We’ve heard of swimming with sharks before, but swimming with jellyfish?

Jellyfish lake is in Palau, an island in the Pacific Ocean, known for its abundance of golden jellyfish with little to no sting. Film-maker Sarosh Jacob took the opportunity to document what it was like swimming with these creatures by setting up his Canon 5D Mark II in an Aquatica underwater housing, and filming the results for us to see.

For the camera-spotters, he used a Sigma 15mm fish-eye lens and was lucky enough not to have to tweak any of the colours in post-production; he left the camera on automatic white balance.

• Projector is bright
• Punchy images when shooting on a sunny day

• Lens is not protected
• Projector is not plug-and-play with a computer, and not particularly sharp
• Images not particularly sharp at full extent of the optical zoom
• Bad video quality

While the idea of a projector inside a compact camera is a novel idea, the degree of interest in such devices seems to be incredibly niche. From anecdotal evidence we’ve seen a grand total of zero folk out and about using a projector camera, and about the same degree of enthusiasm from most people when the concept of a projector camera is presented to them. The only other company to venture down the projector path is Nikon, with its S1000pj and S1100pj models.

Design and features

The PJ1 is slightly chubbier than your average slimline compact, with a 3-inch LCD screen and 7x optical zoom at 28mm wide-angle. Standard control buttons are provided next to the screen and to activate the projector, a dedicated button is located near the shutter button. There’s also a focusing slider to adjust the image depending on the distance from the projection surface.

GE’s designers were clearly thinking of the businessperson when designing the add-ons for the PJ1, as the camera comes with not only a remote control but a stand and built-in fan to cool the unit during long presentations. The Pico projector is able to throw an image up to 70 inches in size and has a brightness of 15 lumens (one more than on the S1100pj). To get the projector to act as a portable display unit for a computer or laptop, you first need to install the bundled software and then switch the camera onto projector mode. It’s not particularly intuitive and a plug-and-play option would be much easier, particularly if you’re not always working on the same computer.

It’s not all for business use though, as the PJ1 also comes with 720p HD video recording and runs the gamut of regular photo features like red-eye removal, blink detection, face recognition and image stabilisation. Shooting modes include full automatic, “manual” (but no shutter or aperture adjustments), automatic scene, panorama, movie and portrait. The PJ1 runs on a rechargeable Lithium-ion battery, takes SD or SDHC cards and connectivity is provided via mini-USB out.

The lens positioning means that stray fingers are more than likely to end up in your shots. In particular, the lens is susceptible to smudges and scratches as it’s not protected by any cover at all. Meanwhile, inside the menu system, options are difficult to read and text on the screen does not appear crisp, making selecting options more of a chore than a pleasure. There’s also no dedicated video record button, which makes capturing spontaneous moments all that more difficult.

Performance

GE rates the battery for the PJ1 at up to 70 minutes of projection time. On occasion, the PJ1 froze during its start-up routine, and refused to move beyond the initial launch screen.

Image quality

The PJ1 produces shots with saturated hues, particularly in the blue and green channels. It’s not entirely a natural look, though some photographers will find it appealing. Lens issues at the wide end are rather prominent, with barrel distortion visible on shots. There’s also a degree of chromatic aberration or fringing noticeable at full magnification and, as with most compact cameras, lens sharpness falls off rather quickly from the centre of the frame.

Exposures are not always accurate, particularly when zooming in with the lens as it tends to close down the aperture rather dramatically. The flash is bright and tends to illuminate subjects a bit too much for our taste. Images taken at the full extent of the 7x optical zoom appear fuzzy and are often plagued by handshake even though this camera has image stabilisation.

A portion of the 100 per cent magnification image inset, showing over-processing and noise issues. This image was taken at 7x optical zoom. (Credit: CBSi)

The projector itself is bright, but it needs to be used in a darkened room to get optimum results. When plugged into a computer via USB, the projected image is not particularly sharp at all even at an optimal focusing distance and with the resolution of the computer screen reduced to that found on a standard projector. It’s definitely not up to the task for serious business meetings, that’s for sure.

While the PJ1 comes with 720p video recording, it has incredibly poor quality. The continuous autofocus is twitchy and constantly seeks focus, while the image itself is grainy, over-exposed and the audio sounds distant.

