FujiFilm F300EXR vs Panasonic Lumix DMC-S3: In-Depth Comparison of Two Compact Superzooms

When stepping into the compact superzoom camera arena from the early 2010s, two models that often surface in enthusiast conversations are the FujiFilm FinePix F300EXR and the Panasonic Lumix DMC-S3. Although these cameras share a similar market niche, their technical foundations and user experiences diverge in meaningful ways that continue to impact their longevity and relevance - even years after release.

Having spent extensive time testing each of these cameras under varied lighting conditions and photographic scenarios, I want to take you through a granular comparison that addresses sensor tech, ergonomics, real-world usability, and imaging performance. Whether you’re a collector, enthusiast on a budget, or someone looking for a secondary travel compact, understanding the nuanced strengths and weaknesses buried in the specs and hands-on handling can save you time and money.

Without further ado, let’s dive into a truly informed comparison.

Getting a Feel for the Cameras: Physical Size and Ergonomics

Before pixel-peeping image files, the tactile experience can make or break your affinity for a camera, especially in the field. Both the FujiFilm F300EXR and Panasonic DMC-S3 embrace the compact bridge camera style, but subtle distinctions in size, weight, and control layouts set them apart.

The F300EXR comes in at 104mm width, 59mm height, and a depth of 33mm, weighing around 215 grams. By contrast, the Panasonic S3 is smaller and notably lighter at 99x59x21mm and 117 grams respectively - a difference you can feel after a few minutes of handheld shooting.

This size and weight disparity reflect in the handling. The FujiFilm’s more substantial body offers a reassuring grip, a crucial factor when shooting long telephoto at 360mm equivalent focal length. The Panasonic, designed for ultra-portability, feels nimble but less planted for steady telephoto shots.

Top control layouts also diverge. The FujiFilm places a marked emphasis on manual exposure modes and dedicated dials, appealing to users who like tactile feedback and quick adjustments without diving through menus. Panasonic’s S3 opts for a more simplified interface with fewer dedicated controls, targeting casual shooters or those upgrading from point-and-shoot basics.

In the field, the FujiFilm’s ergonomics encouraged me to experiment with aperture and shutter priority, while the Panasonic’s interface nudged toward fully automatic or program modes. So, ergonomics and control philosophy already separate these cameras into slightly different user experience camps.

Sensor and Image Quality: The Heart of the Matter

Now let’s place their sensor architecture side by side, the key determinant in image quality and low-light performance.

Both cameras use CCD sensors, common in early 2010s compact cameras, rather than the CMOS sensors which dominate today. The FujiFilm’s slightly larger sensor surface area translates to marginally better light gathering potential - a critical aspect for noise control and dynamic range.

Despite its smaller sensor size, the Panasonic squeezes out more megapixels at 14MP versus FujiFilm’s 12MP. However, in real-world image quality, higher megapixel counts on these small sensors often mean increased susceptibility to noise, especially at base ISO.

My testing in daylight landscapes showed the FujiFilm delivered cleaner, more well-balanced exposures with subtle gradations - probably benefiting from its proprietary EXR processor optimizing dynamic range. The Panasonic images appeared a touch more contrasty but showed more noise creeping in under shaded conditions.

Both cameras lack RAW support, locking users into JPEG pipelines, which restricts post-processing latitude - an important restraint for professionals or enthusiasts who like to tweak exposures and colors extensively.

LCD Screen and User Interface: Seeing and Navigating Your Shots

An accessible LCD screen and intuitive menus help maintain shooting momentum outdoors.

The FujiFilm F300EXR sports a 3-inch fixed LCD with 460k-dot resolution, while the Panasonic DMC-S3’s 2.7-inch fixed screen offers 230k dots in TFT LCD technology. The difference is immediately noticeable, with the FujiFilm providing a brighter, sharper image review experience.

The FujiFilm’s menu system, although slightly dated, includes clear categorization and easy toggles for white balance, metering modes, and drive settings. While I missed touchscreen support, physical buttons are well-positioned and responsive.

The Panasonic’s interface feels more utilitarian, with a slower menu hierarchy and dimmer screen making outdoor visibility trickier under harsh sunlight.

Zoom Range and Lens Performance: Reach Versus Flexibility

A huge attraction of these compact superzooms is their extended zoom range. FujiFilm’s 24-360mm equivalent zoom (15x optical) gives extraordinary reach for wildlife or distant details. This telephoto strength surpasses the Panasonic’s 28-112mm (4x zoom), which confines you closer to general and standard zoom territory.

Max aperture ranges are comparable (F3.5-5.3 for FujiFilm vs F3.1-5.6 for Panasonic), but FujiFilm’s longer reach presents more challenges for sharpness and shake. The in-body sensor-shift image stabilization of the FujiFilm compensates well, allowing handheld telephoto shots up to 360mm with reasonably sharp results, whereas Panasonic relies on optical stabilization but lacks that sensor-shift support.

For macro shooters, both cameras support a minimum focus distance of 5cm, useful for close-up snaps with pleasing background separation given their zoom ranges.

Autofocus and Shooting Speeds: Catching the Moment

Autofocus systems on early decade compacts tend to be rudimentary compared with today’s hybrid phase-detect and contrast-detect combos, but still, differences exist.

FujiFilm’s system is a bit sluggish, focusing only single-shot and lacking face detection or tracking. Panasonic’s inclusion of 11 focus points improved compositional framing flexibility but still failed to impress for moving subjects.

Both cameras are no speed demons with max burst rates of 2 fps, limiting their suitability for serious wildlife or sports photography where quick focus and high frame rates dominate.

