New Beautiful Olympus Camera

Olympus has always had it’s fan following and there are some people who absolutely swear by Olympus cameras. There is excellent news for them, the all new Olympus mju 7010 is out in the shops for you to purchase. This camera is again amazing for amteurs and has a stunning appearance you will immediately fall in love with.

This camera is not just about appearance because you can expect major power packed features. Pick your camera color from silver, pink and grey for only 249 pounds. You have 12 megapixels along with Advanced Face Detection of up to almost sixteen people! Expect stunning picture quality and much more from this amazing camera.

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JVC Everio GZ-HD6 Camcorder Review

The JVC Everio GZ-HD6 ($1,399 MSRP) is the company’s third high definition Everio, the series of camcorders that record to internal hard disk drives (HDD). The inaugural model, the GZ-HD7, was a mammoth that offered a pro feel but couldn’t match it with pro performance. Next came the GZ-HD3 (Review, Specs, Recent News, $649.00), a compact version that ditched some of the HD7’s features, but still could not match the competition’s performance. This year, JVC is trying to bounce back with the GZ-HD5 and GZ-HD6 (identical, but with a 60GB HDD in the former and a 120GB HDD, headphone jack, and lens hood in the latter). It’s even smaller than the HD3, but bulks up on features: full 1920 x 1080 at an average 26.6 Mbps in the MPEG-2 TS format, 1080/60P output (only through the HDMI, thanks to an internal I-to-P converter), a mic input, an improved stabilization system, and claims of improvements in color and dynamic range. However, the competing AVCHD format has taken a huge leap format in performance this year, and has the weight of Sony, Panasonic, and Canon behind it. JVC might have a tough time convincing people to stick with their MPEG-2 TS format.

The Front (8.0)
The GZ-HD6 is a sexy camcorder, much like its sibling, the GZ-HD3. Both camcorders seem identical from certain angles, but in front you’ll notice that JVC whittled down most of the options to … practically nothing. The GZ-HD3 has an LED video light, Focus Assist button, and pair of ports at the head of the ship. The GZ-HD6 is nothing but lens.

The GZ-HD6’s 10x optical zoom lens is equipped with a removable hood that can be taken off to expose the massive 43mm filter. The lens employs an automatic enclosure system that operates when the GZ-HD6 is powered on or off. The GZ-HD3 has a manual lens cover switch, which is not as convenient, but less risky than relying on minute mechanical parts.

The Right Side (5.25)
From this side, it’s difficult to tell the difference between the GZ-HD6 and GZ-HD3—the architecture is almost entirely identical. The GZ-HD6 has a cheap, feebly padded hand strap that is anchored too low along the bottom of the camcorder’s body. Because of this, the GZ-HD6 flops to the side at a 45-degree angle, compromising handling. It doesn’t help that the GZ-HD6 has a whopping 120GB hard drive stuffed in its chassis. This camcorder is a tank.

Toward the lens end you’ll find a chunky port cover that conceals the FireWire terminal. This is the only port that does not reside on the back of the GZ-HD6—JVC probably couldn’t fit it, but we’ll get to that in a second. On the opposite end is the GZ-HD6’s shiny mode dial, which can be switched to Off, Video mode, or Photo mode, as labeled on the grey HDD panel.

The Back (7.25)
The back of the GZ-HD6 is a farm of ports. Above the battery is a horizontal rubberized strip housing the DC power, Mic, and Headphone jacks. The Headphone jack is a welcome addition, for neither the GZ-HD3 nor GZ-HD7 is equipped with one. To the right of the battery is a vertical strip containing the USB, HDMI, Component, and A/V terminals. The GZ-HD6 is chock full ‘o connectivity. The port covers are constructed of thin, rubberized plastic and have a tendency of sticking if they are yanked too hard. To the far right is the Record Start/Stop button, which is a bit cramped next to the Mode Dial.

The GZ-HD6’s BN-VF815U battery pack juts out quite considerably, but JVC has kept the back end viewfinder-less, just like the GZ-HD3. The GZ-HD7 has it all—extendable viewfinder, Focus ring, bountiful external controls—but those days are over for JVC, as most consumers could care less about anything but a nice LCD screen.

The GZ-HD6 also has a MicroSD card slot located on the bottom of the camcorder. Why JVC opted for this card format is puzzling, considering the company’s long-time use of SD/SDHC cards.

