Panasonic LZ20 vs. Sony H300: The Ultimate Superzoom Bridge Camera Showdown

When stepping into the world of superzoom bridge cameras on a budget, it’s easy to get overwhelmed by the choices that promise hefty zoom ranges, SLR-like handling, and surprisingly decent image quality. Two cameras that often come up in this category are the Panasonic Lumix DMC-LZ20 (LZ20) and the Sony Cyber-shot DSC-H300 (H300). Both are designed to deliver extreme telephoto reach with manageable size and price tags hovering around $250 - a sweet spot for budget-conscious enthusiasts or casual shooters craving more versatility than a compact camera provides.

I’ve spent considerable time putting both through their paces, from sensor-level analysis to hands-on real-world shooting across genres. This extensive review breaks down how these two cameras stack up against each other, diving deep into the technical guts, performance in various photographic situations, and usability quirks. By the end, you’ll have a clear idea which one meets your needs - whether you’re a budding nature photographer, a travel documentarian, or somebody who just wants to get closer to the action without breaking the bank.

Size, Ergonomics & Handling: Who Wins Comfort in Your Hands?

Bridge cameras walk a fine line between pocket compacts and full-sized DSLRs. In this bracket, ergonomics and control layout can make or break your shooting experience - especially for zoom lenses stretching into hundreds of millimeters.

Panasonic’s LZ20 is notably more compact in its body dimensions, measuring 120 x 76 x 80 mm and weighing in at roughly 499g. The Sony H300 sits larger and chunkier at 130 x 95 x 122 mm and weighs a heavier 590g. Both sport SLR-like bridge designs with fixed lenses but no electronic viewfinder - meaning all your framing relies on the rear LCD (more on that in a bit).

In the hand, the Panasonic’s smaller size and lighter weight make it noticeably easier to carry around for extended periods, an advantage appreciated on hikes or day trips. The grip on the LZ20 is snug but not overly pronounced - comfortable for casual to moderate shooting sessions.

The Sony H300 comes across as a chunkier beast, which some may find more substantial and stable for long telephoto shooting, but it can tire your wrist sooner. Its deeper handgrip adds to this heft, imparting a sense of ruggedness if not outright robustness.

Looking at control layout, I prefer Panasonic’s streamlined button placement. The LZ20 focuses on practical controls without trying to cram an exhaustive menu onto a tight interface, though there’s no touchscreen for shortcuts. The Sony H300 has a few more dedicated buttons, but the larger body means you’re reaching a bit more. Neither model features illuminated buttons or advanced customization, so you won’t find clubs for your thumbs here - just basic, straightforward controls.

Bottom line: For portability and ease of carrying, the Panasonic LZ20 edges out the Sony H300. But if you prefer a heavier, more “camera-like” heft in the hand (and don’t mind the extra size), the H300 offers that rugged feel.

Sensor and Image Quality: Can Bigger Zoom Compensate for a Small Sensor?

Both the Panasonic and Sony rely on 1/2.3” CCD sensors, an aging technology in camera circles but still common in budget superzooms. The Panasonic sticks to a 16 MP resolution, while the Sony pushes a bit higher at 20 MP.

Here’s the catch: resolutions over 16–20 MP on 1/2.3” sensors often lead to diminishing returns. The individually tiny pixels struggle to gather light cleanly, so noise and color fidelity commonly take a hit.

Running lab tests and handheld shooting in varying light, the Sony’s 20 MP sensor delivers slightly better detail in bright conditions, thanks to its higher megapixel count and subtly larger sensor area (28.07 mm² vs. Panasonic’s 27.72 mm²). But in low light and under mixed lighting, both cameras exhibit the typical graininess and color smudging you’d expect from this sensor class.

Neither supports raw image capture, so your post-processing flexibility is limited to JPEG cleanup only - a big downside if you’re serious about image edits. The Panasonic maxes out at ISO 1600, while the Sony tops at ISO 3200, but going higher on either introduces noise that demands cautious use.

An aliasing (anti-aliasing) filter is present on both, smoothing some of the sensor’s resolution but helping control moiré on fine patterns.

Real-world impact: For landscape and daylight shooting, the Sony’s extra pixels can capture a bit more fine detail, but you should temper expectations and stick to solid light. Both struggle for clean images beyond ISO 800, so low-light scenes will be noisy. Portraits - especially skin tones - are acceptable but not studio-level. The gentle bokeh is restricted by the small sensor and narrow maximum apertures: Panasonic F3.1–5.8 vs. Sony F3.0–5.9.

LCD & Viewfinder: The Eyes on Your Shot

Neither camera packs an electronic viewfinder (EVF), relying on their LCD screens to preview and review shots. Both use fixed 3.0-inch monitors with roughly 460k dots resolution. Panasonic’s LZ20 uses a TFT LCD, while Sony boasts their “Clear Photo LCD” tech claiming better outdoor visibility.

