Sony Cyber-Shot DSC-H5 Digital Camera
- Digital Zoom: 4x
- Camera Type: Standard Point and Shoot
- Weight: 0.9 lb.
- LCD Screen Size: 2 in.
- Resolution: 7.2 Megapixel
- Optical Zoom: 12x
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The Sony Cybershot DSC H5 How does it compare with the S3, FZ7, and Z612?
Pros
Very good image quality, stabilized 12X zoom, 3.0 inch LCD screen, and good ergonomics
Cons
Mediocre battery life, No RAW or TIFF format, and above average chromatic aberration.
Recommended it?
Yes
The Bottom Line:
The H5 is a contender in the monster zoom IS digicam class, but it may not be the best choice for many purchasers
One of the hottest battles in the digital camera wars is currently being waged in the monster zoom digicam market. Most monster zoom digicams provide users with a wide range (10X-12X) image stabilized zoom, much of the flexibility and control of a dSLR, and all the convenience and ease of use of a point and shoot digicam in a product that's smaller and cheaper than a dSLR. Sony's first monster zoom digital camera, the Cybershot DSC H1, was designed specifically to compete with Canon's superb S2 IS digital camera. The Cybershot DSC H5, Sony's replacement for the H1, is a perfect example of competition driven product evolution – a digicam designed expressly to steal customers from Canon by offering them just a bit more for their digicam dollars than the new S3 IS.
How does the H5 stack up against the S3 IS? Both cameras retail for about five hundred bucks and both offer relatively fast 12X image stabilized zooms. The H5's maximum resolution is 7 megapixels versus the S3's 6 megapixels and the H5 provides users with a huge 3.0 inch fixed LCD screen versus the S3's 2.0 inch tilt-swivel LCD screen. Additionally the H5 provides 32MB of on board storage (the S3 IS doesn't offer any internal image storage) and H5 purchasers can opt for either amateur silver or pro black (the S3 is only available in black).
NUTS & BOLTS
Viewfinder/LCD
The H5's EVF (electronic viewfinder) is bright, sharp, and color correct, but a faster refresh rate would have made for a smoother and more fluid display. The EVF shows 100 per cent of the image frame, and provides the same info display as the LCD screen. There's a diopter correction adjustment wheel for eyeglasses wearers, but it is awkwardly placed.
Large LCD screens are very popular with consumers because framing and composition are faster and more accurate and larger displays make it easier to share saved images. The H5 replaces the H1's slightly grainy (115,000 pixels) 2.5 inch LCD screen with a brand new 3.0 inch Hi-Res (230,000 pixels) wide viewing angle LCD screen that's bright, hue accurate, and sharp.
Monster zoom digicams are a natural choice for sports and action shooters because long lenses allow shooters to zoom in on the action. Rapid movement on the H5's LCD screen is jerky and less fluid than it should be. Sony touts the H5's 3.0 inch Hi-Res LCD screen as a major selling point so it seems strange that they wouldn't go with a fast (at least 60 fps) refresh rate that would have allowed for more fluid movement. It was very difficult to track skateboarders and BMX bikers with the H5's EVF/LCD (and synch my shutter timing with the peak action) due to the slow refresh rate. Screen usability outdoors is about average at the H5's default setting, but brightness can be boosted (slightly) manually for better visibility in harsh outdoor lighting - the LCD gains up (brightens automatically) in low/dim light. The H5 provides a live (record mode) histogram for assessing dynamic range and spotting over/under exposure.
The S3's LCD tilts/swivels, but its 2.0 inch screen is the smallest screen on any of the current crop of monster zoom IS digicams. The Z612's 2.5 inch LCD is not fluid, movement is jerky, and the LCD screen freezes briefly when the shutter fires. The Panasonic FZ7's 2.5 inch screen is grainy (114,000 pixels) actually 16,000 pixels less than the 1.8 inch screen on its predecessor – probably OK for casual photographers, but a serious limitation for more advanced shooters.
Zoom
Many H1 purchasers wondered why that camera's 12X zoom didn't sport the famous Carl Zeiss nameplate, especially since Sony has an ongoing commercial relationship with Zeiss and most of Sony's upper tier digital cameras do feature Zeiss badged zooms. Now the mystery deepens, the H5's new Carl Zeiss Vario Tessar 12X zoom seems to be absolutely identical to the massive Sony badged optic that graced the H1. Some skeptics will speculate that Sony's marketing mavens felt the H1 lost some buyers to Panasonic's FZ5 with its Leica badged zoom and decided to correct that advertising gaffe on the H5 (even if it meant a royalty payment to Zeiss for every H5 manufactured).
The H5's Carl Zeiss Vario Tessar f2.8-f3.7/6-72 mm (36-432 mm 35 mm equivalent) IS (image stabilized) 12X zoom covers roughly the same optical range as the Canon S3 IS, Panasonic FZ7, and Kodak Z612. When the camera is powered up the zoom extends slightly (a bit over an inch) after which zooming is internal.
The H5's zoom is fairly fast and operation is smooth and quiet. Center sharpness is excellent and corners are surprisingly sharp for a lens of this complexity. I didn't notice any vignetting (darkened corners), but barrel distortion (straight lines bow out from the center of the frame at the wide-angle end of the zoom) is noticeably above average. Pincushion distortion (straight lines bow in toward the center of the frame) at the telephoto end of the zoom is very well controlled. Chromatic aberration (visible as purple/red fringing in high contrast color transition areas) is also above average. Close-ups (minimum focusing distance is 0.74 inches/2 centimeters) are sharp and show good detail, although corners are a bit soft.
The H5's zoom is threaded (for the included lens adapter) so shooters can mount inexpensive 58mm screw in filters and optional WA, Tele, and Macro auxiliary lenses. Sony includes a hard plastic lens hood and a standard pinch-release lens cap.
Image Stabilization (IS)
Monster zooms allow photographers to get much closer to the action, but it's virtually impossible to handhold a long zoom camera steadily enough to get really sharp pictures and there really isn't much point in being able to get close enough to capture dramatic images if those images are blurred. Image Stabilization allows users to shoot at shutter speeds up to 3 f-stops slower than would have been possible without IS. For example, if a shutter speed of 1/500th of a second is required to avoid the effects of camera shake (without image stabilization) the H5 can capture a reasonably sharp image of the same subject (everything else being equal) at 1/60th of a second.
Sony's Super SteadyShot image stabilization system permits shooters to obtain fairly sharp images at slower shutter speeds in dim/low outdoor light and when shooting indoors (where higher shutter speeds may not be possible or would result in dark images with poor shadow/highlight detail). Image stabilization combined with higher sensitivity (like the H5's ISO 800 and ISO 1000 settings) dramatically increases exposure options in dimly lit indoor venues like museums, exhibitions, stage shows, and some concerts where flash use is prohibited or inappropriate. Users also benefit outdoors when shooting handheld (at or near maximum telephoto) in good light where even the slightest camera movement is magnified 12X.
