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The next camera category goes by a lot of different names. Sony calls them "full-featured" cameras (and that is probably very true), other companies call them "prosumer" cameras. I'll call them advanced zoom cameras until someone convinces me there's a better name. The one thing that they all have in common is that these cameras are essentially a DSLR with a permanently fixed lens--you can't change lenses. You can, however, view your composition through the lens via a electronic viewfinder and the LCD. And in that one respect (that you can view live through the LCD) they have an advantage over real D-SLR cameras. The downside is...well, we'll get to that, but the downside is that electronic viewfinder (ELF). I find it very annoying because it has the look of a grainy video screen. On the other hand I had a Nikon Coolpix 5700 with an ELF and though I only tolerated the viewfinder quality, I worshipped the camera. I really recommend that you test drive an electronic viewfinder before you buy it--it has no affect on image quality, of course, it's just a viewing issue.

The images these cameras create are absolutely professional. In illustrating my recent book, The Joy of Digital Photography, I used advanced zoom cameras extensively (including the Coolpix 5700). I didn’t think it was fair to be writing about how great zoom cameras were and then use Pro D-SLRs to shoot the pictures. I fell in love with that Coolpix despite the ELF.

When this group of cameras first peeled away from their compact brethren they touted modest zooms of 2x or 3x and resolutions of 3 or 4 megapixels. Today a resolution of 6 megapixels represents the entry point, and 8-megapixel cameras are common and Canon, Nikon, Olympus and Sony have either already raised the bar with 10-megapixel cameras or they will shortly. Kodak won't be far behind either.

Features, Quality & Price

You’ll find 5x to 8x zooms are becoming standard in this group and several cameras have 12x optical zooms. Manufacturers are not holding back their top-shelf glass for these cameras either: Canon is using their premium fluorite glass, normally reserved for their high-end pro lenses and Kodak’s Easyshare DX7590 boasts a 10X Schneider-Kreuznach Variogon zoom. Also, because most of these cameras feature threaded front elements, you can add accessory lenses, filters or even ring-flash units for close-ups.

Virtually all of these cameras offer the same advanced metering and exposure features boasted by the ProAm D-SLRs, but you’ll also get a plethora of subject-specific exposure modes. Some of the scene modes you'll encounter include: Portrait, Party/Indoor, Night Portrait, Beach/Snow, Landscape, Sunset, Night landscape, Fireworks Show and more. (I'm going to upload a special article on those modes shortly.)

Another attractive feature is anti-shake technology that is being built into more and more zoom cameras. Telephoto and zoom lenses with image stabilization have been available as an expensive option for D-SLR cameras for some time, but having it built into the camera means better sharpness at shutter speeds two or three stops lower than you’re used to using safely. Anti-shake will be a part of all cameras soon, so consider it an option worth paying for if you handhold your camera a lot.

As I said, all advanced zoom cameras provide dual viewing options: an electronic viewfinder (EVF) and a large bright LCD panel and unlike the D-SLRs, you can compose “live” on the LCD panel. And while I find the slow reaction time and pixelated look of some EVFs annoying, having to live with one is not a deal breaker for me. But YOU should try it before you buy it: visit your local camera shop (mine is Milford Photo in Milford, Connecticut) and ask them to let you play with an ELF camera. They will.

Advanced zoom cameras also lead the way with some very cool in-camera processing innovations. Many zoom cameras can remove red eye right in the camera (though this feature is also showing up in some compact cameras like the Nikon Coolpix 4200). Other in-camera processing tricks to look for include the ability to control contrast, tonal range and sharpness. Fujifilm’s S20 zoom camera, for instance, uses two separate sets of pixels at each photosite—one set for highlights and a more sensitive set for shadows--to capture a more dynamic contrast range.

Shutter lag and buffer problems are still not solved completely, but you can expect this to be addressed as a priority in the next round of both zoom and compact cameras. By the end of 2007 I don't think you'll hear the phrase "shutter lag" mentioned very often in terms of new models.

To some degree price is in this group is pegged to pixel counts and optical zoom lengths, but price typically ranges from under $300 up to $600-800 (for high-end cameras). If you can afford a model with a 10x or 12x zoom, that's certainly something to consider paying a bit more for--especially if you like to shoot sports or wildlife. Other features that I think are worth having include the availability of wide-angle and telephoto lens accessories, as well as a flash hot shoe so that you can add an accessory flash.

Go to the manufacturer's websites and you'll find all the feature and accessories listed for each model.