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Panasonic Point and Shoot and Non-DSLR
Home > Digital Camera Reviews > Panasonic Digital Cameras > Panasonic Point and Shoot and Non-DSLR
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Panasonic Lumix DMC-FZ18 Digital Camera Reviewby Emily RaymondPublished on October 25, 2007
Back (8.25)
The right side of the camera looks familiar. It is also nearly identical to the FZ8. The only difference is the addition of a thumb grip on the back of the camera that is visible on this side of the FZ18. In front of that thumb grip is a chrome eyelet for the neck strap, and the rubber hand grip surface in front of that.
Two chrome neck strap eyelets flank the top of the Panasonic Lumix DMC-FZ18, which is oddly shaped. The lens barrel looks enormous when viewed from above. The flash component sits atop it. The viewfinder juts out from the flash component. Directly right of the viewfinder is the round mode dial. It has many more positions than the FZ8 including custom and several scene modes. To the right of the mode dial is the power switch with separate macro and AF/MF buttons above it. The FZ18 forgoes the image stabilization button that was included on the FZ8’s top; this trendy feature of yesteryear is now in the menu system, as it should be. At the apex of the hand grip is the domed shutter release button with a surrounding zoom ring.
Nothing exciting here. The bottom of the camera is quite thick. There is a metal tripod socket that is slightly off-center of the lens, which could make it tough to mount. Below the hand grip is a plastic friction grip door that covers the battery and memory card slots.
Color (11.07) To produce realistic, pleasing photos, a camera must be able to accurately reproduce color. We test color accuracy by photographing an industry standard GretagMacbeth ColorChecker chart and comparing the colors the camera reproduces with the known colors of the test chart. The ColorChecker chart consists of 24 tiles of colors from around the color spectrum, including common sky blues, foliage greens, and skin tones. The image below shows the colors the Panasonic FZ18 reproduces next to the actual colors of the ColorChecker. The outside squares show the colors the FZ18 reproduces, the inner squares show the actual colors of the chart corrected for exposure, and the inner, vertical rectangles show the chart colors at a perfectly even exposure. The FZ18 has most accurate colors when images are slightly underexposed.
We test resolution by photographing an industry standard resolution test chart at varied focal lengths, apertures, and shutter speeds. We run the images through Imatest to determine how sharp the camera is, and what settings produce the sharpest images. Imatest determines resolution in terms of line widths per picture height (lw/ph), which represent the number of equally spaced, alternating black and white lines that can fit across the picture frame before blurring.
Image “noise” is the grainy or splotchy effect you can sometimes see on your photos, especially in low light or shadow areas. Noise is created within the camera itself, an unavoidable byproduct of the camera’s electronics, similar in principle to the background hiss stereos produce. Unlike film grain, digital camera noise is almost always unwanted, as it often looks very ugly. We test noise levels by photographing our test chart under bright, even studio lighting at all ISO sensitivities. Imatest measures noise levels in terms of the percent of image detail it drowns out, usually ranging from 1 to 4 percent.
We also evaluate noise levels with cameras set to Auto ISO, under the same bright, even studio lighting used in the tests described above. The FZ18 chose ISO 125, which is a good choice for such bright lighting. The camera still produces a bit of noise, but it is hardly noticeable unless viewed very large. Its Auto noise score is about average for 2007 point-and-shoots.
The FZ18 has fantastic color accuracy, but this is only relevant when the camera is white balanced properly. All types of light sources have different color casts, and cameras must be able to adjust accordingly. To test white balance accuracy, we photograph the ColorChecker test chart under four types of light: flash, fluorescent, outdoor shade, and tungsten. The FZ18 has an Auto white balance setting and appropriate presets, and we put them both to the test. Auto (4.43) For a camera with such good color accuracy, the FZ18’s white balance accuracy is very disappointing. Using the Auto setting, the camera is mediocre under flash and fluorescent light, but very poor under outdoor shade and tungsten light. Tungsten light is often a major problem for cameras using Auto white balance, but the other light sources shouldn’t be such a problem.
