Panasonic ZS200 vs Sony TX200V: A Deep Dive into Two Compact Cameras from Different Eras

In the world of compact cameras, choices abound - from pocket-sized point-and-shoot models to advanced compacts that serve serious enthusiasts. Today, I’m putting under the microscope two fixed-lens compacts from Panasonic and Sony: the Panasonic Lumix DC-ZS200 (also known as the Lumix DC-TZ200) announced in early 2018, and the Sony Cyber-shot DSC-TX200V from 2012. While they belong to different generations and camera categories - Panasonic’s a large sensor compact, Sony’s an ultraportable ultracompact - both aim to offer versatile imaging on-the-go.

Having tested thousands of cameras over the last 15+ years, I’m here to walk you through how these two stack up for various photography disciplines and use cases. We’ll weigh build, handling, sensor performance, autofocus, video capabilities, and much more. No waffle - just practical insights from hands-on experience designed to help you choose what fits your photographic style best.

Let’s start by standing these two side-by-side visually.

Pocket-Sized but Worlds Apart: Handling and Ergonomics

Right off the bat, size and handling highlight their differing philosophies. The Panasonic ZS200 packs a larger 1-inch sensor and a massive 15x zoom (24-360mm equiv.), naturally demanding a chunkier body and lens barrel. It measures about 111x66x45mm and weighs 340g - still pocketable but definitely more of a “large compact.” Its grip and control dials feel substantial, aimed at users who want manual control on the fly without lugging a bulky DSLR.

In contrast, the Sony TX200V is an ultra-slim ultracompact (96x58x16mm, 129g), built for sheer portability. Its 5x zoom (28-140mm equiv.) sits behind a flat, sliding front panel that doubles as a cover - a very sleek look but minimal tactile feedback. Its small size sacrifices ergonomic comfort and manual controls but excels where stealth and convenience matter most.

Ergonomically, the Panasonic’s dedicated dials and buttons impress. Its grip ensures firm, stable shooting and its control layout lends itself well to quick adjustments under various conditions. The Sony’s ultra-thin design appeals to casual shooters or travelers who prize pocketability but aren’t after extensive exposure control.

Control Layout and Interface: Intuitive or Minimalist?

Examining the top plate and control surfaces, Panasonic’s ZS200 boasts a more conventional, enthusiast-friendly layout, with easily reachable mode dials, shutter button, zoom toggle, and quick-access function keys. This facilitates rapid mode switching, tailored shooting modes, and exposure tweaking - vital for advanced photography scenarios like landscapes or portraits where precise adjustments matter.

The Sony TX200V takes a minimalist approach aligned with its ultracompact intent. Without an electronic viewfinder and with fewer physical buttons, it relies heavily on touchscreen navigation. This can slow down operation in fast-paced shooting or when wearing gloves. Notably, the Sony lacks manual exposure modes altogether, which limits creative control but eases usability for the casual snapshooter.

Both have touchscreens: the ZS200’s 3-inch LCD sports a moderate 1240k-dot resolution, while the Sony’s 3.3-inch panel is a sharp 1230k-dot OLED with “XtraFine TruBlack” technology - resulting in richer colors and higher contrast, ideal for composing in bright outdoor environments. However, the Sony’s touchscreen is less responsive and doesn’t offer the same level of customization.

Image Sensor and Quality: The Heart of the Matter

This is where the gulf between the two models becomes clear. Panasonic’s ZS200 houses a 1-inch 20MP MOS sensor measuring roughly 13.2 x 8.8mm (116.16 mm²). This sensor size dramatically outclasses the Sony’s smaller 1/2.3-inch 18MP BSI CMOS sensor (6.17 x 4.55mm, 28.07 mm²). To put it in perspective, Panasonic’s sensor area is approximately four times larger.

From a technical standpoint, larger sensor size yields significant advantages: better light-gathering capability, higher dynamic range, improved low-light performance, and enhanced depth-of-field control. The ZS200, therefore, produces cleaner images with less noise at higher ISOs and smoother gradations in shadows and highlights.

Sony’s sensor, while decent for snapshots and daytime shooting, struggles in dimmer conditions and offers less room for advanced post-processing. Additionally, the ZS200’s support for raw shooting vastly improves image flexibility in editing workflows - a feature notably absent on the TX200V.

In practice, when capturing landscapes or detailed subjects under varied lighting, the Panasonic’s images hold more detail and clarity. The Sony suits casual shooting but reveals compression artifacts and noise much sooner as ISO climbs.

Display and Viewfinder: Framing Your Shot

Moving beyond raw sensor specs, framing options influence user experience heavily. The Panasonic ZS200 boasts a built-in electronic viewfinder (EVF) with 2330k dots resolution, 100% coverage, and a 0.53x magnification. This is a boon in bright sunlight when LCD viewing struggles. Framing via EVF tends to be steadier, especially for telephoto shots, while also conserving battery life compared to live LCD use.

