The HX200V also had awesome optical image stabilization at full zoom in both picture and video mode. Secondly, the ZS15 was slow to zoom while recording videos. The drawback to this magic, however, is also the sensor size.
Some blurring and chromatic aberration are present in the corners of the frame (a common limitation among consumer digital cameras in macro mode), but the bigger problem is the strong overexposure along the left side. Much like the Panasonic Lumix DMC-FZ150, the HX200V was not only stocked with oodles of automatic controls, but the camera also offered a full suite of manual adjustments. That makes it very quick to change any of those settings. Camera bag DMW-CZ18 $60 A more generic case that holds the camera and a few accessories. But a couple of years ago, we took an Olympus ultrazoom with us and were dismayed how difficult it was to focus on anything.
Slow motion, that is (MOV clip of much longer, mesmerizing mp4 file). In Movie mode you can also capture a 3.5-megapixel still enhanced by the progressive capture and Panasonic’s Intelligent Resolution technology. Like all superzooms, the FZ150 is equipped with an LCD and EVF (electronic viewfinder). The 3-inch, 460,000 dot LCD is articulated and useful for shooting overhead or from low angles. The Panasonic FZ150’s Zoom lever operates precisely and at two speeds, which is particularly useful for recording video. Conversion lens adapter DMW-LA5 From $23 Required for using the conversion lenses above. You can’t mount it the same way you do when it’s facing forward, which requires a 90 degree starting point, because the two longer petals are way too long. But the Lumix DMC-ZS20, which is $350 and shares many of the same features, has an almost identical design.