The Sony Cybershot DSC R1 is it really a viable alternative to an entry-level dSLR?

Author's Rating:

Pros: Excellent lens with manual zooming and focus rings and dual memory card slots

Cons: More expensive than entry level dSLRs and top-mounted LCD screen is awkward and anti-intuitive

The Bottom Line: 
The R1 is a hybrid P&S prosumer digicam that (in some significant ways) actually outperforms entry-level dSLRs.

Author's Review
Texas sports car racing icon Carroll Shelby revolutionized motorsports in the early sixties by replacing the anemic four-cylinder engine in an AC sports car with a powerful Ford V8. While almost all of its competition was rushing to jump on the digital SLR bandwagon, Sony was working to create a whole new class of fixed lens P&S prosumer digital cameras. Sony's 's product development folks set out to build a product that landed squarely between the flood of recently introduced entry level dSLRs and the even larger collection of top tier fixed lens prosumer digicams - a camera that would eliminate much of the rationale for choosing a dSLR camera over a prosumer P&S camera. The just introduced Cybershot DSC R1 is the result of all that work, it was only a matter of time before someone mimicked Shelby’s proven formula and dropped an APS-C sized CMOS sensor (developed for Nikon's workhorse D2X pro dSLR) into a P&S digicam.

One of the long-term shortcomings of all fixed lens digicams has been their tiny (typically 1/1.8" or 2/3") image sensors. Camera makers have continuously boosted resolution by adding pixels to these tiny sensors (today's 8 and 9 megapixel P&S digicams use sensors the same size as those that powered 2 megapixel digicams five years ago) exponentially increasing pixel density. As pixel density increases image noise rises dramatically. Digital SLRs, on the other hand, have much lower noise levels, less Chromatic Aberration, and improved sensitivity because they use much larger APS-C sized sensors (larger sensors typically generate less image noise than smaller sensors everything else being equal).

NUTS & BOLTS

Processor

The brain of Sony’s new R1 is its Real Imaging high-power digital signal processor. The R1's processor uses less power (and generates less heat), provides faster processing, shorter shutter lag and cycle times, improved white balance, increased sensitivity, and noticeably reduced image noise (when compared to its competition).

Viewfinder/LCD Screen

The R1 features a genuinely unique LCD screen that nests into the camera’s top deck when not in use. The screen is deployed by flipping it up (90 degrees). The LCD screen, once upright, can be rotated through 270 degrees. LCD images (134,000 pixels) are bright (brightness can be adjusted), hue accurate, and fluid. The LCD information display provides all the information most shooters are likely to need – and shows that data along the bottom of the frame without overlapping into the image area. The R1’s LCD screen provides on demand Grid lines to help align everything properly when photographing architecture, patterns, or seascapes (or when the horizon needs to be dead level). There’s also a live histogram display so shooters can check dynamic range and spot (and correct) over/under exposure before tripping the shutter. The R1 provides two monitor modes -- Framing mode (LCD screen brighteness is boosted to view the subject more easily which is ideal for use indoors or in dim/low light conditions) and Preview Mode which is like an electronic version of the DOFP (depth of field preview) button on classic SLR cameras – users can see what will be in focus (and what won’t) before tripping the shutter button.

At the “Auto” setting the R1 defaults to the LCD screen until a user brings the camera up to eye level, an infrared sensor detects a large object approaching the EVF and switches viewfinder chores from the LCD screen to the EVF. I don’t like the positioning (directly above the EVF) of the LCD screen. I found it awkward and anti-intuitive, but I did think it was pretty neat that the screen can be nested into the top deck of the camera (face up) creating the best waist level finder I’ve seen to date on a digital camera. Old timers (who fondly remember Rollei and Yashica TLRs) and want to utilize the R1 in waist level mode may have some frustrating moments when the LCD screen goes dark because the R1’s eye detection sensor automatically switches from the LCD screen to the EVF (electronic viewfinder) when it detects an eye approaching the EVF eyepiece or when a shooter holds the camera close to their body for waist level compositions (the eye detection sensor can be turned off). The LCD screen and the EVF both gain “up” automatically in low/dim lighting.

Inside the R1’s larger than average zooming EVF (electronic viewfinder) is a tiny (.44”) LCD that shows exactly the same view seen on the R1’s LCD screen. The R1’s EVF is one of the best I’ve seen to date - images are sharp (235,000 pixels), bright, and color (hue) correct. The EVF is fluid in most situations, but movement does lag a bit in dim lighting. The EVF can be used to navigate menus and check exposure settings, however those who don’t posses the visual acuity of a bird of prey will find it much simpler to use the LCD screen. There’s a diopter correction adjustment for eyeglasses wearers.

