapixels). A million pixels is abbreviated to MP, so a 1MP camera has 1 million pixels and a 3MP camera has 3 million pixels. Currently most popular consumer digital cameras have between 2MP and 5MP. A 3MP camera can make excellent 4″x6″ prints and very good 5″x7″ prints. If you intend to make lots of 8″x10″ prints, then perhaps a 4MP or 5MP camera would be a better choice. Sometimes two numbers are given, total pixels and effective pixels. Total pixels count every pixel on the sensor surface. Usually the very edge pixels aren’t used in the final image. Effective pixels are the number of pixels actually used in the image after the edge pixels have been dropped.

Typical maximum image size vs. nominal Pixel Count. See below for comments on dpi and print size

Aspect Ratio

The aspect ratio of a camera is the ratio of the length of the sides of the images. For example, a traditional 35mm film frame is approximately 36mm wide and 24mm HIGH. This has an aspect ratio of 36:24, which can equally well be expressed as 3:2. Some digicams use the same aspect ratio for their digital images. For example most digital SLR (single lens reflex) cameras have a 3:2 aspect ratio. However, video monitors typically use a 4:3 aspect ratio. For example a monitor with a 800×600 display has a 4:3 aspect ratio. With this in mind, most consumer level digicams use a 4:3 aspect ratio for their images.

Sensor Size

The size of the digital sensor element (which is equivalent to the size of the negative for film cameras) is pretty small in all consumer digicams - typically around the size of a fingernail (and a small fingernail at that!). As I said above, a 35mm film frame is 24mm high by 36mm wide but most digital cameras use sensors very much smaller than this. Here are some typical digicam sensor sizes. The “name” of the sensor is based on specification for old TV tubes used in the 1950s. Nobody is quite sure why it’s being used for modern digital sensors since the “sizes” don’t really relate in any consistent way to the actual physical size of the sensor. However these names are widely used, so it’s best to know what they are. They are often listed in digital camera spec sheets.

Relative size of various digital camera sensors	“Name”	Aspect Ratio	Width (mm)	Height (mm)
	4/3″	4:3	18.0	13.5
	EOS 10D	3:2	22.0	15.0

Most of the current small 5MP digital cameras use 1/1.8″ sensors which are about 7mm x 5mm. They have an area 25x smaller than 35mm film and about 9.5x smaller than a small sensor digital SLR like the Canon EOS 10D. You might wonder why sensor size matters and that’s a pretty complex issue. The bottom line is that, for a given pixel count, the larger the sensor (and hence the larger the area of the individual pixels) the better the image quality and the lower the noise level. While large sensor cameras like the EOS 10D can operate at the equivalent of ISO 3200 (though the image does get noisy), many consumer digicams with small sensors cannot operate above ISO 400 before the noise becomes excessive. For a full treatment why all this is so, see my article here on photo net titled SIZE MATTERS

Another factor in quality here is that small sensors tend to be of a different type than large sensors. Small sensors, and the sensors used on all consumer digital cameras, use a scheme which can read the data from the sensor in real time using a scheme called “interline transfer” and the CCD electronics control exposure rather than a mechanical shutter. Large sensors used on more expensive Digital SLRs are often of a different design known as full frame - which doesn’t refer to their size, but their design - and which require the use of a mechanical shutter. They don’t read out and the display the data in real time, only after the exposure so they can’t give real time LCD displays or record video. The advantage of this scheme is that the whole pixel area can be used to capture light while interline transfer CCDs use part of each pixels to store charge. Since smaller pixel areas generate more noise and  interline transfer CCDs are not only smaller to start with but use some of their pixel area for charge storage, their noise level is significantly higher. So the smaller interline transfer sensors in consumer digital cameras yield lower quality images than those used in higher end DSLRs, they can do more “tricks” like recording video clips and giving a live image display on their LCD screen. The lack of a mechanical shutter also makes the cameras cheaper and simplifies construction.

Small sensors mean that short focal length lenses are needed to give the same field of view as cameras using larger sensors or 35mm film. So, for example, a typical consumer digicam may need a 7mm lens to give the same view as you would get using a 35mm focal length lens on a 35mm camera. This has consequences on depth of field and means that most consumer digicams have a vary large depth of field. Great if you want everything in focus, not so great if you want a blurred background. This is covered in detail in my article here titled DIGITAL DEPTH OF FIELD

White Balance

With film you can buy “daylight balanced film” for shooting outdoors or “tungsten balanced film” for shooting indoors under normal domestic lighting (not fluorescents!). If you use daylight film under tungsten light the images will be very yellow. If you use tungsten film in daylight the images will be very blue. With film you have to correct for the “color temperature” of the light using filters or by the right choice of film.

With digital you can pick your white balance to suit your light source, so that white looks white, not yellow or blue. Normally there is an automatic setting and the camera decides what white balance setting to use. However if you know what your light source is you can usually set the camera to it and this may give better results. Most digital cameras have settings for sunlight, shade, electronic flash, fluorescent lighting and tungsten lighting. Some have a manual or custom setting where you point the camera at a white card and let the camera figure out what setting to use to make it white.

Sensitivity

Sensitivity settings on digital cameras are the equivalent of ISO ratings on film. Just about every digital camera will have settings with a sensitivity equivalent to ISO 100 film and ISO 200 film. Many will have an ISO 400 setting, but above that the images from cameras with small sensors gets pretty noisy. The more expensive digital SLRs with much larger sensors have much higher sensitivity settings. At ISO 400 they are virtually noise free and some can go as high as ISO 3200 or even ISO 6400! Very few cameras have ISO setting lower than ISO 100 because noise levels are so low at ISO 100 there would be no real advantage in a slower setting. Quite a few digital cameras have an “auto” ISO setting, where the camera will pick from ISO 100, ISO 200 and sometimes ISO 400, depending on the light level and the mode in which the camera is operating.

Digital Zoom and Optical Zoom

Most cameras have both optical zoom and digital zoom. Optical zoom works just like a zoom lens on a film camera. The lens changes focal length and magnification as it is zoomed. Image quality stays high throughout the zoom range. Digital zoom simply crops the image to a smaller size, then enlarges the cropped portion to fill the frame again. Digital zoom results in a significant loss of quality as is clear from the examples below. It’s pretty much a last resort, and if you don’t have it in camera, you can do a similar job using almost any image editing program.

Comparison of optical zoom and digital zoom

JPEG, TIFF and RAW

The size of the digital file corresponding to the image which the camera produces depends on the pixel count. In most consumer digicams each pixel generates 3 bytes of data (so called “8-bit data”). One for red, one for green and one for blue. This means that a 3MP camera, which has 3 million pixels, generates 9 million bytes of data, or 9MB (megabytes). A few cameras can generate extra data for extra quality, and some of these cameras generate files which correspond to 2 bytes of data for each color   (”16-bit”), so a 3MP camera which is capable of generating 16-bit data will produce an 18MB image file.

Now these files are pretty big and they can be compressed quite a lot without a significant drop in quality. This is where JPEG (Joint Photo Experts Group) comes in. JPEG is an algorithm designed to work with continuous tone photographic images) which takes image data and compresses it in a lossy manner (this means you do lose some information). The more you compress, the smaller the file but the more information you lose. However, you can reduce file size by a factor of 10 or so and still get a very high quality image, just about as good as the uncompressed image for most purposes. You can reduce the file size by a factor of 40 - or even more - but the image starts to look really bad!

On the left, 10:1 JPEG compression. On the Right 40:1 compression.
Uncompressed the image would look virtually identical to the 10:1 JPEG on the left.

With 10:1 compression the 8-bit files generated by a 3MP camera would be 900Kbytes in size rather than 9Mbytes, which is a big saving with little quality loss. The smaller files take up much less storage space and are much faster to send between computers or from the digital camera or memory card to a computer.

There are also lossless ways of saving files using TIFF (Tagged Image File Format) . These keep all the original information, but at the cost of much bigger files. TIFF files can be compressed in a non-lossy way, but they don’t get very much smaller. For example, compare the file sizes for the rabbit image above: TIFF files can also be used to save 16-bit data (those these files are twice the size of 8-bit data files), JPEG files can only save 8-bit data.

Some cameras offer a third option, that of saving the actual data generated by the sensor in a proprietary format. Canon calls their version of this “RAW”, Nikon call it “NEF”. These files are compressed, but in a non-lossy manner. They are significantly smaller than equivalent TIFF files, but larger than JPEGs. Typically they achieve a compression of around 6:1 using 16-bit data, so files are 1/6 the size of equivalent TIFF files. The only disadvantage of these formats is that the image must be converted to either JPEG or TIFF for most software to be able to display them. The conversion is quite a complex process and can be time consuming if you have a lot of images to convert and a PC that’s not very fast. Since the RAW and NEF formats contain more information than JPEGs (and in fact often more than TIFF files) you can  do some degree of exposure compensation during conversion to JPEG to rescue otherwise improperly exposed images. You can also make white balance corrections during conversion, so if you shot with the wrong white balance, you can fix your error.