Preset (6.31) Accuracy using the presets is a bit better, especially in tungsten light and outdoor shade, but still not nearly as accurate as we have seen in similar models. The flash preset was actually less accurate than the Auto setting, so keep this in mind when using flash. If you really need accurate white balance, use a white card and manually set the white balance. Also, this camera has the option of shooting in RAW, which means you can set the white point on your computer after you shoot.
Click to view the high-resolution image
We have seen how the FZ18 handles color accuracy and noise levels in bright studio light, but what about less-than-ideal shooting conditions? We test low light performance by photographing the ColorChecker at 60, 30, 15, and 5 lux. Sixty lux approximates the brightness of a room lit softly by two table lamps, 30 lux is as bright as a room lit by a single 40-watt bulb, 15 lux is as dim as a room lit by a television, and 5 lux is very dim and tests the limits of the sensor. All shots are taken at ISO 1600.
Color accuracy in low light suffers a bit, but is better than many cameras. Noise levels are quite high in low light at such a high ISO speed, which may occasionally be your only option to capture a dimly lit scene without blur or flash. The main problem with the FZ18 in low light is its inconsistent autofocus. At light levels of 30 lux and below, the camera can only lock focus about one-third of the time, regardless of the autofocus mode. This is incredibly frustrating, and means you’ll have to keep prefocusing your camera to capture a sharp photo. We didn’t see this problem in the camera’s predecessor, the FZ8, and the FZ18 scores significantly lower.
Dynamic range is a very important image quality factor that describes the range of tones a camera can discern. A camera with good dynamic range will be able to see more detail in dark parts of an image while keeping the bright parts of an image from being overexposed. Dynamic range has a more subconscious effect on a viewer than noise levels or resolution, but it is often the reason some photos look better than others, especially low ISO speed photos compared to high ISO speed photos. We test dynamic range by photographing a backlit Stouffer step chart at all ISO sensitivities. The Stouffer chart consists of a long row of rectangles, varying in tone from brightest white to darkest black. The more rectangles a camera can discern, the better its dynamic range.
Startup to First Shot (7.8) The FZ18 takes 2.2 seconds to turn on and take a shot. Shot-to-Shot (9.7) The camera has two Burst modes, Normal and Unlimited. In Normal mode, the FZ18 takes four shots, each 0.35 seconds apart. In Unlimited mode, it takes shots every 0.8 seconds until the card is filled. Shutter-Shot (9.0) When the shutter is held halfway down and the FZ18 is prefocused, there is no measurable lag. When the camera is not prefocused, it takes 0.3 seconds to fire a shot. Processing (7.2) The FZ18 takes 1.4 seconds to process a full resolution best-quality 3.8 MB photo taken at ISO 160. Video Performance (6.54) Bright Indoor Light – 3000 lux We record footage of our color charts under bright studio lights set to 3000 lux. Under bright light, the camera has poor color accuracy, though this is typical under tungsten lights with Auto white balance. Noise levels are very low.
Low Light – 30 lux In low light, color accuracy is far better, and noise levels stay quite low. This is a great camera for capturing videos of your friends at a club, or your family during a sunset.
Resolution We also record footage of our resolution test chart in Movie mode. The FZ18 resolves 230 lw/ph horizontally with 25 percent undersharpening, and 371 lw/ph vertically with 11.9 percent undersharpening. This undersharpening helps keep image artifacts out, but means the video won’t be nearly as sharp as it could be.
(100% crops) Outdoor Motion
[page title="Components"]
Using this extra optical zoom will not degrade the image quality; the picture will just be smaller than 8 megapixels. For those users who simply can’t resist degrading image quality, there is the standard 4x digital zoom available. The digital zoom can be turned on and off in the recording menu.