Sony’s TX200V does not have any form of viewfinder. Users rely solely on its bright OLED rear screen. While the screen is absolutely sharp and exhibits excellent contrast, shooting in intense daylight or tracking fast-moving subjects can be challenging due to glare and lag.

The Panasonic’s tilting LCD offers flexibility for high- and low-angle shots, though it is fixed rather than fully articulating. The Sony possesses a fixed 3.3-inch display which excels at casual use but doesn’t support selfie-friendly rotation.

Autofocus System: Precision and Speed

Both cameras employ contrast-detection autofocus systems, without phase-detection points. Contrast AF tends to be slower and less predictive than hybrid or phase autofocus, especially for moving subjects.

The ZS200 has 49 AF points distributed across the frame, with face detection, eye detection, continuous AF, and tracking AF modes. In my testing, it performed admirably for its class, locking focus cleanly in daylight and handling moderately fast subjects with reasonable accuracy - useful in street, portrait, and wildlife snapshots.

The TX200V has a much simpler AF system with only 9 focus points, still using contrast detection. It includes face detection but no eye detection or advanced tracking. Its smallest AF point density and limited AF modes mean slower focus acquisition and less reliable tracking for moving subjects. This limits the camera’s suitability for sports or wildlife photography.

Worth noting: neither have animal eye-detection or PDAF (phase detection autofocus), so autofocus speed and precision for action or wildlife remain modest.

Lens and Zoom Range: Reach and Aperture

The Panasonic ZS200’s 24-360mm equivalent zoom range is extraordinary for a compact of this size, giving flexibility from wide-angle landscapes to distant telephoto shots. The trade-off is variable maximum aperture, from F3.3 at wide to a narrow F6.4 at the telephoto end, which does limit low-light telephoto use and bokeh quality.

The Sony’s 28-140mm equivalent range is more limited but still versatile for everyday shooting and casual telephoto needs. Its aperture maxes at F3.5 wide, closing to F4.8 telephoto - faster than the Panasonic’s long end but with less reach overall.

In practice, the Panasonic’s longer reach unlocks more creative opportunities, whether shooting wildlife, sports, or distant street scenes. The Sony caters better to casual landscape, portraiture, and ordinary snapshots but can feel constrained by zoom length quickly.

Burst Shooting and Speed: Catching the Moment

Both cameras advertise 10 fps continuous shooting, which on paper sounds promising. However, there are nuances.

The Panasonic ZS200 sustains 10 fps in continuous AF mode with JPEG output, though buffer limits slow it down after a dozen shots. The camera’s image processor (Venus Engine) allows quick write speeds to UHS-I SD cards - helpful for sports or wildlife burst shooting.

The Sony TX200V also claims 10 fps but lacks continuous autofocus during bursts and uses older processors with slower write speeds. This often results in shorter buffer depths and longer write times.

Among enthusiasts seeking to freeze fast motion or capture fleeting moments, Panasonic clearly offers a more practical tool.

Image Stabilization: Keeping it Steady

Both cameras employ optical image stabilization (OIS) to counteract hand shake, critical at longer focal lengths and slower shutter speeds.

The Panasonic’s stabilization system shines with effective compensation that noticeably improves handheld telephoto shots and low-light handheld captures. Its in-body algorithms help reduce blur and maintain detail without resorting to high ISO unnecessarily.

Sony’s OIS also helps, but given its shorter zoom range and older design, it’s less aggressive. Still useful for casual shooting, it lacks the refinement and fine-tuning found on the ZS200.

I’ve found the Panasonic’s IS enables more confident shooting at the 360mm equivalent focal length handheld - a strong advantage for travel and wildlife photographers.

Video and Multimedia: Resolution and Connectivity

Video capabilities often influence buying decisions.

Panasonic’s ZS200 supports 4K video recording at 3840x2160 resolution in multiple formats (MPEG-4, AVCHD, H.264), along with 4K Photo mode that extracts 8MP stills from 4K footage - handy for fast action extraction without missing a moment. It also offers timelapse recording and focus stacking.

Sony offers Full HD video only at up to 1080p 60fps. It lacks 4K or advanced photo modes but supports AVCHD and MPEG-4. For casual video shooting, the TX200V suffices, but for serious video enthusiasts, it feels dated.

Neither camera has microphone or headphone ports for audio enhancements, though Panasonic includes Bluetooth and Wi-Fi wireless for image transfer and remote control. The Sony lacks wireless options entirely but includes built-in GPS for geotagging.

Build Quality and Weather Resistance: Durability Where It Counts

While neither camera is ruggedized for extreme environments, the Sony TX200V surprisingly includes some environmental sealing. This is notable for an ultracompact camera, offering moderate protection against dust and moisture - useful for outdoor street photography or travel where conditions aren’t always perfect.

The Panasonic ZS200 lacks weather sealing but features a robust metal chassis and lens barrel, offering solid durability for routine use. Its bigger size and heavier build inspire more confidence for professional or semi-professional workloads.

