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  • Testing / Performance

  • Physical Tour

  • Components

  • Design / Layout

  • Modes

  • Control Options

  • Image Parameters

  • Connectivity / Extras

  • Overall Impressions

  • Conclusion

  • Specs / Ratings

  • Testing / Performance
  • Physical Tour
  • Components
  • Design / Layout
  • Modes
  • Control Options
  • Image Parameters
  • Connectivity / Extras
  • Overall Impressions
  • Conclusion
  • Specs / Ratings

Testing / Performance

The same information is shown in the chart below. The squares represent the ideal colors and the circles represent the tones produced by the Canon PowerShot S2 IS. The farther these shapes are from each other, the more inaccurate the S2’s colors are.

The Canon PowerShot S2 IS performed decently, but not as well as anticipated. The digital camera’s predecessor, the Canon PowerShot S1 IS, received an 8.8 color score. The new S2 took a step down from that with an overall color score of 7.94 and a mean color error of 7.56. The colors are over-saturated in typical digital-camera-style; the Canon S2 over-saturated by 14.1 percent.

**Still Life Scene **

Below is our classic still life scene as photographed by the Canon PowerShot S2 IS.

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Click on the image above to view the full resolution file (CAUTION: the linked file is very large)](https://reviewed.usatoday.com/cameras/viewer.php?picture=S2IS-StillLifeLG.jpg)

Resolution / Sharpness*(3.45)
*Unless you want photographs that look like Georges Seurat paintings, the resolution of a digital camera is very important. Most digital cameras market their megapixels as their main selling point, creating various expectations for sharpness in the consumer. Since there is a range of processing methods and various degrees of compression applied by each manufacturer, we attempt to level the playing field by counting the effective pixels in each produced image and reporting the score as a true pixel count and as a percentage of what the manufacturer marketed. Cameras that record 70 percent of the advertised count on our system are considered "good," while models within 80 percent are considered "very good" and models within 90 percent are "excellent."

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Click on the res chart above to view the full size image](https://reviewed.usatoday.com/cameras/viewer.php?picture=S2IS-ResCH-LG.jpg)

This PowerShot advertises 5 effective megapixels, so it is a bit disappointing that the software only reads 3.45 megapixels at work in the camera’s produced files. That is 68 percent of its advertised count, just short of even the "good" designation. The S2’s predecessor, the Canon S1, had similar problems; it recorded only 62 percent of its advertised count. The Canon PowerShot S2 IS’s resolution is disappointing as photographers will not be able to utilize the full 5 megapixels in printing and will face limitations when prints exceed 5 x 7 or 8 x 10 inches.

Noise - Auto ISO* (3.69)
*When the Canon S2 was left to select the ISO rating automatically, images were a bit noisy. The digital camera received an overall automatic ISO noise score of 3.67, which is extremely close to the S1’s 3.69 score. While Canon did implement the DIGIC II processor, the alteration did not reap much benefit in the way of noise reduction when ISO is set to auto.

Noise - Manual ISO* (3.72)
*The Canon PowerShot S2 IS offers an ISO range typical of a compact digital camera. We tested the noise levels at its 50, 100, 200, and 400 ISO sensitivities and used a regression analysis to determine the overall manual ISO noise score. Below is a graph showing the ISO ratings on the horizontal axis and the noise levels on the vertical axis.

The Canon S2 IS barely surpassed its auto score with a 3.72 overall manual ISO noise score. Noise levels increase as ISO ratings increase, but there is still a larger than normal jump from 200 to 400. These results are disappointing, but similar, although ever-so-slightly better than its predecessor’s 3.31 score.

Low Light Performance*(6.25)
*For photographers who go out to shoot after the sun goes down, we tested the low light performance of the Canon S2 IS. We took several exposures of the GretagMacbeth color chart at decreasing light levels. We tested the camera at 60 lux, which is equivalent to two soft table lamps. We also tested it at 30 lux, which is equivalent to the light emitted from a single 40-watt bulb. We also tested at 15 and 5 lux, which is near darkness and gives us a good idea of the sensitivity of the image sensor.

Images are increasingly noisy as the light decreases. However, the images retain their illumination due to the slow shutter speeds available on the Canon PowerShot S2 IS. The colors looked decent at 60 lux; the ideal inner rectangle is hardly visible because it is so similar to the outer square of color produced by the S2. From 30 lux to 15 and to 5, colors got muddier and muddier and noise became more prevalent. Therefore, the camera will record in low light, but image quality will be compromised.

**Speed / Timing
***Start-up to First Shot (7.72) *

Canon significantly improved the start-up time from the earlier S1. The Canon PowerShot S2 takes 2.28 seconds to power up and snap its first shot. This is far better than its predecessor, but average compared to other compact models.

*Shot to Shot (9.45)
*The S2 IS can snap two shots per second, as seen in its 0.5-second shot-to-shot time. This is average for a compact model, but its endurance is impressive. When tested, this camera continued its burst mode until the memory card was full – about 100 images at full resolution.

*Shutter to Shot (7.98)
*Don’t let the camera’s SLR-shape fool you. It has a 0.51-second shutter lag time uncharacteristic of a high-quality DSLR.

Physical Tour

Front*(7.5)
*On the front of the Canon PowerShot S2 IS, the Canon 12x optical zoom lens barrel sits in an extended position right of center. Although the lens does not retract fully, it will retract partially into the camera body when it is turned off. To the top left and right of the lens barrel are the stereo microphones which record through two physically autonomous mono microphones. This division is interesting. Although stereo microphones are always comprised of two audio elements to attain stereo effect, they are not always separated at such a distance. This distance, and the slightly differing audio signals that could be picked up from each microphone, could potentially enhance the subtlety of recorded audio.

