This page has been formatted to facilitate printout of the review.

Use your browser's "Back" button to return to the previous page, or the links at the top and bottom of this page to navigate to related information. If you have difficulty fitting the text on this page onto your printer output, simply resize your browser window to a narrower width and print again.

Remember us when it's time to buy!

Dave here: Have our reviews been helpful to you? (Is this article you're reading right now useful?) Preparing this level of information on as many products as we do is incredibly hard work, not to mention expensive. Things on the Internet may look like they're free, but they're not. (As a lot of big companies are finding out these days.) Somewhere, somebody has to pay to produce worthwhile content. YOU can help us though, by remembering us when it comes time to make your purchase. Would you consider coming back to our site and clicking-through to one of our advertisers to make your purchase? Every dollar you spend with one of our advertisers helps us directly (in affiliate fees) or indirectly (the advertiser will keep renewing their ad contract with us). To make it easy for you to support us, here's a URL you can visit, to see all our current advertisers, with links to click on that will register your visit to them as having come from our site. It's up to you where you buy, but Mike, Mike, Kim, Yazmin, Marti and I would be really grateful if you'd help us out by choosing one of our advertisers to purchase from.

Thank you for your support!
Dave Etchells, Founder & Publisher

Visit our "Buy Now" Page:

Back to Full Sony DSC-S75 Review
Go to Sony DSC-S75 Data Sheet
Go to Sony DSC-S75 Pictures Page
Up to Imaging Resource Cameras Page

Sony DSC-S75


Review First Posted: 02/9/2001

Must-have eBook, $20, Click Here!

MSRP $500 US


* 3.3-megapixel CCD delivering 2,048 x 1,536 images
* 14-bit digitization for exceptional tonal range and detail
* 3x Carl Zeiss lens for sharp, crisp images
* MPEG-EX movie recording eliminates record-time limitations


Manufacturer Overview

Sony Electronics has long held a dominant position in the digicam marketplace, with a wide range of models enjoying enormous popularity with consumers. Last spring (February, 2000), they stunned the digicam world by announcing no fewer than six new models. This year (2001), they repeated this hat trick at Spring PMA in Orlando, FL, once again announcing six new units. As they did last year, this year's announcements affected both the Mavica and Cyber-Shot lines.

The subject of this review is the Cyber-Shot DSC-S75, the successor to last year's DSC-S70. The new model sports the same 3.3-megapixel CCD and ultra-sharp Zeiss lens as the S70, but adds numerous user-interface enhancements, 14-bit digitizing for superb highlight detail and low image noise, and improved movie mode capabilities. Oh yes, Sony also dropped the price significantly, with an introductory street price of only $699. (At the time this is written, it is about the lowest price offered for a full-featured 3-megapixel camera.) Read the full review below for the details, but we'll say right at the outset that we think Sony has done just about everything right with this new model. Its combination of great features, price, and image quality make it one of the standout bargains at the upper end of the prosumer digicam world!

This review is based on a production-level prototype unit: All image-related characteristics were in final trim, the only possible changes prior to full production models would be minor user interface changes. (And even those appear unlikely.)



Executive Overview

Continuing in Sony's excellent line of Cyber-Shot digicams, the DSC-S75 offers many of the same great features we enjoyed on the DSC-S50 and DSC-S70 models, with a few notable improvements. The S75 has nearly the same proportions as the S70, approximately 4.6 x 3 x 2.25 inches with the lens retracted, so it should fit neatly into a large coat pocket, purse, or small camera bag. An accompanying neck strap gives you the option of carrying the S75 out in the open, ready to shoot on a moment's notice.

There are a few aesthetic differences between the S75 and preceding models, including the addition of more external camera controls, a Mode dial, Command wheel, and an external flash shoe mount. Changes in the camera's functions include a Manual exposure mode, adjustable ISO, and an improved LCD menu system.

With its real-image optical viewfinder and 1.8-inch color LCD monitor, the S75 offers two options for image composition. The optical viewfinder accommodates eyeglass wearers reasonably well, with a diopter adjustment dial to compensate for variations in vision. The eye point is just a hair low (about average for cameras we've tested), so you will end up pressing your glasses against the viewfinder eyepiece. The small status display panel on the camera's back panel and the optical viewfinder help you conserve battery power by not relying completely on the LCD monitor to adjust settings, although you'll still need to activate the LCD screen to change image size/quality, white balance, and other options. When the LCD monitor is active, an information display reports the remaining battery power, Memory Stick capacity, flash status, and the number of images taken, plus various exposure settings, such as aperture, shutter speed, exposure compensation, image size, and quality. The information display is enabled or disabled by pressing the Display button.

The S75 is equipped with a 3x, 7- 21mm Carl Zeiss Vario-Sonnar lens (equivalent to a 34-102mm lens on a 35mm camera). Zeiss optics are noted for their sharpness, and the lens is a significant feature of the camera. Our assessment is that it performs better than the lenses on most digicams we've tested. Apertures can be manually or automatically adjusted from f/2.1 to f/8.0. Focus also features automatic or manual control, with a distance readout displayed on the LCD monitor in Manual focus mode. A 2x digital telephoto function is activated through the Setup menu, increasing the S75's zoom capabilities to 6x (although with the usual decrease in resolution and quality that results from digital magnification). Macro performance is good, with macro focusing distances ranging from 1.62 inches (4cm) to 8.0 inches (20cm).

In addition to its fully Manual exposure mode, the S75 provides Aperture Priority, Shutter Priority, Program AE, and Scene exposure modes. Aperture Priority allows you to select the working aperture -- from f/2.1 to f/8 -- while the camera chooses the best corresponding shutter speed. Shutter Priority allows you to select the shutter speed -- from 1/1,000 to eight seconds -- while the camera selects the appropriate aperture. Program AE places the camera in control of both aperture and shutter speed, while you control the remaining exposure parameters. The Scene exposure mode provides three preset shooting modes: Twilight, Landscape, and Portrait, which are designed to obtain the best exposure for specific shooting situations.

A Spot Metering option switches the exposure metering system to take readings from the very center of the image (a crosshair target appears in the center of the LCD monitor). White Balance options include Auto, Indoor, Outdoor, or One Push (the manual setting). Exposure Compensation is adjustable from -2 to +2 exposure equivalents (EV) in one-third-step increments. The camera's ISO setting offers Auto, 100, 200, or 400 equivalents, increasing performance in low-light shooting situations. The built-in flash features Auto, Red-Eye Reduction, Forced, and Suppressed operating modes, with a variable flash intensity setting. As a added bonus, the S75 offers an external flash socket and mounting shoe, which allow you to connect a more powerful flash to the camera. A Picture Effects menu captures images in Solarized, Sepia, Black & White, and Negative Art tones and a sharpness setting allows you to control the sharpness and softness of the image.