Display, Printing, DPI and PPI

There’s lots of confusion here so I’ll try to go slowly!

When you display a digital image on a monitor, the only thing that determines the size of the image is the pixel count and aspect ratio. DPI and PPI (and I’ll explain them later) mean absolutely nothing. If your image is a 480Kbyte file which is 800 pixels wide by 600 pixels wide, it will display as a full screen image if you are using an 800×600 display. It doesn’t matter if your DPI is set to 1 or 1000 or if your PPI is set to 1 or 1000. This is 100% true as far as web display goes and as far as any monitor display goes - unless some software intervenes. For example the IE6 browser will take large images and resize them so they fit on the screen. However DPI and PPI are still ignored. A few advanced page layout programs and advanced image editors may be capable of taking DPI and PPI into account when displaying images.

So I’ll say this once again. The way you control how large an image appears on someone’s monitor screen when viewing your images on the web is by changing the pixel count.  If your original image is 1600×1200 pixels it will probably be too large to see all at once on 95% of the video monitors out there. It will also be slow to load since it will be a large file. If you want someone using an 800×600 display to be able to see your image clearly, you need to change the size to, say, 600×400 pixels (remember the browser window is smaller than the full monitor display). You change image size in software. All image editing programs can do this. Sometimes it’s called “downsampling” or “downsizing”. See your image processing software manual for details on what options your software offers.

PPI stands for “Pixels per inch” and is almost exclusively used for printing, not video display. If you take an image that is 800 pixels wide and 600 pixels high, and you print it with a PPI setting of 100 pixels per inch, the print will be 8 inches wide by 6 inches high. If you print at 200 PPI you get a print 4″ wide by 3″ high. Now the print at 200 PPI will be higher in quality but smaller. Most people seem to agree that around 320 PPI is the highest number you really need. Above that it’s very hard to see any improvement in image quality. 240 PPI is often used and even that is often regarded as high quality. Most people notice a quality drop when they go below 180 PPI.

DPI stands for “dots per inch” and is a property of a printer, not a digital image. It’s a measure of how finely spaced the droplets of ink can be in a print. However the number is a bit misleading since it’s not always measured in the way you think it might be! Printer settings of 360dpi, 720dpi, 1440dpi and 2880dpi are often found. However the difference between then is subtle at best. Most people probably couldn’t tell the difference and 360dpi usually looks great. Changing DPI does not change the size of the print. PPI controls that. DPI controls print quality (though as I said, over 360dpi you don’t see much change).

Memory

There are quite a few different (and incompatible) memory cards used in digital cameras.

• Compact Flash (CF) - The original memory card. 42mm x 36mm x 3mm. Somewhat larger than the others, but used on all high end DSLRs. Available in capacities up to 2GB. There are also miniature hard drives (Microdrives) with almost the same form factor as CF cards (CF type II, 5mm thick)) which are available in capacities from 340MB to 4GB. Microdrives used to be cheaper than solid state CF cards, though there is not a big difference today up to about 1GB. The 4GB Microdrives are actually cheaper than the 2GB CF cards though. Of course prices change pretty fast these days! Overall CF cards tend to be cheaper than any of the other forms of solid state memory - though this too could change. CF cards and microdrives contain their own disk controller, so that makes the camera electronics simpler.
• Secure Digital (SD) - Very small - about 24mm x 32mm and 2mm thick. They have a built in write protect switch to prevent accidental erasure and certain encryption capabilities of little interest to digital camera owners.
• Multimedia - Same size as SD but with less features and no encryption capability. There are some that can be used in some SD cameras but they aren’t 100% compatible with SD cards in all applications.
• Smart Media - Thinner than CF cards, but lacking an on-card memory controller. Despite the name, they’re pretty dumb!
• Memory Stick - Introduced by Sony and used only by Sony(?)
• XD - Developed and used by Fuji, Olympus and Toshiba - even smaller than SD. 20mm x 25mm by 1.7mm thick

Is there any real difference in performance? No, not really. The CF cards are the cheapest per megabyte and are available in higher capacity models than the other (of course that may change with time). Most high end DSLRs use them. The smaller cards tend to be used in the smaller consumer digicams. There’s really no reason to pick a camera with one type over another unless you have multiple cameras or other devices (MP3 players for example) which also use memory cards - then it’s convenient if they can share cards. It may also be difficult (and/or expensive) to find really high capacity cards (1GB and up) in formats other than CF, but that’s probably not a concern for most digicam users.

The following table gives the approximate number of shots you can expect to get using low JPEG compression using various pixel count cameras in conjunction with various sized memory cards at the lowest ISO speed settings of a typical camera. The exact numbers depend on how much compression the camera applies and the ISO speed used. Higher ISO settings result in more noise and noise is hard to compress and so leads to larger files and less images per card. If you’re shooting in a RAW or NEF format you can divide these numbers by 3. If you’re shooting TIFF files you’d have to divide these numbers by 8.

Approximate number of shots per memory card for various digital camera pixel counts using high quality JPEGs for storage

Digital Camera Interface

Once you’ve got the images stored in your camera on the memory card you need a way to get them into your computer! There are several ways to connect digital cameras to a PC as well as external card readers.

• Serial - The earliest digital cameras had a serial interface, but no current cameras use this since it is so slow
• USB 1.1 - USB was the first widespread high speed method of data transfer from cameras. It is theoretically capable of transfer speeds up to 11 megabits/second (note megabits not megabytes)
• USB 2.0 - A development of USB but much faster - up to 480 megabits/second. USB devices are compatible with USB1.1 ports on a PC, but will only work with them at the lower data rate.
• IEEE 1394 (Firewire) - Though this is an older interface than USB, it was originally only really used much on Apple computers. It’s capable of high speed transfer (400 megabits/second) and it’s now found on some PCs or it can be added to them via a plug-in card. More common on digital video cameras than still digital cameras.

Just about all cameras can connect to a PC, but it’s sometimes easier to remove the memory card from the camera and insert it into a dedicated card reader. Even if your camera only has USB 1.1. if your computer has a USB 2.0 you can use a USB 2.0 card reader for faster transfer. Card readers are cheap, anywhere from $15 to $40.

Buying a Digital Camera

Sad to say there are more dishonest discount camera stores than you’ll find in almost any other business. Some of the popular photography magazines are cram full of ads advertising very low prices. What they don’t tell you is that you won’t ever actually get the camera for that price. Either they will add on $75 in shipping charges or they will be “out of stock” on that model, but they will have a more expensive model available of course. Sometimes they’ll tell you that the advertised camera is plastic in made in Taiwan, but for another $50 you can get the model made in Japan. Sometimes they’ll ship you the wrong item in the hope that it will be too much trouble to send it back. Shop in the ads at the back of magazines based only on the lowest price you see and most of the time you’ll be sorry.

However, there are reputable discount dealers and photo.net is associated with a few of them. These dealers do give photo.net a small commission on sales made through their website via the links below, so please use them if theu have what you want at a good price. They’re honest, they stock what they advertise, they have low shipping charges, good prices and responsive customer service. If they didn’t we wouldn’t be associated with them and we wouldn’t recommend shopping with them.

In January of 2008, Casio introduced the Exilim EX-Z80. It’s a small 8-megapixel ultra compact with a list price of US$199. As one of three new members of Casio’s “Zoom” family, the EX-Z80 replaces the 7.2 megapixel Exilim EX-Z77 which we reviewed last summer (see review of the Casio Exilim EX-Z77). In its press release, Casio says that the new models, “while naturally offering significant enhancements in function and performance, focus on style with a new body shape that keeps height to a minimum and exudes a sense of premium design quality.

Subtle changes

On the surface, the new EX-Z80 model doesn’t look much different from its predecessors. For several years now, Casio digital cameras have been stylish and slender with just some minor tweaking and variations in design. Buttons and controls move around a bit from year to year, but not much. There’s not that much you can do when you have an inherently attractive and functional design that works and a LCD display that takes up much of the backside of the camera. So attention has been on details and new features. However, in this case, something has changed. The EX-Z80 is even smaller than the already very small Z77 was. Casio mentioned the “new body shape that keeps height to a minimum,” and with a footprint of just 3.53 x 2.0 inches, you could hide the new Z80 behind its predecessor, or even a credit card. With a thickness of three quarters of an inch it’s also a bit thinner (though nowhere near as thin as Casio’s “Card” cameras) and its overall volume is down by 22% compared to the 7.2 megapixel EX-Z77. It weighs less, too — 3.5 ounces bare, and a bit over four ounces with battery and card. That’s very small and light.