Slightly above the lens barrel to the left is the small red-eye reduction/self-timer/tally lamp. Slightly above and to the right of the lens barrel is the AF-assist beam. Below the AF-assist beam, to the direct right of the lens barrel, is the Manual Focus button and the Macro button. These buttons are clearly labeled and stand out slightly above the surface of the barrel for easy engagement. On the opposite side of the lens barrel, near the bottom of the camera body, is the ring release. This allows users to switch between the included lens and accessory wide angle, telephoto, and macro options.

The grip on the left side of the camera will provide the right hand with a comfortable and sizable surface to hold on to. Although the rest of the camera body is a smooth two-tone silver finish, the right-hand grip uses a darker gray rubber pad, textured to increase stability and control.

Back*(7.5)
*The left edge of the back of the S2 IS serves as an axis for the flip-out LCD screen. The 1.8-inch, 115,000 pixel LCD screen can be maneuvered a full 180 degrees, left to right, when opened. It can also be swiveled forward 180 degrees or downwards 90 degrees. The screen can also be rotated around its hinge to face into the camera body before the user snaps it shut, immediately turning it off. This position is useful for protecting the LCD, helping to preserve the face of the screen when not in use.

The electronic color viewfinder is situated above the LCD screen and is encircled by a light gray eye pad. Like the LCD, the viewfinder covers 100% of the field of view. To the left of the 0.33-inch 115,000 pixel viewfinder is the diopter adjustment dial, which allows users to adjust the viewfinder focus. To the right of the viewfinder is the movie record button, autonomous from the still image shutter release. Unfortunately, this button is not labeled, but it does have a prominent red dot which will hopefully indicate its function to those familiar with camcorder interfaces.

Beneath the movie record button is the Function control for the Canon PowerShot S2 IS. The function button prompts a display of icons on the LCD which represent control over various manual settings; the function button also has a secondary control which allows users to discard unwanted images in playback mode. Below and to the right of the LCD screen is the camera’s metering/jump button. The jump portion of this control is used in playback, helping users navigate through large sequences of prerecorded images; it permits the user to jump 10 images or 100 images, jump by date, or jump to movie. This is a useful feature for those who intend to use large cards (256MB).

Beneath the jump/metering button is the Shortcut/Print/Share button. The shortcut button can be set to provide access to a frequently-altered control. The print/share button allows the user to print or share previously captured video and still images, and lights up, flashes, or goes dark depending on printing status.

Beneath all of these buttons at the bottom of the camera is the Display button for both regular shooting mode and playback mode.

Moving back to the top of the camera body, situated slightly above and to the right of the Function button is a series of twelve raised bumps for a right-hand thumb grip. To the right of these raised grips is a relatively small four-way control, toned in a somewhat darker metallic silver. Unfortunately this control is formed of a single piece of plastic, which creates the potential for accidental navigation errors.

Beneath the four-way control is the Set/AF Frame selector button. Slightly below and to the right is the Menu button which provides access to the Rec./Play/Set up/My Camera menus. Once within these menus users are able to navigate settings and options using the four-way controller.

Left Side* (7.5)
*The left side of the PowerShot S2 IS contains a solid neck strap mount, positioned at the top of the left side. This neck strap mount is large enough to allow for easy use and threading. Below the neck strap mount is the playback speaker for previously recorded audio. Slightly behind and below the neck strap mount is the Audio/Video out terminal, situated underneath a port cover.

Right Side*(7.0)
*The Canon PowerShot S2 IS does have a few features on the otherwise smooth right side. The neck strap mount for the right side of the camera body is positioned between the top and right edge of the camera. Beneath this feature is a port cover which sits flush with surface of the right side. This port cover conceals two terminals, a DC in terminal and a digital terminal for either PC or printer, when connected via a USB cable. Below these two ports and concealed by another flimsy plastic cover is the memory card slot.

Top* (7.5)
*On the top of the camera body is a flash/microphone button. Don’t let this label fool you: this button will not release the closed pop-up flash. Instead it cycles through flash settings when the camera is in recording mode. When in playback/review mode the button serves its other function and provides the means to record audio clips up to 60 seconds in duration to accompany recorded images. It is also possible to record stand-alone audio clips that may last up to two hours, depending on available memory and previously established audio parameters.

To the right of this button is the camera’s flash. While the in-camera flash is a pop-up unit, it will not rise automatically and must be manually engaged. This design may be frustrating during certain shooting situations, or just frustrating, period to those upgrading from point-and-shoot models. The flash is positioned directly above the lens barrel of the camera and should provide even flash coverage without heavy weighting of shadows to either side. To the right of the flash is the shooting mode dial. The mode dial protrudes slightly, with its edge facing the back of the camera, a helpful arrangement in regards to accessibility and control.

To the right of the mode dial are two control features, one inside the other. Positioned in the center is the off button for the camera. Interestingly, this off button does not turn the camera on. For the camera to be turned on, the user will need to move to the second feature located on a ring that surrounds the off button. This settings ring allows the user to move between power on, record, and playback modes via the mode lever positioned on the ring. This feature is a bit frustrating, although users will surely adapt to it over time.

Moving up the right side of the camera body and out onto the top of the right-hand grip, users will find the drive button, controlling the self-timer mode and continuous shooting options. At the front of the right-hand grip and positioned on a slanted plane is the shutter release button, which is nestled in the center of the zoom lever. The lever is in the shape of a ring, with a small tab that moves left and right.

Components

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.

Design / Layout

Model Design / Appearance*(7.5)
*Canon expended significant effort in redesigning the S1 to create a formidable representation in the popular ultra zoom segment of compact cameras. The resulting S2 is a bit larger and heavier than its precursor. In the world of digital cameras, this is a retrograde maneuver; the general technological trend typically calls for size reduction and increased ergonomics, though there is some justification for the updated design. The modified exterior is aesthetically similar to its precursor but offers a more balanced frame, stereo mic inputs placed above the lens barrel and out of the way of the user’s fingers, and a larger LCD display.

