Panasonic Lumix DMC-LZ20 vs Sony Cyber-shot DSC-H90: A Hands-On Comparison of 2012’s Small Sensor Superzooms

In the crowded realm of small sensor superzoom cameras, the Panasonic Lumix DMC-LZ20 (hereafter LZ20) and the Sony Cyber-shot DSC-H90 (H90) stand as popular contenders from early 2012. Both target enthusiast amateurs seeking enormous zoom ranges in a compact package, essential for everything from casual travel snaps to ambitious wildlife or landscape adventures where heftier cameras aren’t an option. But beyond their similar shooting categories, these two cameras bring distinct philosophies in design, optics, and user experience that warrant closer inspection.

Having logged many hours evaluating equivalent bridge cameras across varied shooting disciplines, I’m excited to put these two models side by side - dissecting their strengths, weaknesses, and which kinds of photographers will truly benefit from either. We’ll dive deep - starting from the physical ergonomics to sensor and image quality, autofocus capabilities, and usability for specialized photography types like macro, sport, and night shooting.

Let’s get into it.

Getting a Feel for It: Build Quality and Ergonomics

When choosing a superzoom, the first physical impression matters a lot. A camera awkward to hold or unintuitive to use quickly saps joy and responsiveness - a no-go for spontaneous photography.

Visually and experientially, the Panasonic LZ20 feels like a traditional bridge camera with an SLR-like body. Measuring roughly 120x76x80 mm and weighing just shy of 500 grams, the LZ20 offers substantial heft and a gripping handhold. Its rubberized grip and lens collar add confidence when extended to full zoom - critical at 525mm equivalent where shake is a killer. For photographers who prioritize stability during long zoom reaches, this physique behaves much like a tiny DSLR, allowing composed shooting for portraits, distant subjects, or landscapes.

In contrast, the Sony H90 takes a more compact, pocketable approach. With a sleek, cigar-shaped body measuring 105x60x34 mm and tipping scales at 222 grams, it’s designed to disappear in your coat pocket or purse. This ultra-portability is a boon for street photographers, tourists, and anyone juggling a minimalist kit. However, the tradeoff is a smaller grip and reduced overall solidity. While perfectly adequate for casual shooting, I noticed the H90 less suited for extended telephoto bursts due to its lighter feel and consequent susceptibility to hand shake.

Both cameras feature a fixed lens design - good news for users who prefer simplicity without the hassle of lens swapping or additional costs. But the ergonomics decidedly split along the lines of either a sportier, heavier handling (LZ20) or a truly compact snapshot machine (H90).

User Interface and Control Layout: Practical Access Meets Display

Digging under the shell reveals equally thoughtful but divergent approaches to interface design. Both cameras forsake viewfinders, opting instead for rear LCD panels only - a standard compromise in budget superzooms.

The Panasonic LZ20 sports a 3-inch fixed, non-touch TFT LCD with modest 460k-dot resolution. The button layout is intuitive, with dedicated dials and a directional pad facilitating quick manual exposure control - a pleasant surprise in this category. Exposure compensation and manual exposure modes are present, though shutter (max 1/2000s) and aperture controls are modest, reflecting the camera’s beginner-friendly tilt.

On the Sony H90, the 3-inch ClearPhoto TFT LCD offers near identical pixel count (461k dots), yielding crisp previewing. However, controls feel more stripped-down: fewer manual exposure options and less pronounced physical buttons. Sony places more emphasis on compactness and simplicity, with basic exposure comp, shutter speed maxing out at 1/1600s, and no manual priority modes. The lack of dedicated dials nudges many users toward the menu systems, which, while functional, feel slow when adjusting in action-packed scenarios.

Neither camera features touchscreens or electronic viewfinders, a sign of their 2012 vintage and budget alignment. But Panasonic’s more complete manual controls and better button arrangement tip the scales toward faster, more confident handling - valuable for enthusiasts wanting some creative latitude.

Under the Hood: Sensor Technology and Image Quality

At the heart of image quality is, unsurprisingly, the sensor. Both cameras employ 1/2.3-inch CCD sensors with 16-megapixel resolution - common in superzooms of their era. However, subtle differences in sensor dimensions and image processing have practical results.

The Sony H90’s sensor measures 6.17x4.55 mm (28.07 mm² area) slightly larger than the LZ20’s 6.08x4.56 mm (27.72 mm²). While these differences are marginal, Sony bumps the max native ISO to 3200 (vs Panasonic’s 1600), hinting at stronger low-light capabilities - though noise remains a concern at upper ISOs on small sensors.

Both cameras include optical anti-aliasing filters, which help reduce moiré but soften fine detail a touch. The LZ20 supports RAW capture (a rarity in this class and vintage), adding significant flexibility to post-processing workflows - an advantage for hobbyists seeking deeper editing control. Sony H90, by contrast, does not offer RAW, constraining users to JPEG compression.

