Introduction

Ease of Use

Although we're already into mid summer, this could be the affordable 'travel zoom' you've been waiting for. The 14 megapixel, 8x optical zoom DMC-FS30 - or DMC-FH20 as christened in the states - was announced earlier this year in tandem with the previously reviewed FS33 model, and, unsurprisingly, the two share boxy, rectangular dimensions.

In fact Panasonic admits that this FS series model - promising high-grade features yet simple operation, in being the lower-priced sister strand to the FX family - is identical to its sibling save for screen only. In the absence of optical viewfinder the FS30 offers a more modest 2.7-inch LCD at 230k dots resolution to the FS30's 3-inch touch screen, sporting the same count. Of course this means that the F30 is the marginally cheaper than the FS33 at a manufacturer's asking price of £179.99, compared to £199.99, in the UK. So £20 extra buys you the larger monitor and touch-screen capability, or save the modest additional outlay for holiday spending money and go for the FS30 as presented here.

As the two cameras are close siblings, many of the conclusions we came to in our earlier test of the FS33 are still going to hold water. Both cameras share the same wideangle folded zoom lens, equivalent to 28mm-224mm in 35mm film terms, which stays close to the body and is protected by an automatic sliding lens cover when inactive. Plus, at its core we get a 14.5 megapixel 1/2.33-inch CCD sensor, delivering a 14.1MP effective resolution.

Panasonic's effective subject-recognising intelligent Auto mode with dedicated iA top plate button makes a re-appearance in support of the point and shoot brigade, as do HD movies - here of the 1280x720 resolution at 30fps Motion JPEG format variety. This option is selected like the other stills/video capture settings via a press of the dedicated 'mode' button on the back plate, which falls under the thumb as a forefinger hovers over the shutter release button.

With everyone switching from analogue to HD TVs, it's getting increasingly common to find an HDMI port on even a modestly-priced snapshot model like this, but Panasonic hasn't supplied one for the FS30, just standard AV/USB output hiding under a small flap at the camera's right side (if viewed from the back). With a 40MB internal capacity good for up to 15 shots, memory is expandable courtesy of SD, SDHC and newer high capacity SDXC cards, the latter offering up to 2TB of storage. In terms of getting up close and personal, macro/intelligent auto capability is again up to a closest distance of 5cm from your subject.

Front	Rear

The FS30 feels convincingly solid when gripped in the palm. It weighs a manageable 162g, and with overall dimensions of 100x56.5x27.8mm, marginally different to its sibling, slips easily and unobtrusively into trouser pocket. It's the manufacturer's usual mix of metal and plastic construction, with an attractive brushed metal faceplate. The thumb rests on a small square of nine raised nodules providing some 'grip' at the back, leaving the forefinger free to hover over the shutter button on the top plate, encircled by a zoom lever.

The internally folded lens is supported when extended by Mega Optical Image Stabilisation to help combat the effects of camera shake. To the right of the lens is a porthole-shaped window housing AF assist and self-timer lamp, with a narrow lozenge shaped built-in flash top left. When holding the camera this is set just close enough to the lens - and at sufficient distance from the sides - to avoid fingers accidentally obscuring it, a common problem with pocket models.

As mentioned at the outset, the top plate features a dedicated intelligent Auto (iA) button for point and shoot simplicity - the FS30 comparing scene and subjects with on-board parameters and selecting the most appropriate - along with the expected on/off power switch, holes for both built in microphone and speaker, plus, the largest control of all, the shutter release button; this is handily encircled by a lever for operating the zoom. The Lumix takes just over a second to power up - speedy, considering the lens extends to maximum wideangle setting in tandem with the rear LCD bursting into life - and a further three to commit a maximum resolution still image to memory, both of which are average timings for this class of camera.

If 8x at full 14.1MP resolution isn't enough for your purposes, the FS30/FH20's range can be further boosted to a maximum equivalent 16.9x (or 473mm equivalent) courtesy of Panasonic's Extra Optical Zoom function. Since this utilises only a central portion of the CCD rather than its entirety, capture resolution plummets to three megapixels. Otherwise the zoom lens glides through its basic optical range in all of three seconds. Annoyingly it's disabled when shooting video and merely stays put at the point it was left when recording began - commenced with a press of the shutter release button, rather than dedicated recording button.

One aspect of the FS33's operation we did slightly miss was the ability to adjust the positioning of the auto AF point simply by tapping the screen with a fingernail. Here without the interactive aspect of a touch screen it's the usual case of pointing the camera at the subject to which you want to bias focus/exposure, then pressing the shutter release button down halfway and finally re-composing the frame before pressing the shutter release fully. General operation response times are quick with Panasonic claiming the official time it takes for 'sonic speed' auto focus to lock crisply onto target is 0.35 seconds, courtesy in part of the FS30/FH20's Venus Engine IV processor.