The S2 is cased is a silver plastic body with rounded edges that provides a sense of continuity to the overall form. The general shape is not overtly boxy, due to the rounded corners. The camera is not as sleek as the FZ5 and in terms of dimensions is somewhat cube-like. Visible lines on the camera’s exterior are clean and fairly sparse, becoming more apparent around the handgrip and less pronounced near the top of the camera body. Unfortunately, the use of plastic is abundant on the S2 and extends even to the tripod mount. While we recognize that the camera is meant to remain portable and includes the optical image stabilization to aid handheld shots, the plastic tripod mount is a step in the wrong direction.

The camera features a long zoom range and thick lens barrel that has been well integrated visually with the compressed camera body. The exterior is coated in a slightly speckled satiny silver finish that appears as a digital image would with an abundance of sharpening.

A few design idiosyncrasies to note: the camera’s speaker is placed off on the left side of the body, where the user’s left hand will likely be, so users will have to remain aware of it when replaying video and audio clips if they do not wish to obscure it. Also, the camera’s back face contains some odd curves and varying planes that seem like the plastic casing might have melted during construction.

Size / Portability* (5.5)
*The PowerShot S2 is a bit larger than its precursor, spanning 4.5 x 3.1 x 3.0 inches and weighing 14.3 oz. (without battery), but retains a similar overall aesthetic. This is up from the original S1’s 4.4 x 3.1 x 2.6-inch, 13 oz. frame. The S2 IS, like most other compact ultra zoom models, falls into an odd size range that’s far too large for even the baggiest of pockets but seems a bit small to bother carrying around in a camera bag. With the camera’s plastic frame and relatively meager weight, the S2 could be handled with a shoulder or wrist strap, but for longer shoots, this may become taxing.

The camera’s rounded corners and general contours will help it ease into a smaller bag or even a backpack, but beware: the primarily plastic composite doesn’t seem like it will sustain much of a pounding. This camera is designed for handling and portability, not durability. This is an unfortunate drawback to this camera styling in general – many of the current compact ultra zooms have made significant strides in increasing telephoto range, optical stability, and image clarity (reduced noise), but none are too rugged. One of the tradeoffs for this year’s high performance compact cameras, to remain below the falling ceiling of lower-end digital SLRs and continue to be an affordable alternative, is the sub-$600 price tag. This means plastic will be in abundance. The body of the S2 is comparable in size to the Konica Minolta DiMAGE Z5 or the Panasonic Lumix DMC-FZ5. It does manage to be somewhat smaller than the Fuji S5100, but in the end, none of these cameras will be pocket sized. Although it’s great to have a lighter and smaller camera for portability, it would make more sense to choose a camera with better materials and construction if the camera will be in a state of constant transit.

Handling Ability* (7.5)
*While the added bulk of the S2 IS is not necessarily conducive to its portability, the camera is far easier to handle and control than pocket-friendly point-and-shoot models. The S2 is fitted with a large, padded handgrip that extends out further than most, helping to stabilize the camera. The inner half of the handgrip is covered with rubber and enables users to attain a secure grip even in compromised conditions or when shooting with moist palms. The grip is also very comfortable due to its long and thin design and should provide enough surface space for holding and controlling the camera without pinning fingers against the lens barrel. The S2 IS’s lens barrel is placed opposite the grip on the right side of the camera body and acts as a complementary grip for the user’s left hand. The weight of the camera is evenly distributed and lends itself to the two-handed shooting position. Canon placed buttons for macro and manual focus on the left side of the lens barrel, enabling users to quickly alter focus without leaving the shooting position.

One particular aspect to keep in mind when handling the S2 is the manually-engaged pop-up flash. Perhaps "pop-up" is the wrong term to use in this instance, since users will have to physically flip up the mechanism each time the flash is activated. For those users accustomed to shooting with an SLR of any sort, this will not present a problem, as those users are already comfortable with making manual alterations and changes to settings prior to releasing the shutter; however, those graduating from a point-and-shoot model to the S2 may find this plaguing, as even in full auto mode in a pitch black room, the flash will not be activated without user input.

Control Button / Dial Positioning / Size* (7.5)
*The control layout of the Canon PowerShot S2 IS was easy to handle and adapt to. The buttons were logically dispersed and conducive to shooting both still and video images. The multi-record button design is obviously targeting those users who frequently capture video; for these users, the current design is optimized for both mediums – users can switch between still and video capture as well as they could on any current digital camera on the market; however, expect for this to change soon as both digital camera and camcorder manufacturers continue to view this area as an untapped resource. This "hybrid functionality" is heavily emphasized on the S2 IS and may allude to transformations to come.

The zoom toggle for the camera surrounds the shutter button in a ring, rather than a rocker or slider on the camera’s back. Positioning a zoom toggle on the back of the camera body allows the user to engage the zoom toggle with the thumb while leaving the index finger free to activate the shutter. On the S2 the user will first have to adjust the zoom level with the index finger and then capture the image with the same finger. It’s not a difficult maneuver, but it is annoying and may delay capture. In a strong design move, Canon enabled the S2’s mode dial to rotate a full 360 degrees, eliminating the need to constantly shift back and forth from one end of the dial to the other. Also, the four-way directional control is raised from the surface of the camera body, allowing for faster access and more accurate deployment of this feature. In another intelligent move on the S2, Canon has provided separate recording controls for video and still modes. This decision mirrors the recording controls on hybrid camcorders and should increase the efficiency and speed at which users can navigate shooting modes.

Menu*(7.0)
*In regular shooting mode, the PowerShot S2 IS offers two menus (FUNC. and Menu) which appear when their respective buttons are pressed.

The FUNC. Menu will be displayed on the left and bottom edges of the LCD screen and offers a live feed image in the background while users manipulate settings. This is an extremely helpful feature for both users who are becoming acclimated to the effects of manual control and for more experienced users who need a visual reference to check against.

The FUNC. Menu provides access to exposure compensation in the typical +/-2 EV range, white balance settings, ISO settings, Picture Effects, BKT settings, Flash output, movie frame parameters, and Image Size/Compression. These choices are listed on the left side of the LCD screen while the actual settings for each choice are listed along the bottom edge—an unusual but handy layout. Each of these menus and setting options are navigated by the four-way controller on the back of the camera body.