Optics

If the Sony Real Imaging high-power digital signal processor is the brain of this camera, then the 5X Carl Zeiss all-glass optical zoom is the heart of the R1. This lens was designed specifically for this camera and then matched carefully to the R1’s larger sensor via a unique short back focus design that puts the rear element of the R1's fixed 5x zoom much closer to the sensor than would be possible with a dSLR (since there would have to be enough space between the rear element of the dSLR lens and the sensor for the mirror that reflects the image upward to the viewfinder) and that closeness (the R1’s rear element is just 2mm from the sensor plane rather than the 25mm between the rear element of an average dSLR lens and the sensor plane) reduces chromatic aberration and improves corner to corner sharpness, plus there is no risk of dust coming into contact with the sensor (like there is with interchangeable lens digital cameras). Because there's no mirror in the light path the R1's LCD screen can be used as a (live) viewfinder which dSLR LCD screens cannot.

Sony has been offering lenses with the Carl Zeiss nameplate for quite a while, but the R1’s T* f2.8-f4.8/14.3-71.5mm (24-120mm 35mm equivalent) Carl Zeiss Vario-Sonar zoom may be the first Sony optic that is trulyactually worthy of the moniker. The R1’s zoom is relatively fast, bright and contrasty (internal reflection damping is superb), sharp as a tack, color (hue) accurate, and covers a highly useful focal length range (from broad wide-angle to short telephoto) not found in any comparable digicam. Most digicam lenses provide minimum apertures of f8, but the R1’s zoom goes all the way down to f16, like most dSLR zooms. As icing on an already rich cake, the R1’s zoom and focus rings are manually activated – just like the focus and zoom rings on dSLR lenses.

Optical performance is noticeably better than average (for top tier prosumer digicams) and substantially better than most of the "kit" lenses sold with entry level dSLRs. The R1's zoom is very sharp across its range, but there is some minor edge softness at wide angle (at smaller aperture settings) and at the telephoto setting (with larger apertures). Chromatic aberration is remarkably well controlled with very minor purple fringing present only in high contrast color transition areas. There is (not surprisingly) moderate barrel distortion at the wide-angle end of the zoom range but no pincushion distortion is visible at the telephoto end of the range. There is no vignetting (darkened corners) which is amazing, given the complexity and broad focal length range of this zoom. Serious amateur shutterbugs, semi-pro Wedding Photographers, and Portrait shooters are going to love the optimal focal length range and the precise compositional control provided by the R1's well-damped mechanically linked manual zoom ring (the electronically linked manual focus ring is also quite nice). Closest focusing distance (in macro mode) is 13.7 inches and the zoom is threaded for 67mm filters/accessories.

Auto Focus

The R1's (default) 5 Area Multi-point Auto Focus system evaluates the entire image frame and then intelligently (using closest focus priority) focuses on the AF point closest to the nearest subject. Users can over-ride the 5 Area Multi-point AF system and manually select Center AF (which bases focus on the center of the image frame) or Flexible Spot AF (which allows users to manually move the spot focus area almost anywhere in the image frame). The R1's contrast detection AF system is driven by a newly developed gearless direct drive Linear Focus motor that provides super fast, ultra smooth, and extremely accurate focus.

R1 users have three AF options -- Single, Monitor, and Continuous. The Single AF mode adjusts focus when the shutter button is pressed half way. Continuous AF adjusts focus continuously until the exposure is snapped, allowing users to track subject movement (great for action/sports shots). Sony’s Monitor mode (similar to the Continuous AF modes of other manufacturers) adjusts focus continuously until the Shutter button is pressed half way, at which time focus is locked (great for “real-time” image capture).
The R1's auto focus is very fast (on par with currently available entry level dSLRs) and consistently accurate. It should be able to keep up with rapid sports/action subjects and high-speed toddlers. I'm not sure why Sony decided to dump the excellent Hologram Laser assisted auto focus system of the F828, but the R1's AF system is (based on my use) just about as fast and (in outdoor lighting) just as accurate.

Manual Focus

Focus can be fine tuned manually just like with an SLR zoom and users can easily switch back and forth between Auto Focus and Manual Focus. When in MF mode, turning the manual focus ring on the lens causes the central portion of the image frame to be automatically enlarged as an aid to critical focusing (if the Expanded Focus option is enabled via the Setup menu).