The metallic body is quite attractive and stylish. It’s a slender box with rounded corners and edges. The back and front are color — six are available: pale pink, vivid pink, green, blue, silver and the black shown above — separated by a silver band that goes all the way around the camera.

The controls have changed a bit. There is now a round movie record button with a red dot on it on the upper right. Just push it to start recording. This goes with Casio’s emphasis on advanced video features in its cameras. The zoom rocker has been replaced by a slender zoom ring around the fairly large shutter on top of the camera. The round 4-way navigation ring with a large “set” button in the center is unchanged, the red and green record and playback buttons, and the “Menu” and “Best Shot” buttons on the bottom are larger.

One thing that, unfortunately, hasn’t changed compared to the EX-Z77 is screen resolution. Measuring 2.6 inches diagnonally, the wide-format LCD is large enough, but it has only 115k pixel resolution. That’s not terrible, but the display isn’t nearly as sharp as that of, say, the new EX-S10 which has twice as many pixels.

Even better movie features than before

The predecessor EX-Z77 first introduced the “YouTube-mode” to Casio Zoom cameras and with that a switch to the H.264 video compression standard that reduces MPEG-4 file size more without any perceptible image degradation to the eye. This means you can record longer videos while you still essentially get MPEG-4 video quality. For the audio accompanying the video, Casio is now using the AAC audio codec used in iPods. This means you can easily watch movies made on the EX-Z80 on a video iPhod, iPhone or in Apple’s sleek iTunes and iLife’08 software. It is also a format especially suited for video-sharing websites like YouTube.com. YouTube initially ran all videos in Flash, but is switching to H.264 video, thus being inherently more compatible with the file format this Casio camera produces. The maximum video resolution has been increased to a wide-format 848 x 480 pixels, perfect for playback on 16:9 aspect ratio wide-format TVs. As far as the “YouTube” mode goes, it’s nothing magic. It is simply settings that follow YouTube recommendations for file size, running time, screen resolution, video compression and file format. You can then connect the camera to the PC and use the Casio Uploader software to easily upload the movies to YouTube. It makes things easier.

Like earlier Casios, the EX-Z80 has a “prerecord” movie feature. In this mode, the camera is recording video before you press the movie button. When you press the shutter, the camera adds the five seconds before you pressded it to your video. This means you never miss one of those special moments.

The Auto Shutter

Like the rest of the newly introduced Exilims, the EX-Z80 has “Auto Shutter” functions where the camera helps taking the best possible picture. The Auto Shutter can, for exmple, detect blur. The camera will then wait until there is no more camera shake or the subject has stopped moving before it takes the picture. Auto Shutter can also be used to take a sharp picture while panning. If you follow a car racing by with the camera, the camera will pick try to shoot the best possible picture without blur. Another use is “smile detection” in portraits. Here the camera can actually recognize a smile and then shoot the picture automatically. Face detection is all the rage these days as a must-have feature, and the EX-Z80 has it. The camera uses advanced recognition algorithms to identify and properly expose up to ten faces in a picture.

Bottomline

The US$199.95 Casio Exilim EX-Z80 is a nice update to the older EX-Z77. It now offers 8.1 megapixel resolution in a very attractive and very small package. A number of new features have been added. Auto Shutter greatly reduces blur in certain shooting conditions, there is face and even smile recognition, you can shoot wide-format 848 x 480 pixel movies, and recording in MPEG-4/H.264 format makes the files YouTube and iPod friendly. We miss a higher resolution display and the always useful auto focus illuminator, but other than that, the EX-Z80, available in six colors, is a very attractive product. We like:

• Elegant design in six colors
• Very small and light
• Auto Shutter functions reduce blur
• 30 different scene modes
• Fun movies modes and H.264/AAC recording
• 848 x 480 movies at 30 frames per second

Not so much:

• Low screen resolution
• No auto focus illuminator lamp

Casio introduced the Exilim EX-Z100 and Z200 to the US market in January of 2008. It’s a pair of ultra-compact 10-megapixel cameras that come in a variety of colors. We’re describing them both in the same review since the sole difference between the two of them is that the Z200 includes active CCD anti shake. Why does Casio introduce yet a couple of new 10 megapixel cameras when the 10 megapixel EX-Z1080 is still available? Because of a variety of new features and a new 4X optical zoom.

A new design

The EX-Z100/200 is a new design, but closely follows Casio style themes. With a footprint of 3.66 x 2.16 inches the camera is smaller than it looks in the pictures above. The metallic body is attractive and stylish. It’s a fairly slender box that mixes rounded corners and creased edges. Four colors are available for the Z100: blue, maroon, pink and siler. The Z-200 is available in three: black, red and a darker silver. The controls clean and minimal. There is a round movie record button with a red dot on it on the upper right. Just push it to start recording. This goes with Casio’s emphasis on advanced video features in its cameras. A slender zoom ring surrounds the fairly large shutter on top of the camera. There is a round 4-way navigation ring with a “set” button in the center. Red and green record and playback buttons are above it, “Menu” and “Best Shot” buttons below. Almost everything else is done via clean onscreen menus. I should say upfront that it is not entirely clear why Casio chose to make this two separate models. There is only a U$20 price difference, with the EX-Z100 listing for US$279 and the EX-Z200 for US$299. True, the digital camera market has become very price sensitive, but it’s hard to see how the extra cost of having two different models with a total of seven different colors (four for the EX-Z100 and three for the EX-Z200) and a very slightly different body (the EX-Z200 is a small fraction of an inch thicker to accommodate the CCD shift mechanism) would be more cost-effetive than simply ship this model with the very desirable CCD shit image stabilization standard. Casio probably has its reasons, and who are we to argue with two new cameras instead of one?

What you get with the EX-Z100/200

That would be an attractive, stylish and very compact 10-megapixel camera with an excellent, high-resolution 2.7-inch LCD display. It is a wide-area format, so if you shoot, for example, video in the camera’s 848 x 480 pixel video format or the 3648 x 2048 pixel 16:9 still image format, you can see the results in the same aspect ratio, just the way they display on a wide-format TV. And, as a first in Casio’s Zoom series of cameras, you get a 4X optical zoom instead of the usual 3X. While that may not sound like much of a difference, it actually is. The common 3X zoom usually covers 36-108mm in 35 mm film parlance. This camera’s zoom is 28-112, so you can go from a substantially wider viewing angle than a standard lens to the common magnification of a 3X lens. This means you can’t get any closer than with a 3X lens, but a lot more fits into the bottom end of the lens, which is great for indoors pictures, family shots and so on. Outdoors, you can get full panoramas. In short, the 4X zoom of this camera adds flexibility.

The EX-Z100/200 also has a special Auto Best Shot mode that’s different from what is usually called “Best Shot” (i.e. shooting the same picture with bracketing exposures and then pick ther best one). Here, the Auto Best Shot actually analyzes a scene and then picks the appropriate shooting mode from the Scenes menu. At this point, the technology can pick scene modes for people, scenery, night scenes, night scenes with people, close-ups, and moving subjects. The camera actually has 39 scene modes and future models may be able to properly select most of them.

Like the rest of the newly introduced Exilims, the EX-Z100/200 has “Auto Shutter” functions where the camera helps taking the best possible picture. The Auto Shutter can, for exmple, detect blur. The camera will then wait until there is no more camera shake or the subject has stopped moving before it takes the picture. Auto Shutter can also be used to take a sharp picture while panning. If you follow a car racing by with the camera, the camera will pick try to shoot the best possible picture without blur. Another use is “smile detection” in portraits. Here the camera can actually recognize a smile and then shoot the picture automatically.

Face detection is a must-have feature these days, and the EX-Z100/200 has it. The camera uses advanced recognition algorithms to identify and properly expose up to ten faces in a picture.

In the video department you can shoot wide-format 848 x 480 movies at a full 30 frames per second. Unlike the also new EX-S1 and EX-Z80 that use the AAC audio codec widely used in Apple products, the Z100/200 records movie audio with IMA-ADPCM encoding. The video format/compression used is MPEG-4 H.264. This reduces MPEG-4 file sizes more without any perceptible image degradation to the eye and means you can record longer videos while you still essentially get MPEG-4 video quality.

