Panasonic Lumix DMC-TZ6 Review

April 8, 2009 | Gavin Stoker | Rating star Rating star Rating star Rating star


The Panasonic Lumix DMC-TZ6 (also known as the DMC-ZS1 in the USA) is a new ultra-compact super-zoom camera, offering a 10 megapixel sensor and 12x, 25-300mm optical zoom lens. The TZ6 is the cheaper brother of the TZ7 model, which additionally features HD movies with enhanced sound recording, Intelligent Auto mode for movies as well as still images, and a larger 3 inch LCD screen. That doesn't mean that you should instantly discount the more affordable TZ6. It offers exactly the same incredible lens, the addition of AF tracking and Face Recognition to the Intelligent Auto mode, and reliable optical image stabilisation system, plus it features the Venus Engine IV processing engine and WVGA (848x480) movies. Priced at £269 / $299 and available in silver or black, is the Panasonic Lumix DMC-TZ6 a real alternative to the £80 / $100 more expensive TZ7 model, and can it give rival travel zoom cameras a run for their money? Carry on reading to find out...

Ease of Use

With its TZ series Lumix cameras Panasonic has pioneered the inclusion of broader focal ranges than usually offered by a digital compact. In practice this has made them most apt for candid and (amateur) wildlife photography, school sports days (at a push) at maximum zoom, plus landscapes at the wider end. Panasonic has done this while delivering a small-ish form factor that, while no match for the sleek (Canon) IXUS's or (Nikon) Coolpixes of this world, is still compact enough to slip into your jacket's inner pocket.

The 10.1 megapixel DMC-TZ6 is the latest example, and, like its TZ7 big brother announced in tandem (which adds AVCHD-format High Definition video, as opposed to the TZ6's sole Motion JPEG format), this camera boasts a wide-angle Leica-branded 12x optical zoom equivalent to 25-300mm in 35mm terms. This has been achieved, says its manufacturer, courtesy of a lens construction comprising 10 elements in 8 groups, including two ED lenses and two aspherical lenses with three aspherical surfaces. With that whopping range in mind Panasonic is ambitiously pitching the TZ6 as your perfect travel companion - despite the fact that it can't also play your MP3's or carry your suitcases.

For an asking price of £265 / $299, the TZ6 features the company's beginner friendly iA (intelligent auto) functionality also found on the higher-end G1/GH1, which automatically adjusts settings dependant on the subject the camera is presented with (for example choosing 'macro' when faced with a flower). It also has much needed optical image stabilization (Mega OIS) on board to avoid blurred images when shooting handheld in dim lighting without flash or at the telephoto end of the zoom.

New this time around is an AF tracking function that allows the user to lock the focus on a moving subject and keep it there without needing to keep the shutter release button half depressed, plus an automatic backlight compensation function that adjusts exposure if a subject is in danger of being thrown into silhouette. Face detection has also been tweaked so that the TZ6 can now lock onto target even if said visage is turned sideways to the lens. The combination of the above pretty much allows for simple, point and shoot operation.

For those looking to use the 300mm equivalent telephoto end for wildlife or sports photography, the TZ6 offers a continuous shooting speed at maximum image quality of 2.5 frames per second. Though that's so-so, if rapidity of capture outweighs detail required, then a High Speed Burst mode ups this to between 6.5 and 10 fps, resolution dropping to 3MP for standard 4:3 ratio images. Thankfully if wanted the user can keep shooting sequentially until the card is full.

With a construction of metal and plastic, like the FX150 we rated last month the TZ6 subconsciously suggests its asking price is about right by feeling reassuringly solid in the palm with lithium ion battery and optional SD (or higher capacity SDHC) media card loaded. Practically speaking, a raised vertical sliver at the front of the rounded grip provides a means of purchase for the fingertips with the camera gripped in the right hand, while the thumb comes to rest on nine raised nodules forming a square at the back. On the whole the camera's design is attractive, though conservatively so, our review sample blending silver and grey with standard rectangular dimensions. Surely, Panasonic seems to be saying, the fact that we've crammed a lens this large into a body this diminutive is enough?