The R1's MF ring isn't coupled to the lens elements, instead turning the ring electronically indicates to the CPU/Processor which way to shift focus. If the ring is turned slowly, focus is slow, incremental, and very precise. While I would have liked to see the MF ring mechanically coupled (like the zoom ring) the R1's MF system is much more responsive and useful than the cumbersome scale focusing MF systems used on most other P&S digicams, making the camera a natural for Wedding Photographers and Portrait shooters who need the ability to precisely control focus.

Flash

The R1's powerful built-in TTL multimode (Auto, Fill, Red-eye reduction, and Slow-synch) flash pops up automatically when needed or it can be enabled manually. According to Sony, the maximum range (at the Auto ISO setting) for the on-board flash is just over 12 feet. Flash output can be manually adjusted /- 2EV in 1/3 EV increments.

The R1 also features a hot-shoe, providing users with greater range and expanded lighting flexibility with Sony’s HVL-F32X and HVL-F2000 external flash units. Sony's older HLV 1000 flash unit can be used and third party flash units will also work (with both camera and flash) in manual mode. Sony's right side (mounted on the top of the handgrip instead of on top of the camera body) hot shoe placement may seem a bit awkward initially, but pro photographers have been using this configuration (mostly with Medium Format cameras) for decades without suffering any ill effects. Since the flip up and twist LCD screen and pop-up flash occupy all of the R1's top deck real estate Sony only had two hot shoe placement options -- atop the handgrip or upside down (ala the Rollei 35S) on the bottom of the camera.

Memory Media

The R1 can store images to CompactFlash (Type I or II) cards and IBM/Hitachi micro drives (the camera is FAT-16 and FAT-32 compatible) in addition to Sony's proprietary Memory Stick (MS Pro, MS Duo, MS Pro/Duo) media. In keeping with the R1's "Pro" identity Sony doesn’t include a memory card (dSLR’s never include memory cards) at purchase. Buyers will need to factor the cost of a (minimum 512MB) memory card into the purchase price. It would have been nice if Sony had included a small Memory Stick with the camera, but no memory card included is a sign of the times -- many manufacturers have stopped including "starter" cards.

Image File Format(s)

The R1 supports JPEG and RAW file formats. Sony's RAW format permits shooters to change some parameters (white balance and color depth) post exposure. RAW files must be processed with Sony’s (included) software in order to view or transfer them to other formats.

Connectivity

USB (2.0) out, A/V out, and DC-IN

Power

The R1 uses the same high capacity (7.2v - 8.5Wh) Sony NP-FM50 InfoLITHIUM camcorder battery that powered the F828. Battery duration has always been one of Sony's strong suits and the R1 is no exception. Sony claims the NP-FM50 provides run times of just over four hours, playback times of nine hours plus, and enough juice to rack up 500 exposures (with continuous LCD and occasional flash use). Most camera manufacturers vastly overstate power depth, but based on my experiences with the R1, Sony's numbers seem pretty accurate. The remaining run time is shown in a very accurate LCD/EVF readout. The R1 charges the battery in-camera (in about 3 hours) with the included AC-L15A AC adapter/charger. Most users won't need to buy a back-up battery.

EXPOSURE

The R1 provides a broad and very flexible range of exposure options, including full Auto, Program AE w/Shift, Shutter priority, Aperture priority, full Manual, and four Scene modes (Portrait, Landscape, Twilight Portrait, and Twilight). In Auto mode the camera controls everything. In Program mode the user controls everything except aperture and shutter speed (however, users can choose from a range of equivalent aperture-shutter speed settings). The Aperture and Shutter Priority modes allow users to select either the shutter speed (the camera chooses the aperture) or the aperture (the camera selects the shutter speed). In manual mode the user controls all exposure settings.

Movie Mode

The R1 doesn't provide a movie/video mode

Metering

The R1’s (default) Multi-Pattern metering system splits the image frame into small sectors and separately evaluates each section. The separate readings are then analyzed to determine the best shutter speed -- aperture combination. Center-Weighted Averaging metering (for a more traditional “look”) and Spot metering (for trickier compositions) are also available. More advanced shooters can fine tune metering in difficult lighting via Exposure Compensation ( 2/-2 EV in 1/3EV increments) function.

