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Introduction

A bulky, go-anywhere lens with a 10x graphic stabilized Carl Zeiss lens and a primary variety of 38-380mm is the Sony Cyber-shot DSC-H20, a brand-new super-zoom digital camera. Other important attributes of the Sony H20, son to last year’s H10 type, FEDOROVHD.COM include a 10 megapixel device, 720p HD flick tracking, large 3 inch LCD display, enhanced Face Detection and Smile Shutter features, and Dynamic Range Optimisation. The Sony Cyber-shot DSC-H10 is undoubtedly nice benefit with an established value of$ 280 /$ 269 on release. Zoltan Arva-Toth identifies the Sony H20’s potential in the eyes of its key super-zoom adversaries. There’s also a Intelligent Picture Recognition style for beginners and complete spectrum of human contact modes for more experienced users.

Use Ease of Use

If you read on, you will discover that considerable improvements have been made to the management, the characteristic cast, and the graphic quality as well. Those who only take a speedy look at the Sony Cyber-shot DSC-H20 may be forgiven for thinking it is just an incremental switch to the H10 unit of last year.

What hasn’t changed is the stabilised, 38-380mm equivalent, f/3.5-4.4 Carl Zeiss Vario-Tessar zoom lens, which is not nearly as wide as that of some of the competing compact super-zoom models like the Panasonic Lumix DMC-TZ7 or the recently announced Casio EX-H10, but does at least provide more reach at the telephoto end. In consequence, you only have two” aperture settings” at your disposal, regardless of where you are in the zoom range. Another conundrum is that lowering the camera’s focus and allowing it to be changed has no impact on depth of field, which can only be altered by varying the focal length or camera-to-subject distance when necessary. Like most small-sensor compact digicams, the Sony H20 makes do without an iris diaphragm in the lens, meaning that the term ‘ stopping down ‘ only refers to the engagement of a built-in neutral density filter.

The right-hand grip, which appeared hardly an afterthought on the H10, is much more of a part of the Sony H20’s body, and it now has a textured rubber coating that feels nice to the touch. Additionally, the body’s back, which is similarly rubberized, has a thumb rest on the more recent model. All this means that the H20 is noticeably more pleasant to hold than its predecessor.

In terms of both design and functionality, the controls on the H20 have also changed. Additionally, the H10’s long power button has been replaced by two round buttons, one of which has the same on/off functionality while the other one toggles the” Smile Shutter” feature. Most importantly, the shutter release is now encircled by a zoom lever, just like on the majority of compact cameras- this solution is more intuitive than the rocker buttons that were located on the rear panel of the preceding model.

When the camera is in” Smile Shutter” mode, the H20 constantly checks the scene for smiling faces, and when it spots one, automatically shuts off the shutter for you. This is because you don’t need to use the shutter release at all. We would really like to be able to reprogram this button so that it can access ISO settings or exposure compensation directly, both of which are menu-driven on the H20. This is a fun feature that will likely keep any business entertained for a while. The sensitivity of the’ Smile Shutter ‘ can be tailored in the menu.

The H10’s mode dial is the same location, but it no longer has the confusing high-ISO mode, which in any case belongs on the dial. Although the microphone does some of the zooming sound, it’s still fairly unobtrusive and not a lot of money for what is still a uncommon feature on most digicams. Film clips can be colour, black and white or sepia toned. The H20 now offers 1280×720 pixels for HD video recording, along with the Program and Movie modes. You don’t get much in the way of actual aperture control, despite having a manual mode when shooting in constant light, for instance. Fortunately, the full-manual exposure mode, which definitely puts the Sony H20 ahead of its direct competitors, has been carried over. The ability to zoom in on a movie recording is another plus. Image stabilization is another option. Exposure compensation, the metering and focusing mode and white balance can be set for movies as well as stills.

The Sony H20 has two auto modes, Easy and Intelligent Auto Adjustment, the latter of which is marked with an i in lower case followed by a camera icon. In this mode, the camera evaluates the scene in front of the lens and chooses the appropriate scene mode. Of course, there is a separate SCN setting on the mode dial if you want to pick the desired scene mode yourself.

Moving to the back of the camera, we are presented with a completely redesigned and subsequently redesigned user interface. We’ve already mentioned that the removal of the rear zoom rockers in favor of a top-mounted lever has made room for a rubberized thumb rest, but this isn’t the only change. Not only that, they also moved it to a better location, where the Menu button was on the H10. The Playback button on the H10 camera was initially criticized by reviewers as being too small and occasionally difficult to press, but Sony seems to have taken that criticism and increased it. The three-inch LCD screen and the four-way pad, which are both now in black rather than silver, are the only things that have largely changed. The latter has in turn occupied the position of the Home button, which is now gone altogether.