Panasonic Lumix DMC-TZ6 Panasonic Lumix DMC-TZ6
Front Rear

Unlike the higher resolution, physically smaller (and approximately £30 more expensive) FX150 however, the TZ6 omits fancy tricks like that camera's 'E.Zoom' button that propels the lens from maximum wideangle to telephoto. That's not to suggest the TZ6 is frill-free in comparison, though the 'extra optical zoom' function that extends the range to a 21.4x equivalent by utilising the central portion of its CCD – in effect a crop with a resultant resolution drop to three megapixels – is probably best avoided.

With its appearance obviously dominated by the wide-angle lens, the TZ6 does however present an unthreateningly clean faceplate to the user, the full extent of the zoom hidden within the body when not in use. Top right of this is a pinhead-sized window that (typical for this class of camera) doubles up as the self-timer indicator and AF assist lamp. Top left of the lens is a lozenge-shaped sliver for the built-in flash, and, apart from the 'L' for Lumix logo and mirrored sliver of metal running from top to bottom on the rounded grip to the left, that's it for detailing on the front of the camera.

Moving to the TZ6's top plate, matters get a little more interesting, with, set into a different coloured silver-grey strip we find a rangefinder-alike mode dial nestling next to a shutter release button with just the right amount of 'give', itself encircled by a spring-loaded rocker switch for controlling the zoom. A small on/off power switch comes next and is partly recessed, with a raised lip providing sufficient purchase for a fingernail. Flick this to 'on' and the compact powers up for action in two seconds, the rear 2.7-inch, 230k dot LCD blinking into life as the lens extends to maximum wide angle setting in anticipation of the first image capture.

As with most consumer cameras nowadays, no optical viewfinder is provided as a power-saving alternative to deploying the LCD 24:7; the screen's performance is as acceptable as any when shooting in daylight, though despite Panasonic's claim for it automatically adjusting its backlight dependant on surrounding ambient levels, when outdoors you still find yourself cupping a hand around the screen to properly scrutinize whether the desired result has been achieved.

Give the shutter release button a squeeze however and the camera is quick to determine focus and exposure and fairly accurate it is too. That being said, in my coming to use the TZ6 (unfairly) immediately after the Nikon D3x DSLR, you realize it's not lightning fast by any means. The shutter delay as you go on to take the shot however is indiscernible, while a full resolution, least compression JPEG is written to memory in around three seconds, the screen freezing whilst this is taking place. Again, this is hardly class leading but perfectly adequate for the happy snapper market, processing handled (among other tasks) by the camera's Venue Engine IV, the same processor found in the FX150.

The zoom action itself is smooth and steady, sound tracked by only the faintest of mechanical noise, with the transition from maximum wide angle to telephoto setting taking just three seconds if holding down the lever. Adjacent to the on/off switch is a mono microphone for recording sound alongside video clips, while a built-in mono speaker concludes the features found on the camera's top plate.

Panasonic Lumix DMC-TZ6 Panasonic Lumix DMC-TZ6
Front Top

Moving back to study the rather loose-feel shooting mode dial in more detail, the user first has the choice of aforementioned intelligent auto mode. Press the menu button at the rear when in this mode and access is provided to the pared down record folder options of picture size, single or sequential shooting, plus colour mode – the choices here being black and white or sepia alongside standard colour. The set up menu can also be accessed, though this too is drastically simplified, only allowing the setting of the camera's internal clock, turning off the operational 'beep' and selecting language.

The option that follows next on the dial is 'normal' picture mode (regular auto mode), the AF point/s highlighted in green when focus/exposure is determined with a half press. The menu folder options in this mode are more expansive, with the user being able to select an intelligent ISO option – limited to ceilings of either ISO 400, ISO 800 or ISO 1600 max – alongside the full manually selectable gamut of ISO 'proper', running from ISO 80 up to ISO 1600.