The AEL button allows users to lock the exposure without also locking focus. The AE Lock function works especially well with Spot or Center-Weighted metering because the exposure can be based on a specific area of the subject but without also having to also lock AF on that element of the composition.

White Balance

The R1's White Balance system provides seven color balance options: Auto, Daylight, Cloudy, Fluorescent, Incandescent, One-Push (manual), and a Flash setting. The One-Push Set option allows users to manually set (and save) a white balance setting based on a white card (ceiling/wall). The R1's white balance system produces consistently accurate color.

Sensitivity

TTL Auto and settings for 160, 200, 400, 800, 1600, 3200 ISO (35mm equivalent). The R1's noise management (due mostly to its larger sensor) is exceptional, but an ISO 50, 80, or 100 setting would have been more useful than the ISO 3200 setting.

In-Camera Image Adjustment

The R1 provides what is easily one of the most versatile and useful in-camera image adjustment/manipulation programs of any currently available digital camera. Three separate color options are available (Adobe RGB, Vivid, and Standard) and Saturation, Contrast, and Sharpness can be adjusted across a 3-step (+, default, -) range. The R1's auto exposure bracketing function allows users to capture three sequential (with user selectable intervals of +/- 1/3EV, +/- 2/3EV, and +/- 1EV) images each at a slightly different exposure. R1 users can also adjust exposure +/- 2EV in 1/3EV increments (to darken or lighten the exposure) via the R1's exposure compensation function.

Sony's newly developed AGCS (Advanced Gradation Control System) provides users with a partial solution to one of digital photography's ongoing problems; the range of brightness in the real world is much broader than the limited tonal range that digital cameras (digital exposures are similar to slide film images, highlight detail gets burned out and shadow detail gets blocked up) can reproduce. AGCS allows R1 users to critically evaluate brightness distribution (via a special histogram display) and adjust (compress or expand) the luminance distribution curve to achieve a more evenly balanced brightness range. The result is very subtle and may only be useful in a limited number of specific lighting situations, but perpetual "tweakers" will love having the capability. All the effects are "live" so users can view a “real time” preview of all effects on the LCD screen, pre-exposure.

CONTROLS, DESIGN, ENGINEERING, & ERGONOMICS

There is nothing at all subtle about the Sony Cybershot DSC R1. It is truly in a class all by itself, different in virtually every way imaginable. Suited up and ready to go (camera, battery, memory card, lens hood and neck strap) the R1 weighs in at a hefty two and half pounds, making it the largest P&S digicam on the market (and heavier than most of the entry level dSLRs it is designed to compete against). The R1's big ergonomic handgrip provides a secure and balanced grip that is not fatiguing during extended shooting sessions. Controls (with the exception of the ISO and playback buttons) are logically placed and easily accessed. The magnesium alloy frame and “Pro” black polycarbonate body just screams tough and durable.

Shooters who like direct controls (as opposed to having to navigate multiple menus) to change/modify/adjust camera settings will love the R1's user interface. Those who prefer an uncluttered minimalist look (there are just too many buttons, knobs, and switches) and those who find the R1's flip up and twist top mounted LCD screen awkward and anti-intuitive aren't going to like this camera.

Technical Specifications

Resolution: 10.3 Megapixels (3,888 x 2,592)
Viewfinder: Electronic (EVF)
LCD: 2.0” TFT color LCD
Lens: Carl Zeiss T* f2.8-f4.8/14.3-71.5mm (24-120mm 35mm equivalent) Carl Zeiss Vario-Sonar zoom
Auto Focus: TTL 5 area AF
Exposure: Auto, Program AE, Scene Modes, Shutter priority, Aperture priority, and Manual modes
Flash: Built-in multi mode with hot shoe for external flash units
Metering: Multi-pattern, Center-weighted, and Spot
White Balance: Auto and Daylight, Cloudy, Fluorescent, Incandescent, One-Push (manual), and Flash preset modes
Sensitivity: Auto, 160, 200, 400, 800, 1600, and 3200 ISO equivalent
Image Formats: JPEG and RAW
Storage Media: Sony Memory Stick, MS Pro, MS Duo, MS Pro/Duo and CF (types I&II)
Connectivity: USB 2.0, A/V out, and DC in

Street Price Range: $999.00 - $949.00

Included

NP-FM50 lithium-ion rechargeable battery, AC-L15A Battery charger/AC adapter, Lens cap, Petal style Lens hood, Neck strap, USB & A/V cables, Software CD-ROM, Quick Start Guide, and (printed) users manual