In daylight, neither screen is truly easy to see without shading - an issue with budget cameras - though Sony’s Clear Photo panel offers marginally improved visibility. Panasonic’s LCD feels a tad more contrasty but with a bit less brightness. Both lack touch responsiveness and any swivel or tilt mechanics, limiting your composing options.

Interestingly, Sony’s H300 oddly features a low-res EVF (201 pixels), but it’s essentially unusable for serious shooting - more of a gimmick in this price band.

Bottom line: LCD viewing is close enough here; neither will wow you, but both do the job. Panasonic’s TFT screen produces slightly punchier colors, while the Sony tends to wash out under direct sun more easily.

Autofocus & Shooting Speed: Catching That Decisive Moment

For bridge cameras, autofocus (AF) speed and accuracy can make a significant difference - especially when shooting wildlife, sports, or street scenes where the action doesn’t wait.

Both cameras employ contrast-detection AF systems with no phase-detect technology (phased-AF accelerates focusing markedly). The Panasonic LZ20 offers 9 AF points with face detection and continuous AF capability, while the Sony H300’s exact AF points are unspecified but include center and multi-area modes, face detection, and tracking.

In my testing, the Panasonic performed better for continuous tracking, maintaining focus reasonably well when subjects moved slowly. Its AF lock is more reliable in daylight but falters as light dims.

The Sony suffered from slower refresh rates and occasional hunting - typical for 1/2.3" CCD sensors at this price. AF is a bit slower and less consistent, especially beyond 200mm focal length, where the lens gets “soft” in response time.

Neither camera supports manual focus; you’re locked into the AF system - which is decent for casual snapping but limits creative control.

Burst shooting is capped at 1 fps on both - a crawl by today’s standards - meaning rapid-fire sports or wildlife sequences aren’t a strong point here.

Lens Reach & Optical Performance: Who Gets Closer, Sharper?

This is where these two cameras make a strong impression, given their ultra-long zoom ranges.

• Panasonic LZ20: 25–525mm (21× zoom), max aperture F3.1–5.8
• Sony H300: 25–875mm (35× zoom), max aperture F3.0–5.9

Panasonic LZ20 front Panasonic LZ20 screen back Sony H300 front Sony H300 screen back

Sony’s H300 wins the zoom race handily with a giant 875mm equivalent reach - ideal for distant wildlife or shooting close-ups without a telephoto prime or zoom lens investment. Panasonic’s 525mm max is nothing to sneeze at but pales compared to Sony’s reach.

Optically, both lenses show the classic superzoom compromise: sharpness is respectable at short to medium focal lengths but noticeably drops at full telephoto due to increased lens aberrations and diffraction. Image softness, chromatic aberration, and edge distortion creep up at the long end, passing on you less-than-crisp details.

I found the Panasonic lens somewhat sharper and more consistent across the zoom range, with less noticeable purple fringing and better color rendition in outdoor scenes. Meanwhile, Sony’s lens is a little softer, especially beyond 600mm equivalents, but for $250, that reach is a big selling point.

Both cameras have a respectable macro focus distance - Panasonic down to 2 cm, while Sony’s macro range isn’t specified - making close-up work possible but not exceptional.

Shooting Across Photography Genres: Real-World Use Cases Scorecard

These cameras target different kinds of shooters; here’s how they fare across key photography disciplines, factoring in specs and hands-on impressions.

Portrait Photography

• Panasonic edges Sony slightly due to better color rendering and smoother skin tones from the lens and sensor combo.
• Both struggle with shallow depth of field; bokeh is mild and busy backgrounds moderately distracting.
• Face detection works on both, but no advanced eye AF available.

Landscape Photography

• Both cameras deliver punchy JPEGs straight out, but the lack of raw limits post-processing.
• Sony’s higher resolution sensor provides slight detail advantage.
• Neither has weather sealing, restricting rough outdoor use.
• Panasonic’s lens sharpness and contrast give it a small edge.

Wildlife Photography

• Sony’s massive 875mm zoom is an obvious winner for distant subjects.
• Panasonic offers better autofocus tracking and lens sharpness for moderately close wildlife shots.
• Both limited by slow continuous shooting rates (1 fps), so fast animals are tough to nail.

Sports Photography

• Neither camera is built for action. The 1 fps burst rate and sluggish AF make capturing fast-moving sports a challenge.
• Panasonic’s slightly better AF helps in static or moderately paced scenes.

Street Photography

• Panasonic’s smaller size offers stealth advantages; Sony’s big body can draw attention.
• Low light focusing is unimpressive on both, limiting nighttime street work.
• Neither is extremely pocketable but better than DSLRs.
• No touchscreen or silent shutter modes limit flexibility.

Macro Photography

• Panasonic’s 2cm macro focus ability is convenient for casual close-ups.
• Sony’s macro range is unspecified but likely similar.
• No focus bracketing or stacking features to help with depth of field.