White balance, metering mode (multi segment, centre weighted or spot) are also capable of being manually tweaked, the image aspect ratio can be switched from 4:3 to 3:2 or to a widescreen 16:9, while 'intelligent exposure' can be turned on or off as desired. Within the set up menu folder the regular suspects are found – including the ability to call up a compositional grid onscreen or a live histogram to check exposures before firing the shutter.

Next around the dial denoted by the letters 'MS' is a 'MyScene' mode; as it sounds this allows the user to assign the most frequently-used scene mode option to this setting – very probably portrait or landscape give the camera's consumer market – and therefore instantly recall it with a twist of the dial. This setting feels slightly superfluous however, as next around the dial is the complete range of scene modes, providing the user with two screens' worth of cartoonish, icon-led options. Whichever option you've selected last will be there again when you come back to that mode. Like Olympus' E-30 with its choice of selectable art filters, the TZ6 has added film grain and pinhole camera a-like options to the 27-strong mix, that equally unusually includes a starry sky option along with not one but two separate baby settings that allow name and age to be assigned to an image. Both these settings use a weak burst of flash to bring out flesh tones.

Continuing anti clockwise around the mode dial we reach the grandly named motion picture mode. Though it doesn't go the whole hog and offer full HD movies, the TZ6 does boast a wider-than-average choice of 16:9 ratio WVGA (848x480 pixels), VGA (640x480), or QVGA (320x240) resolution movies at a respectable 30 frames per second. Even better, the full extent of the optical zoom can be accessed when shooting movies, making it as versatile (almost) as a lower end camcorder – the image at maximum zoom commendably wobble free when shot hand held as our test videos, um, testify.

The last dedicated mode on the dial is, rather bizarrely, a 'clipboard' option for taking low-resolution snaps of maps and timetables to avoid the need to make handwritten notes or doodles when in transit. These images are saved automatically to the 40MB internal memory. It's the kind of feature normally ferreted away amongst the rest of the scene modes on other compacts, but here given pride. I suppose it helps give added credence to Panasonic's 'perfect travel companion' claim for the TZ6.

Panasonic Lumix DMC-TZ6 Panasonic Lumix DMC-TZ6
Memory Card Slot Battery Compartment

We move next to the TZ6's back plate, and, with the 2.7-inch screen taking up two thirds of the 'real estate' we are presented with some plastic, surely unnecessarily small buttons and controls ranged to the right. At the extreme right top hand corner is a record/play slider switch for alternating between image capture and review. Unfortunately should a possible image suddenly present itself whilst you're in the midst of reviewing shots, a simple press of the shutter release button won't throw the user back into capture mode: you have to physically change the setting; by which time the giraffe in question will have trotted off. Below this control is an easily overlooked pinprick for the status indicator light; it's easily overlooked because its position on the camera back means that it's almost certainly obscured by your thumb when shooting.

The main focus of attention for the user is therefore the four-way directional control pad requiring fingertip operation just below, with familiar menu/set button at its centre. Used in the main to tab through onscreen menu items or images in playback, the set up here is the same as that of Panasonic's FX150: a press of the top button set at 12 o'clock when in capture mode brings up an exposure compensation slider on screen with the ability to adjust between +/- 2EV.

The button directly beneath is for switching to macro mode for shooting subjects as close as 3cm, the button on the left for selecting self-timer modes, while the one to the right of the menu/OK button is for selecting flash mode options. In iA mode the user is merely confronted with the ability to turn auto flash on or off, while if turning the shooting mode dial to 'normal' capture, a wider variety of five flash choices are offered: auto, auto with red eye reduction, forced flash, slow sync with red eye reduction or off. Press the centrally located 'menu' button within capture mode and, as mentioned previously, shooting and set up folders appear in tandem onscreen, each option clearly spelt out to the viewer/user.