Does Image Stabilization actually work? Yes, users can consistently shoot sharper images at shutter speeds up to two (and occasionally 3) f/stops slower than would be possible using a camera without Image Stabilization and that capability could result in capturing that once in a lifetime shot rather than missing it. Sony's Super SteadyShot IS system shifts lens elements inside the zoom to compensate for minor camera movement and normal camera shake, but it won't neutralize sharp camera movements or reduce blur caused by rapidly moving subjects or too fast panning. The H5's Super SteadyShot IS system can be set to either Exposure mode (IS is activated immediately prior to exposure) or Continuous mode (IS is enabled full time) -- continuous IS mode depletes batteries at a much faster rate than exposure IS mode.
Based on my experiences with the current crop of monster zoom IS digicams, the H5's IS system is appreciably slower than those used on the Canon S3 IS and Panasonic FZ7 and measurably faster than the IS system used on the Kodak Z612.
Auto Focus (AF)
The H5's Contrast Detection Auto Focus system is accurate, even in fairly low light, but the zoom often overshoots the subject (at the telephoto end of the range) and has to hunt a bit before it manages to lock focus. The default AF mode (wide area Multi-Point AF) utilizes three horizontal AF points arrayed across the center of the image frame to quickly isolate and lock focus on the nearest subject (closest subject priority). Advanced users will appreciate the Center AF point and Flexible Spot (allows users to move the AF point to almost anywhere in the image frame) AF options.
The H5's AF is not fast enough to keep up with really rapid action, but photographers who can pre-visualize their images, pre-focus (press the shutter button half-way after composing the shot and anticipate the moment of peak action and then trip the shutter about a half a second before all the elements of the composition align) will have no problem capturing rapid action. The H5's AF system doesn't do very well with low contrast subjects or in low/dim light (although the focus aid beam helps).
Manual Focus (MF)
In Manual Focus mode users can shift focus incrementally using the compass switch (4 way controller) L/R buttons. The central portion of the image frame is enlarged as an aid to more precise focusing and there's an LCD distance scale. As an aid to precise manual focusing, the H5's unique "Peaking" feature outlines the subject in blue when focus is achieved.
Flash
The H5's built-in multi mode (Auto, Red-eye Reduction, Slow Synch, Fill, and Off) flash is noticeably more powerful than the H1's was. The flash is fully automatic and pops up when the camera's CPU determines it is needed. Sony claims the maximum flash range is 29 feet/9 meters (auto ISO) which seems a bit optimistic. Real World flash range is about 18-20 feet unless there is lots of ambient lighting and a white or very light colored background.
Flash output can be adjusted over a 3 step (less flash, normal flash output, and more flash) range. Coverage is pretty good overall, but the zoom partially blocks the flash up close, so flash-lit macro images will be unevenly lit (lighter in the upper one third of the frame and darker over the bottom two thirds of the frame).
Flash recycle times (with fully charged batteries) are 3-8 seconds. The long flash recycle times are due to the H5's pre-flash metering, power management constraints, and the red-eye reduction (when activated) function.
First curtain and second curtain synch affect (digital cameras don't have shutter curtains) are available via the set-up menu.
Memory Media
The H5 saves images to Memory Stick Duo and Memory Stick Pro memory cards. It also provides users with 32MB of on board (internal) image storage. The H5's battery - memory media compartment has a very nifty hinged cover that allows the memory media to be removed (or replaced) without opening the battery compartment.
This is one area where the H5's competition (S3, FZ7, and Z612) clearly hold the trump card. SD memory cards are used in more devices and they're more readily available than Sony's proprietary Memory Stick format cards (plus Secure Digital sounds way cooler than Memory Stick). If that's not enough, SD cards are smaller, cheaper, and faster.
Image File Format(s)
The H5 (like its predecessor) saves images in JPEG format only. It would have been nice if Sony had provided a TIFF or RAW mode.
Connectivity
USB 2.0 (high speed) out, A/V out, and DC in.
Power
The H5 is powered by two AA batteries (Sony recommends NiMH rechargeables). I didn't keep track of exposures so I can't provide any specific numbers, but based on my shooting style (I use the EVF/optical viewfinder for framing and composition, shoot each subject from a variety of perspectives, use the flash only occasionally, review often, and delete relentlessly) the H5 comes in below the bar in the power management department. Sony claims 340 exposures with the included 2500mAh NiMH AA's. That number is based on a best-case scenario (under rigidly controlled lab test conditions). Real World numbers are likely to be substantially lower.
The H5's battery life is conspicuously below average for this class of cameras. Casual users may be able to get by with the supplied batteries, but a pair of high capacity back-up NiMH rechargeables is probably a good idea for travellers and heavy shooters. The included charger needs several hours to fully charge batteries.
EXPOSURE
The H5 offers users a comprehensive range of exposure options including: Auto (P&S mode), Program (P&S mode with user input), Shutter Priority mode (users select the shutter speed and the camera selects the appropriate corresponding aperture), Aperture Priority mode (users select the aperture and the camera selects the appropriate corresponding shutter speed), and Manual mode (users select all exposure parameters). The H5 also provides 8 Scene modes (Twilight, Twilight Portrait, Candle Light, Beach, High Speed Shutter, Landscape, Portrait, and High Sensitivity). In all Scene Modes the camera's CPU automatically optimizes all exposure parameters (aperture, shutter speed, white balance, sensitivity, etc.) for the specific image type selected.
Based on my experiences with the camera, the H5's Auto (Auto, Program, and Scene) modes deliver dependably accurate exposures in virtually any outdoor lighting, but there is a slight tendency toward over exposure and burnt-out highlights in all auto modes. Exposure accuracy in the camera's Manual Exposure (Aperture Priority, Shutter Priority, and full Manual) modes is primarily dependent on the skill of the photographer.
Movie Mode
The H5 doesn't quite measure up in the video department, so if video capture is an important purchase consideration, Canon's S3 IS may be a better choice. The S3's 12X USM zoom can be used (at normal speed) during video capture. The H5's zoom can also be used during video capture, but it zooms at a much slower rate (to lower motor noise) than in still image mode. The Z612 can zoom during video capture, but lens motor noise is audible on the recording. FZ7 users can't zoom at all during video capture.
Only Memory Stick Pro cards can be used at the highest resolution/fastest frame rate. H5 users can record MPEG video clips at VX fine resolution at 640x480 @ 30 fps with monaural audio (the S3 records audio in stereo) clip duration is limited only by Memory Stick Pro Card capacity. The H5's internal memory cannot be used at VX Fine resolution. Memory Stick Duo cards and the H5's internal memory may be utilized in lower resolution video capture modes.