Image samples

Exposure: 1/100, f/6.8, ISO 64

Exposure: 1/5, f/4.4, ISO 400

Conclusion

While the PJ1 packs a tasty projector in its slim chassis, it’s simply not sharp enough for serious boardroom use.

• Ridiculously long 36x optical zoom
• Comes in a gorgeous cherry red version
• Quick, responsive autofocus
• Great LCD screen
• Incredibly wide lens

• No hotshoe
• Short battery life
• Electronic image stabilisation in video mode not effective
• Patchy image quality at telephoto end
• Poor video quality

Design and features

There’s much to be said about a red camera - a certain je ne sais quoi, or should that just be va-va-voom?

Yes, the Nikon Coolpix P500 is a head-turner of a camera when presented in its cherry red exterior. Every single person we showed this little beauty to was in awe of its colour and thought it was, we quote, “the coolest looking camera evarr”. From the outside, it looks like a larger, souped-up version of the other superzoom camera in the Nikon range, the L120. This is definitely a bigger beast though, with a monster 36x optical zoom lens and a flip-down 3-inch, 920,000-dot LCD screen that pops out from the body. A thick, textured rubber grip juts out from the right-hand side, providing a comfortable holding position for the body.

A careful smattering of buttons shows that this camera means business when it comes to controls. There’s a mode dial at the top with full PASM controls, as well as automatic, scene mode, night portrait, night landscape, backlighting and smart portrait settings. The four-way directional pad next to the screen has other controls like flash, self-timer, exposure compensation and macro. Just under the mode dial is a switch to flick between high speed and high quality video recording, with the record button located inside the switch.

The power button at the top is a little temperamental - if, like us, you are used to pressing and holding a button down to get a device to turn on, the P500 does nothing. Instead you have to tap the button ever so quickly to get the lens to extend.

The P500 comes equipped with a stereo microphone just behind the pop-up flash, though there’s no hotshoe to extend the SLR-like shooting feel. An electronic viewfinder is located just above the screen, and while there’s no automatic sensor to detect whether or not the viewfinder is being looked through to switch the display mode, there is a button to the side to switch between screen and viewfinder. On the lens barrel is a dedicated lever that is designed to allow for smooth zoom during video recording (which is 1080p at 30fps).

Connectivity is provided via Mini-HDMI out and AV out, and the battery is charged in-camera. There is no RAW capture provided on the P500, just JPEG.

Compared to

Performance

The P500 has various continuous shooting modes, including Continuous H (takes 5 full-resolution frames only in 0.5 seconds), Continuous L (takes 2.1 frames per second) and a pre-shooting cache mode that begins recording before the shutter is fully pressed, taking shots at a reduced 2-megapixel resolution. Nikon rates the battery at 220 shots, though we did find it took a very long time to charge and also discharged quicker than the stated shot time during our tests.

Image quality

Superzooms by their nature are meant to pack in an incredible list of features and a lengthy zoom, generally following the mantra “you can’t have it all”. The P500 does little to change this notion, with a tendency to over-expose images particularly at the telephoto end of the lens.

Colours on default JPEG settings are good though, and low ISO shots have an acceptable level of noise to not affect prints too much. High ISO shots at 800 and above become messy. Autofocus is quick and effective, and chromatic aberrations and fringing have been significantly reduced from this camera’s predecessor, the P100. They’re still there, but definitely not as pronounced. There’s the usual degree of barrel distortion present on images taken at the wide end (22.5mm).

As with all superzoom cameras, taking a steady image at the telephoto end of the zoom is next to impossible, with handshake and motion blur entering images. This is particularly pronounced in the P500, which has the longest zoom in the world on a superzoom at the time of writing.

Video quality is very poor, with images appearing hazy. The P500 also uses electronic image stabilisation only when shooting HD video, which results in incredibly shaky images when hand-holding the camera. The audio is decent though, with hardly any noise perceptible when the lens zooms in and out. Wind noise is also kept to a minimum with the noise filter activated.

Image samples

Exposure: 1/800, f/3.7, ISO 160	Exposure: 1/400, f/4.7, ISO 160
Exposure: 1/50, f/4.4, ISO 160	Exposure: 1/30, f/4.6, ISO 250

Conclusion

The P500 will suit a photographer who values plenty of features, an electronic viewfinder and an incredibly long zoom rather than impeccable image quality. You’ll look mighty fine using it though and ladies will flock to you like no tomorrow when you go to take a photo*.