The Left Side (6.25)
The GZ-HD6’s money shot side is almost a carbon copy of the GZ-HD3’s—dripping with glossy black goodness. After opening the 2.8-inch LCD screen, you’ll see a handful of LCD cavity buttons residing in the bottom right corner. You can access the Auto/Manual, Select/Play/Record, Direct Backup/Event, Focus Assist, and Menu buttons here. The playback speaker and a couple of cooling fan grates can be found in the LCD cavity, as well.

The GZ-HD6’s 2.8-inch LCD screen panel contains the Battery Info/Index button, joystick, and Function menu button. The GZ-HD6’s joystick is just like the GZ-HD3’s and GZ-HD7’s—small and sluggish. It takes some getting used to, but the GZ-HD6’s joystick does not match the solid construction and rapid response of a rear-mounted Panasonic.

The exterior of the left side.		The LCD cavity.

The Top (6.5)
From this angle, it’s obvious that the GZ-HD6 chassis gobbled a hefty 120GB HDD and is still full. This camcorder should come with a “Wide Load” banner. Up top, JVC relocated the cold accessory shoe to the lens end, butting up against the built-in stereo microphone. Due to the GZ-HD6’s relatively large size, you won’t have to worry about overshooting the microphone with your finger. Toward the back is the petit zoom rocker and Photo button. On a camcorder this rugged, we’d expect to see a more advanced zoom toggle, but all you get is a tiny tab—the Canon HF10’s Zoom lever is wider and smoother.

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Sony HDR-SR12 Camcorder Review

The Sony HDR-SR12 ($1,399 MSRP) is the company’s third generation AVCHD camcorder recording to hard disk drive (HDD). The SR12 features a new CMOS sensor and DSP touted by Sony to be the best yet, along with a huge 120GB capacity. It is joined by the HDR-SR11 ($1,199 MSRP), an identical camcorder with a smaller 60GB HDD. In previous iterations, all AVCHD camcorders have failed to live up to performance expectations, but 2008 seems to be the year it’s turning around. The Canon HF10 gave outstanding performance and sharpness. The Panasonic HDC-SD9, while not as good as the Canon, exceeded the performance of its predecessors. So how does the Sony HDR-SR12 hold up to the competition? In a word … strongly. This is undoubtedly the sensor/processor package to own if you’re a Sony fan. The low light performance is excellent – far superior in noise reduction to the Sony HDR-HC9, its HDV cousin, and comparable to the Canon HF10 in1080/60i. However, the overall sharpness does not match that of the Canon HF10 in bright light, and Canon’s inclusion of multiple frame rates (60i/24P/30P) makes it a tempting offering. The manual control packages are evenly matched. Sony wins on capacity, while Canon wins on portability. It’s a tough choice. Let’s explore.

The Front (9.0)
Before we begin our quest, it is imperative to declare that Sony has designed a rock solid camcorder that handles like a tamed lion. Beauty abounds in the design. In front, the HDR-SR12’s 12x optical zoom lens is guarded by an automatic enclosure that engages when the camcorder is powered on or off. Automatic lens enclosures are gaining popularity amongst high-end camcorders for their consumer-friendly simplicity, but advanced shooters and pros know not to rely on the delicate inner mechanics. The HDR-SR12 has an aperture range of f/1.8-f/3.1 and is capable of the following focal lengths:

4.9mm – 58.8mm
40mm – 480mm (35mm equiv. in Movie mode)
37mm – 444mm (35mm equiv. Still Image mode)

The HDR-SR12’s lens has a 37mm filter diameter for external lens attachments like a wide angle or colored filter. A Flash is embedded to the left of the lens, but due to its off-kilter placement, shooters will most likely experience uneven lighting in their images. Below the lens is a small Backlight Compensation (BLC) Button, which is easy to access after acclimatizing yourself with the HDR-SR12’s architecture.

To the right of the BLC button is a lustrous, knurled knob of goodness—yes, Sony’s renowned Cam Control Dial. You’ve seen it on Sony’s HDR-UX7 (Review, Specs, ) (Review, Specs, $599.97), and now the HDR-SR12 has been knighted with the glory of the multifunction Cam Control dial. This control is the closest you can get to a lens barrel ring these days, and it operates almost as smoothly as the Fonz. To the left of the lens is the Remote sensor and Record lamp.

The Right Side (7.5)
Chiseled from a solid block of ingenuity is the HDR-SR12’s right side. Sony went for practicality and sheer sexiness on the grip side. Toward the lens end, the Mic, Headphone, and HDMI ports are shielded by a sliding port cover door. No other camcorder is equipped with such a flashy and convenient enclosure system—this design is straight out of Q’s laboratory from any 007 movie. On the opposite end you’ll find the A/V and USB terminals, enclosed by a covert plastic plate that slides underneath the body of the camcorder. Sony has kicked some major behind so far with the HDR-SR12’s architecture.