The final two buttons at the rear of the TZ6 are the same as those found on Panasonic's FX150 and FX35 compacts; marked with the self explanatory 'display' and the less familiar ''. The second right hand control is not a 'quality' menu as first might be assumed, but a 'quick menu' that summons up a drop-down toolbar running across the top of the LCD screen. As it indicates, this allows rapid access to the likes of white balance and resolution without having to otherwise navigate separate menu folders, a bit like the dedicated 'F' mode found on Fuji compacts, but more expansive. It's intuitive to use too, an adjective that could be applied to operation of the user friendly TZ6 as a whole.

Moving to the base of this latest Lumix we find the expected screw thread for a tripod, plus a covered compartment with sliding catch housing both the rechargeable lithium ion battery and optional media card. The pack supplied provides a CIPA certified 320 shots from a single charge which is slightly better than average, though not the very best. While the left hand flank of the camera – if still viewing it from the back – is devoid completely of controls, the right hand side by contrast features a door covering a compartment housing a slot for the combined USB/AV lead supplied in the TZ6's box. There's space beside it for the HDMI port supplied on the TZ7, but no such feature is provided here, leading this reviewer to ascertain that this camera is simply a pared-down version of its bigger brother, using the same shell and outer chassis.

That's not to say the TZ6 isn't worth closer examination in its own right. Indeed, having such a broad focal range on offer shouldn't be underestimated – there's always some action happening in the distance that would otherwise be missed if not for such a reach, and being able to get in closer also avoids the need to otherwise crop and so lose out on resolution. But what of the images themselves – has cramming such a broad focal range into a small space resulted in acceptable if inevitable compromises, an unparalleled performance, or delivered a dud?

Image Quality

All of the sample images in this Review were taken using the 10 megapixel Fine JPEG setting, which gives an average image size of around 5.5Mb.

Thanks to some early spring sunshine in the UK we were able to test the Panasonic Lumix DMC-TZ6 under seemingly ideal photographic conditions. As we've found with previous generations of Lumix models, bright, colourful and moreover crisp images are delivered on a consistent basis. While a trained eye would find them inevitably benefiting from an application of Photoshop's Unsharp Mask on occasion – particularly those taken at the full extent of the zoom – most 'happy snappers' would be more than comfortable with the results straight out of the TZ6. A tweak in Levels is also beneficial, as, if faced with a particularly bright scene the camera will tend to underexpose to preserve highlight detail, which is just as you'd want. While there is slight barrel distortion when shooting at maximum (25mm equivalent) wide angle, this again is at a level we can live with.

I shot still images using a mixture of settings, alternating in the main between intelligent auto mode and 'normal' auto mode. The former seems to make a particularly accurate fist of it when presented with close ups – automatically selecting macro setting, which, as it allows the user to get as close as 3cm from the subject and still get a sharp result, proves one of the camera's most useful features. The fact that operation is pretty much point and shoot all the way lets the user also concentrate more on getting a decent composition rather than fiddling around with on-camera settings. Like our review of the DMC-FX150 model, we found that low light interior shots without flash still suffered from softness even with optical image stabilisation on board – though its performance was no better or worse than image stabilised rivals in this price bracket, and, in truth, you will still be left with a higher proportion of focused shots than fuzzy ones. Instances of pixel fringing are noticeable when zooming in on areas of contrast, but these again are subtler than such aberrations delivered by the likes of Sony's Cyber-shot range say.

As for light sensitivity settings, and by way of confirming its beginner friendly snapshot status, auto ISO gets it spot on. Though noise starts to creep in within shadow areas of an image from ISO 400 upwards, it's well controlled; the differences between results at that lower setting and (a softer) ISO 800 only noticeable with particular scrutiny. The gradual deterioration in sharpness from that up to ISO 1600 is more pronounced – detail is readily softer without the need to zoom in on your desktop and scrutinize closely, while noise levels resemble a portable TV set with weak reception. While it won't deliver keepers 100% of the time, there are in our experience no other digital compacts that will, and, if there's plenty of light around with the DMC-TZ6 the results you desire can be achieved.


There are 6 ISO settings available on the Panasonic Lumix DMC-TZ6. 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)


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. Unfortunately you can't change the in-camera sharpening level.