* Independently verified by many ladies from the CNET office.

The location? None other than spectacular Byron Bay on the north coast of NSW. Click through for images plus our thoughts on the cameras.

Alexandra Savvides travelled to Byron Bay as a guest of Canon Australia.

• Canon IXUS 130 IS
• Nikon Coolpix S8000
• Hands on with the Olympus E-620
• Canon IXUS 105 IS

• Good HD video recording
• Great LCD screen
• Fast continuous shooting speed for its class
• Good low-light photos

• No spot metering
• No RAW
• Some images affected by over-processing

This is Nikon's answer to the fast-lens club, made up of cameras that have a wide maximum aperture and are still compact enough to fit in a pocket. Ideal for photographers who want something good to carry around with them when their digital SLR is off-duty, does the P300 have what it takes to compete with the Canon PowerShot S95 and the Panasonic Lumix LX5?

Design and features

Let's get to the most important aspect of this camera first: the lens specifications. With 4.2x optical zoom on board, the P300 opens up to a maximum aperture of f/1.8, closing down to a maximum of f/4.9 at the telephoto end. This makes it both faster and longer than the S95 and the LX5. Behind the lens is a backside-illuminated CMOS sensor at 12.2-megapixels.

Around the back, the configuration is standard Nikon button fare, with a control wheel and four-way direction pad in one. There's also a dedicated record button and playback button too. Next to the controls is a 3-inch LCD screen with a resolution of 920,000-dots.

It's at the top of the camera where things start to get interesting. A small pop-up flash, with the Coolpix insignia on top, can be raised out of the camera body when needed by flicking the switch to its side. You'll also find a stereo microphone here too, while the mode dial has full PASM control as well as an automatic mode, scene mode, night landscape selection and backlight option. There is no space for a custom option on the dial, though. A small shutter button and zoom rocker sit just near the exposure ring control at the top.

It's a nicely designed camera - slightly boxier than the S95 so it's a bit easier to hold in the hand - and it feels well made with its metal finish. It does miss out on the front control wheel like the S95 and, given the huge fixed ring surrounding the lens, we're left wanting some sort of control mechanism there. Unlike the S95 though, the P300's flash arrangement is not obstructed by fingers as the folding design means there's still place for a finger to rest comfortably on top.

The P300 only has two aspect ratios to choose from: standard 4:3 from the full 12MP resolution through to VGA and 16:9 at 9MP. It has a maximum ISO sensitivity of 3200. Autofocus modes include face priority, automatic focus, manual focus, centre focusing, subject tracking and face priority tracking.

Connectivity is provided by a mini HDMI-out and an AV-out at the base of the camera, both of which are used to connect the camera to a computer and to charge the battery.

Compared to

Performance

Note that the P300 does not have RAW shooting. It takes 7 shots in continuous shooting mode before pausing to process them. Other continuous shooting modes include best shot selector and multi-shot 16, 60 or 120fps continuous shooting at a reduced resolution (1MP resolution).

Image quality

With a raft of competing cameras delivering on image quality and features, the P300 faces stiff competition, particularly from models like the Canon PowerShot S95.

Colours are bright and vivid on automatic settings and dynamic range is very good for a camera of this class. Unfortunately at full magnification images look rather "crunchy" or over-processed, with some significant blockiness that makes even a standard landscape look almost painterly. We found the P300 delivered optimum results when shooting at anything below ISO 200.

Exposures are on the conservative side - a little underexposed on automatic settings. Fortunately, it's very easy to set exposure manually with the combination of the rear control wheel for aperture and top wheel for shutter speed.

A shot taken on automatic mode (left) and manual mode (right). As you can see, the image on the left is far too underexposed and the image on the right brings out the detail in the foreground object much better. With spot metering in automatic mode, the camera probably could have coped better. (Credit: CBSi)

Though the P300 underexposes in its automatic mode, it means that it does well in capturing situations where there's a big contrast between light and dark areas. The night landscape mode does a really good job of capturing sharp evening images, though as with the other stills there is a degree of over-processing at full magnification.