The HDR-SR12’s hand strap is thick and wide, yet lacks the amply padded mesh liner found on the HDR-HC9. The strap feels more like the Canon HF10’s, but the HDR-SR12 handles better because it is built like a tank. The large HDD enclosure provides plenty of open real estate to grab onto.

The Back (9.0)
Things even look pretty darn hot at the HDR-SR12’s caboose end. The HDR-SR12’s NP-FH60 rechargeable battery pack burrows deep into the cavernous battery chamber, leaving space for the shooter to utilize the pivoting viewfinder. Sony did not buy into the infectious “less is more” philosophy that has been drifting around the camcorder circuit. Instead, they slapped a rugged viewfinder on the HDR-SR12 that flips upward approximately 45 degrees, providing plenty of clearance for those who want to save some battery juice. The fan-shaped dioptric adjuster is located underneath the shaft of the viewfinder.

Along the right side, the HDR-SR12’s futuristic circular Mode Dial surrounds the Record Start/Stop button. The Record Start/Stop button is on the small side and is slightly too shallow, so try not to inadvertently toggle the Mode Dial while attempting to capture the moment. Above the Mode Dial are two lamps representing the Video/Photo mode and Charge/HDD Access actions. At the top is the HDR-SR12’s Quick On button, which enables the HDR-SR12 to spring into action in approximately one second. At the bottom of the right side is the HDR-SR12’s DC-in jack, housed by a spring-loaded door that flips down like a drawbridge—ooh this camcorder is devilishly clever!

The Left Side (7.0)
The HDR-SR12’s money shot side oozes with glossy black style. At this angle, it’s all LCD screen, which boasts a highly durable construction. When you flip open the HDR-SR12’s 3.2-inch LCD screen, a handful of buttons are located within the LCD cavity, in addition to the Memory Stick PRO Duo slot. Here you’ll find the Display/Battery info, Easy, Playback, and Direct Burn buttons. The NightShot light switch is located toward the center of the LCD cavity. Even the HDR-SR12’s Memory Stick PRO Duo slot is stealthy, with an easily accessible side-swinging hatch as the cover.

Now onto the glorious 3.2-inch LCD screen, with a huge 921,600-pixel resolution, the same screen found on its Alpha line of DSLR cameras. Finally, Sony went back to the drawing board and summoned this flavor of greatness from the HDR-SR1 and HDR-UX1 (Review, Specs, Recent News, $639.00) (Review, Specs, Recent News, $729.95). A touch-screen interface demands an ample viewing pane, and the HDR-SR12 delivers. Along the left side of the LCD panel is a strip containing the following buttons: Home, Zoom Out, Zoom In, and Record Start/Stop. Sony is really cleaning up here on the design front—this is one of the most solid camcorders we’ve seen.

The Sony HDR-SR12 left side		The LCD cavity

The Top (7.0)
Up top, Sony places the built-in stereo microphone at the head of the ship, but have no fear—the HDR-SR12 is a voluminous camcorder. The HDD enclosure offers plenty to grab onto—most fingers will not reach the microphone. Next in line is Sony’s proprietary hot shoe, or Active Interface Shoe (AIS). The hot shoe is shielded by a sleek sliding metal panel that lifts up to accommodate the pivoting viewfinder. When the hot shoe cover and viewfinder are both pulled out and up, the HDR-SR12 looks as though it is part Transformer. Toward the back is the HDR-SR12’s rugged Zoom toggle and wide Photo button. Sony’s Zoom toggles are difficult to contend with due to their concrete construction and smooth as churned butter play. The HDR-SR12 has set a new standard in camcorder design, so look out!

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Panasonic HDC-SD9 Camcorder Review

The Panasonic HDC-SD9 is the company’s third generation AVCHD camcorder that records exclusively to SD/SDHC memory cards. The improvements over its ancestor, the HDC-SD1 (Review, Specs, Recent News, $1119.99), are numerous. The SD9 records in full 1920 x 1080 with a new maximum bit rate of 17Mbps (up from 13Mbps). The optical image stabilization has been improved, and – for the time being – it’s the world’s smallest 1920 x 1080 camcorder. If it’s a winner, we’re hoping Panasonic grants it a longer life than the six-months-old-and-already-dead HDC-SD5. But the SD9 begs the question, how small is small enough? The reduction in size has clearly begun to hurt handling. Despite this, the SD9 shows advances in image quality long awaited in the AVCHD format. It’s not a perfect camcorder by any means, but the HDC-SD9 is among the best ultra-compacts we’ve seen yet.