The other place that users can access camera controls is through the MENU button. This menu appears on a solid gray backdrop and lists three submenus with more options in each. The cursor’s movement is markedly slower than those on DSLRs with comparable menu interfaces. Each of the three regular shooting mode submenus is fairly long, but the cursor handily cycles back to the top of the menu so the user doesn’t have to scroll backwards for an eternity.

In the first submenu the user will be able to access the Reverse Display, IS mode, Convertor, Intervalometer, Set Shortcut Button, Save Settings, Flash Sync., Slow Synchro, Red-Eye, Continuous Shooting, Self Timer, Spot AE Point, MF Point Zoom, AF Mode, AF Assist Beam, Tally Lamp, Digital Zoom, and Review. The second submenu, called the setup menu and accessed in both regular shooting mode and playback mode, allows access to Mute, Audio, Volume, LCD Brightness, Power Saving, Date/Time, Format, File No. Reset, Auto Rotate, Distance Units, Language, and Video System. The third submenu is the My Camera mode, which controls the start-up images and audio samples heard when the camera is being activated and used. The My Camera submenu has settings for Theme, Start-up Image, Start-up Sound, Operation Sound, Selftimer Sound, and Shutter Sound. This submenu is also accessible when in shooting mode or playback mode. The Playback menu features standard control settings for images which have already been captured to card. This menu has settings for Protect, Rotate, Sound Recorder, Erase All, Slide Show, Print Order, and Transfer Order.

These menus are all easy to navigate, asides from the lag experienced in the MENU settings. The FUNC. Menu settings are also easy to navigate, and it uses a mixture of symbols which are supplemented with full text descriptions once a submenu heading has been highlighted.

**Ease of Use ***(7.0)
*Although many users may find multiple record buttons confusing, this camera is actually pretty straightforward and intuitive, and with a little bit of use, the dual button setup will become both familiar and advantageous. Because there are two separate record buttons, the user is immediately able to enter into movie recording mode without the hassle of entering a menu structure or manipulating a sticky mode dial. This will also be handy if the user wants to capture a still image while recording video.

The menus are standard setups with long vertical lists of options, but they continuously loop from last option to first option so users don’t need to re-navigate through the enter menu again. The navigation speed is somewhat sluggish and may frustrate when quick adjustments are necessary, but otherwise the menu structures are fine.

The S2 IS is successful in its structuring of options; with a host of manual functions included, the S2 conceals extraneous features to simplify the interface to point-and-shooters, while making advanced manual controls accessible to inclined users. The dual-record button at first seems more gimmicky than practical, but for some users, it will lend a substantial advantage. All around, the S2 fits well into the ultra zoom compact digital camera segment – offering a bit more in the way of performance and options without sacrificing its potential for point-and-shoot functionality.

Modes

Auto Mode* (7.5)
*One of the primary benefits of the Canon PowerShot S2 IS, as with the majority of the ultra zoom models currently offered, is the incremental range of control available to users. Users who do not wish to utilize the camera’s manual modes can switch down to full Auto or Program Auto modes and hand the exposure responsibilities off to the camera. In full Auto mode, users set the image size and quality settings for still or video recordings, and the camera will handle the rest. ISO, shutter speed, aperture, white balance, and metering are all taken care of by the camera, enabling the user to just point and shoot.

For the second-tier automatic enthusiasts who don’t want their hands fully tied with adjusting the exposure, there is a Program Auto mode available on the S2 IS as well. The Program Auto mode functions similarly to Auto mode, but the settings are not locked. The camera will still calculate shutter speed and aperture settings to provide an even exposure; however, when users wish to exert some degree of control over the image, the options are available.

In Program Auto mode, users will gain control of exposure compensation, white balance, ISO rating, bracketing options, flash exposure compensation / sync alternatives, digital effects, continuous shooting, metering mode, manual focus, intervalometer (timed, incremental exposures or time lapse shots), AF placement, AE / FE / AF lock, and program shift settings. This is a substantial degree of control provided without assuming full responsibility; the camera will still select the shutter speed and aperture settings for a proper exposure – metered for mid tones. You can’t control blurring or planes of depth without going into full Manual or a priority mode, but the illumination in your image will be sufficient; however, users should bear in mind that the S2 IS, like most digital cameras, is fitted with a reflective internal meter, which is designed to meter for middle gray tones.

Both Auto and Program Auto modes are placed on the large Mode dial near the shutter releases (and video rec. button) on the top of the camera, so users can locate the modes easily and switch quickly if necessary.

Movie Mode*(8.5)
*Like the other current leading ultra zoom digital camera manufacturers, Sony and Panasonic, Canon is also a major camcorder manufacturer. It appears that some of their video know-how has finally seeped down a bit into the design of a consumer-grade camera, the Canon S2 IS; its seemingly hybrid setup is one of this model’s major draws. The movie mode allows users to record video at a frame rate of 30 fps at a maximum resolution of 640 x 480. Even if shooting a still image, it is possible to activate video recording because of the split record control setup on the S2; however if a user captures a still during video shooting with the movie snap feature, the video clip will stutter when the frame reaches the point of the still image capture and the shutter sound will be recorded onto the soundtrack. Even so, the option is there. And unlike the Sony H1 and the Panasonic FZ5, the S2 gives users the rare gift of zooming in movie mode.

Unfortunately, zooming has unwanted sound effects: the camera has a stereo microphone, positioned with the left and right channels on either side of the lens barrel, and these microphones picked up the audible "Ultra Sonic" lens motor. It’s ironic that the attractive bonus of zooming in movie mode is rendered useless by the attractive bonus of stereo microphones! And since these microphones inevitably record in a high frequency range, they’re sure to capture every audible camera movement, too. At least users can add a wind cut filter and control audio recording levels manually – a true edge over the competition.