As for anti-blur/image stabilization technologies, both models come with Casio’s Anti-Shake DSP (Digital Signal Processing). This is digital anti-blur, i.e. the cameras will decrease exposure time and increase sensitivity to make up for it. The EX-Z200 has, in addition, optical or “active” anti-blur technology. A CCD-Shift Stablizer compensates for camera movements and can thus reduce blur. We’ve in the past tested otherwise identical cameras where one had optical image stabilization and the other did not. Zoom and low-light pictures were markedly better with optical stabilization.

Bottomline

If you want a compact 10 megapixel camera from Casio you now have two more choices than before. If cost is the sole issue, Casio’s still available EX-Z1080 remains a good buy with a list price of US$249 and most of the same features. However, the new models add something of value, and that is the 4X zoom that allows wide angle photography. That alone is worth the EX-Z100’s US$30 price premium. Add another US$20 and you get the US$299 EX-Z200’s CCD-Shift image stabilization. We like:

• 28-112mm 4X optical zoom allows wide angle photography
• Very small and light
• Auto Shutter functions reduce blur
• 39 different scene modes
• CCD-Shift image stabilization in the EX-Z200
• Fun movies modes and H.264 recording
• 848 x 480 movies at 30 frames per second

Not so much:

• We’d prefer the AAC movie audio encoding like the other new Exilims have

The Casio Exilim Pro EX-F1, introduced in January of 2008, looks like no other Casio camera before, and it can do thing no other digital camera available to consumers can do. Casio’s corporate slogan is “Expect the Unexpected,” but even so, few would have expected the Pro EX-F1 from the company famous for its attractive little ultra-slim cameras. What is the EX-F1? A fairly large 6-megapixel camera with a 12X optical zoom and, according to Casio, the world’s fastest burst shooting performance. How fast? Up to 60 frames per second in full resolution burst mode, and up to 1,200 frames per second in high-speed movies!

Tremendous speed

We’d love to know the thought process and story behind this camera. As is, the Exilim Pro EX-F1 incorporates a newly developed high-speed CMOS sensor and a high-speed processor. In such a high-end camera you’d expect 10 or 12 megapixel, but maximum resolution is not what the F1 is all about. This is all about speed, and somehow Casio found that 6.0 megapixel worked best for what they had in mind. And what they had in mind was achieving the fastest burst shooting speed capability possible and ultra-fast movie modes. The goal was to enable capturing of split-second movement in great detail so that no important moment would be lost. Another goal was to build a camera so fast that it could capture motion that the human eye cannot see or follow. So what does that include? First, there is an ultra-high speed burst mode that offers full resolution photography at 60 images per second. A maximum of 60 shots per second can be taken and you can set the camera from one to 60 frames per second. So you can shoot all 60 in a second, or one per second for a full minute.

What’s expecially interesting is that in the high speed burst mode Casio employed a technology it has been offering in its movie modes for a while. With the “past movie” mode available in many Exilim models, you can have the camera continuously record movie, but it will only be saved to permanent memory when you push the shutter. The camera will then save the several seconds it still has in its memory from before you pushed the shutter and and then keep recording. This way you can, for example, follow a soccer game, push the shutter when a goal happens, and the camera will also save the several seconds that led up to the goal. It is a brilliant idea. Well, with the F1 you can “prerecord” still images with the ultra-high speed burst function. Up to 60 images per second, and again a maximum of 60 images, are saved in the camera’s buffer before the shutter is depressed. Once you press the shutter, all the images leading up to the event are saved. This is an incredible way to catch vital moments.

Amazingly, even the flash plays along. There are some limits, but you can take up to 20 continuous flash shots at up to seven frames per second! And there is also a (less powerful) internal LED light that allows high-speed burst shooting at between 10 and 60 frames per second.

Another cool feature is the Slow Motion View function that lets you view and capture critical moments in slow motion during still photography. It’s like magic — in the monitor the live action is displayed in slow motion. You can then review things and press the shutter to capture just the right moment.

The movie function, likewise, offers features and performance unheard of. There is a full high-definition mode where the camera records at 1920 x 1080 pixels at 60 frames per second. That is the highest currently available HDTV resolution at a frame rate speed not yet available even in the latest HDTV sets. And the F1 can directly connect to an HDTV set with a separately available HDMI cable. Oh, and sound recording is in stereo via two onboard microphones

Equally stunning are the frame rates the Pro F1 can achieve at lower resolutions. At 512 x 384 pixels you can shoot movies at 300 frames per second. At 432 x 192 at 600 frames per second. And at 336 by 96 pixels at a mind-blowing 1,200 frames per second. That means you can see things in ultra-slow motion. Oh, and there is a special “movie” button; no need to first go into an onscreen menu. For a terrific demonstration of the F1’s various high speed movie modes,

Unlike most consumer cameras, the Pro F1 offers full manual control. You can set the camera to automatic, of course, and there are Best Shot, YouTube, and Face Recognition modes and such, but for advanced shooting there are Program AE, aperture and shutter priority modes, and a full manual exposure control mode. Also handy are the camera’s bracketing modes. You can record a specified number of images with adjustable incremental changes in the EV value, the white balance, or with focus.

The other wonderful thing of the Pro F1 is its 12X optical zoom. While 12X is not the absolute highest optical zoom you can find in prosumer cameras, it certainly lets you get very close, and it does that in conjunction with all of its blistering speed. The F1 has CMOS shift anti-shake, and that certainly comes in handy when using that long zoom.

In terms of controls, this is of course a much larger and more involved camera than your typical Casio ultra-slim. It looks more like a digital SLR, and its controls are similar to those of a digital SLR. There is a viewfinder in addition to the large and high-es 2.8-inch LCD, but it is an electronic one. There are mode and continuous shooting dials, and a variety of buttons. They are all clerly labeled, though, and it shouldn’t take long to acquaint yourself with the Pro F1. In addition to buttons and onscreen menus, the camera also has a SLR-style function ring part of the big lens. Simply rotate it to adjust continuous shutter speed, zoom, or focus. Continuous shooting speed can be adjusted during continuous shutter shooting.

Bottomline

Casio loves to surprise people with the unexpected, and with the Exilim Pro EX-F1 they certainly delivered a camera that was both unexpected, and that can do totally unexpected things. Its blistering high speed burst mode, its equally stunning ultra-high speed movie modes, its ability to record full 1920 x 1080 pixel high definition video at 60 frames per second and with stereo sound, and then its 12X optical zoom with CMOS shift anti-shake — it’s just incredible. And all those amazing features do not live in a vacuum. Casio cleverly combined them with existing technologies, like their wonderful “past movie” and “pre-record” modes. The sole concern we have is that some people will look at the 6-megapixel resolution, then at the price, and move on, never realizing what a stunning camera this is. We like:

• Stunning speed both in movies and in still image burst mode
• Slow motion movies and slow motion view
• Full 1920 x 1080 HDTV recording at 60 fps, in stereo
• Full manual modes
• Strong flash that shoots at seven frames per second
• 12X optical zoom
• CMOS anti-shake

Not so much:

• 8 or 10 megapixel would have been nice.

The shock and waterproof Olympus Stylus 850 SW was introduced in January of 2008 as part of the company’s big winter announcement that included no fewer than nine new consumer cameras. The 850 SW appears to be the successor of last summer’s Stylus 790 SW. There are 8 megapixel now and some new goodies, and it all comes at the same list price of US$299.99 as the 790 SW was. The stylish Stylus comes in five colors, with black, silver and yellow carrying over, and pink and cyan replacing orange and dark blue. What you get here is an attractive 8.0 megapixel camera that is shockproof, waterproof, freezeproof, sandproof, dustproof, packed with features and ready to be used virtually anywhere, including the desert, underwater, or skiing. And if you drop it, no big deal as it can survive a 5-foot fall.

What you get with the Stylus 850 SW

The Stylus 850 SW is a very compact, elegant camera you can take anywhere. It has a footprint of 3.7 x 2.4 inches and is 0.84 inches thick. It weighs under five ounces without the little Li-Ion battery, and not much more with it. The 3X optical zoom is internal, which means there is no annoying lens barrel that motors in and out. And even though the 850 SW can stand up to water, dust, sand and freezing temperatures, it’s still a full-function digital camera with all the features you expect from a modern point & shoot compact. The 850 SW is easy to use right out of the box. In the back you find a mode dial that lets you select automatic, image stabilization, guide mode, movie, playback and favorites, as well as scenes. Below the mode dial is the ubiquitous four-way navigation pad with an “OK” button in its center. Four additional function buttons bring up the onscreen menu and cycle through often used functions.