The left side of the FZ18 is slightly different from its predecessor too. The new model has a beveled edge instead of a crisp one, making it more comfortable for the left fingers to wrap around that side. The SLR-shaped Panasonic FZ18 feels great to handle with the rubber surfaces and contours. The controls are all nicely placed within reach of the thumbs and index finger. Control Button / Dial Positioning / Size (7.5)  The FZ18 may be shaped like an SLR but it doesn’t have the same controls. That said, it does have more controls than the average compact digital camera – it’s in that gray space between compacts and DSLRs. The controls are relatively small and scattered across the back and top surfaces of the camera body. There are a few designated buttons on the top and back, but there are multifunctional ones too. The four-way navigational control on the back accesses features in the Recording mode, but navigates through pictures in the Playback mode. The joystick on the back of the camera is used to adjust the manual exposure settings; unfortunately, the joystick is small and finicky. The mode dial on the top of the camera is large and chock-full of exposure modes. In addition to the standard exposure modes, Panasonic added more dedicated positions on the dial including Custom and four scene modes: Portrait, Scenery, Night Portrait, and Sports. The shutter release button is also on the camera’s top. It is nicely sized and framed within the zoom ring. The shutter release is problem-free, but the zoom ring is difficult to turn. Menu (7.5) The menu system is set up in the same way as in other Lumix digital cameras with the title of the menu at the top of the screen, the page number (e.g. ¼) in the upper right corner, and two tabs on the left side. The top tab has a camera icon and houses the Recording menu, while the bottom tab has an image of a wrench and opens the Setup menu. The menus are displayed in large text printed in capital letters. The selected item is highlighted by a yellow background. Navigational cues are printed along the bottom of the screen, but it’s intuitive to navigate with the multi-selector. When in the Manual mode and the menu/set button is pushed, the following Recording menu appears. A live preview appears behind the text for many of the menu items such as white balance and color effect.
The Setup menu is easy to access, but is a lengthy five “pages” (five screens of five options each) long.
The menu system isn’t the cleanest design out there, but it’s not terrible either. It is nicely divided into Recording and Setup menus, but then there are long lists to scroll through within those tabs. Some other digital cameras further organize the menus so that a particular feature is only a few pushes of a button away at all times. Ease of Use (7.25) The Panasonic Lumix DMC-FZ18 may look intimidating to some consumers because of its SLR-like shape, but it is just as easy to use as a point-and-shoot. It has an Auto mode along with a set of Scene modes, many of its controls are intuitively labeled (with the exception of the unlabeled joystick), handling feels good, and there is a nice large mode dial. The mode dial makes Shooting modes easily accessible, and the virtual mode dial that appears on the LCD screen (when the physical dial is turned) makes it easier to pick a mode while still looking from behind the camera rather than looking straight down on it.
Auto Mode (8.0) Panasonic made a few changes to its Auto mode. It nixed the Simple mode on the FZ8 and replaced it with an Intelligent Auto mode, a bit ironic because the Simple mode insulted people’s intelligence with its short, brightly colored and monosyllabic menu and tacky heart icon. The new Auto mode incorporates image stabilization, face detection, continuous autofocus, and the intelligent scene selector to properly expose images. For the most part, it works. Images taken in different types of light all turned out well. The menu is shortened in the Auto mode to include aspect ratio, picture size, stabilizer, and color effect options only. The flash and self-timer options on the multi-selector function on a limited basis (auto for the flash and only a 10-second self-timer is available). The exposure compensation’s +/- 2 range is simplified to an all-purpose “backlight” instead. Many of the buttons don’t work: the macro and manual focus aren’t available, for instance. Movie Mode (7.75) The Panasonic Lumix DMC-FZ18 has a great Movie mode that shoots standard and widescreen videos in Motion JPEG format. The Movie mode has its own position on the mode dial and is as easy to use as the Auto mode. Movies can be recorded at resolutions of 848 x 480, 640 x 480, and 320 x 240 pixels with frame rates of 30 and 10 fps available. The Recording menu is nicely populated with more options that enhance the