The S75 marks Sony's introduction of a feature they're calling "MPEG EX", which provides for continuous MPEG movie recording directly to the memory card. This eliminates arbitrary movie length limitations imposed by internal buffer memory, meaning you can record as long a movie as you have memory card space for. The standard MPEG Movie mode includes sound capabilities, plus all of the above exposure controls except flash and ISO. A Clip Motion option, available through the Setup menu, works like an animation sequence, allowing you to capture a series of up to 10 still images to be played back sequentially. Menu options for the Clip Menu mode include White Balance, Image Size, Flash Level, Picture Effects, and Sharpness adjustment. As noted, a significant improvement in the standard MPEG movie mode is the ability to record 320 x 240- and 160 x 112-pixel resolution movies for as long as the memory card will allow, without having to hold down the shutter button (you simply press the shutter button a second time to end the movie). The Movie mode's highest quality option, 320 HQ, is still limited to a maximum recording time of 15 seconds, but provides higher-quality image, as well as a higher audio sampling rate.

The Record menu offers a list of Record mode options, including a TIFF mode for saving uncompressed images; a Text mode that captures images as black-and-white GIF files, perfect for snapping pictures of white boards and meeting notes; and a Voice recording mode, in which you can record sound clips up to 40-seconds long to accompany captured images (great for "labeling" or annotating shots you've taken). There's also an E-mail record mode that captures a smaller, 320 x 240-pixel image size that's easier for e-mail transmission (this mode actually records two images: one in the 320 x 240-pixel format and another at whatever image size is selected through the Record menu). A Burst 2 mode captures two images in rapid succession with one press of the shutter button (actual frame rates vary with the pixel resolution size and the amount of image information to be recorded), plus a Normal setting.

Images can be saved as uncompressed TIFF, JPEGs, MPEGs, or GIFs depending on the Record mode, and are stored on the 8MB Memory Stick included with the camera (higher capacity cards up to 64MB are available). An NTSC video cable is also provided with the camera for connecting to a television set. (European models come equipped for PAL, but the camera itself can switch between the two standards via a Setup menu option). A USB cable provides high-speed connection to PC or Macintosh computers. Software supplied with the DSC-S75 includes MGI's PhotoSuite SE (Mac and Windows) and VideoWave SE (Windows only) for image downloading, image-correction capabilities, and a variety of creative templates for making greeting cards, and calendars, as well as basic video editing utilities.

The S75 uses an NP-FM50 InfoLITHIUM battery pack (M series), and comes with an AC adapter that doubles as a battery charger. We really like the InfoLITHIUM batteries because they communicate with the camera -- showing exactly how much battery power has been consumed, and reporting remaining battery capacity via a small readout on the LCD screen. This is really valuable in avoiding lost shots when your batteries die unexpectedly. Battery life is also excellent, among the best we've found. Despite the excellent battery life, our standard recommendation of keeping a second battery pack charged and ready to go still stands, especially when the AC adapter isn't convenient.

Like the S50 and S70 models, the S75 is an enjoyable camera to use, and its user interface and function set have something for everyone: The full-featured exposure control options will satisfy the most advanced user, while it's auto-everything "Program" exposure mode will meet the needs of the least-experienced novice. We particularly applaud Sony's new user interface design, and the inclusion of a full-manual exposure mode. All in all, the S75 is a nice compact package, representing one of the best values on the digicam markettoday. (Spring, 2001)



Maintaining the same compact design and similar overall styling as its predecessor -- the DSC-S70 -- the Sony DSC-S75 is the newest 3.3-megapixel offering in the Cyber-shot lineup. The S75 is reasonably trim, but definitely not a shirt-pocket camera. You may feel comfortable carrying it in a large coat pocket or purse, but we would recommend using a small camera bag, or the supplied neck strap to keep it out-of-the-way yet portable. It's metal and hard plastic body convey a very rugged, solid feel, and build quality overall is excellent.

While its outward appearance may be similar to preceding models, the S75 has a few surprises in store. For example, a new user interface and LCD menu make it much easier (in our opinion) to navigate through the camera's many options. The addition of a Mode dial and Command wheel greatly simplify the task of setting such variables as shutter speed, aperture, and exposure compensation. A fully Manual exposure mode gives you more control over camera settings than ever before. With all these changes in mind, let's take a virtual walk around the camera and examine the many new design elements.

The telescoping Carl Zeiss lens has shifted more toward the center of the camera, sharing the front panel with a flash window to the left, an optical viewfinder window above the lens, an autofocus assist light for low-light shooting, and self-timer LED to countdown delayed exposures. A rubbery finger grip protrudes from the right side of the camera, providing a comfortable hold for your right hand, which should fit comfortably around curve of the rather understated hand grip. The 7-21mm lens extends an additional 3/4 inch beyond the fixed lens barrel, when the camera is powered on and the lens zoomed out to telephoto range. When the camera powers off, or the Mode dial is set on the Playback or Setup position for more than a few seconds, the lens retracts into the fixed 3/8-inch lens barrel. A set of filter threads just inside the lip of the lens barrel accommodate Sony's line of accessory lens adapter kits.

The hand grip (right) side of the camera has only a neckstrap attachment eyelet, and the Command dial nearby, for adjusting exposure settings on the camera's LCD monitor and LED panel. The left side of the camera, has the second neckstrap eyelet, with the camera's speaker, external flash connection jack, and connector compartment below. A small, hinged, plastic door protects the connector compartment, which houses the USB and A/V Out connection jacks. The external flash connection jack, labeled "ACC," hosts Sony's FL-1000 flash unit, as well as a handful of Sony flash-related accessories.

The S75's top panel is more feature laden than its predecessors, with an external flash "cold shoe" (no electrical contacts on the shoe, for mounting only), the camera's microphone, Shutter button, Mode dial, and power switch. There's also a small, green LED lamp next to the power switch that glows steadily whenever the camera is powered on. The addition of a Mode dial is very welcome, as it greatly simplifies camera operation and makes switching between exposure modes much faster and more intuitive.

The remaining features and controls are on the S75's back panel. These include the 1.8-inch color LCD monitor, real-image optical viewfinder, small black-and-white status display panel, and a DC In jack in the lower right corner. The optical viewfinder features a diopter adjustment dial and three LEDs that report when the camera is in focus or the flash is charged. A solid green LED indicates that the image is in focus and the camera is ready to fire the shutter, while a flashing green LED means that the autofocus system is having trouble focusing. A solid orange LED shows that the flash is ready to fire, while a flashing orange LED indicates that the flash is still charging. The top LED blinks red when the self-timer is counting down.

A new feature that we instantly enjoyed working with is the Command wheel on the right side of the back panel (mentioned above). This tiny wheel allows you to quickly change camera settings such as shutter speed and aperture, either via the LCD menu system, or in conjunction with the monochrome status display readout. We liked the small status display panel, which reports many of the camera's settings. Properly used, data readouts like this greatly reduce your dependence on the LCD monitor, speeding camera operation, and conserving battery life. In addition to serving as a navigational tool in the LCD menu system, the four-way Arrow Rocker Pad controls several camera functions through its four arrow keys, including Flash mode, Macro, Self-timer, and Quick Preview. We applaud Sony's decision to bring more feature controls to the back panel: Six dedicated buttons control such features as Menu, Display, Exposure Compensation, Spot Metering, Focus mode, and AE lock. Having external control over these camera features greatly simplifies camera operation and saves battery power by allowing you to work without the LCD monitor.