Features

As stated, despite being a “specialty camera,” the 850 SW has a variety of nice features that make it suitable for everyday picture-taking, and not just trips outdoors. Like almost all new consumer digital cameras, the Stylus 850 has a face detection mode. This means that the camera is able to find a face or even multiple faces in a picture and make sure that they are in focus and properly exposed. That even works when people are moving.

Digital image stabilization uses higher sensitivity and higher shutter speed to reduce or eliminate blurriness in pictures. It doesn’t however, have mechanical sensor shift image stablization which would come in especially handy for underwater shooting.

The TruePic III Image Processor, developed for digital SLRs, delivers more vibrant colors, smoother edges, less nose and higher overall speed.

Olympus equipped the 850 SW with its Shadow Adjustment Technology that analyzes shots of subjects in front of bight backgrounds and then exposes things properly. In essence, it compensates for extreme contrast where the shadow areas on the foreground subject are underexposed and lack visible detail.

The Perfect Shot Preview feature displays the effects of various settings including zoom, exposure, white balance and metering - on the LCD so you can select the proper settings and effects

The camera also has an LED Illuminator that works like a mini-flashlight on the front of the camera to enhance focus and exposure for macro shooting. It is also great for underwater close-ups where light is scarce. The LED also works in conjunction with the Bright Capture feature (brightened LCD preview for better composition in low light) to help illuminate a subject when taking low-light portraits.

While the 850 SW does not have any manual modes, there are 27 “scene modes” in addition to auto: portrait, landscape, landscape + portrait, night, night + portrait, sport, indoor, candle, self portrait, available light portrait, sunset, firework, cuisine, behind glass, document, auction, shoot & select 1 and 2. beach and snow, underwater wide 1 and 2, and underwater macro. New is a pre-capture movie mode where the camera records but only commits to storage once you push the shutter. That way you are certain to capture the seconds leading up to an event.

Shoot & Select lets you take sequential pictures by holding down the shutter. The pics then show up as sort of a filmstrip and you can select which you want to keep and which you want to discard.

“Guide” sort of guides you through various scenarios and sets the camera properly. This mode also lets you preview a scene through a multi-frame window that shows how the picture looks with four different settings. You then pick what suits you best.

The Stylus 790 SW predecessor, like other Olympus cameras, had both a macro and a super-macro mode. The macro mode goes from eight inches to infinity whereas super-macro goes from 2.8 inches to a bit over two feet. The website did not reflect that and the 850 specs also do not show it. We suspect the 850 does have a super-machro mode. The Stylus 850 SW has a 640 x 480 movie mode with sound, and it shoots at 30 frames per second for lifelike video. We don’t know if the camera still has the 10 second limit for recording in fulle VGA format. Sound has never been a strong side of Olympus consumer cameras. The 850 SW has a Shooting Assist function for voice recording but we’re not sure if that includes a full voice recording mode. You can attach short sound clips to still images.

New and improved

Compared to the 790 SW, which likely is its predecessor, the 850 SW has some welcome new features. There is the pre-capture movie mode discussed above. This means you’ll never again miss a once-in-a-lifetime moment in a movie. Just record, and the the big event happens, push the button. The camera will then store the seconds leading up to the event.

Sequential shooting is twice as fast. You can now shoot seven frames per second at 3 megapixel resolution. At full resultion (8MP), you can shoot six frames in one second intervals.

There is an in-camera panorama mode that lets you capture three images and then stitches them together to create a panoramic picture. As you pan, special markers shows up on the display. Align them to take the next picture.

The flash range has been extended to 17.4 feet in wide mode and 12 feet in tele mode.

You are no longer limited to the often somewhat hard-to-find xD-Picture cards. The 850 SW comes with a special adapter so you can use microSD cards as well. Internal storage remains a meager 15MB.

Shock and waterproof

Unlike most digital cameras, the 850 SW can take a beating. Thanks to a durable metal body, floating circuitry inside, and shock-absorbing construction, it is rated to survive 5-foot drops (we recommend the optional US$15 silicon clear skin). The camera is also waterproof thanks to a combination of seals and gaskets. The 850 SW is rated waterproof to a depth of ten feet, which makes it suitable for playing in the pool, rafting, snorkeling, freediving and perhaps even shallow scuba diving (it can likely handle 15 feet, though we do not recommend it). For serious diving, there is the optional US$279.99 PT-041 underwater housing rated 133 feet.

Freezing temperatures do not affect this camera as it is freezeproof down to 14 degrees Fahrenheit. So it’s a perfect companion for sledding, skiing, snowboarding and such.

Bottom line

The attractive ultra-compact water, shock and shockproof 8-megapixel Stylus 850 SW is perfect for those who love to take their camera outdoors without having to baby it. The camera can take a beating and you can even use it underwater, down to a depth of ten feet. It has the same features as standard consumer models, which means it is useful anywhere and not just as a sports camera. We like the internal zoom, the excellent 2.5-inch LCD with its very wide viewing angle. Keep in mind that if you want a camera you can take diving without a housing or one that is crush-proof as well, you need the older Stylus 770 or the new Stylus 1030. But if you just want something waterproof, the less expensive 850 SW is just right. If you’re comparing it to the Stylus 790 SW, you get more resolution, the pre-capture movie mode, a stronger flash, the ability to use microSD cards instead of just xD-Picture cards, faster burst mode, and in-camera panorama shooting.

We like:

• Attractively styled sports and outdoor camera
• Snorkeling possible with 10 feet depth limit
• Inherent waterproofing provides peace of mind when handling in/around water
• Can survive 5-foot drops and 14 degree temperature!
• Superb wide-angle, high-res 2.5-inch LCD
• Pre-capture movie mode
• microSD adapter included
• Very good underwater macro mode
• LED illumination
• Optional deepwater housing

Not so much:

• Strictly point & shoot

Right upfront, scuba divers and people who love the rugged outdoors, no matter what it will throw at them, will adore the new 10-megapixel Olympus Stylus 1030 SW. This new top-of-the-line model in Olympus’ SW (Shock & Waterproof) series was introduced in January of 2008 as part of the company’s announcement of nine new consumer cameras. While sporting a new look that is somewhere inbetween the Stylus 770 SW and the new Stylus 850 SW, it’s clear that this is the successor to the 7.1 megapixel Stylus 770 SW. Don’t let the small size and stylish look fool you: this shockproof, waterproof, crushproof, freezeproof, sandproof, and dustproof may just be the toughest consumer camera ever built. It survives drops from almost seven feet and you can take it diving down to 33 feet, without an underwater housing. And there is more.

What you get with the Stylus 1030 SW

Quite possibly the perfect camera for Scuba divers. That’s because its ability to be taken down to a depth of 33 feet clearly sets it apart from other cameras in Olympus’ SW series. They are all tough and you can take them all just about anywhere. But when it comes to diving, only this new 1030 (and its 770 SW predecessor) will do. Sure, many dives go deeper but there is a lot of great scenery in shallow waters, and we have no doubt that the 1030 SW, like the 770 SW before, won’t mind the occasional descent to 50 or 60 feet. Not needing to take along a bulky underwater case is priceless. I know. But diving is not all the 1030 SW can do. Thanks to a rugged metal body, extensive sealing and shock-absorbing construction, the 1030 can survive drops from two meters, or 6.6 feet. And there we thought the 5-foot drop spec of the also new Stylus 850 SW was impressive. Freezing temperatures do not affect this camera as it is freezeproof down to 14 degrees Fahrenheit. So it’s a perfect companion for sledding, skiing and snowboarding as well. Finally, unlike the lesser SW series cameras, this one is crushproof as well. Its tough case and reinforced LCD can withstand 220 pounds of pressure.

Amazingly, the 1030 W can do all this while still being a very compact, elegant camera you can take anywhere. It has a footprint of 3.7 x 2.4 inches and is 0.84 inches thick — exactly the same as the 8-megapixel 850 SW. It’s, however, packed full of circuitry and tons of little parts (we took its predecessor apart) and weighs a bit more, though still just over six ounces without its Li-Ion battery, and not much more with it. The new and more powerful 3.6X optical zoom is internal, which means there is no annoying lens barrel that motors in and out. And even though the 1030 SW can stand up to deep water, dust, crushing, sand and freezing temperatures, it’s also a regular full-function digital camera with all the features you expect from a modern point & shoot compact.

Like the 850 SW, the 1030 is easy to use right out of the box. In the back there is a mode dial that lets you select automatic, image stabilization, guide mode, movie, playback and favorites, as well as scenes. Below the mode dial is a four-way navigation pad with an “OK” button in its center. Four additional function buttons bring up the onscreen menu and cycle through often used functions.