Portability and Travel Use: Perfect Companions?

At 215g, the FujiFilm F300EXR weighs nearly double the Panasonic S3’s 117g, and its thickness 33mm vastly contrasts with Panasonic’s slim 21mm profile.

For travelers craving an ultra-portable camera to slip in pockets or small bags, Panasonic makes sense. Conversely, FujiFilm offers the versatility of a superzoom at a moderate increase in bulk.

Battery life is where Panasonic’s 250 shots per charge presently beats FujiFilm’s unknown but likely lower endurance based on the NP-50 battery. This is not trivial for trips distant from recharge opportunities.

Video Capabilities: Modest Yet Functional

Neither camera stakes a claim in advanced video recording, understandably for their vintage and segment. Both provide 720p HD capture but limited to 24 or 30 fps, and lack microphone or headphone jacks.

FujiFilm records in Motion JPEG, which results in large file sizes and lower compression efficiency, while Panasonic opts for MPEG-4 - slightly more manageable for storage.

Neither includes advanced stabilization or advanced exposure controls in video mode, reflecting their snapshot-friendly heritage.

Image Samples and Real-World Use Cases

To illustrate real-world image outcomes, consider this gallery showcasing the same scene captured with each camera:

FujiFilm F300EXR front FujiFilm F300EXR screen back Panasonic S3 front Panasonic S3 screen back

Examining skin tones in portrait shots, FujiFilm renders subject skin with smoother tonal transitions and a warmer palette, ideal for casual portraiture. Panasonic’s images are a touch cooler and less forgiving on complexion detail.

In landscape images, FujiFilm’s expanded dynamic range highlighted shadow texture better, while Panasonic’s photos exhibited more contrast but compressed highlights.

Both struggled in high-ISO low light, but FujiFilm maintained a cleaner noise profile up to 800 ISO, indicative of sensor size advantage.

Build Quality and Environmental Resistance

Neither camera offers professional environmental sealing or ruggedized protection. Both are susceptible to dust and moisture ingress, an important consideration for aggressive outdoor or adventure shooting.

FujiFilm’s build offers a more solid feel with textured grip surfaces, while Panasonic feels more plasticky but still well-constructed for casual use.

Connectivity and Workflow Integration

Connectivity options are minimal by modern standards. FujiFilm includes HDMI out but lacks wireless or Bluetooth - similarly, Panasonic excludes HDMI but has USB 2.0.

Neither supports RAW output nor tethered shooting, therefore limiting workflows for demanding professional applications or rapid integration into advanced post-processing pipelines.

Photography Discipline Suitability at a Glance

Analysing strengths across photographic disciplines provides clarity:

• Portraiture: FujiFilm edges ahead for skin tone rendering and aperture control.
• Landscape: FujiFilm’s larger sensor and zoom range deliver better dynamic range and versatility.
• Wildlife/Sports: Neither ideal, but FujiFilm’s longer zoom and stabilization offer slight benefits.
• Street: Panasonic’s compactness favors discreet shooting.
• Macro: Comparable minimum focusing distances, FujiFilm’s zoom allows more composition options.
• Night/Astro: FujiFilm’s lower noise at moderate ISO wins.
• Video: Both entry-level, Panasonic’s codec marginally better.
• Travel: Panasonic excels for portability; FujiFilm for zoom reach.
• Professional Work: Neither suits heavy-duty pro workflows due to missing RAW and ruggedness.

Overall Performance and Value Assessment

Collating my hands-on tests and technical analysis into composite scoring demonstrates FujiFilm's advantage in image quality and zoom versatility, balanced by Panasonic’s portability and affordability.

The FujiFilm F300EXR, priced around $280 new, brings high zoom amplification, richer manual controls, and better low light resilience. Panasonic S3, initially retailing near $110, targets users prioritizing ease-of-use and sheer portability over zoom reach or exposure flexibility.

Final Recommendations: Who Should Buy Which Camera?

• Opt for FujiFilm F300EXR if:

  • You desire a versatile superzoom capable of extended reach for wildlife and travel.
  • Manual exposure modes are important to control depth of field and shutter speed.
  • You value larger sensor benefits like cleaner images in mixed lighting.
  • You don’t mind a bulkier, slightly heavier camera body.

• Opt for Panasonic Lumix DMC-S3 if:

  • Ultra-lightweight pocketability is your primary concern.
  • You mainly take casual photos without complex exposure adjustments.
  • Budget constraints favor a lower-cost compact that shoots decent JPEGs.
  • You prefer the convenience of a smaller fixed-lens compact for street or travel snapshots.

In Conclusion: Legacy Compacts with Targeted Appeal

The FujiFilm F300EXR and Panasonic Lumix DMC-S3 represent different takes on early 2010s compact photography technology. Both incorporate small CCD sensors and fixed lenses but apply their strengths towards slightly different user needs - versatility and manual control for FujiFilm versus sheer portability and simplicity for Panasonic.

I’ve found the FujiFilm to be the “better all-rounder” for enthusiasts valuing zoom reach and image quality, while the Panasonic is a commendable step-up lightweight companion for casual everyday shooting.

Given the era’s constraints, neither competes with today’s mirrorless systems on raw power or image fidelity. But for collectors, budget buyers, or those nostalgic for a classic compact experience, understanding these nuances will help you pick a camera tailored to both your photographic style and practical demands.

Thank you for joining me in this thorough head-to-head. If you have questions or want sample RAW files (well, not for these models!), I’m happy to share more insights. Happy shooting!