I ran controlled tests shooting resolution charts and ISO sensitivity panels indoors and outdoors. Results showed the LZ20 delivering slightly sharper, more detailed images - especially when processing RAW files. Colors leaned toward cooler, more neutral tones but could appear a bit muted depending on picture profiles. The H90 produced vibrant, saturated JPEGs out of camera but at the expense of some highlight and shadow detail - less latitude in editing later.

Dynamic range is tight for both, typical for small CCD sensors. Shadows block up quickly past ISO 800, and highlight retention isn’t generous - a limitation confirmed in high-contrast landscapes.

For maximum image quality and creative control, Panasonic’s RAW support and marginally better detail put it ahead. For casual users prioritizing ready-to-share JPEGs with vibrant colors, Sony’s internal processing holds appeal.

Zoom Powers: Lens Magnification and Optical Performance

Superzoom cameras hinge on their lens capabilities. Both models offer extreme zoom ranges with tradeoffs in optics and aperture.

The LZ20’s 25-525 mm equivalent focal range is staggering - providing an impressive 21x zoom, eclipsing the H90’s 24-384 mm (16x zoom). Panasonic’s lens also sports a marginally brighter aperture at the wide end (f/3.1 vs f/3.3), but both narrow significantly at reach (f/5.8 to f/5.9). For distant subjects, the LZ20’s longer reach is clearly advantageous in wildlife, sports, and selective portrait work.

Macro performance differs, too - to Panasonic’s credit - with a super-close focusing distance of 2 cm versus Sony’s 5 cm. The LZ20 enables capturing fine detail spectacularly up close, whereas the H90 requires a bit more working distance.

Image stabilization in both cameras is optical, effectively countering moderate shake during zooming or low-light handheld shooting. Panasonic’s system felt slightly more effective in my hands - allowing steadier shots at extreme zoom without elevated ISO.

On image sharpness tests, both lenses soften toward the long telephoto end, but Panasonic retains better central sharpness. Edge distortions (chromatic aberrations, barrel or pincushion) are present in both but more controlled on the LZ20, thanks to its more complex 21x zoom optics.

Autofocus and Speed: Tracking Life as It Happens

Autofocus technologies in small sensor superzooms typically rely on contrast detection alone - slow and sometimes unreliable in tricky lighting. Here, both cameras field 9 or more AF points and face+eye detection, but there are notable differences.

While neither camera supports phase detection AF, the LZ20 impresses with continuous AF, face tracking, and a modest burst mode at 1fps - just enough for simple action sequences. Its burst is slow, no doubt, but helpful for casual wildlife or sports framing.

Sony’s H90, while including face detection and AF tracking, operates only in single-shot AF mode, requiring a pause to refocus between frames. Continuous shooting is limited to 1fps without continuous AF, reducing its candid shooting effectiveness.

In low light, both cameras’ AF hunts noticeably, though the LZ20’s contrast detection was more reliable during my tests - likely aided by its larger lens aperture at the wide end and more aggressive AF algorithms.

For photographers valuing decisive autofocus in moderately active situations - portrait sessions with moving subjects or low-paced wildlife excursions - Panasonic’s system noticeably beats Sony’s.

How These Cameras Perform in Distinct Photography Disciplines

A core part of my evaluation approach is to judge cameras across common genres - portrait, landscape, wildlife, sports, street, macro, night, video, travel, and professional workflows. Here’s how each fares.

Portrait Photography

Portrait work demands natural skin tones, gentle bokeh, and reliable eye detection.

• Panasonic LZ20: Moderate aperture range means bokeh is average, lacking creamy defocus of larger aperture lenses, but optical image stabilization aids keep portraits sharp. Face detection helps with focus, though skin tones were a bit cooler and required tweaking in RAW.

• Sony H90: Slightly warmer JPEG out-of-camera favors flattering skin tones. The shorter zoom range limits background separation compared to LZ20’s 21x reach, reducing bokeh options. Eye-AF lacks, but face detection works well.

Winner: Panasonic edges out for reach and manual control; Sony better for casual snapshots.

Landscape Photography

For landscapes, dynamic range, resolution, and weather sealing come into play.

• Neither camera offers weather sealing - limiting outdoor ruggedness.

• Both sport 16MP CCD sensors with similar resolution.

• Dynamic range is limited for both, producing tough highlight retention in bright scenes.

• Panasonic’s RAW support allows more aggressive recovery of shadows and highlights.

• Sony’s smaller body makes it easier to carry on hikes.

Verdict: Panasonic for image quality and post processing; Sony for ultra-portable landscapes.

Wildlife Photography

Zoom reach and autofocus speed are king here.

• Panasonic’s 21x zoom (525 mm equivalent) gives distinct advantage for distant animals.

• Continuous AF plus face tracking facilitates locking on moving animals.

• Burst shooting (though slow) is an option.

• Sony’s 16x zoom and single AF mode hamper responsiveness for fast wildlife.

Recommendation: Panasonic is clearly the better superzoom for amateur wildlife shooting.

Sports Photography

Fast AF and high frame rates essential here.

• Both cameras limited to 1fps.

• Panasonic offers continuous AF tracking; Sony does not.

• Limited shutter speed maxing at 1/2000 or 1/1600 restricts freezing very fast motion.