Metering
The H5 (like its predecessor) provides three user selectable metering modes – 49 segment Multi-Pattern (default), Center-Weighted Averaging, and Spot. The Multi-Pattern (default) metering mode is consistently accurate and dependable, even in demanding lighting. Savvy shooters can switch to the Spot metering mode to ensure precise metering on the single most important element in the composition - like the eyes in a head and shoulders portrait. The Center-Weighted metering mode is good for group shots, travel images, and classic style landscapes.
White Balance
The H5's Auto White Balance is very precise – colors are hue accurate with no visible color casts. H5 users also have an adequate selection of pre-set white balance options - Daylight, Cloudy, Fluorescent, Incandescent, Flash, and one-push Custom (manual).
Sensitivity
The H5 provides a very nice range of sensitivity options, a much better selection than its predecessor. Sensitivity options include TTL auto, 80, 100, 200, 400, 800, and 1000 ISO. The Auto Sensitivity setting does an excellent job in all but the most demanding lighting. It would have been nice if Sony had kept the H1's ISO 64 option, since the H5's ISO 80 and ISO 100 settings are essentially identical. The H5's new High Sensitivity scene mode automatically switches between the ISO 800 and ISO 1000 settings to capture images in dim/low light without flash.
In-Camera Image Adjustment Options
Digital camera sensors respond to light much like 35mm slide film, so very light or very dark subjects can easily trick light metering systems into underexposing or overexposing images. The H5 allows users to subtly adjust exposure via the Exposure Compensation function. Base exposure can be modified over a 4 EV range (+/-2 EV) in 1/3 EV increments to compensate for difficult lighting and subject/background reflectance/non-reflectance problems or to compensate for environmental exposure variables (by allowing users to easily lighten or darken exposures). H5 users can also adjust Color Saturation (natural, normal, vivid), Contrast and Sharpening (more, default, less), or select B&W or Sepia tone.
The H5's Auto Exposure Bracketing (AEB) feature allows users to automatically capture a series of images of the same subject at slightly different exposure settings/intervals which radically improves the chances of getting at least one correct exposure in tricky lighting or with subjects that are noticeably darker or lighter than their surroundings.
DESIGN, CONTROLS, & ERGONOMICS
The H5 looks, feels, and handles like a compact dSLR. Build quality is very good (polycarbonate shell over a metal alloy frame) and the camera appears to be quite sturdy. Controls are laid out logically and come easily to hand. I especially liked the huge mode dial. The zoom rocker switch is perfectly placed (right where the right thumb naturally rests) and the compass switch (4 way controller) is located a bit lower than usual - perfectly positioned for right thumb manipulation while the right hand holds the H5 (by the slightly chunky hand grip) and the right index finger rests on the shutter button. Basic camera operation is simple and fairly uncomplicated, but menus are un-necessarily complex and not particularly logical. I do have one minor complaint with the H5's control layout – the IS button only offers two options - on or off – users must go into the set-up menu to switch IS modes.
Technical Specifications
Resolution: 7 Megapixels (3072X2304)
Viewfinders: EVF and 3.0 inch LCD screen
Lens: Carl Zeiss Vario Tessar f2.8-f3.7/6-72 mm (36-432 mm 35mm equivalent) all glass (11 elements in 9 groups with 1 ED element and 1 aspheric element) optical zoom
Exposure: Auto, program, shutter priority, aperture priority, and manual
Flash: Built-in multi mode
Metering: Multi-Pattern (Evaluative), Center Weighted Averaging, or Spot
White Balance: TTL Auto, Daylight, Cloudy, Fluorescent, Incandescent, Flash, and Manual
Auto Focus: Wide area Multi-Point (3 AF points), Center AF point, and Flexible Spot AF
Exposure Compensation: Yes (+/-2EV in 1/3 stop increments)
Auto Exposure Bracketing (AEB): Yes
Sensitivity: Auto, 80, 100, 200, 400, 800, and 1000 ISO
Image File Format(s): JPEG
Image Storage Media: Memory Stick Pro, Memory Stick Duo
Connectivity: USB 2.0 Hi-Speed out, A/V out, DC in
Power: 2 AA NiMH rechargeables
MSRP: $499.00
Included
Two 2500mAh NiMH AA batteries and charger, Neck strap, USB cable, AV cable, Lens Adapter ring, Lens Hood, Lens Cap, Software CD, Quick start guide, and printed users manual
In the field/Handling & Operation
I often get together with an old friend who shares my addiction for photographic toys. He works in the business (selling new and used digital and analog photographic equipment) so he was able to obtain a Sony Cybershot DSC H5 for us to check out. The first thing we did was to shoot some color tests. We use a homemade macro stage and a selection of brightly colored (red, green, yellow, blue, orange, and purple) plastic children's beach toys placed on white photographic background paper. This test allows us to check not only color accuracy but also the precision of the white balance system. The H5 (like its predecessor) did an excellent job---colors were bright and hue accurate with noticeably punched up saturation. The H5's Auto White Balance setting rendered correct colors for all the plastic beach toys, but the red shovel and blue bucket were a bit brighter in our images (viewed on a NEC 19" CRT monitor) than they were IRL (in real life). Once we'd reviewed our color tests, we headed for Butchertown.
The weather was perfect for photography; the temperature was in the high 80's with blue skies and gorgeous late afternoon golden light. Butchertown is one of Louisville's oldest neighborhoods. A hundred years ago the workers who toiled in Louisville's slaughterhouses and meatpacking plants lived in 19th and early 20th century shotgun houses along the areas shady tree lined streets. Butchertown's old houses are colorfully painted and the tiny front yards are filled with flowers - so there is almost always something interesting to photograph. We've been swinging through Butchertown on our way to Louisville's Extreme Sports Park, after recently getting some absolutely great shots in the area. We did a walking loop up one side of Washington Street (to St. Joseph's Catholic Church) and then back down the other side to where we'd left the car, shooting whatever caught our fancy along the way. Butchertown residents are very friendly and will often come out and talk when they see someone shooting pictures – and that sometimes leads to better access to the colorful old houses. After we finished up in Butchertown we headed for the nearby Extreme Sports Park to shoot some action.
Louisville's Extreme Park is the go to place for local photographers looking to capture action. Skateboarders, BMX bikers, and roller-bladers are drawn to the park 24-7 to perfect their moves and hone their techniques in the industrial sized full pipe, 4 interconnected bowls, and the twelve-foot half pipe. The kids at the Extreme Park make great subjects because many of them are very talented athletes and most of them love showing off for the camera. Pick a good spot and our local daredevils will actually line up politely and speed directly at you, one at a time. We spent a couple of hours trying to capture shots with optimal framing/timing (centering the subject in the frame and stopping the action in mid air).
