Camera & Camcorder Reviews: 2013

GoPro Hero3 White Edition (5MP)

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

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

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

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

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

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

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

(Credit: Antuan Goodwin/CNET)

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

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

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

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

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

(Credit: Antuan Goodwin/CNET)

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

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

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

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

Contour+2

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

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

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

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

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

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

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

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

(Credit: Antuan Goodwin/CNET)

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

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

(Credit: Antuan Goodwin/CNET)

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

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

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

The Contour+2 now comes with a waterproof case.

(Credit: Antuan Goodwin/CNET)

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

Sony Handycam HDR-CX210 (black)

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

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

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

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

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

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

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

(Credit: Lori Grunin/CNET)

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

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

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

Sony Handycam DCR SX85 (silver)

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

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

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

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

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

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

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

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

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

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

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

Panasonic HDC-TM900

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

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

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

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

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

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

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

In good light, the camcorder can produce nicely sharp video, although it has some auto white-balance problems. Changing the white-balance setting and then back to auto usually fixes them, though.

The low-light video quality is quite good, with relatively little noise (though some suppression artifacts) and decent color saturation.

Better bokeh is one of the main reasons you might want to opt for a dSLR or ILC over a pricey camcorder; even the more expensive consumer camcorders have unattractive polygonal apertures.

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

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

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

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

Canon PowerShot SX40 HS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Find out more about how we test digital cameras.

Canon Vixia HF M400 (black)

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

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

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

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

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

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

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

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

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

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

Canon PowerShot G12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GoPro HD Hero2 Motorsports Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nikon Coolpix L810 (Black)

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

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

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

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

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

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

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

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

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

Photo quality gets noticeably worse above ISO 200.

(Credit: Matthew Fitzgerald/CNET)

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

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

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

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

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

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

(Credit: Joshua Goldman/CNET)

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

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

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

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

(Credit: Sarah Tew/CNET)

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

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

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

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

Sony Handycam HDR-CX210 (black)

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

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

(Credit: Lori Grunin/CNET)