image quality of the videos: white balance, white balance adjust, aspect ratio, picture mode (frame rate), metering, AF mode, stabilizer, continuous AF, AF assist, digital zoom, color effect, and conversion lens options are available. The 18x optical zoom lens unfortunately locks up when movies are being recorded. Digital zoom is still an option, but that’s never a very good option as it simply enlarges pixels and makes subjects look jagged and odd. The nonfunctional optical zoom was an issue on the Panasonic FZ8 too. Few ultra-zooms are like this. The Sony H7 and H9 have full access to their 15x lenses in the Movie mode, and the Canon S5’s 12x lens is fully functional while recording movies too. The Olympus SP-560UZ is somewhere in between; it locks its zoom when the audio is turned on, but allows the zoom to work in silent films. The Panasonic Lumix DMC-FZ18’s audio in the Movie mode isn’t very good. It sounds garbled and distant even when the speaker is only eight feet away. There are some limitations to the Movie mode in terms of what media it can record to. When recording to the internal memory, it can only shoot at its smallest 320 x 240-pixel size. The FZ18 can’t record movies to MMC cards, so if users plan to record lots of movies an SD or SDHC card is recommended. The Panasonic FZ18’s Movie mode tested very well producing great videos in many types of lighting. There are more details in the Testing/Performance section of this review. The movies can be played back in the camera with VCR-like control to fast forward and rewind. There is, however, no in-camera editing. They can also be played back on computers with QuickTime, which is included on the CD-ROM. In the end, the Panasonic FZ18 has an excellent movie mode. It has great exposure and can operate even in low light. Its resolution and frame rates are great for making smooth videos, and they can be recorded in widescreen format too. The image stabilization keeps the image from jumping all around. The only drawback to the FZ18’s Movie mode is that its 18x optical zoom lens doesn’t function while recording. Drive / Burst Mode (5.0) The Burst mode has a dedicated button to the lower left of the multi-selector. Normal and unlimited Continuous Shooting modes are available. The Normal mode snaps almost three frames per second (a shot every 0.35 seconds) for four shots in a row. This is a decent speed but the length of the burst isn’t impressive at all. For a longer burst, the unlimited mode is available. It is advertised as having a 2 fps speed but in testing it only took a picture every 0.8 seconds. It does, however, continue until the memory card is full. On the subject of memory cards, MMC media have slower operating speeds especially when shooting images continuously. There is a self-timer available from the left side of the multi-selector that accesses 2 and 10-second options. There is also an interesting triple self-timer that delays for 10 seconds and then takes three shots three seconds apart. When shooting large groups, this ensures capturing a photo with everyone’s eyes open. Playback Mode (7.0) The Panasonic FZ18 has a 2.5-inch LCD screen with plenty of room for playing back images, but its resolution isn’t the best on the market. The FZ18 has 207,000 pixels and most other similarly sized LCDs have 230,000 pixels. The FZ18’s screen isn’t as smooth, translating to jagged lines on subjects. It’s tougher to judge focus in these situations. The Playback mode has a position on the mode dial, although there is a faster “review” mode available from the bottom of the multi-selector. Using this button, pictures can only be scrolled through, magnified, and deleted. This makes it easy to check pictures right after taking them and still return to shooting images quickly. There are many more options in the Playback mode. Images can be magnified 4, 8, or 16x or displayed as thumbnail pages of 9 or 25 images. Pictures can also be displayed on a calendar. These different views are accessible by pushing the zoom ring around. Scrolling through images isn’t a quick process when viewing them individually – there isn’t a rotary dial and holding down one side of the multi-selector or joystick won’t go any farther than one image. Plenty more options are outlined in the Playback menu.
Deleting images is accomplished by pushing the button to the lower left of the multi-selector; images can be deleted individually, in batches, or all at once. This is a nice feature because it’s quick to scroll through thumbnails and mark them for deletion.
The Panasonic FZ18 has four “advanced scene modes” located on the mode dial. These provide additional specification and lead to better exposed images. Portrait, Scenery, Sports, and Night Portrait each have a sub-menu where users can choose what type of picture they’re planning on taking.