Night & Astro Photography

• Limited by small sensor and lack of raw support.
• Both cameras produce noisy images at ISO above 800.
• No special exposure modes for long exposures or bulb shooting.

Video Capabilities

• Both max out at HD 720p 30fps video.
• Panasonic uses less efficient Motion JPEG codec, increasing file size.
• Sony records in more modern MPEG-4/H.264, better for storage.
• Neither camera offers mic or headphone jacks or advanced video stabilization.

Travel Photography

• Panasonic’s smaller body and longer battery life (380 vs. 350 shots) give it a leg up.
• Sony supports Memory Stick in addition to SD cards, a plus for some users.
• Both cameras lightweight and manageable for casual travel.

Professional Work

• Neither camera suits professional assignments due to limited controls, build, and lack of raw.
• Good as ultra-budget second or third cameras for casual tasks.

Build Quality & Durability: How Tough Are These Cameras?

Neither Panasonic LZ20 nor Sony H300 features environmental sealing or rugged construction. They are your “handle with care” budget superzooms, designed for light consumer use. Plastic bodies and a modest feel mean you shouldn’t expect weatherproofing, dust resistance, or shock tolerance.

Sony’s heavier body with slightly larger physical dimensions may absorb impacts marginally better but neither would survive rough outdoor abuse without extra protection.

Battery Life & Storage: Can They Go the Distance?

Battery life is decent on both cameras for casual shooting, with Panasonic rated for around 380 shots per charge versus Sony’s 350. The difference is minor, but Panasonic’s smaller body houses a somewhat more efficient battery system - probably due to simpler internals.

Both rely on proprietary battery packs and lack USB charging, so always carry a spare on long outings. Storage options differ slightly:

• Panasonic supports SD/SDHC/SDXC cards and internal memory.
• Sony additionally supports Sony Memory Stick formats, offering extra versatility if you own legacy cards.

Connectivity and Extras

Neither camera offers wireless connectivity - no Wi-Fi, Bluetooth, or NFC - so transferring images requires physically connecting via USB or removing your memory card and using a reader.

Sony includes an HDMI output, useful for viewing photos on a TV, which Panasonic lacks. Both omit microphone or headphone jacks, so their video capabilities remain basic.

Pricing and Value: What Does Your Money Buy?

Both cameras hover around the $250 mark, making them solid superzoom options for cheapskates or beginners who want to experiment with ultra-zoom without the lens investment or complexity of interchangeable lens systems.

Considering feature differences:

• Sony’s 35× zoom vs. Panasonic’s 21× gives it a clear edge in zoom reach.
• Panasonic’s superior ergonomics, battery life, and image sharpness tilt the value scale for usability and image quality.
• Panasonic offers more continuous autofocus functions.
• Sony’s slightly better video codec and HDMI output benefit casual videographers.

Summary Comparison Table

Final Verdict: Which Camera Fits Your Shooting Style?

Choose the Panasonic Lumix LZ20 if…

• You want a more compact, manageable camera ideal for travel or street shooting where portability matters.
• You prioritize better ergonomics and longer battery life for extended shooting days.
• You’re shooting in bright light or portraits, where slightly better lens sharpness and skin tone reproduction make a difference.
• You need basic but reliable continuous autofocus for casual wildlife or sports photography.
• You don’t care as much about zoom reach but want consistent image quality across the focal length.

Choose the Sony Cyber-shot H300 if…

• You want unrivaled ultra-superzoom reach (35×) to shoot distant wildlife, sports far away, or difficult subjects with no lens swaps.
• You’re OK handling a bigger, heavier camera and don’t mind bulk for zoom power.
• You shoot a fair amount of casual video and appreciate the better codec and HDMI output for playback convenience.
• You prefer slightly higher resolution for landscapes or macro, accepting noise tradeoffs.
• You use mixed memory card formats and want extra compatibility with Sony’s Memory Stick system.

Parting Thoughts: Budget Superzoom Cameras in 2024

If you’re entering superzoom bridge cameras for less than $300, expect compromises - but you also get a world of versatility without the wallet pain of mirrorless systems or DSLRs. The LZ20 and H300 both offer good for-the-price solutions with distinct strengths.

Personally, I gravitate toward the Panasonic LZ20 for its better handling and image consistency. In my experience, zoom reach beyond 500mm on these sensor sizes is more a novelty than a practical advantage due to image softness, so the Sony’s extra telephoto length might be fun but rarely gets seriously used.

Neither belongs in a professional kit nor will satisfy advanced image quality demands but both provide great learning platforms or casual cameras with notable zoom power. Just temper expectations on speed, low-light, and ultimate image fidelity - and be ready to pocket a backup device for serious shooting.

If you want to dig deeper into a tested budget superzoom with more modern specs, consider stepping up to newer models (like Panasonic's LZ30 or advanced Sony bridge lines). But if price is king and you want a rock-solid starter superzoom, both these cameras still earn their keep.

Thanks for reading, and happy shooting - may your zoom always bring the distant world a little closer!