The Front (6.75)
Panasonic’s latest AVCHD small fry is all lens up front. The lustrous 10x optical zoom Leica Dicomar lens has a focal length of 3.0mm – 30.0mm and an aperture range of f/1.8 – f/2.8. The lens is preceded by a knurled metal ring that houses the automatic lens cap. The ring has a filter diameter of 37mm for attachments, but it can also be removed, revealing the bare lens and the same 37mm threads. A small flash sits off to the left side of the lens—a disadvantageous placement for obtaining even lighting. Below the lens is the remote sensor with the recording lamp built in. That’s all you get on the HDC-SD9’s façade—no ports, video light, or built-in microphone.

The Right Side (5.5)
Behold the glorious emptiness that is the right side of the HDC-SD9. And you thought the front was lacking… Here, the only item to speak of is the hand strap, which is simultaneously comfortable and uncomfortable. The construction is a bit on the cheap side and adequate padding is nonexistent. However, this camcorder will stay glued to your hand because it’s positioned in just the right place. It doesn’t flop to the side like so many Canons, and the right side is molded to conform to a broad library of hands. The overall ergonomics of the HDC-SD9 will make up for the feeble hand strap.

The Back (4.75)
The back of the HDC-SD9 is peppered with hidden treasures—some of which are placed in vexing locations. The drab grey battery is the most prominent component in back, sliding out from the left side and accessed via a small tab in the LCD cavity. Panasonic pulled another David Copperfield here with the ports, as you’ll find the mini HDMI and DC jacks stuffed behind the battery. This means you can only view your footage on an HD monitor if the camcorder is plugged into its power supply. So much for carefree playback. The HDC-SD9’s pint size stature would be an ideal excuse for this cumbersome design, but Panasonic buries ports behind the batteries of all its camcorders. Nice try, Panasonic—you’ve got that open expanse of virgin real estate on the right side just begging for ports.

Underneath the boxy battery is a small tab that when, shifted to the right, pops the SDHC card door open from the bottom. Luckily, the position is far back enough that you can swap cards while the camcorder is mounted to a tripod. Above the battery is the rectangular Mode switch that shifts left for Playback and right for Record mode. The Record Start/Stop button is mounted on an ergonomic plastic protrusion that aligns quite nicely with the thumb.

The Left Side (6.0)
From an external perspective, the HDC-SD9 looks fairly innocent. Only two small buttons are located above the LCD screen: Face Detection and Pre-Record. Once you fling open the 2.7-inch wide LCD screen, you’ll be ambushed by a battalion of buttons, ports, and controls stationed all throughout the LCD cavity. The Auto/Manual/Manual Focus switch is located along the top with the Joystick saddled to its right. We’re not fond of the HDC-SD9’s joystick or its placement. The joystick is embedded too deeply in the LCD cavity, making it difficult to attain a solid grasp with your finger. Also, you have to reach your finger in front of the LCD screen to use the joystick, which will block the screen. We mourn the loss of the rear-mounted joystick, which was a Panasonic standard.

One nugget of goodness exists within the LCD cavity, and that’s the OIS (Optical Image Stabilization) button. Instead of having to wade through a menu to activate and deactivate stabilization, you can do it with one press of a button. Why would you want to turn off the OIS? Good question. When shooting on a tripod or a steady surface, leaving an OIS engaged can lead to a “wandering eye” phenomenon that makes the lens float around.

The Disc Copy, Power LCD Extra, Delete, and Menu buttons are also located in the LCD cavity. The Menu button is too small and can easily be mistaken for the Delete or Power LCD Extra button, so take caution.

A rectangular plastic cover is located along the bottom of the LCD cavity, housing the AV, Component, and USB terminals. The cover is tethered by a thin strip of plastic and is sometimes difficult to snap back into place. The LCD panel does not contain any controls or buttons.

The Top (5.0)
We’re back to minimalist design here. The HDC-SD9’s built-in stereo microphone is located toward the lens end, which is not optimal by any means. A top-mounted microphone on a camcorder this small is bad news for those with hands, but others will not find this a problem. When you go to shoot, just be cognizant of your finger placement

The playback speaker is located in the middle while the Zoom toggle and Photo Capture button reside toward the back end. The HDC-SD9’s Zoom toggle is like driving a freshly tuned Cadillac. This thing is big, and flashy, and shifts like a barrel of churned butter.