These are quite interesting and seem to work well. The standard Scene modes are crammed into a graphic-filled menu: Portrait, Scenery, Sports, Night Portrait, Food, Party, Candle Light, Sunset, High Sensitivity (3 megapixels), Baby 1, Baby 2, Pet, Pan, Starry, Fireworks, Beach, Snow, and Aerial Photo. The graphics in the menu are highlighted and move slightly when selected. For instance, the Candle Light mode shows flames shooting out of a candle-holder and High Sensitivity shows a ballet dancer pirouetting.
The Panasonic Lumix FZ18 has plenty of Scene modes, a fully Automatic mode, and more Manual modes: Program, Aperture Priority, Shutter Speed Priority, and Manual. Exposure compensation is available in the typical +/- 2 scale with steps of a third. For users who want to find just the right exposure and do it quickly, an auto bracketing mode can be accessed by pushing the top of the multi-selector. It shoots three pictures at +/- 1/3, 2/3, or 1 EV step. In the fully Automatic mode, there is only an all-purpose backlight compensation that brightens the image a bit. Users who want to monitor the exposure can view a live histogram along with full file info including the shutter speed and aperture.
The Panasonic FZ18 has the same metering options as its predecessor and many other compact digital cameras: intelligent multiple, center-weighted average, and spot. There isn’t a live view in the menu for this option, which makes it a bit harder to instantly judge the exposure. Shutter Speed (8.0) The Panasonic FZ18 has a shutter speed range typical of its class of digital camera. In the Manual mode, the shutter speed ranges from 60-1/2000th of a second. The Shutter Speed Priority mode offers an 8-1/2000th range while the Program mode shortens it even more to 1-1/2000th of a second. The shutter speed is manipulated with the joystick, which can switch between aperture and shutter speed by moving horizontally and then through the shutter speed range by moving vertically. In the Starry Sky scene mode, the shutter speed can be slowed to 15, 30, or 60 seconds.
The massive 18x optical zoom lens has a 10-step aperture range when the lens is zoomed to its widest 28mm. It maxes out at f/2.8, which lets in a good amount of light hit the image sensor. When the lens is zoomed in, the aperture shrinks to f/4.2, which is slightly larger than its competitors. For instance, the Olympus SP-560 and Fujifilm S8000fd both have a max f/4.5 aperture when their lenses are zoomed in. The Panasonic FZ18’s aperture shrinks as small as f/8. Users can scroll through aperture options in the Manual and Aperture Priority exposure modes with the joystick. This control switches from shutter speed to aperture by pushing left, then up and down through the aperture range.
[page title="Image Parameters"]
Images can be resized and trimmed in the Playback menu to any resolution smaller than the current image size. The file can be saved separately or simply replace the larger image.
Picture Effects Mode (7.0) There are several picture effects available, but they are hard to find. They are buried in the Recording menu under the Color Effect and Picture Adjust titles. The color effect offers cool, warm, black & white, and sepia filters and shows a live view. The picture adjust does not have a live view but shows full-step +/- 2 scales for contrast, sharpness, saturation, and noise reduction. The picture effects aren’t very elaborate; the Canon S5 comes with about a dozen interesting Color modes and adjustments that are available in Recording and Playback. The Panasonic FZ18’s effects are only effective before pictures are taken.
Connectivity Software (7.5) The Panasonic FZ18 comes with a CD-ROM that is loaded with software. When the disc is put into a computer drive, a Setup menu appears with the plethora of software that can be installed. These must be individually installed and it takes longer than one would think.
The Lumix Simple Viewer is just what it says it is: simple. It pops up as a small window with very few functions: acquire to PC, view, print, and send by e-mail. Its so-called “advanced” options include adding pictures, exporting to a memory card, and starting the Photo Fun Studio program. Pictures have to be manually loaded into the Simple Viewer. That can be done individually or in batches of images. Once the image is opened for viewing, its full file information is shown just below it. Pictures can be marked as favorites, deleted, printed, or e-mailed.
The SilkyPix Developer Studio allows users to exercise full manual control of RAW images. There are options and sub-menus and icons all around the window to represent the many manual controls that can be adjusted. It goes beyond white balance and exposure compensation and into sharpness, tone, color, lens, noise reduction, and lens rotation.