The H5's 12X zoom made it possible for us to stand off a bit, and that's great because getting in real close can be dangerous. We used the camera handheld (exposure IS) to shoot a couple of really talented BMX bikers. The H5's image stabilization worked pretty well allowing us to shoot at a fairly high shutter speeds (to overcome inherent telephoto camera shake) and freeze the action nicely in the oblique afternoon light. The trick to capturing a BMX biker/skateboarder in mid air (centered in the frame) is a game of guessing exactly where the kid is going to hit the peak of his jump (and framing your composition on that guess) and then synching the camera's timing (tripping the shutter about half a second before they actually get there) to the action.
Action shooters will still get lots of blurred images, but they can also get some sharply focused images that they probably wouldn't have gotten without image stabilization. IS won't counteract sharp jerks or hard shifts and it can't defeat the normal blur associated with too rapid panning (trying to lock on to rapidly moving subjects), but it does beat most of the simple shakes and trembles connected with shooting action. The H5 is not as fast as the S3 IS or FZ7, but it is noticeably quicker than the Z612. When the golden light started to go we called it a day.
For our second outing with the H5 we got together on a beautiful morning (high 70's, blue skies, wispy white clouds) and headed for Iroquois Park in Louisville's South End. Louisville has one of the best City park systems in the United States and Iroquois Park was designed by America's most famous landscape architect, Frederic Law Olmsted, who also designed New York City's Central Park and New Orleans' Audubon Park. The heavily forested park covers a large hill that rises almost 1000 feet above Louisville's Southern suburbs. Once you are inside the park, it feels like you are "out in the country" rather than completely surrounded by subdivisions, Mom & Pop businesses, strip malls, and light industry.
There is a small area of mixed grass prairie at the top of the hill that is home to a varied community of native Kentucky plants, wildflowers, and prairie grasses. There are several small wetlands areas and old hardwood trees surround the prairie area. This quiet little hilltop refuge is a photographer's paradise in the spring, summer, and fall when the area sports an ever-changing selection of seasonal native wildflowers; the perfect place to check out a new camera. We spent a couple of hours wandering around Olmsted's mini prairie, shooting wildflowers and Eliot Porter style Intimate Landscapes. The late morning sky provided some fairly hard-edged lighting so some of our shots were a bit too contrasty, but overall the H5 performs like a champ outdoors.
Once we finished up at Iroquois Park, we headed for Wagner's Pharmacy so my friends could get some ice cream. Wagner's has been a Louisville Landmark since 1922; the restaurant of choice for jockeys, exercisers, farriers, horse owners, veterinarians, and trainers from nearby Churchill Downs. When I was in my early teens we lived about three blocks from the track and Wagner's was one of my favorite places to hang out. I loved sitting at the counter and listening to the horse racing folks talk about all the places they'd been and all the great horses they'd known. The original building at the corner of Fourth Street and Central Avenue was torn down a few years back when Central Avenue was widened, but Wagner's moved to a new building about a block from its original location and right across the street from Churchill Downs gate number three.
The menu at Wagner's is heavy on soda fountain specialties, Southern comfort food, and traditional home cooking. The place has oodles of old time charm and draws a fascinating mix of south end locals, racetrack characters, and celebrity hunting tourists. While my friends enjoyed their ice cream I used the H5 to sneak a couple of in situ environmental portraits. We were very lucky to catch the place on a day when the Churchill Downs track crowd was in the majority. Since Cameron Crowe filmed part of Elizabethtown in the old restaurant-pharmacy for the place is often filled with celebrity struck tourists trying to connect with the spirits of Orlando Bloom and Kirsten Dunst. After we finished our ice cream, we called it a day.
PERFORMANCE
Image Quality
The Sony Cybershot DSC H5 does an excellent job outdoors in good light. Indoor images tend to be either a little bland (natural lighting) or a bit flat with dreary backgrounds (flash shots). For action shooters the H5 will do the job nicely if the photographer picks his subject well, manages his/her backgrounds carefully, pre-focuses on the spot where the peak action will occur, and anticipates the peak action moment by about half a second. When we reviewed the images we'd shot over the course of our adventure with the H5 (on a NEC 19" CRT monitor) both of us were impressed – most of our shots showed very good resolution (apparent sharpness), vibrant (slightly punched up) color, balanced contrast, and good highlight and shadow detail.
My high ISO shots inside the dimly lit old restaurant had too much noise and looked a bit washed out, to boot (at ISO 800 and 1000 noise levels rise and color saturation declines). The H5's ISO 80, 100, and 200 images are actually quite good, but the camera's slightly aggressive on-board noise reduction tends to smother detail at higher ISO settings. It is a fact of life that tiny high pixel count image sensors (like the ones found in consumer/prosumer digicams) generate more noise than the larger sensors found in dSLRs. On-board noise reduction systems have to do a careful balancing act. Nobody likes noise in their pictures, but cutting noise too aggressively is like throwing the baby out with the bath water – not only does the noise disappear, but much of the image detail as well. Chroma/Luminance noise (blotching) is a bit above average and Chromatic aberration (purple fringing) is also above average, but well controlled.
Timing/Shutter Lag
The H5's timing/shutter lag performance is about average (for cameras in this class). Start-up time (between 2.5 and 3.0 seconds) is pretty good for a camera with such a long zoom. AF lag is about ? second to ? second with pre-focus and less than 1 second from scratch. Shot to shot times are very good (about 1.5 seconds). Overall, the H5 is pretty quick, but not as quick as the S3 IS or FZ7.
A Few Concerns
The H5's greatest weakness is its mediocre battery life. The H5 is definitely not in the S3's class when it comes to power depth. Fine detail is often absent in H5 images due to the camera's tendency to burn out highlights and its aggressive sharpening and noise reduction (images look over processed). Chromatic aberration (purple fringing) is above average and Chroma/Luminance noise (blotching) is also above average. The H5's IS works well, but the camera often hunts for focus and sometimes overshoots the subject (before locking focus) at the telephoto end of the zoom range. The H5's Carl Zeiss Vario Tessar 12X zoom suffers from above average barrel distortion (straight lines bow out from the center of the frame) at the wide-angle end of the zoom range. Finally, its not possible to delete an image right after it's taken – users must exit record mode and enter playback mode to delete an image.
Conclusion
Monster zoom digicams appeal to photography enthusiasts, so the target audience for this class of cameras is very demanding and the H5 is up against some very stiff competition (the Canon S3-IS, the Panasonic FZ7, and the Z612 - Kodak's first foray into the monster zoom class). None of the cameras in this class (I've used all of them) is a dog, but all of them have a few warts. The H5 isn't the best of the lot, but it ain't the worst either. Here's how I rate the current crop of monster zoom digicams - 1. Canon Powershot S3 IS, 2. (Tie) Sony Cybershot DSC H5 and Panasonic Lumix DMC FZ7, 3. Kodak Easyshare Z612
Links
Here's a link to my epinions review of the Canon Powershot S3 IS
http://www.epinions.com/content_232394624644
For definitive advice on How to Choose a Digital Camera please see my (updated) review:
http://www.epinions.com/elec-review-2E46-17B174E2-39A418E3-prod1
If you would like to see a selection of images that are typical of the sort of test pictures I shoot for my epinions digital camera reviews, click on the top link under Favorite Links on my Epinions profile page (to get to my EPS profile page from this review, just click on my name under about the author above). The Favorite Links link will take you to my forum page at DCR. Click on the Find all posts by Howard Creech (under Forum Info). My DCR reviews each feature a selection of my images.