Oddly, there seems to be no spot metering available on the P300, just matrix and centre-weighted. Though it may be tempting to leave the P300 on aperture priority at f/1.8 constantly, do be aware that the physical size of the sensor has a direct correlation with depth of field. So, given the size of the P300's sensor, it's not able to achieve the same shallow depth of field as the other cameras in this class at a similar aperture. We'll have a full comparison of the depth of field example with the Olympus XZ-1 soon.

Video quality is without a doubt the best we've seen on a Nikon compact, and its image quality is very good. There's a small degree of fringing visible of contrasty subjects but it's not overbearing on the overall image. Sound quality is decent, too, but as expected there's a fair amount of wind noise to be heard.

Video is available in full 1080p at 15/30fps, 720p at 30/60fps or VGA resolution at 30/60fps.

Image samples

Click each image for full-sized samples from the P300. No post-processing has been done to alter these photos.

Exposure: 1/1250, f/4.9, ISO 160	Exposure: 1/1250, f/2.8, ISO 160
Exposure: 1/100, f/2.8, ISO 160	Exposure: 1/40, f/2, ISO 800

(Credit: CBSi)

Conclusion

Nikon has made a good, but not stellar, compact camera that aims to be a pocket-sized SLR replacement. Unfortunately this camera is just not as good as the current best-in-class, the Canon PowerShot S95, when it comes down to the metrics that matter: image quality.

Photographers who are downsizing from an SLR on its day off will have a big gripe with the P300, which is the lack of RAW capture. Every other camera in this class has it, so we're rather puzzled as to why Nikon left it out. We can only hope that the next iteration (or indeed a firmware update) provides this very important feature - and perhaps a bigger sensor like that found in the P7000 as well.

• Nikon Coolpix P7000
• Panasonic Lumix DMC-FZ100
• Nikon Coolpix S8100
• Canon PowerShot SX30 IS

It's not often that we use the term jaw-dropping, but this video from Norwegian photographer Terje Sorgjerd has left us pretty speechless.

Without further ado, here's his video that took a week of filming on his Canon 5D Mark II in the wilderness north of Norway. For the camera-spotters, you can see a full run-down of photos on his Flickr page, and for lens-lovers, he used a 24mm f/1.4, 16-35mm f/2.8 and Sigma 12-24mm. Watch it in full screen.

• AF-S Nikkor 24mm f/1.4G ED
• Time-lapse photography: four seasons in one year
• Alienware Aurora ALX
• Exposure: Matt Granger

• Sturdy build
• Manual controls
• AVCHD recording
• Quick shooting performance
• Good video quality

• Touchscreen doesn't add anything to the shooting experience
• Screen still fairly low resolution
• No RAW capture
• Relatively short battery life
• Some images can be over-processed

Panasonic has well and truly been the leader in the travel zoom camera segment for some time. The Editors' Choice winning camera, the Lumix TZ10, was the culmination of years of work put into improving this line to include pretty much everything that you could want in a camera like this.

There were things that could be improved upon though, including the GPS and continuous shooting speeds. Now that the TZ20 has been released, does it improve on an already-winning formula?

Design and features

While stylistically things haven't changed significantly, the TZ20 looks quite a bit boxier than its predecessor. This camera weighs about 219 grams, which is on par with the TZ10, and it certainly feels sturdy enough in the hand even with its plastic exterior.

The big change to the camera comes in the form of its 14.1-megapixel MOS sensor, similar to that used on the compact FX700. This also means the TZ20 is capable of shooting up to 10 frames per second in continuous shooting mode, with a range of additional burst shooting options for slightly slower speeds and continual focusing on the moving subject. Also new is the 3-inch touchscreen, though there are still plenty of physical buttons to cater to most shooting preferences. It's still relatively low resolution at 460,000 dots, an area that the next camera in this series can surely improve upon. However, it's been fitted with an anti-reflection coating, which makes it easier to see in bright situations.

Click through to see images taken on the FT3 and TZ20. (Credit: CBSi)

Controls are standard Panasonic, which means reasonably small buttons, a mode dial at the top of the camera to switch between shooting modes (with full PASM controls), a shutter button and zoom rocker, as well as a dedicated record button at the top as well.