Movie clips may, to a certain extent, be edited while still in-camera. It is possible to crop the beginnings and ends of movie clips, although it is not possible to edit further unless footage is transferred to another editing device. Besides, those who view this camera as a true hybrid imager will opt for postproduction editing using Avid or Final Cut Pro—right?

Drive / Burst Mode* (6.0)
*On the front of the camera, pitched near the shutter release, is a small continuous shooting button. Users can cycle though the camera’s burst and continuous shooting modes to find the desired setting for the shot. The button is practically placed and makes it easy to render changes without taking your eye off the screen. Although the addition of the DIGIC II image processor improved upon the S1’s burst speed of 1.7 fps, the S2’s speed still fell short of several cameras currently on the market. While it can shoot 30 percent faster at 2.4 frames per second in High Speed Continuous burst, in Normal the S2 only shoots 1.5 frames per second—slower than the S1! By contrast, the Panasonic Lumix FZ5 is capable of shooting at a rate of 3 fps for four frames at its fine setting, or seven frames at its standard setting. The S2 IS did manage to perform well when compared to the Sony H1. The H1 is only able to shoot at 1.3 fps for 9 consecutive images.

Playback Mode*(7.5)
*To switch into playback mode, the user must turn the settings ring. This ring isn’t exactly the most obvious mode adjustment device at first but over time the inconvenience wears off. Once in playback mode, it is possible to view images singly or as 9 thumbnails viewed simultaneously, by toggling back and forth with the S2’s zoom toggle. When viewing images in the nine-image format, the user can either scroll through pages sequentially or utilize the Jump feature, which enables users to skip through 10 or 100 images at one time. The zoom toggle may also be used to magnify single images up to 10x their original size. Magnified images may be navigated with the use of the four-way controller to check focus and detail across the composition.

Movies may be played back at both the original recorded speed or in a slow motion frame-by-frame setup. It is also possible to edit them slightly in-camera; the beginnings and ends of clips can be deleted. The camera can capture stereo audio recording using the dual microphones positioned on the front of the camera body, but when listening to audio in-camera during playback, the audio will have to run through a mono speaker.

Custom Image Presets*(7.5)
*Canon offers users of the S2 a handful of preset settings to help point-and-shoot users make instantaneous adjustments for specified shooting conditions or conventional scenarios. There are 10 preset options in total available on the PowerShot S2, grouped in two separate locations. Portrait, Landscape, Night Scene, and Stitch Assist options are graphically represented on the mode dial on top of the camera, while Indoor, Night Snapshot, Foliage, Snow, Beach, and Fireworks modes are also available, but are placed under the "SCN" or Special Scene Mode subdirectory. While this is not quite as full of a selection as many other compact cameras are currently providing (some exceed 20 preset modes), the S2 IS also includes a "My Colors" heading that enables users to adjust color parameters on both still and video recordings. The My Colors menu is accessible by using the mode dial and offers 9 digital color effects.

Control Options

**Manual Control Options **

The Canon PowerShot S2 IS offers users about as much control as any compact camera could. Users can assume control over exposure, ISO, white balance, focus, and metering as well as custom effects which offer the opportunity to tweak sharpness, contrast, and saturation. Users can also manually adjust audio settings during video capture – a first among traditional digital cameras. There are both priority modes and a full manual mode. Users can also select the IS mode in use and will also have to manually open the flash, though the latter of course is less of a pleasing manual option and more of an inconvenience.

**Focus
***Auto (6.0)
*The Canon PowerShot S2 IS uses a TTL contrast-type AF system to focus from 3 inches to 2.6 feet in macro mode and 2 feet to infinity in the normal shooting modes. When the camera has a difficult time focusing, users can activate the AF illuminator, which is a green LED on the front of the camera. Focusing adjustments are drawn out and will require some time to properly calibrate and set, and if audio is being recorded, the sensitive stereo microphones will pick up the sound. The S2’s AF is faster than the auto focus on some other point-and-shoot models on the market, but it is about average by today’s standards, particularly among the ultra zoom market segment.

In all available modes on the S2, users can switch the camera’s Automatic Focus between single and continuous focusing modes. Continuous focus is the default setting, in which the camera will constantly adjust the focus as the frame is altered. Its constant state of refocusing will prepare the camera for the shot, but it’s a constant drain on the battery. To conserve power, users can switch over to the single auto focus setting. Single focus is what most point-and-shooters are accustomed to and activates upon partial depression of the shutter. When the shutter is pushed halfway, the camera will lock the focus and the shot can be captured.

In addition to the Auto Focus setting, users can manually select the AF point within the frame. This is particularly helpful when subjects are off-center. The AF point selection control is a secondary feature of the "SET" button and is active in all modes except full Auto. In any other mode, once the button is pressed, the white AF box turns greens and becomes movable. Users can use the up, down, left and right directional values of the multi-controller to move the box to the desired region of the frame. Wherever the box is placed, objects within it will be in focus.

The addition of the DIGIC II imaging processor in the S2 is said to expedite the autofocus function by nearly 45% over the previous S1. The PowerShot S2’s AF speed is quite quick and responsive, but its accuracy in both still and video capture modes was sometimes disappointing. In still mode, the camera at times seemed confused when multiple objects crept into the AF box, and occasionally focused on objects along the edge, rather than the one in the center.

Additionally, when recording video with the lens zoomed all the way out, the camera had substantial difficulty focusing. If this is the best still/video hybrid option on the market, video enthusiasts should stick with a camcorder for now. I was not altogether unimpressed with the camera’s movie mode, but the lens would often zoom in and out, displaying that familiar and unflattering "breathing" effect that is sure to drive users up the wall when trying to watch footage of their kid’s first steps… only to find that it blurs in and out….in and out.

*Manual (2.5) *

An "MF" button has been logically placed on the side of S2’s lens barrel. Users can hold the MF button and alter focus with the up and down options on the navigational selector. A vertically-oriented line graph appears on the LCD screen to guide users through the available focus range. A small square is superimposed over the live feed image in the center of the LCD screen. This is the focus guide and magnifies the center of the composition; this feature will be particularly useful in extreme telephoto shots.