A word about the internal zoom. While the 770 had a 3X zoom equivalent to the standard 38-114mm equivalent, the new camera has a slightly extended 3.6X zoom that starts at a wide 28mm and goes up to 102mm. This means that it is much better suited to underwater photography where a wide lens always comes in handy while giving up hardly any magnification.

Features

Despite its impressive environmental ruggedness specifications, the Stylus 1030 SW is anything but a one trick pony. In fact, with its choice of three colors (silver, black and green), elegant styling, and wealth of functions, this is a camera that can do it all. Like almost all new consumer digital cameras, the Stylus 1030 has a face detection mode that enables it to find one face or more faces in a setting and make sure that they are in focus and properly exposed. It can do that even when people are moving.

The 1030 has digital image stabilization that uses higher sensitivity and higher shutter speed to reduce or eliminate blurriness in pictures. It doesn’t however, have mechanical sensor shift image stablization which would come in especially handy for underwater shooting.

The TruePic III Image Processor that was originally developed for digital SLRs delivers more vibrant colors, smoother edges, less nose and higher overall speed.

Olympus equipped the 1030 SW with its Shadow Adjustment Technology that analyzes shots of subjects in front of bight backgrounds and then exposes things properly. In essence, it compensates for extreme contrast where the shadow areas on the foreground subject are underexposed and lack visible detail.

The Perfect Shot Preview feature displays the effects of various settings including zoom, exposure, white balance and metering - on the LCD so you can select the proper settings and effects

The camera also has an LED Illuminator that works like a mini-flashlight on the front of the camera to enhance focus and exposure for macro shooting. It is also great for underwater close-ups where light is scarce. The LED also works in conjunction with the Bright Capture feature (brightened LCD preview for better composition in low light) to help illuminate a subject when taking low-light portraits.

There is a large 2.7-inch high resolution (230k pixel) LCD that does not only have aa very wide viewing angle in all directions, but also uses the Olympus HyperCrystal II LCD technology. According to Olympus, it reproduces true colors with a dynamic contrast ratio of more than 180 percent and a color reproduction performance of more than 160 percent compared to the original HyperCrystal LCD.

While the 1030 SW does not have any manual modes, there are 28 “scene modes” in addition to auto: portrait, landscape, landscape + portrait, night, night + portrait, sport, indoor, candle, self portrait, available light portrait, sunset, firework, cuisine, behind glass, document, auction, shoot & select 1 and 2, beach and snow, underwater snapshot, underwater wide 1 and 2, underwater macro, and underwater movie. New is a pre-capture movie mode where the camera records but only commits to storage once you push the shutter. That way you are certain to capture the seconds leading up to an event.

Shoot & Select lets you take sequential pictures by holding down the shutter. The pics then show up as sort of a filmstrip and you can select which you want to keep and which you want to discard.

“Guide” sort of guides you through various scenarios and sets the camera properly. This mode also lets you preview a scene through a multi-frame window that shows how the picture looks with four different settings. You then pick what suits you best.

Like other Olympus cameras, the 1030 has both a macro and a super-macro mode. The macro mode goes from eight inches to infinity whereas super-macro goes from an amazing 0.8 inches to a bit under two feet. This is great as Olympus underwater cameras excel at macro photography.

The Stylus 1030 SW has a 640 x 480 movie mode with sound, and it shoots at 30 frames per second for lifelike video. We still need to ascertain whether the VGA mode has a time limit, as the 790 SW had. Sound has never been a strong side of Olympus consumer cameras. The 1030 SW has a Shooting Assist function for voice recording but we’re not sure if that includes a full voice recording mode. You can attach short sound clips to still images.

Sequential shooting is quite fast for a 10-megapixel camera. You can shoot seven frames at 0.7 frames per second in full resolution, and 11 frames at 5.2 frames per second at 3 megapixel resolution.

There is an in-camera panorama mode that lets you capture three images and then stitches them together to create a panoramic picture. As you pan, special markers shows up on the display. Align them to take the next picture.

The flash range has been extended to 17.4 feet in wide mode and 12 feet in tele mode.

You are no longer limited to the often somewhat hard-to-find xD-Picture cards. The 1030 SW comes with a special adapter so you can use microSD cards as well. Internal storage remains a meager 15MB.

The camera uses the new 925-mAH LI-50B that charges much faster (in two hours instead of five) and is rated at 260 pictures.

Bottom line

The Stylus 1030 SW is the camera a lot off divers and outdoorsmen (and women) have been waiting for. It brings 10-megapixel resolution to scuba diving without the need of an underwater case. It’s also the most rugged Olympus Stylus camera yet, being able to survive huge drops from almost seven feet and freezing temperatures. Despite its ruggedness, the 1030 SW is small, light, elegant, and has a wealth of features. Its large 2.7-inch wide viewing angle LCD is brighter and than before and offers better contrast. The new 3.6X 28-102mm internal optical allows both wide angle photography and good magnification. The camera has underwater and pre-capture movie modes as well as state-of-the-art featureslike face detection, in-camera panorama, shadow adjustment, perfect shot preview, in-camera editing and more. Add to that the ability to use microSD cards via an included adapter and a very powerful battery and you have all the makings of a big hit.

We like:

• Attractively styled sports and outdoor camera
• Real diving possible with 33 feet depth limit
• Inherent waterproofing provides peace of mind when handling in/around water
• Can survive 6.6-foot drops and 14 degree temperature!
• Superb wide-angle, high-res 2.7-inch LCD
• Pre-capture movie mode
• microSD adapter included
• 3.6X 28-102mm optical zoom allows wide angle shooting
• Very good underwater macro mode
• LED illumination
• Optional deepwater housing

Not so much:

• Strictly point & shoot
• Elegant metal body easily gets scratched

The Coolpix S600 is one of two 10-megapixel cameras introduced by Nikon in January of 2008 as part of its Spring lineup. Why two 10-megapixel cameras that, at first look, are very similar? Because there are significant differences, enough to describe them separately.

The S600 is an elegant and very compact camera with high-end features. It has a large and high resolution 2.7-inch display with a wide viewing angle from all sides. And it comes with a wide angle 4X lens that also lets you get as close as 1.2 inches. Most importantly, it comes with optical vibration reduction image stabilization. As a result, it lists for US$299, a good bit more than Nikon’s other new 10-megapixel camera, the S550. Depending on your picture taking preferences, it may be money well spent.

Wide angle zoom and high end features

With digital camera prices getting ever lower, camera makers are having a hard time differentiating their offerings and justifying price differences. In an effort to be price-competitive, they usually include something special in a model, but usually at the expense of something else. Or you get all the goods and pay more. With the new S600, Nikon chose to let you have your cake and eat it, too, but you pay US$70 more than for the also new 10-megapixel S550. 10mp gets you 3648 x 2736 pixels to play with. That’s enough for very large prints and enough to crop pictures and still have enough resolution. Nikon chose a 4X 28-112mm optical zoom for this camera. That means it starts wide and allows wide angle photography, and then magnifies about as much as a standard 3X optical zoom. So those who like to get close may be better off with the S550’s 5X zoom that goes from 36 to 180mm. However, wide angle shooting is not this lens’s only forte; you can also go as close as 1.2 inches in macro mode.

The S600’s LCD display is about as large and good as it gets in this class of camera. It measures a gratifying 2.7 inches diagonally and has reflective coating for optimal outdoor viewing. It is also very sharp with 230k pixel resolution. This makes not only for a more pleasant picture, but you can also see if an image is really sharp when you zoom in.

From a design point of view, the stainless steel-bodied S600 is a little marvel of a camera. It measures a just 3.6 x 2.1 inches and is 0.9 inchs thick. Even with its battery installed, it weighs barely five ounces. It is a clean, elegant design that however gets a bit more complex when it comes to the controls on its backside. Like the Coolpix S510 and the 12-megapixel S700, the S600 has a “rotary multi selector” that combines the functionality of a mode dial with that of a navigation disc into an unmarked multi-function selector disc/ring. This requires a bit of getting used to.

You can use the multi selector ring like a standard navigation disc. You can also use it to toggle through flash, self timer, exposure compensation and macro mode settings by pressing down on its four sides. And to select various options you can rotate it like a mode dial to select various options both in record and playback mode. Sometimes an onscreen representation of the multi selector appears on the LCD, providing labels so you can rotate until you get to the selection you want. The multi selector works well, it’s just that it is a bit different from what most digital photographers are used do. The illustration below is from the S700’s manual and shows how the selector works when the camera is in recording mode.

Like all recent Coolpix cameras, the S600 benefits from Nikon’s EXPEED image processing system that optimizes noise reduction and improves the signal-to-noise ratio. The S600 also has an enhanced face-priority auto focus mode that can now detect and focus on up to 12 faces in a single picture. Red-eye fixing is built into the camera, and there is D-Lighting that compensates for excessive backlight or insufficient flash in images.