The LCD is stunning and can be seen even in direct sunlight, making it one of the best screens available, which is great because the H20 lacks an eye-level viewfinder of any kind. The four-way controller has essentially the same functionality as the H10, with the Left button allowing access to the macro mode, the Down key allowing access to the self-timer options, the Right arrow enabling the flash mode, and the Up button cycling through the various display settings, including a live histogram, which I found very useful.

The long, multi-page menu of the Sony H20 is similar to that of the H10 but importantly, it now wraps, meaning you can now simply jump from the end to the top without having to work your way back. In P and M modes, this menu essentially acts as a graphical user interface for changing a large number of settings. These include image resolution and aspect ratio ( 4: 3, 3: 2, or 16: 9 ) as well as drive mode, color settings, ISO sensitivity, ambient and flash exposure compensation, metering, focus, smile detection, red eye reduction, white balance, which has been replaced with a custom setting from the H10, contrast, sharpness, SteadyShot image stabilization, and camera setup.

Many of these are self-explanatory, but a few deserve special attention. Manual focus is not what you initially assumed it to be: you can only focus on one of four predetermined subject lines, including 1 m, 3 m, 7 m, and infinity. This makes the camera more likely to capture the moment because it doesn’t need to pause the AF. Nevertheless it’s useful when you want to do street photography with the lens fixed at the wide end- you simply set the subject distance to 3m and shoot away happily, knowing that everything between less than 2m and infinity will be in focus. You can also instruct the camera to prioritize the faces of adults and children. The focusing mode, DRO, and SteadyShot settings are just a few of them. Focusing can be automatic or manual, with the auto-focus options being Multi, Centre and Spot AF. Face detection can also be activated and customized to your requirements.

DRO Standard and DRO Plus have their DRO settings turned off. DRO is the same thing other manufacturers call D-lighting, i-Contrast and Shadow Adjustment Technology- it automatically lifts the shadows to prevent them from coming out too dark when photographing a contrasty scene. See a demonstration in the Image Quality section for a demonstration. This is done in a way that doesn’t affect the midtones or the highlights.

Sony’s brand for image stabilization is known as” Steady Shot.” Always on’ drains the battery quickly, so it is not really recommended. In an effort to prevent motion blur from being produced when the camera is mounted on a tripod, turning it off might be a wise idea. You can choose whether you want it to only kick in when you pressed the shutter release button half-right or if it is always on or off.

The Sony Cyber-shot DSC-H20 is powered by a proprietary lithium-ion battery and records images on Memory Stick Duo and Memory Stick Pro Duo cards ( note that it is not compatible with the older, bigger Memory Sticks ). When the cover is open, the battery and card share the same compartment, and each has a practical lock to prevent it from falling out of the camera. Another minor but welcome improvement over the previous camera model is the fact that the tripod mount, which is made of metal like the H10, has been moved further away from the battery/card compartment door, allowing the camera to replace both batteries and memory cards without using a tripod.

There is only one connection port on the H20, and this is what you use to hook the camera up to a printer, computer or standard-definition TV set via the supplied’ octopus’ cable. A separately-sold Type2b-compliant HD output adaptor cable is required to connect the Sony H20 to an HDTV.

The Sony DSC-H20 was a ready and reactive stanza when it was in apply. One point I noticed was that it seemed to be “always on,” adjusting itself constantly even when the camera launch was pressed way. This is unquestionably one of the reasons the program was faster than most compacts, though it did imply that things had often go out of focus without my intervention. With the H20, you could effectively “zone focus,” which is something only a few other digicams will allow you to do, by setting the focus manually to one of a few presedefined distances. The AF system is surprisingly quick, especially at wide angles.

Although I did miss the dedicated direct-access buttons for ISO control and exposure compensation, camera operation was simple and straightforward. Strangely, the H20 would frequently display an error message stating” this Memory Stick may not record or play,” despite the fact that the card functioned just fine. With the Lexar branded 512MB Memory Stick Pro Duo I was using, card read and write speeds were acceptable. As I mentioned before, I would like to reprogramme the” Smile Shutter” button to perform one of these tasks. The Sony DSC-H20 was a pleasant, adaptable, and rewarding camera that, if you wanted to, could be slung pretty much anywhere, even in a regular shirt pocket. However, this was only a minor annoyance because a half-press of the shutter release always saw the warning vanish.