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Sony Handycam DCR-DVD810 Camcorder Review

The Sony DCR-DVD810 ($449.99 MSRP) is truly versatile camcorder from Sony. Besides being able to record standard definition video to DVD, the camcorder also includes 8GB of internal flash memory and a Memory Stick Pro Duo card slot for extra storage. It's the type of camcorder that will probably appeal to people who love the concept behind DVD/VCR combos. However, because of the bulk the DVD hatch adds, the camcorder is an awkward and uncomfortable handler—as well as a very unattractive product. Even so, at around $450 it's a good deal for what you get, especially if you want something that can record to DVD. Sony has maintained itself as a force to be reckoned with when it comes to DVD camcorders... unfortunately, it's reigning over a medium on its way to extinction.

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Panasonic SDR-H60 Camcorder Review

The Panasonic SDR-H60 ($499 MSRP) is the company's top single-chip, standard definition hard drive camcorder, and it packs a wallop when it comes to features: 50x optical zoom and 60GB capacity. Nothing in this price range can beat the SDR-H60, at least on paper. Our testing revealed that the bright light performance could not distinguish itself from the pack, and the low light performance left a lot to be desired. Surprisingly, we found that the step-up model, the three-CCD SDR-H200, was not necessarily the better camcorder, but the SDR-H60 certainly didn't prove itself to be the best value in its class.

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Leak of New JVC Everio Camcorders: GZ-MG880 and GZ-MG840

December 11, 2008 – Two JVC camcorders possibly intended for CES release were revealed today through Impress. The GZ-MG880 and the GZ-MG840 are two standard definition hard drive models in the company's Everio line. New features include direct uploading to YouTube (via a PC), increased recording capacity, and a range of body colors. The new camcorders have so far only been announced for the Japanese market, though the timing makes it likely that similar or identical models will reach the US soon.

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Canon DC330 Camcorder Review

With memory card and internal hard drive camcorders making a push to the front of the line, DVD-based models will soon find themselves occupying the clearance shelves. In fact, there are only a handful of camcorders left that record solely to DVD, and Canon's DC330 ($379 MSRP) is one of them. For a product that records to an outdated media, there is nothing antiquated about the DC330's video performance—it has a better than average quality for a standard definition camcorder in its price range. However, the shape and size of its DVD drive makes the DC330 an uncomfortable device to hold and its menu navigation system is nothing to envy. The camcorder is a good choice for people who must record to DVD and who want strong video quality, but there are too many faults and problems to recommend it for anyone else.

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JVC intros two new camcorders Posted in JVC

JVC is ready for the holiday season and has unveiled two more Everio camcorders in Japan: the 60GB GZ-MG840 and the 120GB GZ-MG860 that will record videos in a DVD-resolution 720×480 wide format while combining both a hard drive and a microSDHC memory card as its storage.

They also feature a special YouTube capture mode that allows you to record YouTube-friendly videos that won’t need to be converted later, helping you save some time. Both models feature 42x optical zoom with image stabilization. The GZ-MG840 will retail for about $757, while the GZ-MG860 will go for about $811.

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DSLR camera 'E-520'

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Camera : Olympus OM-1

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Camera : Olympus OM-2

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Canon Vixia HF10 Camcorder Review

The Canon HF10 is among the most anticipated camcorders in recent years, due no doubt to the outstanding reception of its HDV predecessor, the HV20 (Review, Specs, Recent News, $903). There are several key differences, however. The CMOS chip is not the same as last year’s Canon HD camcorders; in fact it’s smaller, with a higher pixel density. The HF10 records in the AVCHD format, heretofore riddled with performance problems. This is Canon’s third try on an AVCHD camcorder, and the format appears to finally be coming into its own. Full 1920 x 1080 output, a new 17 Mbps bitrate, and 60i/24P/30P frame rates make this the best AVCHD camcorder we’ve seen to date. Prepare to be surprised.

The Front (7.5)
Gazing into the HF10’s 12x optical zoom Canon HD video lens head on is like staring down the barrel of a miniature bazooka. This midnight-black piece of AVCHD artillery is flashy and compact, yet with well-equipped controls. Up front, the HF10’s lens has a focal length of 4.8mm – 57mm and an aperture range of f/1.8mm – f/3.0mm. The lens has a 37mm filter diameter.