Finally, the S75 features a nice, flat bottom panel, comprised of the battery / memory compartment door and tripod mount. We were very pleased to note that the distance between the compartment door and metal tripod mount is great enough to allow for quick battery and Memory Stick changes while working with a tripod. A sliding, plastic door protects the battery and memory slots, which are side by side in the relatively small compartment. A small button locks the battery into place and releases it when you're ready to recharge or replace the battery cell. The Memory Stick features a push lock instead of a release button, which means that you have to give it a gentle push to release it from the slot. Also in the compartment is a tiny Reset button, which resets all the camera's settings to their factory defaults.



For composing images, the S75 features a real image optical viewfinder and a color LCD monitor. The optical viewfinder zooms along with the lens, but does not show the 2x digital zoom, which can only be enabled when the LCD monitor is activated. A central autofocus crosshair in the viewfinder assists with focus and exposure lock. Eyeglass wearers will be pleased to note the diopter adjustment dial on the left side of the eyepiece, which adjusts the view for near- and far-sighted vision. We also found that the S75's viewfinder eyepiece had a fairly high eyepoint, meaning there is adequate space for an eyeglass lens to fit between the photographer's eye and the viewfinder image, without affecting vision. (We did find we needed to press our glasses against the viewfinder eyepiece somewhat, although that didn't interfere with our use of the camera too much. Still, we'd like just another millimeter or so of eye relief on the eyepiece design.)

The 1.8-inch color LCD monitor on the back panel is activated by pressing the Display button, which also controls the information display. Pressing the button once activates the LCD monitor (if it was previously turned off) with the information display turned on. A second press cancels the information display, and the third press shuts the image display off completely. In Record mode, the LCD monitor's information display reports a plethora of information, including image resolution, JPEG compression level, number of remaining images (plus available Memory Stick space), exposure compensation, f/stop, shutter speed, flash mode, and an excellent feature unique to Sony cameras -- the number of minutes remaining on the battery! In Automatic and Scene modes, a half press of the shutter button is necessary to display the current shutter speed and aperture settings, and in some capture modes, only applicable readings will be displayed.

We liked the Manual Focus display, which eschews the usual focus bar and instead the current distance setting in a single, numeric reading, which you can change by turning the command wheel (when the focus distance is highlighted on the LCD screen). Being able to set the lens focus to a specific (numeric) distance can be invaluable when setting up for shots in low light conditions. (Although, the S75's focus-assist light also works exceptionally well, providing well-focused pictures even in total darkness.) We also noticed that when you manually adjust the focus, the LCD monitor snaps into focus dramatically as soon as you select the right distance. We're not sure how Sony managed to make focus changes so dramatically obvious on the LCD, but whatever they did seems to work well, and makes the manual focus option much more useful than those we've seen on many other cameras.

Our one significant complaint about the S75's viewfinder system is that we found the S75's optical viewfinder to be rather "tight:, showing only about 80.6 percent of the final image area at wide angle, and about 80.5 percent at telephoto (for all four image resolutions). Most point & shoot cameras show about 85% of the final image area in the optical viewfinder, and we personally prefer to see something closer to 90% coverage. The S75's LCD monitor produced much more accurate results, showing approximately 96.25 percent accuracy at wide angle, and about 97.5 percent at telephoto, again at all four image resolutions. Framing at the digital telephoto setting was also very accurate, showing about 97.4 percent of the image area. Since we generally like to see LCD monitors as close to 100 percent accuracy as possible, the S75 performed pretty well.

In Playback mode, the LCD monitor offers an Index display mode as well as a 1.1-5x Playback Zoom, which enlarges captured images for closer inspection. Once enlarged, the Arrow buttons enable you to scroll around inside the image. The Display button controls the information and image display in Playback mode, cycling through three modes: No display, image with information, and image without information. The Playback image information includes the file type (movie or still), image size, where the image falls in the Playback index, remaining card capacity, file name, date and time the image was taken, and the remaining battery power.

We also liked the control the S75 provides over the LCD display itself. Most digicams we've tested offer a "brightness" adjustment that really only changes the LCD contrast setting. The S75 provides that control, but also lets you adjust the actual brightness of the LCD's backlight as well. Very handy for sunny shooting conditions, albeit at the cost of a roughly 20% increase in power consumption. Between the contrast and backlight adjustment options, the S75's LCD screen is one of the best we've seen for use in full sunlight. (Surprisingly, it actually is usable even in full sun, pretty remarkable, given how miserably most cameras perform in this respect.)



The S75 is equipped with the same 3x, 7-21mm Carl Zeiss Vario-Sonnar lens (equivalent to a 34-102mm lens on a 35mm camera) that we so admired on the previous S70 model. This lens produces unusually sharp images from corner to corner, noticeably crisper than what we've seen from many other digicams. The lens is protected by a removable, spring-lock lens cap, which comes with an easy-to-thread lens-strap opening and a small tether strap to keep it from getting lost.

In Aperture Priority and Manual modes, the aperture is manually adjustable from f/2.1 to f/8.0, in nine steps. Shutter speed is adjustable from 1/1,000 to eight seconds, with more than 40 steps in between. Macro mode is engaged by pressing the right Arrow button, which changes the focus range to 1.62 inches (4cm) to 8 inches (20cm), when the lens is set at its widest angle focal length.

Focus can be controlled either automatically or manually with a focal range from 9.87 inches (25cm) to infinity. Pressing the Focus button in the lower left corner of the camera's back panel cycles between Manual and Auto Focus control. When Manual control is selected, you make adjustments by turning the same command wheel used for aperture and shutter speed selection. As you turn the wheel, the focus distance is displayed on the LCD monitor next to the Command wheel arrow, which is a great help when shooting in low-light conditions. Also helpful in low-light settings is the AF assist light, selected via the Setup menu, which helps the camera make adjustments in Auto Focus mode. We were very impressed with the results from the AF assist light, as it focused flawlessly under the darkest shooting situations.

Optical distortion on the S75 is moderate at the wide-angle end, where we measured approximately 0.6 percent barrel distortion. The telephoto end fared a bit better, as we measured approximately 0.3 percent pincushion distortion. (This is a bit better than average for digicams we've tested with 3x zoom lenses: Most 3x zooms show about 0.8 percent barrel distortion at their wide angle setting, and about 0.3 percent at telephoto.) Chromatic aberration is also relatively low, showing about one or two pixels of coloration on each side of the black target lines. (This distortion is visible as a very slight colored fringe around the objects on the resolution target, at the edges of the field of view.) Overall, the S75's lens does a great job.It also features filter threads to accommodate a variety of Sony lens conversion kits. These kits rely on a barrel adapter that screws onto the camera's body threads, providing a set of fixed filter threads ahead of the furthest extension of the telescoping lens assembly. The adapter by itself can also be used to attach non-Sony accessory lenses, such as macro adapters, etc. When working with a Sony lens conversion kit, you need to inform the camera (via the Record menu) that the lens is attached, so the camera's autofocus can allow for the additional optical element.

