Which hs20

In terms of handling, the manually operated barrel zoom really defines this camera. This is the compromise you have to decide upon. Good points 24mm wide angle and manual zoom ring. RAW shooting. Wide range of burst shooting modes. Bad points Manual barrel zoom not ideal for movies.

Still viewing the HS20 EXR from the front, the stereo sound speakers are positioned one on either side of the lens barrel, with a familiar dual purpose AF-assist illuminator and self-timer lamp to the left. Looking down on top of the camera, viewed from the rear, there's a clearly labeled and logically laid out control set, with a chunky, ridged shooting mode dial which is reminiscent of those found on, yes you've guessed it, DSLR cameras. Ranged around the dial, which turns with just the right amount of resistance for it to lock firmly into place at each setting, are the expected shooting options, such as full auto, program, shutter priority, aperture priority and manual modes, along with a customizable mode via which favoured shooting settings can be saved for rapid access, plus two scene position modes SP1 and SP2 pre-optimised for common subjects.

In addition, there are several more shooting modes that are particularly noteworthy. Although far from infallible - if you're not paying close attention and it's presented with a busy scene it will call up landscape when macro is needed and vice versa — it instantly makes the HS20 EXR more beginner friendly, instantly recognising 10 basic scenes and then applying one of the three other EXR modes too.

Fujifilm's EXR sensor can be utilized in one of three ways by the photographer. There's a choice between shooting at full 16 megapixel resolution in High Resolution HR mode, or an 8 megapixel image in the Low Noise SN mode for shooting without flash in low light conditions, or the Dynamic Range DR mode to achieve an optimal balance between shadows and highlights.

If you can't decide which is best for a chosen scene or subject, then just leave the camera on the scene-detecting EXR Automatic Mode and let it choose for itself.

Next is the rather misleadingly named Advanced mode, which actually has two options that are well suited to all experience levels. You can see examples of this shooting mode on the Image Quality page. The Pro Focus mode makes it easier to achieve a blurred background, perfect for portraits where compact digicams traditionally struggle, with three strengths of blurring on offer. The final shooting mode is the Panorama option, clearly inspired by Sony's popular Sweep Panorama function.

This lets you capture a , or degree panoramic image very easily without the use of a tripod. All you need to decide is whether you would like to start from left or right, top or bottom, then press and hold down the shutter release while doing a "sweep" with the camera in hand. Exposure compensation is available before you start the sweep, with the exposure fixed once you depress the shutter button.

After you are done with the sweeping, the camera does all the processing required, and presents you with a finished panoramic image. Although undoubtedly fun, there are a few catches. The final panorama is of relatively low resolution, and if you do the sweeping too slowly, or you let go of the shutter release button too early, the panorama will be truncated. If the exposure varies throughout the scene, then some areas will be over or under exposed, depending upon the exposure value that was chosen as the panorama was started.

Finally, people and indeed anything that moves in the frame are recorded as several ghost outlines, which means that you can really only record static, empty scenes, something that Sony have solved in the latest iteration of their Sweep Panorama feature. To the right of the shooting mode dial is a smaller command dial with a positive clicking action which is used for scrolling through features and captured images, and will feel immediately intuitive to anyone who has handled a DSLR before.

The same dial is also used to change the aperture and shutter speed when using the more advanced shooting modes. In the Manual mode, you hold the Exposure Compensation button down with your forefinger and give the dial a flick with your thumb to change the aperture, not as intuitive as having two separate command dials but perhaps understandable given the HS20's target audience.

Otherwise the exposure compensation button works largely as you'd expect, with a visual slider graph on screen accompanied by a live histogram. Pressing this button brings up four options - Off, Top 4, Best Frame Capture and three different kinds of bracketing exposure, film simulation mode and dynamic range. Choosing Top 4 allows you to take 8 full-resolution photos at 8 frames per second, which is faster than most compact cameras and indeed most DSLRs too.

The only fly in the ointment are that only 4 out of the 8 are actually saved to the memory card. Choosing Best Frame Capture shoots at 11fps at 8 megapixel resolution from the moment that you focus and then saves up to 16 images including pre-recorded frames. Once the burst is completed, it takes over fifteen seconds for the camera to clear the buffer, during which you cannot take another picture.

There is also another continuous shooting speeds where the Fujifilm HS20 EXR shoots at a faster speed 11fps at at 4 megapixel resolution for up to 32 frames. Flick this to On, and the rear LCD or electronic viewfinder — depending on which one you previously had selected — blinks into life, a process taking around two seconds, which for once is not quite as good as most DSLRs.

Still, the Fujifilm FinePix SFS is very fast to determine focus and exposure with a half press of the shutter button, taking less than 0. Although JPEGs are quickly committed to memory in single-shot mode with only the briefest pause between each one, unfortunately there's a very noticeable 5 second delay between the capture of one RAW file and the next during which you can't take another picture, which rather slows down the shooting experience unless you stick to the JPEG format.

While some may debate whether an adjustable LCD is an essential feature or a sales gimmick, once you get used to using one it's something you find yourself missing when it's not there, proving particularly useful when holding the camera above your head or as a waist-level finder for more candid shots. The EVF also has its own dioptric correction wheel to its immediate left, which is far less stiff and physically larger than found on competing models, meaning that for the myopic adjustment can be made in a faction of a second.

This uniformly distributed load is designed to apply on the above grade bridge deck but It does not apply to below ground structures per ASTM C View more interesting precast concrete products here.

August 18, What does HS traffic rating mean? What is the difference between H and HS? This image helps show the difference between H and HS wheel loading and location.

What is the difference between HS and Tier 22 Ratings? What are the concerns when installing an underground enclosure? What is the difference between HS and HL93? View All Posts. Additional Posts June 7, How much does Precast Concrete cost? Read Full Post. Thus, the HS20 axle load of 32, pounds becomes an HS25 axle load of 40, pounds.

The increased load can in some cases create the need for additional reinforcing steel and sometimes a thicker top slab on underground structures installed in areas exposed to heavy truck loads. The purpose of the LRFD Load and Resistance Factor Design document is not to make all existing bridges obsolete, but to provide a design of new bridges that includes benefits from statistics, research and new materials. Load and resistance coefficients are slightly different, but the results are similar.

It does not apply to below ground structures. A wheel load is one-half of the axle load. A comparison of old versus new indicates that the difference is very small.

The extra pound wheel load is not a large increase and will only affect those designs that did not have excess capacity. Wheel loads affect the top slab design more than wall and bottom slab. This is especially true where the slab is less than 2 feet below grade. The effect of the wheel load on the slab decreases as depth of cover increases. It can be concluded that the new loads may affect existing designs, but the difference between old and new does not mean that all designs need to be updated.

The small increases will not affect designs that have excess capacity. Those designs that minimized reinforcing steel and slab thickness to create a structure that was just good enough may need to be reviewed.

These conclusions are based on a comparison of wheel loads and do not include the many other factors used in design.