Nikon uses optical VR Image Stabilization technology in the S600. Still pictures use an optical vibration reduction which Nikon calls image-sensor shift. This is an active optical shift anti-shape technology that senses movement perpendicular to the panning. So if you pan horizontally, the VR mechanism will reduce vertical shake; if the camera pans vertically, horizontal shake is smoothed out. This can be enabled or disabled in settings. The S600 has no manual modes. It’s either auto or one of the scene modes: Active Child, Portrait, Landscape, Sports, Night Portrait, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Night Landscape, Close Up, Museum, Fireworks Show, Copy, Back Light, and Panorama Assist.

Overall

The elegant stainless steel Nikon Coolpix S600 is a high-end 10-megapixel camera with a terrific 2.7-inch high resolution display that can be seen from all sides and is sunlight-readable. It is very fast both in startup and shutter relase. Its 28-114mm 4X zoom lens allows for wide angle shots, and it also lets you get as close as 1.2 inches in macro mode. Optical vibration reduction results in far viewer blurry pictures. Very high ISO 3200 sensitivity allows shooting in low light conditions. Add to that an advanced face-pririty mode, in-camera red eye fix, an “active child mode” and other goodies and you have a point & shooter that’s ready for anything. We like:

• 4X optical wide angle zoom
• Optical image stabilization
• ISO 3200 sensitivity
• Macro as close as 1.2 inches
• Very good sunlight-visible hi-res 2.7 inch screen with wide viewing angle
• Elegant design with brushed metal body
• Small, light and handy
• Full speed VGA movies with sound and time lapse movies

Not so much:

• Rotary mode selector a bit cumbersome

When Nikon revealed its Fall 2007 lineup, something was missing: a 10-megapixel camera. The S-Series models jumped from 8 (S510) to 12 megapixel (S700). This oversight has now been addressed with not one but two new 10-megapixel cameras, the S550 and the S600. They are different enough that we’ll dedicate a separate page to each.

The S550 is a small and handy little camera that will appeal to those who like to get close. That’s because it, unlike any other S-Series Coolpix, has a 5X optical zoom. Depending on the kinds of pictures you like to take, that can make a huge difference. Following the trend of offering cameras in different colors, the S550 comes in plum, cool blue and graphite black. And with a list price of just US$229, it’s a bargain.

Elegance and performance

With digital camera prices getting ever lower, camera makers are having a hard time differentiating their offerings and justifying price differences. In an effort to be price-competitive, they usually include something special in a model, but usually at the expense of something else. The new S550 is no different. On the plus side you get 10 megapixel to play with. That means 3648 x 2736 pixel images, enough for huge prints and also enough to crop to your heart’s content and still have enough resolution. A 5X optical zoom is always better than the standard 3X zoom. And the S550’s zoom is actually longer than that of the also new and more expensive Coolpix S600 which has a 4X wide angle zoom. And you get time-lapse movies and a smile and blink mode. More on that later.

On the negative side — and this is relative and only compared to the other new 10-megapixel Nikon — the LCD measures “only” 2.5 inches diagonally and not 2.7. The S550 does not have the rotary multi selector of the S600 (not everyone will miss it). Most importantly, and this is primarily why the S550 costs $70 less, it only has digital vibration reduction and not the more sophisticated optical sensor shift technology. It is not immediately obvious why Nikon equips the 4X zoom model with active anti-blur and the one with a 5X zoom, which needs image stabilization more, only with the digital version.

Be that as it may, there is much to like. The all-metal S550 is a very compact and attractive camera. It measures a tiny 3.6 x 2.1 inches and is 0.9 inchs thick. Even with its battery installed, it weighs barely five ounces. It is a clen, elegant design with simple and clearly marked controls. Most of the backside is taken up by the high resolution (230k pixel) LCD that sports anti-reflection coating so it can be viewed in sunlight. It also has a very wide viewing angle from all sides. To the right of the display are the few hardware controls, all nicely and logically arranged. The 4-way navigation disc with an “ok” button in its center also lets you quickly toggle through frequently used functions such as flash, time delay, focus modes and so on. The four hardware buttons invoke the settings and mode selection menus, toggle between record and playback, and let you delete pics. All very simple.

Like all recent Coolpix cameras, the S550 benefits from Nikon’s EXPEED image processing system that optimizes noise reduction and improves the signal-to-noise ratio. The S550 also has an enhanced face-priority auto focus mode that can now detect and focus on up to 12 faces in a single picture. Red-eye fixing is built into the camera, and there is D-Lighting that compensates for excessive backlight or insufficient flash in images.

Nikon uses electronic VR Image Stabilization technology in the S550. It uses higher sensitivity and quicker shutter speeds to help produce sharper and clearer images in low lighting conditions or when subjects are moving. There is a total of 15 scene modes. They are Face-Priority AF, Portrait, Landscape, Sports, Night Portrait, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Night Landscape, Close Up, Museum, Fireworks Show, Copy, Back Light, and Panorama Assist.

There are also two new modes: Smile and Blink Warning. In smile mode, the camera can actually tell a smile and will wait to shoot the picture until it detects one. Blink warning actually displays a warning message when, in the camera’s opinion, the subject has blinked when the picture was taken. Since a lot of people have that annoying tendency, the warning message quickly lets you take another shot without having to check the picture.

Overall

We like the Coolpix S550 because it offers a good combination of features at a great price. You get a 10-megapixel camera with a very good 2.5-inch high-res display, lots of fun features and, most importantly, a genuine 5X optical zoom. In addition, the S550 is small and light and very elegant — a real conversation piece. The one thing missing is optical anti-blur, but that is why the excellent S550 is so reasonably priced. We like:

• 5X optical zoom
• 10 megapixel resolution
• Very good sunlight-visible hi-res 2.5 inch screen with wide viewing angle
• Elegant design with brushed metal body in three colors
• Small, light and handy
• Advanced face recognition mode with smile and blink detection
• Full speed VGA movies with sound and time lapse movies

Not so much:

• No optical anti-blur

Taking photos of fireworks can be tricky so plan in advance. Arrive before the show begins to find an unobstructed view of where the fireworks display will appear.

Make sure you’re in a place where people will not constantly walk in front of you. However for some shots, it’s perfectly acceptable to have people as part of the scene.

Extraneous lighting can interfere with getting a properly exposed photo. Stay as far away as possible from illuminated signs, street lamps and parking lots with artificial lighting.

Position your digital camera where the fireworks will explode. Take a few practice shots early in the show. Check focus and exposure on the LCD. Tweak settings as necessary.

Once the show begins, take lots of shots! Shoot holding the camera vertically as well as horizontally.

What to bring:

• A tripod or monopod to steady your camera and prevent camera shake.
• A small to mid-sized flashlight to use when you must adjust camera settings in the dark.
• Extra batteries and memory cards.

Getting your camera ready:

• Set your camera’s focal length to normal or wider. Using a wide focal length is generally more effective than zooming in to take photos of fireworks. You can edit to obtain a more tightly cropped photo.
• Set the camera to it’s highest quality settings.
• Use a tripod or other steady support, and the self-timer or a camera remote.
• Turn off the flash (if you can’t turn it off, tape a piece of cardboard over it).

Other camera settings:

If your digital camera’s settings can not be changed, the automatic settings may keep the shutter open long enough for a proper exposure. You can also set your camera to landscape or fireworks mode.

If your camera has manual settings:

• Set focus to infinity.
• Use an aperture of F5.6 or smaller (higher number).
• Set the shutter to bulb.
• Exposure: try between 1/2 and 4 seconds; although one to two seconds can also work well.
• If possible, use an ISO of 100.

As a professional food photographer, I’m usually the one on that side of the camera, my tripod getting in the way of the waitstaff or with my family rolling their eyes at me wondering if they’ll get to take their first bite before the meal gets cold. These days however, I seem to spy others popping off shots of the delicious dishes in front of them almost as much as I am.

The sheer number of food photos on websites, blogs and photo sharing sites like Flickr is enough to feed millions of hungry eyeballs, and is growing at an enormous rate. Finding quality in those images, however, is still a bit of a challenge.

Tips for taking great photos of food

Food rarely looks appetizing when shot with a point-and-shoot digital camera on its automatic settings. A quick web search on “food photography” will return a lot of good tips: turn off your on-camera flash, shoot quickly before the food starts to wilt or congeal and get in close. These are all great tips, and will go a long way towards getting you more scrumptious looking photos. But if you are still looking for ways to improve, try some of these tips:

Simple settings and props

First, decide what detail you want to show in the food or the scene and make sure that you don’t have other distractions in the frame. If it’s the lusciousness of a chocolate swirl, its simple to do by filling the frame with just the chocolate. If it’s the overall table, back up a little, but try to only include hints of the curve of a chair, or a casually strewn napkin.