The observations, opinions, recommendations, and conclusions provided in my digital camera reviews are based on more than 30 years experience as a photographer and extensive hands on testing of each of the cameras reviewed. I receive no compensation from DCR.com for your visit or any subsequent purchase you may make. You can return to epinions at any time (just hit your back button).
How does the H5 stack up against the S3 IS? Both cameras retail for about five hundred bucks and both offer relatively fast 12X image stabilized zooms. The H5's maximum resolution is 7 megapixels versus the S3's 6 megapixels and the H5 provides users with a huge 3.0 inch fixed LCD screen versus the S3's 2.0 inch tilt-swivel LCD screen. Additionally the H5 provides 32MB of on board storage (the S3 IS doesn't offer any internal image storage) and H5 purchasers can opt for either amateur silver or pro black (the S3 is only available in black).
NUTS & BOLTS
Viewfinder/LCD
The H5's EVF (electronic viewfinder) is bright, sharp, and color correct, but a faster refresh rate would have made for a smoother and more fluid display. The EVF shows 100 per cent of the image frame, and provides the same info display as the LCD screen. There's a diopter correction adjustment wheel for eyeglasses wearers, but it is awkwardly placed.
Large LCD screens are very popular with consumers because framing and composition are faster and more accurate and larger displays make it easier to share saved images. The H5 replaces the H1's slightly grainy (115,000 pixels) 2.5 inch LCD screen with a brand new 3.0 inch Hi-Res (230,000 pixels) wide viewing angle LCD screen that's bright, hue accurate, and sharp.
Monster zoom digicams are a natural choice for sports and action shooters because long lenses allow shooters to zoom in on the action. Rapid movement on the H5's LCD screen is jerky and less fluid than it should be. Sony touts the H5's 3.0 inch Hi-Res LCD screen as a major selling point so it seems strange that they wouldn't go with a fast (at least 60 fps) refresh rate that would have allowed for more fluid movement. It was very difficult to track skateboarders and BMX bikers with the H5's EVF/LCD (and synch my shutter timing with the peak action) due to the slow refresh rate. Screen usability outdoors is about average at the H5's default setting, but brightness can be boosted (slightly) manually for better visibility in harsh outdoor lighting - the LCD gains up (brightens automatically) in low/dim light. The H5 provides a live (record mode) histogram for assessing dynamic range and spotting over/under exposure.
The S3's LCD tilts/swivels, but its 2.0 inch screen is the smallest screen on any of the current crop of monster zoom IS digicams. The Z612's 2.5 inch LCD is not fluid, movement is jerky, and the LCD screen freezes briefly when the shutter fires. The Panasonic FZ7's 2.5 inch screen is grainy (114,000 pixels) actually 16,000 pixels less than the 1.8 inch screen on its predecessor – probably OK for casual photographers, but a serious limitation for more advanced shooters.
Zoom
Many H1 purchasers wondered why that camera's 12X zoom didn't sport the famous Carl Zeiss nameplate, especially since Sony has an ongoing commercial relationship with Zeiss and most of Sony's upper tier digital cameras do feature Zeiss badged zooms. Now the mystery deepens, the H5's new Carl Zeiss Vario Tessar 12X zoom seems to be absolutely identical to the massive Sony badged optic that graced the H1. Some skeptics will speculate that Sony's marketing mavens felt the H1 lost some buyers to Panasonic's FZ5 with its Leica badged zoom and decided to correct that advertising gaffe on the H5 (even if it meant a royalty payment to Zeiss for every H5 manufactured).
The H5's Carl Zeiss Vario Tessar f2.8-f3.7/6-72 mm (36-432 mm 35 mm equivalent) IS (image stabilized) 12X zoom covers roughly the same optical range as the Canon S3 IS, Panasonic FZ7, and Kodak Z612. When the camera is powered up the zoom extends slightly (a bit over an inch) after which zooming is internal.
The H5's zoom is fairly fast and operation is smooth and quiet. Center sharpness is excellent and corners are surprisingly sharp for a lens of this complexity. I didn't notice any vignetting (darkened corners), but barrel distortion (straight lines bow out from the center of the frame at the wide-angle end of the zoom) is noticeably above average. Pincushion distortion (straight lines bow in toward the center of the frame) at the telephoto end of the zoom is very well controlled. Chromatic aberration (visible as purple/red fringing in high contrast color transition areas) is also above average. Close-ups (minimum focusing distance is 0.74 inches/2 centimeters) are sharp and show good detail, although corners are a bit soft.
The H5's zoom is threaded (for the included lens adapter) so shooters can mount inexpensive 58mm screw in filters and optional WA, Tele, and Macro auxiliary lenses. Sony includes a hard plastic lens hood and a standard pinch-release lens cap.
Image Stabilization (IS)
Monster zooms allow photographers to get much closer to the action, but it's virtually impossible to handhold a long zoom camera steadily enough to get really sharp pictures and there really isn't much point in being able to get close enough to capture dramatic images if those images are blurred. Image Stabilization allows users to shoot at shutter speeds up to 3 f-stops slower than would have been possible without IS. For example, if a shutter speed of 1/500th of a second is required to avoid the effects of camera shake (without image stabilization) the H5 can capture a reasonably sharp image of the same subject (everything else being equal) at 1/60th of a second.
Sony's Super SteadyShot image stabilization system permits shooters to obtain fairly sharp images at slower shutter speeds in dim/low outdoor light and when shooting indoors (where higher shutter speeds may not be possible or would result in dark images with poor shadow/highlight detail). Image stabilization combined with higher sensitivity (like the H5's ISO 800 and ISO 1000 settings) dramatically increases exposure options in dimly lit indoor venues like museums, exhibitions, stage shows, and some concerts where flash use is prohibited or inappropriate. Users also benefit outdoors when shooting handheld (at or near maximum telephoto) in good light where even the slightest camera movement is magnified 12X.
Does Image Stabilization actually work? Yes, users can consistently shoot sharper images at shutter speeds up to two (and occasionally 3) f/stops slower than would be possible using a camera without Image Stabilization and that capability could result in capturing that once in a lifetime shot rather than missing it. Sony's Super SteadyShot IS system shifts lens elements inside the zoom to compensate for minor camera movement and normal camera shake, but it won't neutralize sharp camera movements or reduce blur caused by rapidly moving subjects or too fast panning. The H5's Super SteadyShot IS system can be set to either Exposure mode (IS is activated immediately prior to exposure) or Continuous mode (IS is enabled full time) -- continuous IS mode depletes batteries at a much faster rate than exposure IS mode.