There is a lot of repetition between all the software programs so it is unlikely that users will employ all of them for different needs. It is more probable that users will have a favorite program and use it for their viewing, editing, and organizing. Jacks, ports, plugs (6.0)  On the camera’s left side is a plastic door on a spring hinge. It covers two ports: one is a combo for the USB and AV jacks and the other is for the DC-in power adapter. The AV-out function has a few options in the Setup menu: it can be set to NTSC or PAL standards, and the output TV aspect ratio can be set to 4:3 or 16:9. Direct Print Options (5.0) Print orders are created in the Playback menu. Users can select all the images for printing or scroll through the batch to pick and choose certain pictures. The number of prints to be made can be set from 0-99 and the date can be printed on the image if the display button is pushed while adding it to the print order. For pictures to actually be printed, the camera must be connected to a PictBridge-compatible printer with the supplied USB cable and the mode dial must be rotated to the designated print position. Battery (7.0) The FZ18 has the same battery as the FZ8. It is fairly thick and has 7.2V and 710 mAh of power. The lithium-ion battery can snap up to 380 shots. According to the specs, there is no significant power difference between using the electronic viewfinder and the larger LCD screen. The camera comes with a wall-mounted charger that is convenient and doesn’t take up much space. The battery takes about two hours to fully charge. There is a port for a power adapter on the left side of the camera; the adapter can be purchased through Panasonic and allows the camera to run indefinitely without the battery but at the expense of being tethered to a power outlet.
The FZ18 comes with 27MB of internal memory, the same amount as the FZ8. The internal memory is a nice backup, but a SD or SDHC card is a necessary accessory. The internal memory can’t record decent videos; it can only save 320 x 240-pixel movies. Only one RAW image or eight JPEG images can fit in the internal memory. MMC media can fit into the slot, but users are better off with SD or SDHC. The camera’s Burst mode slows down when recording to a MMC card, and movies can’t be recorded to that card either. Other features (7.0) Still image recording with audio – This feature can be turned on and off in the Recording menu. When activated, it records five seconds of audio immediately after a pictures is taken. The audio isn’t great, but could be a reminder of a hearty rendition of “Happy Birthday.” Audio Dubbing – This feature is in the Playback menu. It records 10 seconds of audio and attaches it to an image file. Flip Animation – This mode snaps 320 x 240-pixel images at a selectable frame rate of 5 or 10 fps for up to 100 continuous shots. Once the string of pictures is shot, users can create a small movie (with 100 shots, it comes out to about 20 seconds at most). This will keep the kids busy on a rainy day. Title Edit – This feature is located in the Playback menu. This new function allows users to scroll around and select letters on a virtual keyboard to create titles more interesting than the ones automatically assigned to the images. Custom Modes – The Panasonic FZ18 has a Custom position on the mode dial, but it really houses three custom modes. In these three custom sets, users can preset the following: exposure mode, white balance, ISO, aspect ratio, image size, image compression, metering, AF mode, continuous AF, auto focus assist, AF/AE, exposure compensation, audio, world time, composition pattern, review display, burst, and sleep mode. The Custom modes can be specialized in the Setup menu. [page title="Overall Impressions"] Value (8.5) The Panasonic Lumix DMC-FZ18 is more expensive than its predecessor but the extra $50 is worth the upgrades. The older camera has a 12x lens, 7.2 megapixels, and is missing some of the newer technology like face detection and Intelligent Auto mode. The new FZ18 has 8 megapixels and an 18x optical zoom lens. Its long lens puts it at the top of the market but its price remains relatively low. There are two other 18x ultra-zoom cameras currently on the market; the Olympus SP-560UZ retails for $499 and the Fujifilm FinePix S8000fd sells for $399. The Panasonic FZ18 still has competition, but is priced to sell – not to impress. Comparisons  