It’s far too easy to have too many props distracting from your intent yielding cluttered and chaotic photos. Props, like dishes, flatware, flowers and linens are a bit like jewelry. It’s always a good idea dress the table, but then take off at least one item before the final shot. Simple settings lead the focus to the food.  For this reason, it’s also usually best to stick with white dishes and linens without a lot of ornamentation.

Shooting angle

You’ll also need to find the right angle for the dish you are shooting. Most food photos that I see are shot from about 45 degrees looking down on the dish. This is a safe angle as it is similar to what someone who is sitting down to eat the food will see. It’s familiar, and gives some dimensionality to the food.

When shooting, I almost always grab a shot at about a 45 degree angle. However, as with most photography, you are likely to find better shots with a bit of exploration.

For stacks of food, like pancakes dripping with syrup and butter, shooting directly from the side will emphasize the height of the dish. Tilting the camera away from the standard straight portrait or landscape will add a sense of motion. I often use this for shots that involve pouring or how-tos in the kitchen. For a more novel look, you can try shooting from directly overhead. The food will appear very flat and more graphic… a fun look for things that are already flat, like decorated cookies. ..

Focus

A great shot means getting the focus right. Often when shooting a plate of food, the camera may be quite close to the dish. If your lens can’t focus that close, you’ll end up with a blurry image. Make sure you don’t hold the lens closer than the minimun range for the camera.

If you are using a point-and-shoot, make sure it is set to macro mode. If using a digital SLR, get familiar with the minimum focal distance of your lenses and respect its limitations. It’s better to not fill the frame than end up with a blurry subject.

Also, auto focus doesn’t always work well on the uneven, soft shapes of food. If your camera has it, use manual focus to make sure you get the right point in focus.

Lighting

Lighting, of course, is the other key to getting a great food photo.

Like most portraiture, softer lighting helps bring out the right amount of detail while hiding the less appealing aspects of the subject. Side and back light bring out the shape and color where using flash from the front tends to flatten and make the food look dead or oily.

Food is happiest under natural light, so get the food close to a window when shooting. If the light from the window is too bright, it will cast harsh shadows, so soften it by covering the window with white paper or choose a different window.

You may also need to bounce a little bit of light onto the front of the subject, so you don’t end up with just a silhouette. Something as simple as a piece of Styrofoam, or a white napkin draped over a glass, placed just out of frame in between the subject and camera can provide the right amount of additional light.

Use a tripod

Soft light does tend to mean less light, so it’s always best to use a tripod when possible. This not only prevents camera shake but you can use the lowest ISO number. If you can’t use a tripod, increase the ISO setting to a point that you can still safely handhold the camera. The image may be a bit noisy (grainy) but it is better to have extra noise than a blurry image.

White balance

Finally, make sure you set the white balance on your camera. While a yellow glow might be nice to set the mood for some images, color cast is one of the biggest problems beginner photographers encounter, and one of the easiest to correct. At a minimum, change from auto white balance to one of the situational presets your camera has…usually setting like cloudy, interior or sunny day.

Even better, if your camera supports it, do a custom white balance. Take a quick shot of something neutral in color…a white napkin, the grey floor…that is in the light you will be shooting, and then set the camera’s custom white balance to this image. It’s a quick step that will ensure you are getting neutral color with every shot.

Although you may be reading this after you camera is already broken, I still suggest reading through all the steps. Perhaps you charged the purchase to your credit card, and didn’t realize it had an extended warranty, for instance? And even if you didn’t follow any of the earlier steps, these are helpful lessons to learn for any future purchases.

If you determine it is covered under a warranty, even if you have difficulty getting that warranty honored, do persist. It is your right as a consumer to get your camera fixed if it is under warranty.

Before You Buy:

• When you have determined which camera you want, check with the manufacturer to see what warranty is included with purchase. It could be rather extensive, or it could be pretty weak. Also check to see whether their telephone or e-mail customer support is free, as some companies have started charging. Check to see if their support line is an 800 number.
• Consider charging the purchase to your credit card, even if you simply turn around and pay the card company right back. Check to see if your credit card provides extended warranties on purchases, and what the rules are (for instance, it’s typically required that the full amount be charged, not a portion of the purchase). This could be a free and easy way to get more warranty coverafe.
• Consider getting the store’s extended warranty. In some cases, this is a waste of money, especially if the factory warranty is comprehensive and you have extended coverage through your credit card. But it may simplify things. Perhaps you can bring a broken camera in and trade it for an immediate replacement, instead of having to mail the camera off for repairs.

When You Buy:

• Save your receipts, boxes, all packaging and so on. This will make it much easier to prove you purchased the camera (usually necessary), and the date of purchase.
• Register your purchase with the manufacturer. I know many people a reluctant to do this, but it does make it easier to prove to them that you are under warranty.

When It Breaks:

• Contact the manufacturer or store which holds the warranty immediately and request repairs. If you are reading this article at this point, and don’t have the receipts and haven’t followed the previous steps, don’t worry too much. Perhaps you charged the purchase, and can get your credit card company’s statement. Even if you have no evidence, I would push for the warranty coverage. After all, you are due coverage. It will help you if the camera is a new model that wasn’t for sale for more than a year.
• Press for a replacement or immediate repairs, and resist mailing it in for repairs. If you must mail it, insure the shipment, track the package, and require a signature upon delivery.

When They Won’t Fix It:

• It’s time to get pushy. Often times, you can write a letter to the company or companies refusing to honor the warranty. A great site that assists in this is PlanetFeedback.com.
• File a complaint with the Better Business Bureau or any state government consumer agency.

Underexposed (dark) photos

Why it happens Underexposure simply means that not enough light made it into your camera, resulting in a dark photo. Numerous things could make this happen: The lighting in the room is inadequate. You’re standing too far away from your subject. Your shutter speed (how long the camera’s shutter stays open) is too fast. How to prevent it If you’re taking pictures indoors, move near a window or bring a lamp or two into the room. Move closer to your subject. Manually adjust the shutter speed on your camera. Change exposure settings. Digital cameras allow you to adjust the exposure of your photos from the main Capture menu. For lighter photos, adjust exposure up; for darker photos, adjust down. You are able to see what your image will look like as you adjust this setting. Fixing it after the photo has been taken The HP adaptive lighting feature is also available in HP Photosmart Essential software, so you can adjust the lighting of your pictures after the shoot. » Back to top

Why it happens Red-eye is caused when light from your camera’s flash reflects off the retina of your subject’s eyes. It is a very common problem that even pros face. How to prevent it There are a few proven strategies for avoiding red-eye: Turn off your camera’s flash. If it’s too dark to go without a flash, ask your subject to look toward the camera, but not directly at the lens. By taking photos during the day, you’ll most likely eliminate the need for a flash. If necessary, bring in additional light sources. Stand farther away from your subject. Fixing it after the photo has been taken HP Photosmart Essential software allows you to quickly remove red-eye from your pictures. After you open the software, choose Red-eye from the Edit menu. Then, to correct the problem, place the red-eye removal pencil over the area you want to fix, and click. Presto! No more red-eye. » Back to top

Why it happens Camera shake is the most common reason for blurred pictures. Even the slightest movement will cause unclear photos. If your subject is moving, as in this photo, you’ll also get fuzzy results. Lack of light is a third problem, because it makes it difficult for your camera to focus. How to prevent it Avoid shutter lag (the time between pressing the trigger and the camera taking the picture) by pressing the trigger halfway down. When the right moment comes, press all the way down to instantly capture the desired photo. This strategy is great when you’re taking pictures of people (especially kids) or animals who may move and then be still for a moment. Use a tripod or brace yourself against a stationary object to hold the camera still. When it’s dark, use your camera’s Night Scenery mode (which uses a long exposure and no flash) or Night Portrait (which uses a flash and a long exposure) shooting mode. Because of the longer exposure times, a tripod is a necessity with both of these modes. If your subject is moving, use the Action shooting mode on your camera. This setting automatically optimizes your shutter speed to capture the action. » Back to top

Why it happens When you’re composing a picture using the LCD or the viewfinder, it’s easy to make the mistake of trying to fit too much into the photo, which leaves the photo lacking a focal point. Also, not using the zoom feature can lead to similar results. How to prevent it This one’s easy. Simply get closer to your subject or use the zoom feature on your digital camer