The 2x Digital Zoom function is enabled through the camera's Setup menu, effectively increasing the S75's zoom capabilities to 6x. When engaged, Digital Zoom takes over once you've zoomed past the normal telephoto range (the LCD display must be on). You can see the change from optical to digital zoom by observing the marker in the Zoom Range indicator on the LCD panel. As always, we warn readers that digital telephoto is not the same as optical zoom, and that it causes noticeable deterioration in image quality by adding excess noise and often softening the image.



Exposure control is the area where Sony's improvements in the S75's user interface are most evident: The strong reliance on the LCD menu system seen in the prior S70 model have been significantly reduced by the addition of more external controls. A Mode dial on the top of the camera lets you quickly select major camera operating modes, including full program, aperture priority, shutter priority, and full manual exposure modes. Additional control buttons on the back panel let you change basic exposure settings, such as metering options, exposure compensation, and AE Lock with a single button-push. Finally, a small Command wheel (on the right side of the camera back) simplifies exposure adjustment even more, by allowing you to change exposure compensation, manual focus, aperture, and shutter speed, simply by turning it. With the rear panel color LCD screen disabled, many exposure functions can still be controlled via the small data readout, also on the camera's back. We found the user interface slightly tricky for using the command wheel without the large LCD screen, but once we realized that it's operation was the same as when the LCD was illuminated, things became much clearer.

Four main exposure modes offer varying levels of control: Program, Shutter Priority, Aperture Priority, and Manual. In Program mode, the camera controls the basic exposure, but allows you to determine all other variables, such as ISO, white balance, and flash. Shutter Priority enables you to set the shutter speed from 1/1,000 to eight seconds while the camera controls the lens aperture. Alternately, Aperture Priority mode allows you to set the lens aperture from f/2.1 to f/8.0 while the camera sets the appropriate shutter speed. In both Aperture and Shutter Priority modes, the shutter and aperture values will flash in the LCD panel (when the shutter button is pressed halfway) if the camera disagrees with the chosen settings. This gives you an opportunity to adjust the exposure without wasting a shot.

We were glad to see the inclusion of a Manual exposure mode, which wasn't available with the previous S50 or S70 models. Manual exposure mode provides complete control over exposure, including aperture settings, shutter speed, ISO, white balance, and metering. In all three adjustable modes (Aperture Priority, Shutter Priority, and Manual), the command wheel adjusts the aperture or shutter speed settings.

Some comment on Sony's command wheel implementation is perhaps in order here, since we suspect others may find it confusing at the outset, as we did. A yellow arrow on the LCD screen points to one adjustable setting, such as aperture, shutter, or exposure compensation, and pressing in on the wheel highlights that setting in yellow, allowing you to make adjustments by simply turning the wheel. Pressing on the wheel a second time removes the yellow highlight, so that you can move the yellow arrow to a new adjustable setting. Where we got into trouble with the command wheel was apparently in pressing it too quickly in some modes, which resulted in it ignoring the actuation, and made it seem like nothing was happening. - It may be that there's a "debounce" delay on the pressure switch for the wheel, producing a "dead" interval after each actuation. Whatever the case, once we calmed down a little and operated the control in a more deliberate manner, we had no further trouble. In Automatic exposure mode, the only adjustable setting you can access via the wheel is exposure compensation

As noted earlier, we applaud Sony's inclusion of the small data readout LCD to facilitate camera operation without resorting to the large color LCD display. Here again though, the command wheel's operation proved a little confusing, with the controls at first seeming to operate in a random fashion. After a little thought, we realized that the camera was operating exactly as it would have with the LCD screen on, but that the data readout LCD lacked any highlighting mechanism to indicate which exposure variable was selected. (Note to the Sony engineers: Blinking numbers would work very well as a "selected" indicator.) Once we figured out what was going on though, we fairly quickly became adept at switching between the various controls and making setting changes. Overall, a slightly confusing implementation, but one that we applaud nonetheless. In our view, over-dependence on LCD menu systems is one of the biggest user interface problems in current digicam designs. Sony's implementation of the command wheel isn't perfect, but it does go a long ways toward improving the efficiency of the camera's user interface.

In addition to the four main exposure modes, there are three preset Scene modes that adjust the camera for shooting in specific situations: Twilight, Landscape, and Portrait. Twilight mode adjusts the exposure to capture a bright subject in dark surroundings (neon lights would be a good example), without washing out the color. Because Twilight mode usually employs a slower shutter speed, a tripod is recommended to prevent blurring from camera movement. Landscape mode uses a smaller aperture setting to keep both the background and foreground in sharp focus, allowing you to capture broad vistas of scenery. Portrait mode uses a larger lens aperture setting to decrease the depth of field, keeping the subject in sharp focus, with the background slightly blurred.

For normal exposures, the S75 uses an "averaged" metering system, meaning that the camera averages exposure readings throughout the image to determine the best overall exposure. For high-contrast subjects, a Spot Metering option (controlled by a button on the back panel) takes the exposure reading from the very center of the frame. A center crosshair target appears on the LCD monitor (inside the focus brackets), to show the location of the spot exposure reading. For metering off-center subjects, you can take your reading of the subject you want metered, then use the AE Lock button on the back panel to locks the exposure reading. Once exposure is locked, you can recompose the image and release the shutter.

Exposure compensation can be manually adjusted from -2 to +2 exposure equivalents (EV) in one-third-step increments, in all exposure modes except Manual. As noted above, you can access the exposure compensation adjustment when the LCD is disabled, solely through the command wheel, but this can be a little confusing. The easiest thing to do is to simply press the +/- button on the back of the camera, which immediately enables exposure adjustment in any camera mode in which it's permitted. The camera's light sensitivity can be set through the Record menu to Auto, or 100, 200, or 400 ISO equivalents, increasing the camera's low light shooting capabilities with higher ISO settings. White Balance (WB) can also be controlled in all exposure modes, with available settings of Auto, Indoors, Outdoors, and One-Push (manual setting). The "One-Push" white balance mode is new on the S75, and is the "manual" white balance option found on many higher-end digicams today. One-Push allows you to set the camera's white balance by pointing it at a white card and telling it to use that color as a reference. In our testing, this worked very well, and the S75's manual white balance option seems to be one of the best we've seen to date. As with many other Sony cameras, the S75 offers a Picture Effects menu, providing a little in-camera creativity. Settings like Solarize, Black & White, Sepia, and Negative Art can add interest to your images by altering color or reversing the highlights and shadows.