In the Field/Handling & Operation

My friend (who sells new and used digital and analog cameras, accessories, photography equipment) and I have both been reading about Sony’s new R1 digital camera, so when he finally managed to get his hands on one we were both anxious to see if there was any basis for all the “first in a new class of digicams” hype. The first thing we did was to run some color tests. Over the past couple of years we've developed a color test that works very well and allows us to compare results from digicam to digicam. We use a homemade macro stage (a large cardboard box with the front and top panels cut away) lined with white photographic background paper. We first auto white balance the camera using the white background paper and then shoot a selection of brightly colored (red, blue, green, yellow, purple, and orange) plastic children's beach toys with the tripod mounted camera. The R1’s default color is consistently (hue) accurate, although colors (especially reds and blues) are a bit oversaturated.

Our first adventure with the R1 (on a very cold Saturday afternoon in early January) was a trip to Cave Hill Cemetery, a favorite shooting location for both of us. The weather here in Louisville has been weird (even for the ever changeable Ohio Valley) with daytime temps ranging from the low sixties to the high teens (sometimes during the same week end) with (mostly) ugly gray skies. We wanted to shoot some of the native limestone grave markers in the oldest part of the cemetery (Cave Hill was chartered in 1837) and we quickly found some time tilted and weatherworn old headstones surrounded by a carpet of frost rimed fallen leaves. The sky was gray and the light was very diffused, making it easy to capture several dark almost monochromatic graveyard images.

The mid twenties temperatures and a stiff icy breeze drove us back to car pretty quickly. We decided to try some winter scenics in nearby Cherokee Park. The park’s Scenic Loop runs along Beargrass Creek between steep heavily forested hillsides so we were hoping that we would be partially protected from the cold breezes. Unfortunately, the wind was positively howling through the tiny valley along Beargrass Creek and after driving through a dull brown landscape of stark leafless trees, dead yellow grass, and windblown piles of last summer’s cast off leaves we lost our taste for winter scenics after less than an hour. Kentucky is gorgeous three seasons of the year; unfortunately winter is not one of those three seasons. Picture opportunities are much harder to find in the winter when almost everything is in shades of flat gray and mud brown.

We decided to warm up with a cappuccino at the Heine Brothers coffee shop at Eastern Parkway and Bardstown Road and try to capture some sneaky interior shots of our fellow refugees from the dismal weather. We grabbed a table along the wall, set the R1 to ISO 800 and placed it on a folded copy of LEO (Louisville’s Eccentric Observer) with the LCD screen in the raised position making it possible for us to swing the camera easily in a 180 degree arc that took in almost the entire interior of the small dimly lit coffee shop (every time someone looked our way we quickly hit the EVF/LCD button to switch off the highly visible LCD screen).

Our Heine Brothers shots were just amazing -- very nice with slightly muted colors and very low noise for ISO 800. Clearly, the R1's large CMOS sensor does a much better job of managing image noise than the smaller CCD sensors of the R1's competition. It is important to note here that the R1's image noise levels, while very low, are still noticeably higher than the noise levels of the Canon EOS 350D and the Nikon D50 (both of which I've used extensively).

After we finished our cappuccinos and our clandestine snapshooting we took the R1 to Springs Station Mall. There was just over half an inch of old snow and the temperature was hovering at around 25 degrees, but the sky had cleared nicely and the oblique late afternoon golden light was pretty good. Springs Station started out as a tiny pioneer settlement a full days journey from Louisville (now it is a 15 minute trip from downtown). All that’s left of the tiny village is an old cemetery right in the middle of the mall parking lot in front of the Books-A-Million store. The old graveyard is surrounded by a chest high wall of huge blocks of hand cut native Kentucky limestone, placed without mortar. A small arched limestone gateway with a very old cast iron gate, hanging unsteadily on one hinge, adds a picturesque frame for the half dozen “country” style grave markers. The walls and native limestone grave markers are pale gray, the two marble tombstones a creamy white, and the snow lightly blanketing everything, pure white. The sky was a flat pale cloudless blue. We wanted to see if the R1 (in Auto mode) could capture the pale blue sky without losing detail in everything else in the composition (or making the snow turn bluish). The R1 rose nicely to the challenge, producing decent (if slightly flat) images that preserved all the colors in the scene.