Battery Life and Storage: Shooting Duration and Media

Panasonic’s ZS200 claims 370 shots per charge under CIPA standards - a respectable figure reflecting its relatively larger battery capacity. In practical shooting, including EVF use and 4K video, endurance is good but not exceptional for long trips without spares.

Sony’s TX200V rates 220 shots per battery based on its older NP-BN battery - less than the ZS200 but typical for its size class. Battery replacement and charging cycles must be considered, especially for extended travel.

Storage-wise, the Panasonic adopts widely available SD/SDHC/SDXC cards supporting UHS-I speeds - essential for fast write speeds. The Sony uses the proprietary Memory Stick Duo format, less common and potentially limiting choice and affordability.

In-Field Results: Sample Images and Performance

Panasonic ZS200 front Panasonic ZS200 screen back Sony TX200V front Sony TX200V screen back

In side-by-side shooting tests, the Panasonic ZS200 consistently delivered punchier colors, greater dynamic range, and cleaner shadows under varying lighting. Skin tones were more natural in portraits, with smoother bokeh given its larger sensor and lens design.

Sony’s TX200V tended to produce softer images with less depth and mild noise creeping in under less ideal lighting. Its smaller sensor and shorter focal range showed limitations in achieving shallow depth of field or dramatic subject isolation.

For landscapes, Panasonic’s higher resolution and dynamic range captured richer skies and more texture in shaded areas. The Sony’s sensor crushed shadows more aggressively, reducing post-processing flexibility.

Scoring and Comparative Performance Summary

From an objective standpoint, Panasonic’s ZS200 scores higher across the board: image quality, autofocus, video capabilities, shooting speed, and ergonomics. The Sony TX200V remains solid for casual snapshots and ultracompact needs but is eclipsed in almost every practical measure by the newer Panasonic.

Specialized Genre Analysis: Where Each Excels

• Portrait: Panasonic’s ZS200 wins with better skin tone rendition, eye detection AF, and smoother bokeh from its larger sensor and longer aperture zoom at the wide end. Sony’s TX200V is adequate for casual portraits but can feel flat.

• Landscape: Panasonic’s dynamic range and resolution greatly benefit landscape shooters, with wider zoom options and better detail retrieval. Sony falls behind due to sensor limits.

• Wildlife: Panasonic’s longer reach lens, faster autofocus, and burst frame rate favor wildlife and telephoto needs. Sony’s shorter zoom and slower AF limit this use.

• Sports: Panasonic’s continuous AF, 10 fps burst, and tracking capabilities give it an edge for spontaneous action; Sony’s AF constraints reduce suitability.

• Street: Sony’s compactness and environmental sealing give discreetness and some ruggedness advantages in candid shooting, though Panasonic remains reasonably portable.

• Macro: Panasonic offers better focusing precision and proximity (5cm macro range) coupled with image stabilization to aid handheld macro; Sony’s slightly closer minimum focus (3cm) helps but sensor limitation reduces detail.

• Night/Astro: Panasonic pulls ahead with cleaner high ISO performance and longer shutter support; Sony’s sensor and exposure limits curtail effectiveness.

• Video: Panasonic’s 4K resolution and 4K Photo mode drastically outclass Sony’s Full HD and absence of advanced video features.

• Travel: Panasonic balances size, zoom, and performance well for versatile travel shooting. Sony’s ultraportability suits travelers prioritizing pocket convenience over creative control.

• Professional: Panasonic’s raw support and manual exposure modes make it viable as a backup or light-duty professional camera; Sony’s limited controls and no raw support hinder this role.

Final Thoughts and Recommendations

If you want my unvarnished expert take: the Panasonic Lumix ZS200 is the clear winner for most photographers seeking a capable, flexible compact camera with excellent image quality and manual control. Its 1-inch sensor, broad zoom range, EVF, and modern video features make it a solid tool for enthusiasts and even pros wanting a carry-anywhere secondary camera.

The Sony TX200V, while elegantly compact and cleverly designed for its time, feels like a relic now. Its smaller sensor, limited zoom reach, absence of raw mode and manual exposure control, and lack of wireless connectivity restrict its appeal to casual photographers or those prioritizing a slim pocket camera without fuss.

In short:

• Choose the Panasonic ZS200 if you’re after quality images, zoom versatility, manual control, and occasional video - great for travel, portraits, street photography, and amateur wildlife.

• Opt for the Sony TX200V if utmost portability, sleek design, and built-in GPS are your chief concerns, and you shoot mostly in good light for casual snapshots.

This comparison illustrates how advances over six years translate into tangible differences in shooting experiences and final output. Both cameras can deliver satisfying results - the question is which meets your photographic ambitions.

Happy shooting!

Note: For a quick visual recap of their key physical differences, control layouts, sensor size, rear displays, image output, and performance scores throughout various genres, refer back to the integrated images. They serve as useful bookmarks summarizing dense data in approachable formats.