Based on my experiences with the current crop of monster zoom IS digicams, the H5's IS system is appreciably slower than those used on the Canon S3 IS and Panasonic FZ7 and measurably faster than the IS system used on the Kodak Z612.
Auto Focus (AF)
The H5's Contrast Detection Auto Focus system is accurate, even in fairly low light, but the zoom often overshoots the subject (at the telephoto end of the range) and has to hunt a bit before it manages to lock focus. The default AF mode (wide area Multi-Point AF) utilizes three horizontal AF points arrayed across the center of the image frame to quickly isolate and lock focus on the nearest subject (closest subject priority). Advanced users will appreciate the Center AF point and Flexible Spot (allows users to move the AF point to almost anywhere in the image frame) AF options.
The H5's AF is not fast enough to keep up with really rapid action, but photographers who can pre-visualize their images, pre-focus (press the shutter button half-way after composing the shot and anticipate the moment of peak action and then trip the shutter about a half a second before all the elements of the composition align) will have no problem capturing rapid action. The H5's AF system doesn't do very well with low contrast subjects or in low/dim light (although the focus aid beam helps).
Manual Focus (MF)
In Manual Focus mode users can shift focus incrementally using the compass switch (4 way controller) L/R buttons. The central portion of the image frame is enlarged as an aid to more precise focusing and there's an LCD distance scale. As an aid to precise manual focusing, the H5's unique "Peaking" feature outlines the subject in blue when focus is achieved.
Flash
The H5's built-in multi mode (Auto, Red-eye Reduction, Slow Synch, Fill, and Off) flash is noticeably more powerful than the H1's was. The flash is fully automatic and pops up when the camera's CPU determines it is needed. Sony claims the maximum flash range is 29 feet/9 meters (auto ISO) which seems a bit optimistic. Real World flash range is about 18-20 feet unless there is lots of ambient lighting and a white or very light colored background.
Flash output can be adjusted over a 3 step (less flash, normal flash output, and more flash) range. Coverage is pretty good overall, but the zoom partially blocks the flash up close, so flash-lit macro images will be unevenly lit (lighter in the upper one third of the frame and darker over the bottom two thirds of the frame).
Flash recycle times (with fully charged batteries) are 3-8 seconds. The long flash recycle times are due to the H5's pre-flash metering, power management constraints, and the red-eye reduction (when activated) function.
First curtain and second curtain synch affect (digital cameras don't have shutter curtains) are available via the set-up menu.
Memory Media
The H5 saves images to Memory Stick Duo and Memory Stick Pro memory cards. It also provides users with 32MB of on board (internal) image storage. The H5's battery - memory media compartment has a very nifty hinged cover that allows the memory media to be removed (or replaced) without opening the battery compartment.
This is one area where the H5's competition (S3, FZ7, and Z612) clearly hold the trump card. SD memory cards are used in more devices and they're more readily available than Sony's proprietary Memory Stick format cards (plus Secure Digital sounds way cooler than Memory Stick). If that's not enough, SD cards are smaller, cheaper, and faster.
Image File Format(s)
The H5 (like its predecessor) saves images in JPEG format only. It would have been nice if Sony had provided a TIFF or RAW mode.
Connectivity
USB 2.0 (high speed) out, A/V out, and DC in.
Power
The H5 is powered by two AA batteries (Sony recommends NiMH rechargeables). I didn't keep track of exposures so I can't provide any specific numbers, but based on my shooting style (I use the EVF/optical viewfinder for framing and composition, shoot each subject from a variety of perspectives, use the flash only occasionally, review often, and delete relentlessly) the H5 comes in below the bar in the power management department. Sony claims 340 exposures with the included 2500mAh NiMH AA's. That number is based on a best-case scenario (under rigidly controlled lab test conditions). Real World numbers are likely to be substantially lower.
The H5's battery life is conspicuously below average for this class of cameras. Casual users may be able to get by with the supplied batteries, but a pair of high capacity back-up NiMH rechargeables is probably a good idea for travellers and heavy shooters. The included charger needs several hours to fully charge batteries.
EXPOSURE
The H5 offers users a comprehensive range of exposure options including: Auto (P&S mode), Program (P&S mode with user input), Shutter Priority mode (users select the shutter speed and the camera selects the appropriate corresponding aperture), Aperture Priority mode (users select the aperture and the camera selects the appropriate corresponding shutter speed), and Manual mode (users select all exposure parameters). The H5 also provides 8 Scene modes (Twilight, Twilight Portrait, Candle Light, Beach, High Speed Shutter, Landscape, Portrait, and High Sensitivity). In all Scene Modes the camera's CPU automatically optimizes all exposure parameters (aperture, shutter speed, white balance, sensitivity, etc.) for the specific image type selected.
Based on my experiences with the camera, the H5's Auto (Auto, Program, and Scene) modes deliver dependably accurate exposures in virtually any outdoor lighting, but there is a slight tendency toward over exposure and burnt-out highlights in all auto modes. Exposure accuracy in the camera's Manual Exposure (Aperture Priority, Shutter Priority, and full Manual) modes is primarily dependent on the skill of the photographer.
Movie Mode
The H5 doesn't quite measure up in the video department, so if video capture is an important purchase consideration, Canon's S3 IS may be a better choice. The S3's 12X USM zoom can be used (at normal speed) during video capture. The H5's zoom can also be used during video capture, but it zooms at a much slower rate (to lower motor noise) than in still image mode. The Z612 can zoom during video capture, but lens motor noise is audible on the recording. FZ7 users can't zoom at all during video capture.
Only Memory Stick Pro cards can be used at the highest resolution/fastest frame rate. H5 users can record MPEG video clips at VX fine resolution at 640x480 @ 30 fps with monaural audio (the S3 records audio in stereo) clip duration is limited only by Memory Stick Pro Card capacity. The H5's internal memory cannot be used at VX Fine resolution. Memory Stick Duo cards and the H5's internal memory may be utilized in lower resolution video capture modes.
Metering
The H5 (like its predecessor) provides three user selectable metering modes – 49 segment Multi-Pattern (default), Center-Weighted Averaging, and Spot. The Multi-Pattern (default) metering mode is consistently accurate and dependable, even in demanding lighting. Savvy shooters can switch to the Spot metering mode to ensure precise metering on the single most important element in the composition - like the eyes in a head and shoulders portrait. The Center-Weighted metering mode is good for group shots, travel images, and classic style landscapes.
White Balance
The H5's Auto White Balance is very precise – colors are hue accurate with no visible color casts. H5 users also have an adequate selection of pre-set white balance options - Daylight, Cloudy, Fluorescent, Incandescent, Flash, and one-push Custom (manual).
