Viewfinder (2.5)
The Canon S2 does come with an electronic color viewfinder which gives 100% coverage of the field of view. While it is often fortunate to have an electronic color viewfinder when the batteries are running low or when shooting in complicated lighting, the quality on this viewing window is terrible. The image is horribly pixillated, frequently to the point of being unusable. Also, the substantial eye cup is both hard and uncomfortable and it would be inadvisable to use when jostling is possible. Users can adjust the viewfinder to match their personal vision using the dioptric adjustment located to the left of the viewfinder frame; however, this won’t do anything to help the poor quality of the image.

LCD Screen (6.0)
The LCD display on the Canon PowerShot S2 has been improved from the LCD on the S1, but it still seems a bit substandard in terms of basic capabilities. The S2’s screen was bumped up to 1.8” diagonally from the 1.5” screen on the S1, but still only has 115,000 pixels.

Like the S1 screen, the S2 screen flips out and rotates 270 degrees in a camcorder-esque fashion. This allows for the LCD monitor to be locked into the back of the frame, facing inwards to protect the screen or outwards to show images. It is framed by the solid (gray plastic) backdrop. The rotating mobility of the screen will help in difficult shooting situations where the user is placed in a compromised angle or position and needs the screen to be perpendicular to the front lens element – typically when at an extreme low angle or bird’s eye perspective. This flexibility is also a bit of a necessity as the S2’s LCD screen has a limited angle of view and solarizes easily.

Canon also added a “night display” feature to brighten the projected image and increase visibility in low light. This feature actually seemed to work pretty well, as insufficient brightness was never an issue for me while using the camera; however, no amount of illumination can aid poor image quality and ultimately, while the flexibility of the moving screen and bright projection proved helpful, the dismal resolution does not offer anywhere near an acceptable means of reviewing images. However, the detrimental image quality is not an overwhelming issue when the LCD is used as a viewfinder; the lack of resolution should not impair the user’s ability to observe the general scene and compose the shot.

Flash (8.0)
Automatic users beware – even though the camera will handle the illumination settings and strength/volume, users will have to manually open the flash casing each time they wish for it to be used in the shot. This may present an issue to those automatic users who are accustomed to the camera handling this function for them. For some, they will adapt, while others will likely become frustrated when they keep getting underexposed images and wonder why their flash is not compensating.

The +/- 2 flash compensation option is a significant benefit to users. The change from -2 to +2 is dramatic. When shooting at -2, even at fairly close range (5-10 ft.), the illumination is soft and can be used somewhat atmospherically. Since the S2’s stock flash cannot be bounced, the linear power controls are the only way for users to control the artificial lighting emitted from the in-camera unit and supply a bit of ambiance. At that same distance, images shot with the flash set to +2 were glaring and obviously blown out. Available flash settings include Auto, Red-Eye Reduction, and Off, with flash compensation available in all applicable modes.

Canon quotes the S2’s stock flash unit as extending from 2.3-17.1 ft. (at full wide angle), 2.3-13.1 ft. (at full telephoto) in Normal shooting mode, dropping to 1.0-2.3 ft. in Macro mode at ISO 100.

Users should note that Canon also sells an add-on slave flash (the HF-DC1), with a guide number of 18 (ISO 100 meters), that approximately doubles the range of the built-in unit and provides far more versatility in attainable quality of light.

Lens (9.25)
The PowerShot S2 features an optically stabilized 12x optical zoom lens, obviously crafted by Canon. The lens has been extended from the 10x optical zoom range on the S1 to cover an equivalent focal range of 36-432mm (35mm equivalency). Canon has also incorporated a UD (Ultra Low Dispersion) lens element to reduce chromatic aberration and improve image quality.

The S2’s zoom mechanism is powered by an Ultra Sonic Motor (USM), which is designed to offer quick and responsive autofocus while maintaining a smooth transition across the focal range. After a brief period of familiarization and increased comfort with the feel of the camera’s rotating zoom dial, users will be able to accurately control the zoom speed and attain the desired focal length. When the zoom is held in one direction, the lens moves quickly, but can be made to render subtle alterations in focal length once users get a feel for the control.

While the 12x zoom range has become a prerequisite for this year’s elite ultra zoom category, the true staple is the inclusion of optical image stabilization. The top three ultra zoom offerings are commonly believed to be the Panasonic Lumix FZ5, Sony Cyber-shot H1, and Canon PowerShot S2, all of which contain optically stabilized 12x optical zoom lenses equivalent to 36-432mm (35mm format). However, Canon went a bit beyond to include four manually alterable IS settings on the S2. They are Continuous, Shoot Only, Panning, and Off. This was not included on the previous PowerShot S1 IS and provides users with an additional element of control. The function is unfortunately tucked away within the main menu and could have been more logically placed alongside the MF and Macro mode buttons on the left side of the lens barrel; however, the S2 does compensate to some extent by offering users customizable shortcuts to commonly used settings and options.

In use, the S2’s lens was solid. It takes a bit longer to focus when zoomed in, displaying a slight focusing lag, but is still pretty quick for this type of camera – even in its most compressed view. The automatic focusing speed and precision is an undeniable improvement over the original S1 and is impressive for this camera styling.

The S2 is the only camera of the three major ultra zoom models to retain its optical zoom capabilities in video recording. The distinction between Canon and Leica (as offered on Panasonic models) glass is a bit blurred and may come down to personal preference; however, both optical offerings significantly surpass Sony’s self-manufactured lens on the H1, which is surprisingly not manufactured by Carl Zeiss, their usual optical affiliate. In terms of speed and low light capabilities, the Canon S2 has a slight edge over the competition with an f/2.7 maximum aperture opening at its widest angle of view, while the other two models open to f/2.8. However, the Panasonic FZ5 has a bit of an edge in telephoto mode with an f/3.3 max aperture, while the PowerShot S2 opens to f/3.5 and the Cyber-shot H1 to f/3.7.

The stabilized 12x lenses are the true gems of these ultra zoom offerings. The 36-432mm variable focal length lens offers far more shooting versatility and optical quality than any of the kit lenses that can come packaged with entry-level SLRs and saves users a great deal of money. To buy an equivalent image stabilized zoom lens for any of those low-end DSLRs, users will have to spend well more than the cost of this entire ultra zoom package. While image quality is not quite there, this lens is impressive.

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