To the right of the HF10’s lens is a column containing the Instant AF sensor, Flash, and LED video light. Although we’ve addressed this countless times in other reviews, it’s worth mentioning yet again that the asymmetrical placement of the Flash leads to uneven lighting, especially when an attachment is fastened to the lens. Sony’s HDR-SR1 (Review, Specs, Recent News, $1119.99) (Review, Specs, Recent News, $670.28) solves this caper by embedding the flash just above the lens—a design other manufacturers should model. The HF10’s LED Video Light is actually rather powerful, but casts a bright bluish orb in the middle of the frame that could throw your color balance.

Tucked beneath the lens is the HF10’s built-in stereo microphone, which features screens over both left and right speakers. Canon was wise with its microphone placement on a camcorder this small. The Panasonic HDC-SD9 (Review, Specs, Recent News, $492.00) is not as fortunate, with a top-mounted microphone that is easily scraped by the shooting hand.

The Right Side (5.75)
The right side of the HF10 looks strikingly similar to the Sony HDR-CX7 (Review, Specs, Recent News, $745.00) (Review, Specs, Recent News, $745.00). Both camcorders look like distant cousins—Darth Vaderesque black paint jobs and rounded gun barrel bodies. The HF10 is one of the more solid Canon camcorders and the revamped hand strap is one of the prime contributors to an overall rugged design. At last, the HF10’s hand strap features a lightly padded, breathable mesh liner on the inside—something that’s been on our Canon wish list for quite some time. The hand strap is anchored to the body of the camcorder via two burly metal d-rings that can take a healthy walloping.

The HF10 Mode Dial is located just above the rear hand strap d-ring and can be shifted to each of the following settings: Photo mode, Video Record mode, Video Record Playback, and Photo Playback. The Mode Dial is large, but difficult to shift with a sweaty right thumb. Lurking beneath the shadows of the hand strap are the HDMI and USB terminals, housed by a covert, rubberized shield.

The Back (6.0)
In back, the HF10 looks like an HDR-CX7 on a diet. The blueprints are uncannily alike, yet Canon keeps it compact with a smaller battery and flatter top. The HF10’s BP-809 rechargeable battery sits flush with the back of the camcorder, thanks to a cavernous battery chamber. To the left of the battery reside crucial ports housed by rugged plastic enclosures. The Mic, A/V Out/Headphone, and DC In jacks are found here. To the right of the battery is the Record Start/Stop button, which is easily reached by the thumb.

The Left Side (5.5)
From this angle, the jig is up—the HF10 is almost indiscernible from the HDR-CX7. It looks like Canon just lopped a small chunk off the top and relocated the “HD” hologram. Inside the LCD cavity it’s a different story. When you fling open the HF10’s glossy 2.7-inch LCD screen, only two buttons are present – the Easy button and the Display/Battery Info button. That’s right folks, Canon smacked an Easy button on the HF10 – there’s a new sheriff in town, Sony. Or is it the same sheriff again? We’re not sure. Anyway, Canon stole a good idea from Sony, which makes sense. If you’re going too steal from anyone, steal from a market leader.

Below the two buttons is the card door switch, which opens the SDHC card door located along the bottom of the LCD cavity. The door must be manually shifted down in order to close. The Component-out terminal resides next to the card door, shielded by a rigid plastic square that pulls out.

The HF10’s LCD panel is where the Joystick is located, along with a slew of Playback and Video controls. The Joystick is easy to use, but lacks the solid construction of Panasonics we’ve seen in the past (but better than the new Panasonic HDC-SD9). A horizontal panel of controls lines the bottom of the LCD panel and contains the following buttons: Function, Play/Pause/Record Start/Stop, Rewind/Zoom Out, Fast Forward/Zoom In, Stop/BLC.

The left side exterior		The LCD cavity

The Top (5.0)
The hub of all activity up top is located toward the back end. The HF10’s Zoom toggle is loose and cheap-feeling, but it does the job. The Photo button is located behind the Zoom toggle. Embedded in the left side ridge is the Power button—something Canon chose to isolate from the Mode Dial. While the separate Power button might seem like a nifty feature, we experienced trouble turning it on and off—we really had to jam our finger down for it to work. Also, the tendency to forget to use the Power button is fairly common—no one wants a drained battery from leaving the HF10 in standby. Toward the back is the hot accessory shoe, Canon’s branded Mini Advanced Shoe. The shoe is sheltered by a hard plastic shield tacked onto the body of the camcorder via two feeble plastic straps. Of all port covers on the HF10, the shoe enclosure will be the first to snap off.

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Camera : Olympus Six F4.5

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