Sensitivity
The H5 provides a very nice range of sensitivity options, a much better selection than its predecessor. Sensitivity options include TTL auto, 80, 100, 200, 400, 800, and 1000 ISO. The Auto Sensitivity setting does an excellent job in all but the most demanding lighting. It would have been nice if Sony had kept the H1's ISO 64 option, since the H5's ISO 80 and ISO 100 settings are essentially identical. The H5's new High Sensitivity scene mode automatically switches between the ISO 800 and ISO 1000 settings to capture images in dim/low light without flash.
In-Camera Image Adjustment Options
Digital camera sensors respond to light much like 35mm slide film, so very light or very dark subjects can easily trick light metering systems into underexposing or overexposing images. The H5 allows users to subtly adjust exposure via the Exposure Compensation function. Base exposure can be modified over a 4 EV range (+/-2 EV) in 1/3 EV increments to compensate for difficult lighting and subject/background reflectance/non-reflectance problems or to compensate for environmental exposure variables (by allowing users to easily lighten or darken exposures). H5 users can also adjust Color Saturation (natural, normal, vivid), Contrast and Sharpening (more, default, less), or select B&W or Sepia tone.
The H5's Auto Exposure Bracketing (AEB) feature allows users to automatically capture a series of images of the same subject at slightly different exposure settings/intervals which radically improves the chances of getting at least one correct exposure in tricky lighting or with subjects that are noticeably darker or lighter than their surroundings.
DESIGN, CONTROLS, & ERGONOMICS
The H5 looks, feels, and handles like a compact dSLR. Build quality is very good (polycarbonate shell over a metal alloy frame) and the camera appears to be quite sturdy. Controls are laid out logically and come easily to hand. I especially liked the huge mode dial. The zoom rocker switch is perfectly placed (right where the right thumb naturally rests) and the compass switch (4 way controller) is located a bit lower than usual - perfectly positioned for right thumb manipulation while the right hand holds the H5 (by the slightly chunky hand grip) and the right index finger rests on the shutter button. Basic camera operation is simple and fairly uncomplicated, but menus are un-necessarily complex and not particularly logical. I do have one minor complaint with the H5's control layout – the IS button only offers two options - on or off – users must go into the set-up menu to switch IS modes.
Technical Specifications
Resolution: 7 Megapixels (3072X2304)
Viewfinders: EVF and 3.0 inch LCD screen
Lens: Carl Zeiss Vario Tessar f2.8-f3.7/6-72 mm (36-432 mm 35mm equivalent) all glass (11 elements in 9 groups with 1 ED element and 1 aspheric element) optical zoom
Exposure: Auto, program, shutter priority, aperture priority, and manual
Flash: Built-in multi mode
Metering: Multi-Pattern (Evaluative), Center Weighted Averaging, or Spot
White Balance: TTL Auto, Daylight, Cloudy, Fluorescent, Incandescent, Flash, and Manual
Auto Focus: Wide area Multi-Point (3 AF points), Center AF point, and Flexible Spot AF
Exposure Compensation: Yes (+/-2EV in 1/3 stop increments)
Auto Exposure Bracketing (AEB): Yes
Sensitivity: Auto, 80, 100, 200, 400, 800, and 1000 ISO
Image File Format(s): JPEG
Image Storage Media: Memory Stick Pro, Memory Stick Duo
Connectivity: USB 2.0 Hi-Speed out, A/V out, DC in
Power: 2 AA NiMH rechargeables
MSRP: $499.00
Included
Two 2500mAh NiMH AA batteries and charger, Neck strap, USB cable, AV cable, Lens Adapter ring, Lens Hood, Lens Cap, Software CD, Quick start guide, and printed users manual
In the field/Handling & Operation
I often get together with an old friend who shares my addiction for photographic toys. He works in the business (selling new and used digital and analog photographic equipment) so he was able to obtain a Sony Cybershot DSC H5 for us to check out. The first thing we did was to shoot some color tests. We use a homemade macro stage and a selection of brightly colored (red, green, yellow, blue, orange, and purple) plastic children's beach toys placed on white photographic background paper. This test allows us to check not only color accuracy but also the precision of the white balance system. The H5 (like its predecessor) did an excellent job---colors were bright and hue accurate with noticeably punched up saturation. The H5's Auto White Balance setting rendered correct colors for all the plastic beach toys, but the red shovel and blue bucket were a bit brighter in our images (viewed on a NEC 19" CRT monitor) than they were IRL (in real life). Once we'd reviewed our color tests, we headed for Butchertown.
The weather was perfect for photography; the temperature was in the high 80's with blue skies and gorgeous late afternoon golden light. Butchertown is one of Louisville's oldest neighborhoods. A hundred years ago the workers who toiled in Louisville's slaughterhouses and meatpacking plants lived in 19th and early 20th century shotgun houses along the areas shady tree lined streets. Butchertown's old houses are colorfully painted and the tiny front yards are filled with flowers - so there is almost always something interesting to photograph. We've been swinging through Butchertown on our way to Louisville's Extreme Sports Park, after recently getting some absolutely great shots in the area. We did a walking loop up one side of Washington Street (to St. Joseph's Catholic Church) and then back down the other side to where we'd left the car, shooting whatever caught our fancy along the way. Butchertown residents are very friendly and will often come out and talk when they see someone shooting pictures – and that sometimes leads to better access to the colorful old houses. After we finished up in Butchertown we headed for the nearby Extreme Sports Park to shoot some action.
Louisville's Extreme Park is the go to place for local photographers looking to capture action. Skateboarders, BMX bikers, and roller-bladers are drawn to the park 24-7 to perfect their moves and hone their techniques in the industrial sized full pipe, 4 interconnected bowls, and the twelve-foot half pipe. The kids at the Extreme Park make great subjects because many of them are very talented athletes and most of them love showing off for the camera. Pick a good spot and our local daredevils will actually line up politely and speed directly at you, one at a time. We spent a couple of hours trying to capture shots with optimal framing/timing (centering the subject in the frame and stopping the action in mid air).
The H5's 12X zoom made it possible for us to stand off a bit, and that's great because getting in real close can be dangerous. We used the camera handheld (exposure IS) to shoot a couple of really talented BMX bikers. The H5's image stabilization worked pretty well allowing us to shoot at a fairly high shutter speeds (to overcome inherent telephoto camera shake) and freeze the action nicely in the oblique afternoon light. The trick to capturing a BMX biker/skateboarder in mid air (centered in the frame) is a game of guessing exactly where the kid is going to hit the peak of his jump (and framing your composition on that guess) and then synching the camera's timing (tripping the shutter about half a second before they actually get there) to the action.
Action shooters will still get lots of blurred images, but they can also get some sharply focused images that they probably wouldn't have gotten without image stabilization. IS won't counteract sharp jerks or hard shifts and it can't defeat the normal blur associated with too rapid panning (trying to lock on to rapidly moving subjects), but it does beat most of the simple shakes and trembles connected with shooting action. The H5 is not as fast as the S3 IS or FZ7, but it is noticeably quicker than the Z612. When the golden light started to go we called it a day.