Panasonic Lumix DMC-FZ8 – The FZ8 is the older sibling of the FZ18 and it looks very similar. It has 7.2 megapixels and a 12x optical zoom lens, which have been clearly upgraded on the FZ18. The FZ8 has the same Manual modes and many of the Scene modes, although it doesn’t have the advanced Scene modes that are included in the newer model. The FZ8 has optical image stabilization and the same Burst mode. It also shoots RAW files and is powered by the same lithium-ion battery. It does not have face detection and its ISO range tops out at 1250, below the FZ18’s 1600 at full-resolution. The Panasonic FZ8 has the same electronic viewfinder and 2.5-inch LCD screen. The FZ8 was outperformed by the new FZ18 in almost every way; it has less resolution, less accurate colors, more noise and less dynamic range. It retails for $349.  Canon PowerShot S5 IS – The 8-megapixel Canon S5 can’t compete with the FZ18’s lens as this PowerShot has only a 36-432mm (equivalent) 12x optical zoom lens. It isn’t as wide and can’t reach as far, but it is fully functional in the Movie mode. That is just one of the reasons why the Canon S5 makes a better hybrid camera-camcorder choice. It records 640 x 480-pixel movies at 30 fps and even manages to pull off proper exposure. The optical image stabilization system keeps bumps out of videos, and there is a wind filter to keep extraneous noise out of the audio. The audio however, is much better quality than on the FZ18: users can choose a sampling rate, but the finest quality audio on the S5 sounds very clear and can be picked up from several meters away. It also helps that the sound is recorded in stereo, as opposed to the FZ18’s mono. The Canon S5 has a similarly sized 2.5-inch LCD screen with the same disappointing 207,000-pixel resolution. The Canon’s LCD folds out and rotates though, and has wider viewing angles without pushing any special buttons. The Canon PowerShot S5 IS also has a hot shoe for flashes to be attached. The S5 retails for $499.  Fujifilm FinePix S8000fd – These specs sound familiar: 8 megapixels, 18x optical zoom lens, optical image stabilization, and face detection. It has a wider 27-486mm lens that is controlled by a similar zoom ring. It has full manual controls and 15 Scene modes along with a 640 x 480-pixel Movie mode that shoots 30 frames per second. The S8000fd does not record widescreen movies though. It has a better 2.5-inch LCD screen because of its 230,000-pixel resolution. It also has more internal memory with 58MB as well as being compatible with xD-Picture, SD, and SDHC memory cards. It runs on four AA batteries, which add some heft but are more convenient to find. The Fujifilm FinePix S8000fd sells for $399.  Olympus SP-560UZ – This digital camera also has an 18x optical zoom lens, but it is 1mm wider. Unfortunately, the lens isn’t very functional in the SP-560’s Movie mode. It locks unless the audio is turned off – but who wants silent movies? The 8-megapixel ultra-zoom digital camera has optical image stabilization and face detection technology. It also has a 2.5-inch LCD screen with smoother 230,000-pixel resolution. The SP-560 has manual controls but they are accessible only in menus; there isn’t a joystick or jog dial to quickly scroll through the options. The Olympus SP-560UZ can shoot RAW files and can even edit RAW files in the Playback mode. It is powered by four AA batteries, comes with 47MB of internal memory, accepts xD-Picture cards up to only 2GB, and retails for a pricey $499.  Sony Cyber-shot DSC-H9 – For $30 more, users can get a lot more features. The 8.1-megapixel Sony H9 has a full set of manual controls and automated modes including advanced Scene modes similar to those on the FZ18. The H9 has an advanced Sports mode that combines fast shutter speeds with its tracking 9-point auto focus system. This ultra-zoom camera has a 15x optical zoom lens, an optical image stabilization system, and a 3-inch LCD screen with 230,000 pixels. The LCD folds out and tilts. The electronic viewfinder is smaller but has better resolution. The H9’s ISO range extends to 3200 in full resolution and it boasts HD output, a NightShot infrared system for photographing in no-light situations, and HD slide shows with music. The Sony H9 also has an optical image stabilization system that works well and a face detection system. The Panasonic does beat it in a few areas besides the length of the zoom lens: the Sony has a weaker 250-shot battery and runs only on pricier Memory Stick Duo media. The Sony H9 retails for $429. Who It’s For Point-and-Shooters – Ultra-zoom digital cameras aren’t as pocket-friendly but still have automated modes for point-and-shooters. The FZ18 probably isn’t their first choice, but they would enjoy the ample zoom and Auto mode. Budget Consumers – The $399 price scares away most budget consumers. Gadget Freaks – Optical image stabilization and face detection are cool features, but are included on so many recent digital cameras that these picky consumers are hardly impressed anymore. Manual Control Freaks – The joystick could be an annoyance, but the FZ18 has all the right stuff for these consumers. Pros/Serious Hobbyists – The FZ18 could perhaps be a backup of a backup camera, but without interchangeable lenses it won’t be the main attraction for this group. [page title="Conclusion"]
Conclusion The Panasonic Lumix DMC-FZ18 is much improved from the FZ8. It has more resolution, a longer and wider 18x optical zoom lens, and adds features like face detection. The Panasonic FZ18 outperforms its predecessor in almost every way. Its pictures have much more accurate colors and greater dynamic range. The FZ18 retains some of the best aspects of the FZ8, such as the optical image stabilization. These improvements, particularly in image quality and performance, make the $399 price well worth it. [page title="Sample Photos"] Sample Photos Click the thumbnails to view the full-resolution images | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The Panasonic Lumix DMC-FZ18 aims to be the camera that has it all: a wide 28mm angle for photographing group portraits and architecture as well as the power of a long 18x optical zoom lens. With a lens like that, this 8.1-megapixel Lumix stands at the top of the ultra-zoom market alongside the 18x Olympus SP-560UZ and Fujifilm FinePix S8000fd. The Panasonic FZ18 boasts full manual control and a host of automated modes, RAW and JPEG image capture, and a $399 price tag. 
The back of the FZ18 also looks very similar to the FZ8. Both cameras have a 2.5-inch LCD screen on the left that is on a platform that is raised from the body by a few millimeters. To the right of the LCD is about 1.5 inches of space occupied by the same buttons as the FZ8. To the upper right of the LCD is a tiny joystick. Below it is a round button labeled display/LCD mode. Below this is a navigational control that consists of five separate buttons. There is a central menu/set button surrounded by four elbow noodle-shaped buttons with icons on them that designate their multiple functions. Exposure compensation sits at the top, flash on the right, review on the bottom, and self-timer on the left. To the lower left of this set of controls is another round button for the burst/delete functions. 
The Panasonic FZ18’s electronic viewfinder is positioned directly above the LCD screen and protrudes about a half-inch from the camera body. Because most noses are more than a half-inch long, the screen is likely to get marked up by facial oil. 
At 2.5 inches, the LCD screen is decently sized, but has only 207,000 pixels of resolution when most manufacturers are offering 230,000 pixels on this size of screen. The FZ18’s polycrystalline TFT LCD has a 100 percent view, but the resolution makes it tough to judge the focus. 
The flash component is another element frozen in time; it is the same as the one included on the Panasonic FZ8. It is located directly above the lens and pops up only when its designated button is pushed. This could be a problem for point-and-shooters who are used to the flash automatically functioning. Many cameras also have flashes that automatically pop up when necessary. 
The Panasonic Lumix DMC-FZ18 has an 18x optical zoom lens that puts it at the top of the ultra-zoom market. The FZ18 isn’t the only one on top though; it shares the privilege with the Olympus SP-560UZ and Fujifilm FinePix S8000fd, which also have 18x optical zoom lenses. Nearby are the Canon S5 with a 12x optical zoom lens and the Sony H9 with a 15x optical zoom lens. 
The Panasonic FZ18 slightly improves upon the FZ8’s ISO range. The older FZ8 has a range that extends to 1250, and the new FZ18 adds a ISO 1600 option. Higher sensitivity brings increased noise, which is a problem for this camera. There are more details in the Testing/Performance section. 