The S75 also offers a menu selection for adjusting image sharpening in-camera, providing a range of sharpness values ranging from -2 to +2 in arbitrary units. The default value of zero is fine for most uses, but you might want to boost the sharpness a bit if your shots will be printed on a low-quality inkjet printer. On the other hand, the lowest sharpness setting may be useful for images that you plan to manipulate in Photoshop or other image editing application. In these programs, you typically want to apply sharpening at the end of the manipulation process. While we like to see fine gradations of sharpness control in digicams, we felt that the control in the S75 was perhaps a little too subtle: We'd prefer a little more control range in this control. (But have to admit that if the choice is between too much sharpening adjustment and too little, we'll opt for the more understated approach every time.) Finally, a 10-second self-timer can be activated by pressing the down Arrow button on the back panel. Once the shutter button has been fully depressed, a small LED lamp on the front of the camera counts down the seconds until the shutter is released.

When you have images stored on the Memory Stick, the left arrow key on the Arrow rocker button (back panel) activates a quick review of the previously captured image, and offers a delete option for removing the image. Pressing the arrow key a second time returns you to the normal image display screen, as does pressing the shutter button halfway.


The built-in flash on the S75 has three settings activated by pressing the Flash button on the Arrow rocker pad: Auto, Forced, and Suppressed. Auto puts the camera in charge of whether or not the flash fires, based on existing light levels. Forced Flash means that the flash always fires, regardless of light level, and Suppressed Flash prevents the flash from firing, regardless of light levels. A Red-Eye Reduction mode is activated through the Setup menu, and works with both Auto and Forced flash modes. Red-Eye Reduction fires a small pre-flash to reduce the occurrence of red-eye effect in people pictures.

You can adjust the flash intensity to High, Normal, or Low, through the Record menu. This option makes the flash more accommodating to varying light levels or different subjects. We liked the fact that we could adjust exposure for the flash and ambient lighting separately, a feature that makes it easier to achieve more balanced exposures. In Normal mode, flash range extends from 12 inches to 9.75 feet (0.3 to 3.0 m). In our testing, we found the flash reasonably effective all the way to 15 feet. Flash exposures were a little bright between eight and 10 feet from the target, but maintained a good intensity level out to 13 feet. Intensity declined slightly at the 14- and 15-foot distances, but we felt the flash was still usable even at that distance. We felt that the Low flash intensity was best for close-range portrait shots, as the Normal and High settings tended to wash out the color and overexposed highlight areas.

Flash distribution appeared relatively even at the telephoto setting of our viewfinder test shot, except for a small hot spot in the center of the target. At the wide-angle setting, flash distribution was also good, with only a very small amount of falloff at the corners and a tiny hot spot in the center of the target.

An external flash sync socket is located on the left side of the camera, directly above the digital and video jack compartment. A "cold" shoe mount on top of the camera eliminates the need for a flash bracket. The only complaint we have here is that the external flash connection is only compatible with Sony's FL-1000 accessory flash, instead of the normal range of standard external flash units. This would be fine if an adapter were available to connect conventional strobes to the camera, but as far as we know, no such adapter exists, nor does Sony have plans to market one. While it's true that a third-party "dumb" flash unit would lose all the exposure-control benefits offered by Sony's own units, we suspect that many purchasers of the S75 will already own a strobe unit as part of their film-based kit, and would like the option of using it with the S75, even with restricted functionality.

Movie and Sound Recording

In any of the S75's still capture modes, you can record short sound clips to accompany images. This option is available through the Record menu by selecting the Voice record mode. You can record up to 40 seconds of sound for each image by holding down the shutter button. By pressing and releasing the shutter button quickly, you can record for only five seconds.

One of Sony's enhancements to the S75 is in their "MPEG EX" technology, which permits continuous recording of MPEG movies directly to the memory card in "standard" quality mode. This lets you record movies as long as you have Memory Stick space for, eliminating the 15 second maximum-length restriction that the S70 had.

The Movie mode is accessed on the Mode dial on top of the camera by selecting the film frame icon. You can record moving images with sound at either High Quality (HQ) 320 pixels, or standard quality 320 x 240 and 160 x 112 pixels. As noted, MPEG EX means that you can record standard-quality movies for as long as the Memory Stick has space. At the HQ setting,, recording time is again restricted to 15 seconds, but the image quality, frame rate, and audio sampling rate are all significantly increased. Recording starts with a single press of the shutter button, and ends with a second press. A timer appears in the LCD monitor to let you know how long you've been recording and approximately how much recording time is available. At the 320 x 240 and 160 x 112 pixel settings, the S75 records in the MPEG EX format, capturing eight frames per second, with audio sampling at 4 KHz. The 320 HQ setting captures16 frames per second, uses less image compression, and increases the audio sampling rate to 10 KHz. Additionally, movies captured in the 320 HQ setting play back full screen in Playback mode, as opposed to the smaller display shown with the MPEG EX settings.

The S75 also addresses what has until now been a significant missing feature in the "movie" capabilities of digital still cameras: Editing! We don't think digicam users will want to engage in full A/B roll video editing on their cameras, but we've often found that we wanted to trim off material from the beginning or end of a video we'd recorded, or to extract an interesting bit of action from the middle of a much longer clip of (how to put it politely?) less than stellar footage. The S75 provides for this via an option on the Playback menu called Divide. As its name suggests, Divide works by dividing movies into two segments. Do this once to trim away spurious material at the front of the clip you're interested in, do it a second time to remove the unwanted footage at the end. Once you've split the movie into parts like this, throw away the segments you don't need, or keep them around to show your viewers how lucky they are that you're only showing them the "interesting" parts. ;-)

After enabling the Divide function through the Playback menu, the S75 starts to play back the movie. You simply press the center of the rocker toggle button to stop the playback where you'd like to make an edit. From there, you can scroll backwards or forwards frame by frame until you find the point where you'd like to divide the movie. You can then either delete the unwanted portion of the movie or keep it on the Memory Stick. As noted, the Divide function is great for "editing" out the best part of a movie file, as you can make an unlimited number of divides. You just can't put the pieces back together again in the camera. For that, you'll have to use the included MGI VideoWave software. The screen shot at right shows the LCD display with a Divide operation in progress.

Clip Motion

This is a slick little feature that we really enjoyed on the Sony DSC-P1, where it first appeared. The Clip Motion capture mode turns the S75 into an animation camera, recording up to 10 frames of still images to be combined into a single GIF file for animated playback. Frames can be captured at any interval, with successive presses of the shutter button. When you've captured as many photos as you need, you just press the center of the Arrow rocker pad to tell the camera to finish the sequence. Available image sizes are Normal (160 x 120 pixels) and Mobile (80 x 72 pixels), and the number of actual captured frames may vary with image size and available Memory Stick space. (You have a maximum of 10, but could be constrained to fewer if your memory is very full.) Files are saved in GIF format, and are played back with (approximate) 0.5-second intervals between frames. Unlike Movie mode, the flash is available with Clip Motion. We used the DSC-P1's Clip Motion feature to make the animation of the P1's underwater housing shown above right.