While manual focus rings are still primarily reserved for SLRs, the S2 would certainly benefit from one, particularly since the feature could provide a comfortable resting place for the user’s left hand and increase stabilization and handling during shooting. However, on the S2, a ring could only go so far, as the lack of LCD and viewfinder resolution just can’t provide the sharpness needed to attain accurate focus. While manual focus is a nice inclusion, users will probably be better served relying on the PowerShot S2 IS’s mobile AF box.

Metering* (7.5)
*The PowerShot S2 offers three selectable light metering settings: Evaluative, Center-Weighted Average, and Spot AE Point. The Evaluative metering option is the default and will read the lighting throughout the composition and determine the optimal settings for an even overall exposure. Evaluative metering will be best for general snapshots. Center-Weighted Average metering reads the light in the entire frame and determines an exposure for the entire scene, but gives strong priority to the center of the composition. There is also a Spot AE Point metering alternative that has two available options. Users can determine whether the metering spot is fixed to the center of the composition or if the spot setting is linked to the AF point and thus, movable. The movable AF point option is a nice inclusion because it enables users to precisely meter off-centered subjects or objects within the shot without having to abandon the viewfinder.

Exposure* (8.0)
*The Canon PowerShot S2 IS hosts a range of features that have the potential to alter exposure, such as both Aperture and Shutter Priority modes as well as a full Manual mode. Users can also manually alter the exposure compensation from +/-2 in 1/3-stop increments, influencing the exposure in any mode. This is a pretty standard feature, with the 1/3-stop increments offering a reasonable degree of control.

White Balance* (8.0)
*In terms of color balance, the PowerShot S2 is fairly competent at adapting to various colors of light. Canon included 6 preset options along with a fully automatic and full custom setting. The presets are Flash, Day Light, Cloudy, Tungsten, Fluorescent, and Fluorescent H. In case the distinction is not abundantly clear from the "H" titling, the strictly Fluorescent setting is for "recording under warm-white, cool-white, or 3-wavelength," while the Fluorescent H setting is for "recording under daylight fluorescent or daylight fluorescent-type 3-wavelength." Makes perfect sense, right? Well, if not, users can feel free to play with it to feel out the distinctions. Fortunately, this is easy to do with the S2 as the white balance option (and all other shooting settings available under the FUNC. Menu) offers a live feed backdrop for shooting adjustments. Users can preview potential alterations to color prior to rendering the selection.

The additional inclusion of a manual setting will make accurate color reproduction possible in virtually any type of lighting. The manual or custom setting on the S2 is quick and easy to use and worked effectively when tested. Users must place a "true white" card in front of the lens and hit the "set" button. The camera will then read the white value in relation to the scene’s lighting and adjust the color accordingly.

ISO* (7.0)
*One area of the PowerShot S1 that Canon unfortunately did not update was the S2’s sensitivity options. A major performance flaw of the S1 was its inability to control noise at even the limited ISO options it offered. Canon added a DIGIC II processor to the S2 package, which should help a bit; however, an increased sensitivity range would ultimately be desired. The S2, like the PowerShot S1, contains a 50-400 ISO range with 100 and 200 options in between. An Auto setting is also available. The ISO 50 setting is helpful for quality, but the range is limited and performance beyond the ISO 100 rating is questionable. Couple this with the flash that must be coaxed out manually and some point-and-shooters might not find the S2 a friendly camera in compromised lighting. The ISO range for the S2 manages to outdo the Konica Minolta DiMAGE Z5, which stops at ISO 320, and is comparable to the ISO ranges for the Panasonic FZ5 and FZ20, the Kodak Z7590, and the Sony H1. However, the S2 was not a strong competitor in terms of noise suppression at the higher ISO settings.

Shutter Speed* (8.0)
*Canon increased the maximum shutter speed from 1/2000 to 1/3200 of a second on the PowerShot S2 IS. The S2 offers a shutter range of 15 seconds to 1/3200 of a second. On all exposures exceeding 1.3 seconds, additional noise reduction is activated.

The increased speed from 1/2000 to 1/3200 distinguishes the S2 from the other current ultra zoom models available, which top out at 1/2000. However, both the Sony H1 (30 seconds) and Kodak Z7490 (16 seconds) offer longer exposures than the 15 second max of the S2.

Aperture* (8.0)
*With the lens zoomed out to its widest angle of view, the PowerShot S2 will open up to f/2.7. In full telephoto, the S2’s lens can be opened to f/3.5. The f/3.5 max aperture in full 12x zoom is only surpassed by the Panasonic FZ5, which can open to f/3.3 in full zoom. Both the Konica Minolta Z5 and Sony Cyber-shot H1 can only open to f/3.7 at full zoom. The S2’s f/2.7 maximum aperture in wide angle is the widest aperture available on any of the current ultra zoom cameras and gives the S2 a slight edge in terms of speed and low light capabilities.

Image Parameters

Picture Quality / Size Options* (7.5)
*Canon has included a range of image sizes and quality options for both still and video recording. Still images are captured as JPEG files at 2592 x 1944, 2048 x 1536, 1600 x 1200, or 640 x 480 resolution with Normal, Fine, and SuperFine compression/quality options. Video can be captured with stereo audio at either 640 x 480 or 320 x 240 resolution at 30 or 15 frames per second until the card is full. Canon did not include RAW or TIFF recording capabilities on the S2 IS, assuming the majority of those users interested in editing uncompressed images or opening the files in vector-based software applications will be drawn to digital SLRs.

Picture Effects Mode* (8.5)
*Instead of RAW or TIFF recording potential, Canon felt it more appropriate to include a range of effects to craft images in-camera. There are five general image effects: Vivid (saturated tones), Neutral, Low Sharpening (soft), Sepia tone, and Black and White. A Custom Effect option is also included and seems to have been loosely appropriated to the PowerShot line from Canon’s EOS line of digital SLRs. Within the Custom Effect parameters, users can alter Contrast, Sharpness, and Saturation in full step increments (+/-1). While amusing to play around with, these settings are definitely not a feasible substitute for Photoshop. If you want real control over picture effects, color manipulation, and other image alterations, it would be wise to avoid these modes. 