Original (100% Crop)

Sharpened (100% Crop)


Chromatic Aberrations

The Panasonic Lumix DMC-TZ6 handled chromatic aberrations excellently during the review, with very limited purple fringing present around the edges of objects in certain high-contrast situations, as shown in the example below.

Example 1 (100% Crop)


The Panasonic Lumix DMC-TZ6 offers a Macro setting that allows you to focus on a subject that is 3cms 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


The flash settings on the Panasonic Lumix DMC-TZ6 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 (25mm)

Forced On - Wide Angle (25mm)

ISO 64 ISO 64

Forced Off - Telephoto (300mm)

Forced On - Telephoto (300mm)

ISO 64 ISO 64

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)


The Panasonic Lumix DMC-TZ6's maximum shutter speed is 60 seconds in the Starry Sky Mode scene mode (there are also 15 and 30 second options) and 8 seconds in the Night Scenery mode, which is good news if you're seriously interested in night photography. The shot below was taken using a shutter speed of 1/8th seconds at ISO 800. I've included a 100% crop of the image to show what the quality is like. 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-TZ6 camera, which were all taken using the 10 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Sample Movie & Video

This is a sample movie at the quality setting of 640x480 at 30 frames per second. Please note that this 31 second movie is 45Mb in size.

Product Images

Panasonic Lumix DMC-TZ6

Front of the Camera

Panasonic Lumix DMC-TZ6

Isometric View

Panasonic Lumix DMC-TZ6

Isometric View

Panasonic Lumix DMC-TZ6

Rear of the Camera

Panasonic Lumix DMC-TZ6

Rear of the Camera / Image Displayed

Panasonic Lumix DMC-TZ6

Top of the Camera

Panasonic Lumix DMC-TZ6

Bottom of the Camera

Panasonic Lumix DMC-TZ6

Side of the Camera

Panasonic Lumix DMC-TZ6

Side of the Camera


Panasonic Lumix DMC-TZ6

Top of the Camera

Panasonic Lumix DMC-TZ6

Memory Card Slot

Panasonic Lumix DMC-TZ6

Battery Compartment


With its largely frill-free feature set – which Panasonic has bizarrely seen fit to overcomplicate (or perhaps more accurately 'pad out') with MyScene modes and Clipboard modes – the Lumix DMC-TZ6 is admittedly more a camera for the happy snapper than the photo enthusiast – and in summary comes across as even more 'family friendly' than the higher resolution and RAW shooting (but not as large lens sporting) Lumix FX150, retailing for £299. However the lens reach provided by the TZ6 shouldn't be sniffed at. A 300mm equivalent telephoto end is perfect for candid snapshots, amateur wildlife or events photography in particular and 25mm ideally suited to landscapes at the wide end, while its total range offers greater flexibility for creative framing in general.

Size wise, it's not much larger than a standard 3x optical zoom compact, so arguably you may as well go for the broader focal range offered here. Nobody ever says 'I wish I had a smaller zoom', and here that lens is its biggest selling point, since its other headline feature of a 10 megapixel resolution has rapidly become the entry-level for dedicated digital compacts in light of the advance of the camera phone. That's not to say that the images it delivers disappoint; for the most part they are as crisp and colourful as we've ascertained. As with previous Lumix generations, the DMC-TZ6 feels well built for its own £265 / $299 asking price that, while not the cheapest, nevertheless feels fair.

4 stars

Ratings (out of 5)
Design 4
Features 4
Ease-of-use 4.5
Image quality 4
Value for money 4

Review Roundup

Reviews of the Panasonic Lumix DMC-TZ6 from around the web. »

The Panasonic Lumix DMC-TZ6 not only does more than you could possibly expect from any pocket-sized camera, it does it spectacularly well. Other cameras may be smaller, cheaper or offer more manual control, but, as a package, the TZ6 provides unparalleled practicality, versatility and quality.
Read the full review »