Special Record Modes

Like the S70, the S75 gives you several recording format options for still images. Through the Record menu, you can select TIFF for uncompressed images, Text, Voice (mentioned above), E-mail, Burst 2, or Normal modes. E-mail mode records a smaller (320 x 240-pixel) image size that's small enough to be easily sent to friends and family by e-mail. The e-mail image is recorded in addition to the image size selected through the Record menu's Image Size option. The Text mode records a black-and-white GIF file that is perfect for taking pictures of white boards, flip charts, or meeting notes. Burst 2 mode allows you to take a maximum of two frames in rapid succession. Actual frame rates will vary with the image resolution and amount of information to be recorded.


Shutter Lag/Cycle Times

When you press the shutter release on a camera, there's usually a lag time before the shutter actually fires. This time is to allow the autofocus and autoexposure mechanisms time to do their work, and can amount to a fairly long delay in some situations. Since this number is almost never reported on, and can significantly affect the picture taking experience, we now routinely measure it using a proprietary Imaging Resource test apparatus.

Sony DSC-S75 Zoom Timings
Time (secs)
Power On -> First shot
About average for telescoping-lens designs.
Also about average
Play to Record, first shot
Time until first shot is captured, from "instant review" mode. Quite fast.
Record to play (max/min res)
Images appear quickly as a low res version, then "fill-in" within a few seconds. Faster than average to first view, a bit slower than average to full res version.
Shutter lag, full autofocus
Slightly slower than normal, though much faster than earlier S70.
Shutter lag, manual focus
About average
Shutter lag, prefocus
A little better than average
Cycle Time, max/min resolution
A bit faster than average, drops to 2.3 secs with manual focus, low res.
Cycle time, continuous mode
0.97/1.03 fps
Moderately fast, burst of only two frames though. (Max/min res are the same.)

Overall, the S75 shows some improvement in shutter lag performance from the earlier S70, but is still slightly slower than average for cameras of its class. (We consider 0.8 second lag time to be the average among top-end prosumer cameras.) Lag time in manual focus is about average though, and prefocus lag is somewhat better than average (0.2 seconds, vs 0.3 for the average in its class). Cycle time from shot to shot is pretty good at 3.4 seconds. The camera doesn't appear to use an internal memory buffer to speed capture for the first few shots. The downside is that cycle time is only a little faster than average, but from a more positive perspective, that cycle time never gets slower than 3.4 seconds. Continuous mode provides a shot-to-shot interval of only 0.97 seconds, but only for the first two images captured.


Operation and User Interface

As we discussed in the Design section of this review, we heartily approve of the DSC- S75's new and improved user interface. Additional external camera controls reduce the reliance on the LCD menu system and greatly simplify overall camera operation. The ready access to exposure controls and other camera functions and the less complicated LCD menu system mean that you spend less time scrolling through LCD menu screens and options. Though the LCD display is still required for some settings, overall camera operation is much faster and easier. The newly-added Command wheel and accompanying monochrome LCD data readout also allow you to adjust the exposure compensation, aperture, and shutter speed settings with the main LCD disabled. This saves power and again makes for faster camera operation. We also were glad to see the addition of a Mode dial and the way a number of functions were assigned to the four-way Arrow key pad (very clearly marked we might add), for even less reliance on the LCD menus. The revamped control system struck us as being very well thought out, and very conducive to fluid use of the camera as a photographic tool.

Control Enumeration

Shutter Button: Located on the right side of the top panel, this button sets focus and exposure when pressed halfway. Fully depressing the button fires the shutter. When the Quick Review (the shot just taken) is displayed on the screen, a half press of the shutter button returns the LCD to the normal image display. When the Self-timer is enabled, fully depressing the shutter button kicks off the 10-second countdown.

Power Switch: Just behind the shutter button and underneath the Mode dial, this switch turns the camera on and off.

Mode Dial: Stacked on top of the Power Switch, this dial controls the camera's operating modes. Options include Program (camera symbol), Shutter Priority (S), Aperture Priority (A), Manual (M), Scene (SCN), Setup, Movie (film frame), and Playback modes.

Command Wheel: Located on the top right side of the camera's back panel, this wheel controls aperture and shutter speed settings in Shutter Priority, Aperture Priority, and Manual modes. When Manual Focus is enabled, turning the wheel adjusts focus and displays the focus distance on the LCD monitor. When the Exposure Compensation adjustment is activated, turning the wheel adjusts the exposure from -2 to +2 exposure equivalents (EV) in one-third-step increments. (As noted in the earlier Exposure section of this review, we felt that some aspects of the command wheel's operation could have been better designed. On the whole though, we appreciate its inclusion in the S75's design.)

Zoom Button: To the left of the Command wheel, the Zoom button controls the optical and digital zoom (when enabled) in any capture mode. In Playback mode, the wide-angle side of the button activates the Index Display mode, while the telephoto side controls the Playback Zoom up to 5x. Once in Index Display mode, pressing the wide-angle side again displays the image information for the highlighted thumbnail, including exposure information.

Diopter Adjustment Dial: Located on the left side of the optical viewfinder eyepiece, this notched dial adjusts the viewfinder to accommodate near- or farsighted users.

Four-Way Arrow Rocker Pad (also: Flash, Quick Review, Macro, and Self-Timer Buttons): Situated just below the viewfinder eyepiece, this button serves a variety of functions. On its surface, the pad features four arrows, one pointing in each direction. When any settings menu is engaged, these arrows navigate through the menu options. Once an option is selected, you confirm the selection by pressing on the center of the button. (You will hear a dual tone when you press the center, as opposed to the single tone you hear when you press an arrow.) In Playback mode, the right and left arrows scroll through captured images, while the up and down arrows control the playback volume. If a movie file is displayed, pressing the center of the button triggers the movie playback.

In addition to menu scroll functions, the Arrow Pad also controls certain exposure and camera settings. The Up Arrow button is marked with a flash symbol, and cycles between the Auto, Forced, and Suppressed Flash modes (in all capture modes except Movie). The Right Arrow button, marked with the macro flower symbol, enables and disables the camera's Macro mode. The Down Arrow controls the Self-timer mode, cycling between Normal and Self-timer capture modes. Finally, the Left Arrow activates and deactivates the Quick Review function, which displays the most recently captured image on the LCD screen.

Menu Button: Located directly below the Arrow Rocker Pad, on the left side, this button activates and deactivates the settings menus in any camera mode except Setup (which automatically displays the menu upon entering the mode). If the LCD monitor is switched off, pressing the Menu button turns on the display. In these cases, deactivating the menu also turns off the LCD display.

Display Button: To the right of the Menu button, the Display button controls the LCD display in all camera modes except Setup. Pressing the Display button sequentially cycles through three modes: No display; image and information display; and image display only.

Exposure Compensation Button: Directly below the Menu button, the Exposure Compensation button (+/-) activates the exposure compensation adjustment, which is changed by turning the Command wheel.

Spot Metering Button: To the right of the Exposure Compensation button, the Spot Metering button ( [•] ) switches between Spot and Normal (averaged) metering modes. When Spot Metering is enabled, a crosshair target appears in the center of the LCD screen.