Connectivity / Extras

**Connectivity **
*Software (7.0)
*The Canon S2 IS comes with software that should provide a fair number of editing, viewing, printing, and shooting control options. The included CD-ROM is titled, "Canon Digital Camera Solutions," and is operable on both Macintosh and PC platforms. The software on this CD-ROM includes QuickTime 6.5, Canon ZoomBrowser EX, PhotoStitch, Canon PhotoRecord, ArcSoft PhotoStudio for advanced image editing, and Camera Window. It is possible to edit and manipulate both still images and movie clips that have been captured. It is also possible to construct panoramic photographs using the PhotoStitch software found on the CD-ROM. Using the ZoomBrowser/ImageBrowser feature will allow users to control the shutter of their camera through their personal computers.

*Jacks, Ports, Plugs (6.5)
*The Canon PowerShot S2 IS has ports for a USB 2.0 which replaces the USB 1.1 found on the S1. This improved USB feature will result in a much faster output to both printer and personal computer. There is also an A/V out port for connection to a monitor or other external viewing device. The A/V cable has a stereo connection so that the user will actually be able to hear stereo recordings that are unfortunately turned mono when heard through the in-camera mono speaker. The SD memory card slot is located on the right side of the camera body while the battery slot is positioned on the bottom.

*Direct Print Options (8.0) *

The direct print options for the Canon PowerShot S2 IS allow the user to connect to either a computer or a printer through the USB 2.0 cable included with the camera. The included "Interface" cables permit connections to Canon CP series printers, Canon Selphy CP series printers, Canon Bubble Jet printers, Canon Selphy DS printers, and of course, PictBridge compliant printers. It is possible to dictate printing and transfer orders by entering the playback menu of the camera prior to initiating these features, and there is a Print/Share button positioned on the back of the camera body as a handy printing shortcut.

*Battery (2.5)
*The battery slot for the Canon PowerShot S2 IS can be found on the bottom of the camera body on the right side. This camera requires four AA batteries to run and as always, NiMH batteries are recommended over AAs.

*Memory (3.0) *

The obligatory 16MB card, included with the S2, comes as more of a complementary inclusion than a practical means for image storage. A 16MB SD will hold 5 images at the camera’s highest quality settings or 6 seconds of high quality video. By contrast, a 512MB SD card, which sells for around $60 (USD) will hold about 90 images or 237 seconds of video at the camera’s highest quality settings and is a necessary additional purchase with the S2.

Like the S1, the PowerShot S2 does not contain any internal storage; however, Canon did stray from the CompactFlash media that was used on the previous S1 in favor of the smaller SD card format. SD cards are smaller (and perhaps a bit more fragile) but are rapidly becoming the dominant storage format, at least among compact cameras.

Other Features* (6.0)

Sound Recording -* In Playback mode, the Sound Control Panel can be displayed and users can record sound only, without images, for up to two hours at one time. This feature is easily accessed through the playback menu setup.

Stitch Assist Mode - The stitch assist mode provides users with an in-camera aid when shooting panoramas. The camera produces a series of grids to aid in the capturing of overlapping images so the user can create panoramic photographs in postproduction.

Panning - When Image Stabilization is engaged by the user during shooting, the panning feature is also engaged. This enables users to pan (horizontally only) while the camera compensates for any vertical shake.

Overall Impressions

Value* (7.5)
*While the S2 IS is not a budget consumer’s dream, it’s offered at a competitive price point relative to the competition. The lens alone, spanning from 36-432mm (35mm equivalency) with selectable optical image stabilization, a UD (Ultra Low Dispersion) lens element, and Ultra Sonic Motor (USM) is worth the price of the camera. Apply 30 fps video recording with manually selectable audio levels, wind noise reduction, and stereo audio recording, and the camera definitely assumes a unique space within the digital camera market.

While the video capabilities are strong, the S2 should not be mistaken for a camcorder or even assumed to be competitive among true video recorders; however, in the digital camera realm, it is a ways beyond the competition. The camera did display some performance flaws that taint the overall package and value. Noise is extremely prevalent in images captured using the camera’s ISO 200 and 400 settings and the lens, for all its good specs, was not as sharp as we had hoped. All around, the camera is competitive among other ultra zoom offerings but seems to draw the majority of its distinction though its video capabilities, which may or may not be useful to consumers. The selectable image stabilization settings are the true advantage of the S2 over the other competitive ultra zoom models, and for the price, it makes the camera a strong value.

Those users more concerned with image quality might want to look at the Sony Cyber-shot H1, which produces images with less noise and richer color tones; however, the H1 is significantly inferior to the S2 in terms of functionality and video capture capabilities.

**Comparisons **
Canon PowerShot S1 IS - The Canon PowerShot S1 IS brought the consumer digital camera market Canon’s first ultra zoom digital camera with Image Stabilization. Although this camera surprised many users with its use of both image stabilization and video capture when compared to other Canon offerings, the S2 improves upon the strong platform created by this first model. The S1 has a USB 1.1 as opposed to the faster USB 2.0 found on the S2. The S1 has a smaller LCD of only 1.5 inches and offered a 10x optical zoom as opposed to the 12x of the S2. Also, Canon has moved away from the larger CompactFlash memory card in favor of the SD memory format and has replaced the slower processor found on the S1 with a much faster DIGIC II processor. The Canon PowerShot S1 had an original retail price of $399, making it a more economical option than the slightly more expensive S2.