Camera Effective Pixels 10.1 Megapixels
Sensor Size / Total Pixels / Filter 1/2.5-inch / 10.3 Total Megapixels / Primary Colour Filter
Aperture F3.3 - 4.9 / Iris Diaphragm (F3.3 - 6.3 (W) / F4.9 - 6.3 (T))
Optical Zoom 12x
Focal Length f=4.1-49.2mm (25-300mm in 35mm equiv.)
Extra Optical Zoom (EZ) 14.3x (4:3 / 7M), 17.1x (4:3 / 5M), 21.4x (under 3M)
Lens LEICA DC VARIO-ELMAR / 10 elements in 8 groups / (2 Aspherical Lenses / 3 Aspherical surfaces, 2 ED lens)
2-Speed Zoom Yes
Optical Image Stabilizer MEGA O.I.S. (Auto / Mode1 / Mode2)
Digital Zoom 4x / ( Max. 48.0 x combined with Optical Zoom without Extra Optical Zoom ) / (Max.85.6x combined with Extra Optical Zoom)
Focusing Area Normal: Wide 50cm/ Tele 200cm - infinity / Macro / Intelligent AUTO / Clipboard : Wide 3cm / Max 200cm / Tele 100cm - infinity
Focus Range Display Yes
AF Assist Lamp Yes
Focus Normal / Macro, Continuous AF (On / Off), AF Tracking (On / Off), Quick AF (On / Off)
AF Metering Face / AF Tracking / Multi (11pt) / 1pt HS / 1pt / Spot
Shutter Speed 8-1/2000 sec (Selectable minimum shutter speed) / Starry Sky Mode : 15, 30, 60sec.


Optical Image Stabilizer Photo & Movie
Intelligent ISO Control Photo
Face Detection Photo
Intelligent Scene Selector Photo (Portrait, Scenery, Night Portrait, Night Scenery, Macro),
Intelligent Exposure Photo
AF Tracking Photo
Digital Red Eye Correction Photo
File Format Still Image: JPEG (DCF / Exif2.21) / Image with Audio: JPEG (DCF / Exif2.21) + QuickTime / Motion picture: QuickTime Motion JPEG
Mode Switch [Recording] / [Playback]
Mode Dial Intelligent AUTO, Normal Picture, MySCN, SCN, Motion Picture, Clipboard
Still Picture Scene Mode Portrait, Soft Skin, Transform, Self-Portrait, Scenery, Panorama Assist, Sports, Night Portrait, / Night Scenery, Food, Party, Candle Light, Baby1, Baby2, Pet, Sunset, High sensitivity, / Hi-Speed Burst (Image Priority / Speed Priority), Flash Burst, Starry Sky, Fireworks, Beach, Snow, / Aerial photo, Pinhole, Film Grain, Underwater
Continuous Shooting Mode Full-Resolution Image, 2.5 frames/sec Max. 5 images (Standard mode), Max 3 images (Fine Mode) / High-speed Burst Mode: approx. 6.5 frames/sec (image priority) approx. 10 frames/sec (speed priority) (recorded in 3M for 4:3, 2.5M for 3:2, 2M for 16:9)
Unlimited consecutive shooting 2.0 frames/sec
Motion Picture Recording [4:3]VGA: 640 x 480 pixels, 30fps (Motion JPEG) QVGA: 320 x 240 pixels, 30 fps (Motion JPEG) / [16:9]WVGA: 848 x 480 pixels, 30 fps (Motion JPEG)
Exposure Program AE
Exposure Compensation 1/3 EV step, +/-2 EV
Backlight Compensation Yes (only in Intelligent AUTO mode)
Auto (AE) Bracketing '+/- 1/3 EV ~1EV step, 3 frames
Light Metering Intelligent Multiple/ Center Weighted/ Spot
ISO Sensitivity Auto / 80 / 100 / 200 / 400 / 800 / 1600 High Sensitivity (ISO 1600-6400)
Aspect Ratio 4:3 / 3:2 / 16:9
Still Picture Recording [4:3] 3648 x 2736 (10M) / 3072 x 2304 (7M EZ) / 2560 x 1920 (5M EZ) / 2048 x 1536 (3M EZ) / 1600 x 1200 (2M EZ) / 640 x 480 (0.3M EZ) / [3:2] 3648 x 2432 (9M) / 3072 x 2048 (6M EZ) / 2560 x 1712 (4.5M EZ) / 2048 x 1360 (2.5M EZ) / [16:9] 3648 x 2056 (7.5M) / 3072 x 1728 (5.5M EZ) / 2560 x 1440 (3.5M EZ) / 1920 x 1080 (2M EZ)
Image Quality Fine / Standard
White Balance Auto / Daylight / Cloudy / Shade / Halogen / White Set / White Balance Adjustment (±10steps, except for auto set) / (Selectable at Portrait, Soft Skin, Transform, Self-Portrait, Sports, Baby, Pet, High Sensitivity, Highspeed Burst, Pinhole, Panorama Assist mode?
Quick Menu Yes
Colour Mode Standard, Natural, Vivid, Black & White, Sepia, Cool, Warm
Still Image with Audio Recording 5 sec
Audio Dubbing Max. 10sec
Real-time histogram Yes
Composition Guide line Yes (2 patterns)
Auto Review 1sec, 2sec, Zoom, Hold
Review Yes
Easy Zoom / Zoom Resume No / Yes
Optical Zoom in Motion Picture Yes
Zoom Macro Yes
Orientation Detector Yes
Scene Mode Help Screen Yes
Self Timer 2sec / 10sec
Focus Icon Select No