Focus Button: Located below the Exposure Compensation button, the Focus button cycles between Automatic and Manual focus modes.

AE Lock Button: To the right of the Focus button, the AE Lock button locks an exposure reading until the shutter button is fully depressed.


Camera Modes and Menus

Program AE: Noted on the Mode dial with the green camera symbol, Program mode places the camera in control of both the aperture and shutter speed settings, allowing you to set the remaining exposure variables (White Balance, ISO, Exposure Compensation, Image Size, Picture Quality, Flash, and Normal or Spot Metering).

Shutter Priority: In Shutter Priority mode, you set the shutter speed (from 1/1,000 to eight seconds), while the camera selects the best corresponding aperture. All other exposure variables can also be adjusted.

Aperture Priority: In Aperture Priority mode, you set the desired lens aperture (from f/2.1 to f/8.0) while the camera selects the best corresponding shutter speed. All other exposure variables can also be adjusted.

Manual: Manual exposure mode offers full user control over exposure, including aperture and shutter speed settings. All exposure variables except for exposure compensation are available in this mode.

Scene: Scene mode provides access to three preset shooting modes: Twilight, Landscape, and Portrait. The actual scenes are changed through the Setup menu (in Setup mode). Twilight mode uses a slow shutter speed to accommodate darker shooting situations. If used with a flash, this becomes a slow sync mode, capturing the illuminated subjects in the foreground with the flash, and using the longer shutter speed to record ambient light from the background. Landscape mode uses a small aperture opening to keep both the foreground and background settings in focus. The Portrait mode uses a large aperture opening to decrease the depth of field, thereby keeping the subject in sharp focus and slightly blurring the background. Most exposure variables, except for aperture and shutter speed settings, are available in the Scene modes.

Setup: Setup mode lets you change basic camera settings.

Movie: Movie mode, marked on the mode dial with a film strip symbol, captures MPEG movies up to 60 seconds with sound. Most exposure variables are available, except for flash and ISO. If the Clip Motion option is selected from the Setup menu, Movie mode will capture up to 10 frames of still images at a time, to be played back in succession to create an animated effect.

Playback: Captured images and movies can be reviewed and played back in this mode. Images can also be erased, write-protected, copied, resized, set up for printing on a DPOF device, or played back in a slide show. A rudimentary editing function (Divide) allows you to chop up movie files into smaller segments.

Record Menu: The Record menu is accessible in all capture modes by pressing the Menu button, however, not all menu options are available in all capture modes.

Setup Menu: The three-panel setup menu is automatically displayed on the LCD monitor upon entering Setup mode:

Playback Menu: As with the Record menu, the Playback menu is accessed by pressing the Menu button when in Playback mode. The following options are available:


Image Storage and Interface

The DSC-S75 uses the proprietary Sony Memory Stick technology for image storage. An 8MB Memory Stick is supplied with the camera and additional media are available up to 64MB. Individual images can be write-protected from accidental erasure (except through card reformatting) via the Protect option under the Playback settings menu. Individual write-protection also prevents the image from being changed in any way, such as rotating or resizing. The entire Memory Stick can be write-protected by sliding the lock switch on the stick into the locked position, which also guards against the entire stick being formatted.

The S75's LCD monitor reports the current number of images captured, how many additional images can be stored (based on current image resolution and quality settings), and displays a small graphic to let you know approximately how much space is left on the Memory Stick. (In Movie mode, the camera reports the available recording time.) Through the Playback settings menu, you can designate whether the camera numbers each image sequentially (from one Memory Stick to the next), or restarts file numbering with each new Memory Stick. The Playback menu also offers a Resize option, as well as Copy and Rotate tools. The camera's Digital Print Option Format (DPOF) compatibility allows you to mark specific images for printing. Through the Setup menu, you can decide whether or not to print the date and/or time on the image as well.

Image Size options include 2,048 x 1,536, 2,048 x 1,536 (3:2 ratio), 1,600 x 1,200, 1,280 x 960, 640 x 480, and 320 x 240 pixels (E-Mail recording option). Movie file sizes are 320 (HQ), 320 x 240, and 160 x 112 pixels for MPEG Movies, or 160 x 120 and 80 x 72 pixels for Clip Motion files. In addition to the uncompressed TIFF file format, the S75 offers both Fine and Standard JPEG compression levels, and a GIF option for Text and Clip Motion recording modes.

The table below shows the approximate still image capacities and compression ratios for an 8MB Memory Stick (main resolution sizes):

Resolution/Quality vs Image Capacity
Uncompressed TIFF
Fine Quality
Standard Quality
2,048 x 1,536
Approx. Compression
1600 x 1200
Approx. Compression
1280 x 960
Approx. Compression
640 x
Approx. Compression

The DSC-S75 is also accompanied by a USB cable for quick connection to a PC or Macintosh computer, as well as a software CD containing interface software and USB drivers. We clocked the S75 at 25.0 seconds for a 9,219KB file transfer, a rate of 369 KBytes/second. This is a bit faster than average for USB-connected cameras we've tested.


Video Out

Both US and Japanese models of the DSC-S75 come equipped with an NTSC video cable for connection to a television set. (We assume that European models come with a PAL cable, since there is a PAL setting on the camera.) Once connected to the TV, you can review images and movies or record them to video tape.


The DSC-S75 is powered by an NP-FM50 InfoLITHIUM battery pack (M series) and comes with an AC adapter which doubles as an in-camera battery charger. The InfoLITHIUM battery packs actually exchange information with the camera, reporting approximately how many minutes of battery life are left. This information is displayed on the LCD monitor and the smaller information display window with a small battery graphic. The AC adapter plugs into a small socket on the camera's back panel (lower right corner). It can run the camera without a battery inserted, or charge the battery when the camera isn't in use.

The Li-Ion battery packs used in Sony cameras prevent us from making our usual power measurements, but the good news is that the InfoLITHIUM system reports projected camera runtime while the battery is being used in the camera. The following runtime were reported by the S75 with a freshly-charged battery, in Capture and Playback modes. (Note that the runtime with the LCD turned off will doubtless be longer than what is indicated on the LCD monitor, but we can't tell what that time is, since the time-remaining readout is only shown on the LCD screen.) While these are some of the best runtime numbers we've seen among digicams we've tested, we still always recommend users purchase and pack along a second battery. (Another advantage of the Li-Ion technology used in the InfoLITHIUM batteries is that they don't "self-discharge" like conventional NiMH rechargeable cells do, and so can hold their charge for months on the shelf or in your camera bag.