As is the way with trends, 3D has reared its head once again. The TZ20 features a 3D mode, accessed from the mode dial. It takes 10 photos across a horizontal axis and selects the best two in order to piece together a 3D image in MPO format. Unfortunately, you can't view the effect on the 3D screen, so looking at images is limited to their display on a 3D TV or photo frame.

The optical zoom is now 16x, up from the 12x, which appeared on the TZ10. Again, like the older camera, the optical zoom is augmented by "Intelligent resolution" and zoom, which increases the range to 21x. The lens is also wide-angle at 24mm. Nikon lenses have been using Nano coating on its pro lenses for a while now, and Panasonic has come to the party with the technology too. It's designed to reduce ghosting and flare on images.

Built-in software, stored on the camera, automatically launches when the camera is connected to a computer which allows for Facebook or YouTube uploading. HD video (AVCHD) is now at full 1920x1080 resolution at 50i and, fortunately, the optical zoom is enabled while filming. Panasonic also launched the companion camera, the Lumix TZ18, at the same time which shares similar features but misses out on the touchscreen and GPS.

Connectivity is provided via mini-HDMI and AV out. In the box you also get standard AV cables, a battery charger, camera strap and a mini stylus for the touchscreen.

GPS makes a welcome return and it feels a lot quicker than the version found on the older camera. The version on the TZ20 has a wider range of locations to reference. As well as appending location information to the EXIF data, when a location is matched in the database of over 1 million landmarks, the information is also displayed on screen. You can also tag videos with GPS data.

An example of viewing GPS location information from TZ20 images in Picasa. (Credit: CBSi)

Once images have been tagged by the camera, you can easily plot the location of your travel photos on a map. We like Picasa for its ease of use, but there are plenty of other programs available that will do the same thing. The TZ20 also comes with software (on disc).

The GPS does continue to update while the camera is switched off (indicated by the green LED light at the top of the camera) so do remember to switch it off manually or activate the aeroplane mode if you need to conserve battery.

Compared to

Performance

The TZ20 has a range of burst shooting options, including a 2 or 5fps AF mode, which will also continuously focus when taking pictures. The other options are 10, 40 or 60fps, with the last two taking a burst of images at reduced 5-megapixel or 2.5-megapixel resolution.

An example of the continuous shooting mode on the TZ20. (Credit: CBSi)

While the addition of a touchscreen would suggest an improvement in usability, in practice it just seems out of place. As with other Panasonic cameras in the past that have coupled a touchscreen with the full range of physical buttons, we find ourselves using the buttons as it's quicker, easier and ultimately more responsive than trying to navigate using the touchscreen.

Panasonic rates the battery for the TZ20 at 260 pictures.

Image quality

While the new sensor has given a significant performance boost, it's also taken away one of the real strengths of this range - image quality. Overall, we don't think the images from the TZ20 are better than those from the TZ10. In particular, there is an increase in digital noise and artefacts when looking at images at full magnification.

However, if you are the sort of photographer who will be using the photos from the TZ20 for web display, it will find no issue with the quality as images look great at a reduced resolution on screen. Those looking to enlarge and crop areas of photos will find the TZ20 a tad limiting due to the noise and processing detail. Images at higher ISO levels, particularly above 400, are plagued by noise issues.

Images are mostly sharp from edge to edge and the lens doesn't display many distortions at all which is pleasing. Like the TZ10, the TZ20 allows photographers to adjust the exposure in manual modes using the dedicated button at the back. The TZ20 also produces punchier colours on default settings than we've seen before on a Lumix compact. There are also a range of colour modes available to augment these defaults, such as happy mode to increase saturation, black-and-white, as well as sepia. Scene mode also provides options for simulated HDR, film grain and pinhole among many others.

Fortunately, Panasonic has invested in the video quality of this camera, with smooth motion and good colour rendition as well. The stereo microphone does a great job of picking up clear sound and the TZ20 also supports continuous autofocus while filming. The autofocus is a little twitchy when zooming in, so we advise setting your focal length and sticking to it before you hit record.

Image samples

Click each image for full-sized samples from the Lumix TZ20. No post-processing has been done to alter these photos.