Side	Top

In the absence of a dedicated shooting mode dial or wheel, on the FS30 we have an unassumingly small 'mode' button. A press of this summons up a quartet of text options on screen - for 'normal' picture (full auto) mode, 25-option Scene mode including photo frame and film grain settings, My Scene mode (more of the same, but the camera retains your previous choice enabling a quick return to it), plus - of course - motion picture/movie mode. As mentioned that's a maximum 1280x720 pixels at 30fps, WVGA 848x480 pixels, standard VGA 640x480 pixels of QVGA (320x240) selectable. White balance and colour mode can also be manually adjusted for shooting movies, as can they for stills.

Top right of the mode button is a simple slider switch, used for swapping between capture modes and playback. What this means is that a half press of the shutter release button won't throw the user back into capture mode should they happen to be reviewing images when a photo opportunity unexpectedly presents itself. The switch has to be thrown first.

Below this and the mode button is a 'cross keys' control pad, with central Menu/Set button and four individual buttons assigned separate functions ranged around it. At 12 o'clock is a means of adjusting exposure (+/- 2EV). At three o'clock we have a button for the flash settings, at six o'clock a third governing the macro shooting option, whilst the fourth button at nine o'clock is for calling up the self-timer choices.

Beneath this and bottom right of the camera back we the 'Q.Menu' (Quick Menu), a press of which brings up a toolbar of key shooting options on screen to save otherwise having to dip into more comprehensive menus to adjust the likes of resolution, white balance or ISO. Here manually light sensitivity settings range from ISO80 up to ISO1600, with a boosted ISO6400 option accessible if shooting in High Sensitivity scene mode, though the camera itself decides when it will aim this high.

To the left of this is an identical size self explanatory display button. With subsequent presses of 'display' on-screen information is turned off to display a clean, uncluttered image, and/or a nine zone compositional grid is overlaid for those wishing to practice their photographic 'rule of thirds'. If pressed in playback mode instead, on-screen info is merely turned on or off to display a clean image to the viewer. A feature set that's pretty much what we'd expect from a sub-£200 camera.

Memory Card Slot	Battery Compartment

A press of 'menu' button in capture mode meanwhile and a folder of basic shooting options (three screens of five choices each) are presented to the viewer in thin but perfectly legible black type on a white background. Again picture size, sensitivity, white balance and AF mode can be adjusted here. Panasonic further offers up a palette of colour modes, with standard and natural options joined by the more visually dynamic vivid, plus black and white, sepia and cool options. There's also an automatic red eye removal option that can be variously enabled or disabled. The second folder presented here governs the set up options; time and date settings, operational volume, LCD brightness, reset and format options.

Another press of the menu button, this time in playback/review mode, and users are given the ability to crop and re-size images in-camera should they wish to do so, as well as choose favourites and earmark specific shots for printing.

With a lug for attaching a wrist strap at the right hand side of the camera - if viewed from the back - the opposite side is devoid of any distinguishing details whatsoever. The base of the unit meanwhile features a screw thread for attaching a tripod over to the lens side, but not directly beneath, and at the opposite side a protected slot for a media card - here SD, SDHC or even higher capacity SDXC - plus battery. Battery life is good for 300 images from a full charge, which is identical to its FS33 sibling and like that model is respectable for its class.

But, as ever, the proof is in the images the FS30 delivers. The manufacturer is known for a reliable and consistent performance, so we potentially have high hopes for the FS30. And yet, in cramming 14 megapixels onto its sensor has Panasonic's ambition outstripped its performance? Read out to discover our verdict…

Image Quality

All of the sample images in this Review were taken using the 14 megapixel Fine JPEG setting, which gives an average image size of around 5Mb.

Though occasionally confused by busy scenes the Panasonic Lumix DMC-FS30's iA mode mostly does a sterling job of automatically adjusting settings to suit, leaving the user free to concentrate on their subject and their framing rather than fiddling around with camera settings.

Generally though, and taking into account that this is a humble point and shoot just-shy-of £200, shots are among some of the sharpest we've seen from a pocket camera of its ilk, unless shooting handheld at maximum telephoto which did result in some loss of definition. Detail is well defined though and images require minimal if any processing straight out of the camera.