Both cameras disqualified for serious sports work but Panasonic’s continuous AF is a slight bonus.

Street Photography

Discretion, low light efficiency, and portability matter.

• Sony’s compact 222g body shines, making it easy to carry and less conspicuous.

• Panasonic’s bulk makes for a more obvious presence.

• Both suffer in low light given small sensors and max ISO limits, but Panasonic’s higher max ISO 1600 support offers some benefit.

• Both lack electronic viewfinders, focusing on LCD screen framing.

Verdict: Sony H90 preferred for street due to portability.

Macro Photography

Close focus range and stabilization critical.

• Panasonic’s 2 cm minimum focusing distance excels at capturing minute detail.

• Sony’s 5 cm distance is less flexible for tight macro.

• Both have optical IS aiding handheld macro shots.

Winner: Panasonic for more versatile close-up work.

Night and Astrophotography

Low noise and exposure flexibility vital.

• Both limited by CCD sensor noise above ISO 800-1600.

• Panasonic’s raw support aids noise reduction in post.

• Neither offers bulb mode or long exposure features.

• Slow shutter speed defaults achievable but cumbersome.

Recommendation: Neither ideal for demanding astro work, but Panasonic again superior for processing flexibility.

Video Capabilities

Both shoot only HD 720p at 30fps - standard for 2012 budget cams.

• Panasonic saves in Motion JPEG, leading to large files.

• Sony uses MPEG-4, more efficient.

• Neither has microphone or headphone jacks.

• No 4K or slow-mo.

• Optical IS on both prevents shaky handheld.

Both suitable only for casual video clips.

Travel Photography

Requires versatility, battery life, and portability.

• Panasonic heavier and bulkier, but longer zoom and RAW give compositional and post-processing power.

• Sony significantly lighter and more pocket-friendly.

• Battery life: Panasonic 380 shots vs Sony 290 shots (CIPA).

• Both accept SD cards; Sony adds Memory Stick support.

Travel pick: Sony for portability and convenience; Panasonic for more serious travel shooters seeking optics and quality.

Professional Workflows

Neither camera targets pro markets - lack of RAW on Sony, weak sensor, no environmental sealing, and limited file formats restrict utility.

However, Panasonic’s RAW option opens door for hobbyist semi-pro use. Both USB 2.0 interfaces provide straightforward tethering and file transfer.

Battery, Storage, and Connectivity: Small but Important Details

• Battery life favors Panasonic - 380 shots vs Sony’s 290 - but neither stellar by modern standards.

• Both use proprietary battery packs; Sony NP-BG1 is well documented for spares.

• Storage wise, Panasonic relies solely on SD cards; Sony supports broader Memory Stick Pro Duo options.

• Connectivity is minimal on both - no Wi-Fi, Bluetooth, or NFC, reflecting their mid-tier 2012 positioning.

Putting It All Together: Performance Scores and Genre Ratings

Looking at overall scores confirms observations: Panasonic LZ20 scores higher in image quality, zoom capability, and autofocus performance. Sony H90 excels in size/weight and handling convenience.

Sample Images Reveal: Through the Lens Comparisons

Let’s see how these technical points translate into actual captures.

Panasonic LZ20 front Panasonic LZ20 screen back Sony H90 front Sony H90 screen back

Images from the LZ20 demonstrate greater detail at full zoom, better macro rendition, and more natural skin tones (when shooting RAW and converted). Shots from the H90 present punchier colors but slightly less finesse with highlight clipping.

Final Thoughts and Recommendations

Who should buy the Panasonic Lumix DMC-LZ20?
If you are an enthusiast seeking a do-it-all superzoom with the option to push creative boundaries via RAW, demanding better reach (21x zoom), enhanced stabilization, and more manual control - this is your camera. It’s well-suited for casual wildlife spotting, travel with optical versatility, macro enthusiasts, and users who don’t mind a slightly bulky package.

Who is the Sony Cyber-shot DSC-H90 best for?
This camera shines for compact portability, simple operation, and casual shooting where convenience outweighs extended zoom reach or manual control. Street photographers, tourists, and beginners wanting a lightweight, quick-to-shoot camera with ample zoom range (16x) will appreciate its pocket-friendly form.

Summary Table of Strengths and Weaknesses

Closing: Experience Matters

While these cameras launched over a decade ago, they remain instructive examples of the mid-tier superzoom landscape. The Panasonic LZ20’s RAW support and longer zoom advantage make it my recommendation for creative enthusiasts willing to carry a little extra weight. Meanwhile, Sony’s DSC-H90 offers a nimble, no-nonsense travel companion for those valuing accessibility and portability above all.

Whenever choosing gear, I always emphasize hands-on testing and evaluating what fits your shooting style and priorities best. Both cameras have clear use case strengths, and knowing these will ensure you get the most from your superzoom experience.

Happy shooting!

If you want a small sensor superzoom from the early 2010s for casual-to-enthusiast use, Panasonic’s LZ20 and Sony’s H90 remain worthy companions - each with unique personalities - and solid starting points for exploring the expansive world of telephoto photography.