Playback Mode Normal Playback, Slideshow, Mode Playback, Category Playback, Favourites Playback
Thumbnails / Zoomed Playback 12,30-thumbnails / Max 16x
Calender Display / Dual-Image Playback Yes / No
Set Favorites / Rotate Image Yes / No
Playback Still Images with Audio Yes
Playback Motion Picture Yes (Motion JPEG)
Slideshow Mode All / Still Images Only / Motion Picture Only / Favourites / Category / BGM Effect (Natural / Slow / Swing / Urban / OFF)
Show Histogram Yes
Delete Image Single / Multi / All / All except Favourites
DPOF Print Setting / Set Protection Yes / Yes
Resize / Trim / Aspect Conv. / Leveling Yes / Yes / No / Yes
Copy / Title Edit/ Text Stamp Yes / Yes / Yes
PictBridge Support Single / Multi / All / Favourites / DPOF


OSD language Japanese, English, German, French, Italian, Spanish
Travel Date / World Time Yes / Yes


LCD Monitor 2.7" TFT LCD Display (230K dots) / Field of View : approx. 100% / AUTO Power LCD mode, Power LCD mode, High angle mode
Built-in-Flash Auto, Auto/Red-eye Reduction, Forced On, Slow Sync./Red-eye Reduction, Forced Off 0.6 - 5.3m (Wide/ISO Auto), 1.0 - 3.6m (Tele/ISO Auto)
Recording Media Built-in Memory, SD Memory Card, SDHC Memory Card, MultiMediaCard (Still image only)
Built-in-Memory approx. 40MB
Microphone / Speaker Mono / Yes
Interface USB2.0 High speed / AV Output (NTSC/PAL or NTSC only) / DC Input (requires optional Multi Conversion Adapter)


Power ID-Security Li-ion Battery Pack (3.6V, 895mAh) (Included) / AC Adaptor (Input: 110-240V AC) (Optional)
Battery life (approx.) 320 pictures (CIPA Standard)
Included Software PHOTOfunSTUDIO v3.0 / ArcSoft (MediaImpression / Panorama Maker) / USB Driver, QuickTime
Standard Accessories Battery Charger, Battery Pack, Battery Case / AV Cable, USB Connection Cable, AC Cable / Hand Strap, CD-ROM
Dimensions(W x H x D) 103.3 x 59.6 x 32.8 mm (4.07 x 2.35 x 1.29 in)
Weight Approx. 206g (0.45 lb) Approx. 229g with Battery and SD Memory Card (0.50 lb)

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