We got together the next morning and headed for Louisville’s Extreme Sports Park to shoot some of our talented local skateboarders. The weather was much better than the day before with pale blue skies and fairly bright but diffused lighting. Skateboarders gravitate to the park at all hours of the day and night to hone their skills, so local photographers have an almost perfect locale for getting action shots, pretty much anytime they choose to drop by.

The R1 is very quick (as fast as most entry level dSLR’s) which simplifies tracking and framing skateboarders as they zoom up and down the steep sides of the park's pipes and bowls. Really good skateboarders move at amazing speeds and optimal framing/timing (centering the boarders in the frame AND stopping the action in mid air) is very difficult. I managed to get a couple of fairly decent shots (although I ended using the EVF full time since the top mounted LCD screen is very hard to use when shooting rapid action – since it partially blocks the users ability to track the action). After we finished up at the Extreme Park we headed for nearby West Main Street, which is lined with three and four story warehouses sporting decorative cast iron fronts. We parked near the Louisville Science Center, the most striking building on West Main Street, and spent about an hour shooting tight architectural studies of the colorful cast iron building fronts lit up by the setting sun.

After we finished up downtown we reviewed everything we'd shot with the R1 over the course of the weekend on a 19" NEC CRT monitor.

PERFORMANCE

Image Quality

The R1's images are sharp and bright with very good highlight/shadow detail, natural looking (although slightly oversaturated) colors, and consistently low image noise. The R1's image quality is simply stunning when compared to any other fixed lens digicams. Discussing how well the R1 does against the current crop of entry-level dSLRs is probably pointless. Based on my experiences with the R1 and with the EOS 350D and D50 I'd say that image quality is roughly equivalent IF the two dSLRs are equipped with their respective kit lenses. If the dSLRs mount pro quality lenses I believe their images would (everything else being equal) blow the R1's images away.

Timing/Shutter Lag

The R1 is faster than any other currently available fixed lens digital camera. Boot up (1.8 seconds – according to Sony), AF lag (between 0.1 and 0.3 seconds – according to Sony), shutter lag (0.29 – 0.33 of a second –according to Sony), and image processing are only marginally slower than dSLR times and shot-to-shot (1.0-1.5 seconds according to Sony) times are about average for prosumer digicams. Write to card times are a bit faster than average except for RAW files, which are an abysmally slow (9-10 seconds). Shutter fire/AF lock is virtual real time with pre-focus.

A Few Concerns

The camera locks when writing RAW files (RAW files run to 20 MB and processing/write to card times run to 9-10 seconds). I don’t understand why Sony didn’t use the superb (and noticeably faster, especially in low light) Hologram laser AF system featured on the F828 on the R1.

Conclusion

Sony’s digital cameras have always been popular with consumers, but they’ve never managed to gain wide acceptance with pros, semi-pros, and part time pros. The R1 may be just the ticket for converting these skeptics into believers. Sony has created a revolutionary imaging tool that truly defines a new class of digicams, but this new class of camera may have limited appeal. The R1 is almost perfectly designed for part time pros, wedding shooters, and portrait photographers and it would be an exceptional choice for school portraits, prom pictures, product illustration shots, and glamour photography. However, I believe (and my friend concurs) that amateur shooters, serious shutterbugs, and general/casual digital photographers would be better off with a dSLR.

IMAGES

If you would like to see a selection of images that are similar to and typical of the sort of test pictures I shoot for my epinions digital camera reviews -- click on the first link under Favorite Links on my profile page (to get to my EPS profile page from this review, just click on my name under about the author above). The Favorite Links link will take you to my forum page at DCR -- Click on the find all posts by Howard Creech link (under Forum Info). My DCR reviews feature a selection of my images.

The observations, opinions, recommendations, and conclusions provided in my digital camera reviews are based on more than 30 years experience as a photographer and extensive hands on testing of each of the cameras reviewed. I receive no compensation from DCR.com for your visit or any subsequent purchase you may make. You can return to epinions at any time (either open the link in a new window or hit your back button). The Canon Powershot SD500 and the Canon Powershot A520 posts were submitted as text only reviews and the images that illustrate those two posts were shot by a DCR staffer.

For advice on How to Choose a Digital Camera please see my (updated) review:
http://www.epinions.com/elec-review-2E46-17B174E2-39A418E3-prod1

Looking to ramp up your digital imaging experience in your own digital darkroom? Check out my review of a discontinued (but still available and heavily discounted) Pro quality ink-jet printer, the Epson Stylus Photo 2200 http://www.epinions.com/content_167980076676