Like its Lumix forebears the FS30 provides warm colours - and especially so if turning on the vivid colour option. Pixel fringing, though there if you're really looking for it, is nevertheless kept well under control. Similarly, shots taken at maximum 28mm equivalent wide angle reveal good edge-to-edge detail and minimal barrel distortion. There's also just enough of this camera to get a reasonably firm grip on and avoid too much in the way of blur when shooting hand held, though as mentioned results at maximum telephoto inevitably come out a little soft on occasion.

Given the amount of pixels crammed on to its sensor, the FS30's performance in low light is a respectable one. As our test shots show, detail is held well up to and including ISO800, only really softening - and revealing tell-tale fuzziness - at maximum manually selectable ISO16000 option. Overall not a bad performance at all - and especially so given the modest pricing.

Noise

There are 6 ISO settings available on the Panasonic Lumix DMC-FS30. Here are some 100% crops which show the noise levels for each ISO setting.

ISO 80 (100% Crop)	ISO 100 (100% Crop)
ISO 200 (100% Crop)	ISO 400 (100% Crop)
ISO 800 (100% Crop)	ISO 1600 (100% Crop)

Sharpening

Here are two 100% crops which have been Saved as Web - Quality 50 in Photoshop. The right-hand image has had some sharpening applied in Photoshop. The out-of-the camera images are a little soft at the default sharpening setting and benefit from some further sharpening in a program like Adobe Photoshop. You can change the in-camera sharpening level via the Picture Adjust menu option.

Original (100% Crop)	Sharpened (100% Crop)

Chromatic Aberrations

The Panasonic Lumix DMC-FS30 handled chromatic aberrations very well during the review, with limited purple fringing present around the edges of objects in certain high-contrast situations, as shown in the example below.

Example 1 (100% Crop)

Macro

The Panasonic Lumix DMC-FS30 offers a Macro setting that allows you to focus on a subject that is 5cms away from the camera when the lens is set to wide-angle. The first image shows how close you can get to the subject (in this case a compact flash card). The second image is a 100% crop.

Macro Shot	100% Crop

Flash

The flash settings on the Panasonic Lumix DMC-FS30 are Auto, Auto/Red-eye Reduction, Forced On, Slow Sync./Red-eye Reduction, Forced Off. These shots of a white coloured wall were taken at a distance of 1.5m.

Forced Off - Wide Angle (28mm)	Forced On - Wide Angle (28mm)
Forced Off - Telephoto (224mm)	Forced On - Telephoto (224mm)

And here are some portrait shots. As you can see, neither the Flash On or the Auto/Red-eye Reduction settings caused any red-eye.

Forced On	Forced On (100% Crop)
Auto/Red-eye Reduction	Auto/Red-eye Reduction (100% Crop)

Night

The Panasonic Lumix DMC-FS30's maximum shutter speed is 60 seconds in the Starry Sky mode, which is great news if you're seriously interested in night photography. The shot below was taken using a shutter speed of 8 seconds at ISO 80. The camera takes the same amount of time again to apply noise reduction, so for example at the 15 second setting the actual exposure takes 30 seconds.

Night Shot	Night Shot (100% Crop)

Sample Images

This is a selection of sample images from the Panasonic Lumix DMC-FS30 camera, which were all taken using the 14 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Sample Movie & Video

Product Images

Front of the Camera

Front of the Camera / Lens Extended

Isometric View

Isometric View

Rear of the Camera

Rear of the Camera / Image Displayed

Top of the Camera

Bottom of the Camera

Side of the Camera

Side of the Camera

Memory Card Slot

Battery Compartment

Conclusion

So apart from the smaller screen, lack of touch panel operation, and slightly different button layout at the back, the Panasonic FS33 and FS30 are one camera and the same, with a modest price difference. For a manufacturer's suggested £179.99 and with street costings undoubtedly better still, we'd argue it is hard to go wrong if choosing the FS30/FH20 as your travel companion this summer.

Reliably consistent images are delivered with minimal fuss. The advantages of having a higher 14 megapixel resolution won't be lost on the mass market, and the 8x zoom reach is perhaps even more useful as regards offering a greater variety of creative framing options than you'd normally expect from sub £200 snapper. Shame perhaps that although it offers HD movies it doesn't feature any HDMI output for hooking directly up to your flat panel TV, and also that the zoom stays fixed in place in video mode once recording has commenced, but then if there weren't these omissions we'd have very little to grumble about.

So while photo enthusiasts will inevitably want to cast their steely gaze elsewhere, for £179 the DMC-FS30 feels good value indeed and will more than satisfy those users looking for a portable pocket camera for their travels - and who are content to simply point and shoot in the main.

Ratings (out of 5)
Design	4
Features	4
Ease-of-use	4
Image quality	4
Value for money	5

Review Roundup

Reviews of the Panasonic Lumix DMC-FS30 from around the web.

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