For our second outing with the H5 we got together on a beautiful morning (high 70's, blue skies, wispy white clouds) and headed for Iroquois Park in Louisville's South End. Louisville has one of the best City park systems in the United States and Iroquois Park was designed by America's most famous landscape architect, Frederic Law Olmsted, who also designed New York City's Central Park and New Orleans' Audubon Park. The heavily forested park covers a large hill that rises almost 1000 feet above Louisville's Southern suburbs. Once you are inside the park, it feels like you are "out in the country" rather than completely surrounded by subdivisions, Mom & Pop businesses, strip malls, and light industry.
There is a small area of mixed grass prairie at the top of the hill that is home to a varied community of native Kentucky plants, wildflowers, and prairie grasses. There are several small wetlands areas and old hardwood trees surround the prairie area. This quiet little hilltop refuge is a photographer's paradise in the spring, summer, and fall when the area sports an ever-changing selection of seasonal native wildflowers; the perfect place to check out a new camera. We spent a couple of hours wandering around Olmsted's mini prairie, shooting wildflowers and Eliot Porter style Intimate Landscapes. The late morning sky provided some fairly hard-edged lighting so some of our shots were a bit too contrasty, but overall the H5 performs like a champ outdoors.
Once we finished up at Iroquois Park, we headed for Wagner's Pharmacy so my friends could get some ice cream. Wagner's has been a Louisville Landmark since 1922; the restaurant of choice for jockeys, exercisers, farriers, horse owners, veterinarians, and trainers from nearby Churchill Downs. When I was in my early teens we lived about three blocks from the track and Wagner's was one of my favorite places to hang out. I loved sitting at the counter and listening to the horse racing folks talk about all the places they'd been and all the great horses they'd known. The original building at the corner of Fourth Street and Central Avenue was torn down a few years back when Central Avenue was widened, but Wagner's moved to a new building about a block from its original location and right across the street from Churchill Downs gate number three.
The menu at Wagner's is heavy on soda fountain specialties, Southern comfort food, and traditional home cooking. The place has oodles of old time charm and draws a fascinating mix of south end locals, racetrack characters, and celebrity hunting tourists. While my friends enjoyed their ice cream I used the H5 to sneak a couple of in situ environmental portraits. We were very lucky to catch the place on a day when the Churchill Downs track crowd was in the majority. Since Cameron Crowe filmed part of Elizabethtown in the old restaurant-pharmacy for the place is often filled with celebrity struck tourists trying to connect with the spirits of Orlando Bloom and Kirsten Dunst. After we finished our ice cream, we called it a day.
PERFORMANCE
Image Quality
The Sony Cybershot DSC H5 does an excellent job outdoors in good light. Indoor images tend to be either a little bland (natural lighting) or a bit flat with dreary backgrounds (flash shots). For action shooters the H5 will do the job nicely if the photographer picks his subject well, manages his/her backgrounds carefully, pre-focuses on the spot where the peak action will occur, and anticipates the peak action moment by about half a second. When we reviewed the images we'd shot over the course of our adventure with the H5 (on a NEC 19" CRT monitor) both of us were impressed – most of our shots showed very good resolution (apparent sharpness), vibrant (slightly punched up) color, balanced contrast, and good highlight and shadow detail.
My high ISO shots inside the dimly lit old restaurant had too much noise and looked a bit washed out, to boot (at ISO 800 and 1000 noise levels rise and color saturation declines). The H5's ISO 80, 100, and 200 images are actually quite good, but the camera's slightly aggressive on-board noise reduction tends to smother detail at higher ISO settings. It is a fact of life that tiny high pixel count image sensors (like the ones found in consumer/prosumer digicams) generate more noise than the larger sensors found in dSLRs. On-board noise reduction systems have to do a careful balancing act. Nobody likes noise in their pictures, but cutting noise too aggressively is like throwing the baby out with the bath water – not only does the noise disappear, but much of the image detail as well. Chroma/Luminance noise (blotching) is a bit above average and Chromatic aberration (purple fringing) is also above average, but well controlled.
Timing/Shutter Lag
The H5's timing/shutter lag performance is about average (for cameras in this class). Start-up time (between 2.5 and 3.0 seconds) is pretty good for a camera with such a long zoom. AF lag is about ? second to ? second with pre-focus and less than 1 second from scratch. Shot to shot times are very good (about 1.5 seconds). Overall, the H5 is pretty quick, but not as quick as the S3 IS or FZ7.
A Few Concerns
The H5's greatest weakness is its mediocre battery life. The H5 is definitely not in the S3's class when it comes to power depth. Fine detail is often absent in H5 images due to the camera's tendency to burn out highlights and its aggressive sharpening and noise reduction (images look over processed). Chromatic aberration (purple fringing) is above average and Chroma/Luminance noise (blotching) is also above average. The H5's IS works well, but the camera often hunts for focus and sometimes overshoots the subject (before locking focus) at the telephoto end of the zoom range. The H5's Carl Zeiss Vario Tessar 12X zoom suffers from above average barrel distortion (straight lines bow out from the center of the frame) at the wide-angle end of the zoom range. Finally, its not possible to delete an image right after it's taken – users must exit record mode and enter playback mode to delete an image.
Conclusion
Monster zoom digicams appeal to photography enthusiasts, so the target audience for this class of cameras is very demanding and the H5 is up against some very stiff competition (the Canon S3-IS, the Panasonic FZ7, and the Z612 - Kodak's first foray into the monster zoom class). None of the cameras in this class (I've used all of them) is a dog, but all of them have a few warts. The H5 isn't the best of the lot, but it ain't the worst either. Here's how I rate the current crop of monster zoom digicams - 1. Canon Powershot S3 IS, 2. (Tie) Sony Cybershot DSC H5 and Panasonic Lumix DMC FZ7, 3. Kodak Easyshare Z612
Links
Here's a link to my epinions review of the Canon Powershot S3 IS
http://www.epinions.com/content_232394624644
For definitive advice on How to Choose a Digital Camera please see my (updated) review:
http://www.epinions.com/elec-review-2E46-17B174E2-39A418E3-prod1
If you would like to see a selection of images that are typical of the sort of test pictures I shoot for my epinions digital camera reviews, click on the top link under Favorite Links on my Epinions profile page (to get to my EPS profile page from this review, just click on my name under about the author above). The Favorite Links link will take you to my forum page at DCR. Click on the Find all posts by Howard Creech (under Forum Info). My DCR reviews each feature a selection of my images.
The observations, opinions, recommendations, and conclusions provided in my digital camera reviews are based on more than 30 years experience as a photographer and extensive hands on testing of each of the cameras reviewed. I receive no compensation from DCR.com for your visit or any subsequent purchase you may make. You can return to epinions at any time (just hit your back button).