Panasonic Lumix DMC-FZ5 - The Panasonic Lumix DMC-FZ5 comes equipped with a 1/2.5-inch 5 MP CCD and a number of manual controls that include ISO control with settings of 80, 100, 200 and 400; EV Compensation; Manual and Auto Focus control; White Balance presets and custom modes; AE bracketing; and Shutter Speed. One of the bigger drawbacks to this camera is its lack of compatible accessory lenses. Also, the video clips have a maximum resolution of only 320 x 240, although the FZ5 does have a 30 fps rate. Audio features are also more limited and users will only be able to have a 10 second audio clip attached. The FZ5 has a 1.8-inch LCD screen and a color electronic viewfinder. Users won’t have nearly the number of image effects modes if they use the FZ5 instead of the S2 IS, which is something to keep in mind if schmaltz is an essential aesthetic in your photographs. The Panasonic Lumix DMC-FZ5 had an original retail price identical to that of the S2 IS, but like the S2, may be found online for less at this time.

Konica Minolta Z5 - This camera, like the S2, has a 12x optical zoom with image stabilization, a 1/2.5-inch 5 MP CCD, and a 16MB SD card. It has a color electronic viewfinder and a larger 2.0-inch LCD screen for greater visibility. The Z5 also has an external hot shoe positioned directly above the pop-up flash, so an external flash attached by this means will probably have a more even dispersal the slave flash attachment offered with the S2. Although it has a smaller ISO range with a top ISO of 320, the Z5 does provide manual input for white balance, exposure compensation, focus, shutter speed, and aperture settings. This camera has a 10 frame-per-second progressive mode and a movie mode that also is able to boast a 30 frame-per-second 640 x 480 quality with zoom control. However, this camera cannot match the stereo microphones found on the S2. Worse, this camera ate through batteries and will be unable to record in movie mode if the batteries are close to low. The Z5 had a slightly higher original retail price of $499 (USD).

Sony Cyber-shot H1 -The Cyber-shot H1, unlike other cameras in this comparison section, can shoot with additional lenses on top of its 12x ultra zoom lens with Image Stabilization. This camera has a massive LCD when compared to the S2 with a measurement of 2.5 inches. The H1 also has a movie mode, albeit without zoom, with capture at 640 x 480. It could capture at frame rates faster than 16 fps if it came with more memory, but a larger card purchased separately is required. It defeats the parsimonious decision of favoring this model over more expensive ones. Also, the burst mode on the H1 is disappointing when compared with the S2 and other cameras in this section. There is manual focus, along with manual control over white balance, a comparable ISO scale, a shutter speed range of 30 to 1/1000th of a second, and a manually controlled aperture scale. The H1 had an original retail price of $499 (USD) but like all the cameras in the comparisons section, it may be found online at a reduced cost.

Fujifilm FinePix S5100 - This model by Fuji provides a smaller 4 MP CCD along with an optical zoom of only 10x and mono audio recording. The lens also lacks optical image stabilization and does not compensate with an increased ISO range. The movie mode is able to produce results on par with the S2, with frame rates of 30 fps and a maximum resolution of 640 x 480. In terms of preset color mode options, this camera, like all of the other ones listed in this comparisons section, can’t quite match the options on the S2 IS. The user will be able to control manual focus, exposure compensation, white balance, a comparable ISO scale, shutter speeds from 15 to 1/2000th of a second, and the aperture. The camera has a smaller 1.5-inch LCD but does come equipped with a color electronic viewfinder as a viewing alternative. Unlike the S2, the menu structure on the S5100 initially seems insurmountable, but with enough use and some reading, it will become at least adequate. The S5100 suffers from this as well as poor button and control placement. If ease of use is a major concern for users, this camera may not be a wise investment.

**Who It’s For
***Point-and-Shooters -* For the point-and-shoot enthusiast looking for a camera with preset modes, a long lens, and the opportunity for advancement into manual control, the S2 could be a very feasible option.

Budget Consumers - With controls and settings that simulate a DSLR without the price tag, the S2 has many features which would appeal to the budget consumer.

Gadget Freaks - The S2 could provide a few moments of amusement for the Gadget Freak. There is a tethered mode, an in-camera "My Colors" mode, accessory lens options, and an optional slave flash.

Manual Control Freaks - For the manual control freaks looking for a camera with both manual control and point-and-shoot options, the S2 should satisfy. However, the lack of a focal or zoom ring means most of the manual control features are still controlled via external buttons and LCD menu structures, which is not the hands-on experience many manual control freaks may be looking for.

Pros / Serious Hobbyists - The pro or serious hobbyist would be able to appreciate the hybrid features and the manual controls; however, as mentioned before, the lack of zoom or focal ring makes this camera less desirable than a higher-end camera with full manual controls. Also, the poor handling of noise would be inexcusable to this demographic.

Conclusion

**

Conclusion
**The Canon PowerShot S2 picks up where the PowerShot S1 IS left off, though not perhaps in the ways some might expect: it improved upon the S1’s strengths while still falling short in all the same areas. The S2 makes significant strides in the push towards hybrid functionality, adding stereo recording, manual audio controls, dual recording buttons, and a wind reduction function. The 12x optical zoom lens is extremely versatile and includes selectable stabilization settings to optimize performance and distinguish it from other ultra zoom models—and if it’s not versatile enough, the user has the option to purchase compatible accessory lenses for increased wide angle and telephoto capabilities. The flip-out 1.8" LCD, which can swivel 270 degrees, is not wholly unique but not yet common either. Its 5 MP images can now be recorded to an SD card, and the improved macro mode makes those cliché shots of dew-sprinkled flower petals easier than ever.

However, still performance fell short of expectations. And while the addition of the DIGIC II processor improved the S2’s performance speeds, it did not do much to help the camera’s difficulty in suppressing noise. This is the major downfall of the S2. Resulting images are noisy and colors are a bit muddier than the Cyber-shot H1. All around, the S2 is a capable camera with an extremely flexible lens that justifies the $450 price tag alone; however, those looking for immaculate stills will be put off by the visible noise present in the S2’s images.

Specs / Ratings

**Specs Table
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Meet the tester

David Vine

David Vine

Editor

David Vine is a valued contributor to the Reviewed.com family of sites.

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