Operating Mode
Battery Life
Capture Mode, w/LCD
134 minutes
Image Playback
169 minutes

Included Software

The S75 comes with a software CD loaded with MGI PhotoSuite SE and MGI VideoWave III SE. Two versions of MGI PhotoSuite are included on the CD. Version 8.1 is compatible with Windows 95/98/98Se/Me/2000/NT4.0; Version 1.1 is compatible with Macintosh OS 7.6.1 to 9.0. Unfortunately for Mac users, VideoWave III SE is compatible with Windows systems only (the same versions as PhotoSuite). MGI PhotoSuite SE retrieves images from the camera in a very organized manner, allowing you to view them with a slide show or in album format, and then set them up for printing. In addition to traditional photo editing and manipulation tools, PhotoSuite offers a variety of templates to help you turn your images into mock magazine covers, sports cards, greeting cards, and calendars. Combined with the camera's Picture Effects menu options, MGI PhotoSuite SE allows you to get really creative with your images. MGI's VideoWave III SE provides minor video editing and enhancement tools, allowing you to cut out frames, add music, and apply creative effects.

Included Hardware

Included in the box with the DSC-S75 are the following items:


Test Results

In keeping with our standard test policy, the comments given here summarize only our key findings. For a full commentary on each of the test images, see the DSC-S75's "pictures" page.

As with all Imaging Resource product tests, we encourage you to let your own eyes be the judge of how well the camera performed. Explore the images on the pictures page, to see how the DSC- S75 performed, and how its images compare to other cameras you may be considering.

Overall, the S75 produced really excellent images. Color was quite good, with appropriately saturated primary colors, as well as good handling of pastels. Overall color accuracy was very high, with only slightly reduced color saturation in the subtractive primaries (cyan, yellow, and magenta). Tonal range was also excellent, particularly in the shadow details. At the other end of the scale, the S75 managed to preserve highlight detail in many shooting situations where lesser cameras produced blown-out, pure-white images. The S75's white balance system did a good job with most of our light sources, though we noticed slightly greenish tints with the manual setting at times. That said, the manual white balance setting produced the only accurate results in our difficult indoor portrait shot, with superb color balance and white values. This was a great improvement over the previous S70 model, which had significant difficulty with household incandescent lighting.

The S75 continues the Sony tradition of using high-quality Carl Zeiss lenses, a name long associated with exceptionally sharp images. We're happy to report that the S75 maintained the same level of sharpness we admired so much with the S70, producing consistently sharp images with each of our test shots. We did find some geometric distortion (very common among zoom-equipped digicams we've tested), with a barrel distortion of 0.6 percent in wide-angle mode, and a pincushion distortion of 0.3 (very slight) in telephoto mode. These distortion figures are actually a bit better than average, particularly at the telephoto end of the lens range. Chromatic aberration is present but very low, we caught only one or two pixels of coloration on each side of the corner elements in our resolution target, when photographed at the wide-angle setting. (This distortion is visible as a very slight colored fringe around objects at the edges of the field of view on the resolution target.) At the telephoto end of the lens range, the chromatic aberration is much less apparent.

Like its predecessor the S70, the DSC-S75 turned it a really exceptional performance on the resolution test. We "called" the resolution at 900-950 lines per picture height in the horizontal direction, and 850-900 in the vertical direction, with detail visible well beyond 900 lines vertically, and well beyond 1,000 horizontally. As with the earlier S70 model, the DSC-S75 seems to show resolution beyond what is theoretically possible, according to the Nyquist theorem and the CCD's pixel count. We attributed this to the camera's excellent suppression of artifacts, in both the chrominance (color) and luminance (brightness) domains. There is in fact some aliasing visible beginning around 750 lines vertically (where theory says the limit should be), but it's so well controlled, it is almost invisible. Overall, a really remarkable performance, another triumph for Sony's excellent optics and signal processing.

The S75 follows the current standard in its provision of both optical and LCD viewfinders. We found the S75's optical viewfinder a little tight, showing about 80.6 percent of the final image area at wide angle, and about 80.5 percent at telephoto, for all four image sizes. We also noticed that images framed with the optical viewfinder resulted in a slant toward the lower left corner. The S75's LCD monitor produced more accurate results, showing approximately 96.25 percent accuracy at wide angle, and about 97.5 percent accuracy at telephoto, again at all four image sizes. Framing at the digital telephoto setting was also very accurate, showing about 97.4 percent of the image area at all four resolution sizes. Since we generally like to see LCD monitors as close to 100 percent accuracy as possible, the S75 turned in a very pleasing performance.

The S75 also performed very well in the macro category, capturing a minimum area of just 2.29 x 1.72 inches (58.11 x 43.58mm). Detail and resolution both look great, with most of the fine details in each object completely visible. Color balance also remained accurate throughout the image. The details of the brooch and two coins are nice and crisp, though the printing on the dollar bill is a little soft (the camera probably based focus on the brooch and the larger coin). We also noticed a slight barrel distortion from the lens' wide angle setting. The S75's built-in flash had a hard time throttling down for the macro area at such a close range, producing washed out color and a large hot spot in the upper left corner of the image.

The S75 did an excellent job in the low-light category, as we were able to obtain very bright, clear images at light levels as low as 1/4 foot-candle (2.7 lux), at the 100 ISO setting. Images were still usable at the 1/8 and 1/16 foot-candle light levels (1.3 and 0.67 lux) for the 100 ISO setting, which is commendable. The 200 and 400 ISO settings produced similar results, though we noticed a magenta color cast at 400 ISO, starting at the 1/16 foot-candle light level (0.67 lux) and gradually fading with the brighter levels. Noise levels were very low at the 100 ISO setting, increasing slightly at the 200 ISO setting, and nearly doubling at the 400 ISO setting. Still, the noise level looked pretty good overall, and had a relatively small grain pattern. (We direct readers to Mike Chaney's excellent Qimage Pro program, for a tool with an amazing ability to remove image noise without significantly affecting detail.) To put the S75's low-light performance into perspective, an average city night scene under modern street lighting corresponds to a light level of about one foot candle. Given the S75's ability to capture images at even darker light levels, the camera should be able to handle most night shooting situations.

Overall, we were very impressed with the S75's performance. Building on the already good performance of the S70, the DSC-S75 increased its low-light capabilities, handled difficult lighting well, and recorded exceptionally sharp pictures with wonderful color. These results, along with the camera's extensive exposure controls, the S75 is well-suited for just about any shooting scenario.


Overall, we found the Sony DSC-S75 to be a very pleasing update to the already excellent S70 model. The addition of a fully manual exposure mode and adjustable ISO settings expanded the already excellent exposure controls, and made the camera features perfect for pros and amateurs alike. New camera electronics have further improved the already excellent image quality and speeded some aspects of camera operation. We greatly appreciate the simplified user interface, which employs a less involved LCD menu than previous models, and provides far more external controls, dramatically decreasing the reliance on the LCD monitor. Maintaining the compact size and easy portability of its predecessors, the S75 is a welcome addition to Sony's Cyber-Shot digicam line, with a wide range of features that should please almost any consumer. Our only (minor) complaint was the lack of provision for nonproprietary external flash units. In every other way though, we found the S75 to be of excellent design, and a real value leader with Sony's aggressive pricing at introduction. Very highly recommended!

<<DSC-S75 Sample Images | Additional Resources and Other Links>>

Reader Comments!
Questions, comments or controversy on this product? Click this link to see what other Imaging Resource readers have had to say about the Sony DSC-S75, or add comments of your own!