Fujifilm FinePix S200EXR

Superzoom offers up innovative Super CCD EXR sensor

‘Substantial’ is the word that springs to mind when hefting the enthusiast targeted, DSLR-styled Fujifilm FinePix S200EXR out from its box, some 820g in weight without accessories. With manufacturers of late attempting to disguise their DSLRs as compacts, Fuji has done the opposite and beefed up construction to support the large 30.5-436mm equivalent Fujinon zoom bolted to the front that dominates proceedings. While on paper that might not match the 26x range offered by the likes of Olympus, the S200 – upgrading the S100FS – feels more solid, and besides, it isn’t purely about lens power.

Following on from Fuji’s F200EXR pocket model, the numerically identical S200 is the second – or third if you include the simultaneously released F70EXR – model to include a new Super CCD EXR sensor that allows users to make the choice of utilising its chip in three different ways, although it’s the company’s first bridge camera to do so. Using aptly named three-way capture technology, one can plump for high resolution first and foremost, capturing images with all 12 effective megapixels, choose the increased dynamic range option instead (two images are shot, one at high sensitivity, the other low, and then combined), or perhaps aim for high sensitivity and low noise if shooting in less ideal conditions. To achieve the latter, the camera 'couples' same colour pixels together to create larger light-absorbing giant pixels (rather than boosting sensitivity, and so noise). Additionally, there’s an Auto EXR setting selectable via the mode dial, whereby the camera chooses which one of the three settings best suits the conditions under which the user is shooting. The creative quartet of program, shutter priority, aperture priority and manual are also provided on the dial, with two further custom setting options. The control itself has just the right amount of rigidity, locking firmly into place as it’s twisted to each subsequent setting.

This being a Fuji camera, distinctive film simulation modes are additionally accessible via the clear, intuitively navigated menu folders, with user selectable Provia, Velvia, Astia, black and white or sepia options. Images are composed via 2.7-inch 230k-dot resolution LCD or electronic viewfinder directly above, which gives a clearer view when shooting in daylight, the camera powering up ready for action in a couple of seconds. We’d have liked to have seen a higher resolution monitor given the impressive accompanying features – which would have proved especially useful when attempting manual focus – but it does offer a 160° viewing angle. So, even though it’s fixed, awkward angle shots can at least be attempted. A top mounted accessory shoe and built in pop-up flash ensures this Fuji has otherwise most of the expected boxes ticked.

With such a relatively broad focal range it’s inevitable Fuji has provided image stabilisation, here in the form of lens shift anti shake providing compensation, suggests its maker, equivalent to three f-stops. Like any such system it’s not infallible, but does provide a higher percentage of steady shots than without. In practical terms the camera’s ample Ruben-esque curves additionally help by enabling a firm grip with enough room for even the meatiest of paws, while the left hand inevitably tucks itself under the large, ridged lens barrel. Thus, even at maximum telephoto it’s possible to handhold the S200EXR good and steady without need for a tripod – with the choice of RAW shooting alongside humble JPEG, or simultaneous capture of both; the option for which has to be first enabled via the set up menu, otherwise the default setting is JPEG. To adjust the zoom the user has to physically twist the lens barrel – just like on a DSLR ‘proper’ – while a manual focus ring additionally indicates this is not a toy. Two multi bracketing options – Pro Focus and Pro Lowlight – also purport to deliver DSLR quality from a bridge model, the former merging up to three shots together to create the look of a shallow depth of field and throw distracting background out of focus (useful for portraits), and the latter combining a series of four high sensitivity shots taken in quick succession.

Of course, Fuji has long pioneered high performance in low light, and the S200EXR’s light sensitivity settings extend all the way up to an equivalent ISO12800. There is a caveat though, namely that resolution drops to three megapixels to limit noise at the higher setting. Given the sophisticated build quality and innovative feature set, it’s a little disappointing to discover video capability is an ‘old hat’ standard 640x480 pixels with mono sound, albeit at a smooth 30fps. That said, the full extent of the zoom can be utilised when recording, focus automatically adjusting – and quickly – as the user moves through the range.

In terms of still image quality shots are not quite comparable to results from a DSLR and dedicated lens, they come close and a very impressive degree of sharpness is achievable under most conditions. The camera is lightning quick to determine focus and exposure if left on auto setting, though when shooting handheld at maximum telephoto, with image stabilisation set to continuous, we found we sometimes needed to take two or three shots to get one crisply in focus. With the camera left on its default settings results can look a little washed out, so we welcomed the visual punch provided in terms of added saturation from selecting the Velvia film mode. Purple fringing can also be a problem when shooting against bright skies, as witnessed in our provided test samples. So, while results straight out of the camera at times benefit from further tweaks in Photoshop, that shouldn’t put off its intended audience of photography enthusiasts who’ll want to get hands on.

As regards ISO performance, although noise creeps in subtly to shadow areas from ISO400 upwards, it’s only at ISO1600 that detail begins to soften – and again, subtly so. At ISO3200 we’re losing definition, and at ISO6400 we’re getting that smudged watercolour effect, so ideally sticking to ISO800 and below – or ISO1600 if pushed, is advisable. At top ISO12800 setting, the image resembles not only a watercolour but also one viewed through a heavy downpour.

The question ultimately poised by the Fuji S200EXR is however: ‘does the £400 asking price and feature set justify purchase of this instead of an entry level DSLR?’ We’d have to answer ‘no’, to that – ideally this camera would suit best as a back up rather than alternative. That said it does feature a host of unique and specialist technology that you won’t find on any DSLR, nor competing bridge camera for that matter.

Final Verdict If you don’t want the fuss or expense of changing lenses, the S200EXR offers an all-in-one solution with a focal range as broad as general-purpose photographers will need. OVERALL

Having trained as a journalist and written about photography since the ‘dawn of digital’ (1998), Gavin’s career has encompassed being deputy editor and editor of more photo titles than he’d care to remember before packing his bags and going freelance in 2004.