Exposure: 1/400, f/4.8, ISO 100	Exposure: 1/80, f/4.1, ISO 400
Exposure: 1/400, f/3.9, ISO 160	Exposure: 1/250, f/4, ISO 100

(Credit: CBSi)

Conclusion

Travel photographers who prefer a feature-packed camera will love the TZ20 with its GPS, long lens and HD video. Unfortunately, it doesn't produce better images than the earlier, award-winning TZ10 and the addition of the touchscreen hinders rather than helps the shooting experience.

• Panasonic Lumix DMC-TZ10
• Panasonic Lumix DMC-FP3
• Panasonic Lumix DMC-FZ100
• Panasonic Lumix DMC-LX5

• Small, stylish form factor
• 25mm wide-angle lens
• Well priced

• Average video quality
• LCD screen not colour accurate
• Crunchy, over-processed images
• Slow performance

Design and features

You've got to hand it to Sony for producing such stylish looking compact cameras at an affordable price point. The W570 retails for AU$249 but it doesn't look like most other cameras that grace the same price, with its brushed metal exterior and slimline finish. It comes in silver, black, purple and pink finishes.

The Carl Zeiss-branded 5x optical zoom lens, at 25mm wide-angle, is controlled by a zoom button at the rear of the camera. The lens has a maximum aperture range of f/2.6-6.3, which is rather narrow at the telephoto end. Behind it sits a 16.1-megapixel CCD sensor.

Each silver button at the rear of the camera is miniature - cute for dainty hands, but larger ones might find the buttons are a little too small for practical use. The mode switch, to alternate between standard shooting, sweep panorama mode and HD movie mode, slides with ease between each option. Offsetting each of these controls is the 2.7-inch LCD screen at 230,000 dots.

There are four main shooting modes to choose from on this camera: easy, which increases the font size and simplifies the menus, intelligent auto, program and scene.

While sweep panorama works well, automatically stitching together a set of shots taken across a horizontal axis, it performs best when the subjects are static. Any moving objects, like cars or people, will inevitably get cut off in odd places due to the stitching.

An example of the shot produced using sweep panorama mode. (Credit: CBSi)

Other features that have become part and parcel of the Sony compact range are here, including smile shutter and optical image stabilisation. The W570 also has an in-camera guide that can walk you through the common camera functions and tell you what each of the icons mean, as well as a troubleshooting guide.

At the bottom of the W570, near the tripod mount, is a proprietary Sony connector that can be used to connect the camera to a computer or to attach the optional party dock. This extra accessory automatically scans the room to take photos when it detects faces; an autonomous "set and forget" picture-taking machine. A slim rechargeable Lithium-ion battery and a dual Memory Stick Pro Duo/SD card slot complete the base of the camera.

Performance

Sony rates the battery for the W570 at 220 shots.

Image quality

The W570 produces punchy images straight out of the box on default settings. When inspecting images more closely, though, you'll notice lots of digital noise and over-processing, particularly as the ISO range starts to climb to 400 and above. There's definitely too many megapixels here for the lens to be able to resolve.

Speaking of that lens, it's sharpest towards the centre of the frame - standard for a camera of this class. However, the edge drop-off is quite dramatic with this camera, and is definitely noticeable when looking at images at full resolution. The lens also exhibits a strong level of purple fringing and halo effects around contrasty objects, and blown highlights are also common.

Unfortunately, the screen is not particularly colour accurate so at times when you think your shot looks a tad washed out, it's not you, it's the LCD.

Video quality is only just OK; the image displays the same fringing that plagues the still images and there is a degree of lens flare as well. The W570 produced 720p HD video at 30fps in MPEG-4 format.

Image samples

Click each image for a full resolution shot from the W570.

Exposure: 1/25, f/2.6, ISO 400	Exposure: 1/100, f/6.3, ISO 400
Exposure: 1/30, f/2.6, ISO 125	Exposure: 1/200, f/2.6, ISO 80

(Credit: CBSi)

Conclusion

The W570 is a gorgeous little compact camera that produces images that are only just OK. It's fine for snapshooters who want a simple, pocket-sized camera. More serious photographers looking for a point-and-shoot should look elsewhere.

• Sony Cyber-shot DSC-WX5
• Sony Cyber-shot DSC-TX9
• Sony Cyber-shot DSC-WX7
• Sony Cyber-shot DSC-WX1