FujiFilm F300EXR vs Panasonic Lumix DMC-SZ5: A Thorough Comparison for Compact Superzoom Buyers

Stepping into the compact superzoom realm, two notable contenders stand out from the early 2010s era: the FujiFilm FinePix F300EXR and the Panasonic Lumix DMC-SZ5. While neither is a recent release, both cameras encapsulate design philosophies and features that still offer valuable lessons - and perhaps even good buys for enthusiasts and casual shooters exploring budget-friendly compact zooms.

Having personally tested hundreds of compact superzooms and smaller sensor compacts over 15 years, I decided to put these two models head to head to discover which delivers more bang for your buck and usability across a variety of real-world photographic needs. The specs paint an intriguing story, but let’s dig deeper into practicalities - handling, image quality, autofocus, versatility, and more.

Before we dive in, here’s a quick visual to get a feel for their physical size differences.

Handling and Ergonomics - Size, Controls, and Comfort

Handling compact superzooms is always a delicate balance between portability and usability. Neither the F300EXR nor the SZ5 attempts to mimic a DSLR or mirrorless heft; these are true pocket-friendly cameras optimized for grab-and-shoot versatility.

The FujiFilm F300EXR measures about 104 x 59 x 33 mm and weighs 215 g. The Panasonic SZ5 is slightly slimmer and lighter - 104 x 58 x 21 mm at just 136 g. This makes the SZ5 notably pocket friendlier, especially for travel and street shooters seeking discreet gear.

Looking at the top view, we can see the button layout and structural approach each brand took.

FujiFilm favored a more substantial, textured grip area, giving the F300EXR a slightly more confident hold despite its compactness. Panasonic's SZ5 opts for minimalism, with a flatter body and less pronounced grip. For someone with larger hands or who shoots extended sessions, the FujiFilm’s ergonomics feel more tailored. The SZ5, meanwhile, caters well for those who prefer ultra-light setups.

In my testing, the Fuji’s clickier shutter button and dedicated control rings felt more tactile and precise, helping when rapidly adjusting aperture or shutter priority modes. The SZ5 lacks manual exposure modes, so it remains more “point-and-shoot,” which can be a bonus or drawback depending on your style.

Sensor and Image Quality - The Heart of the Matter

At the core of any camera experience is the sensor, dictating sharpness, noise handling, dynamic range, and color fidelity. Both the F300EXR and SZ5 use relatively small CCD sensors - a technology gradually overshadowed by CMOS in recent years but still serviceable in their time.

Here’s a graphical comparison of their sensor sizes and claims.

The FujiFilm sports a 1/2-inch, 12MP CCD sensor, measuring 6.4 x 4.8 mm, while the Panasonic opts for a slightly smaller 1/2.3-inch 14MP CCD (6.08 x 4.56 mm). Interestingly, despite having fewer pixels, the Fuji’s marginally larger sensor area means bigger photosites, usually translating into better light-gathering capability.

Fuji’s sensor was paired with their EXR processor, which aimed to optimize dynamic range and noise handling through pixel binning and selective highlight/shadow treatment - an early attempt at computational photography before it became fashionable. Panasonic, on the other hand, depends on conventional CCD output with less in-camera pixel-layer manipulation.

The practical upshot in everyday shooting: Fuji’s images generally showcase richer tonal gradation, especially in scenes with contrasty highlights and shadows - typical in landscape or portrait work under natural light. The SZ5 produces slightly higher resolution images, but noise creeps in earlier, especially beyond ISO 400, limiting its usefulness in low light.

Both cameras lack RAW format support, meaning you’re tied to JPEGs straight out of camera - limiting post-processing flexibility. For enthusiasts keen on editing latitude, this is a notable con.

Autofocus and Burst Performance - Snapping the Moment

Autofocus (AF) systems in budget compacts often represent the Achilles heel. In dynamic photography genres like wildlife or sports, responsiveness and accuracy become paramount.

The Panasonic SZ5 boasts a more complex AF system compared to the FujiFilm. It supports 23 AF points, offers face detection, continuous autofocus, tracking, and even multi-area AF. This is a sophisticated suite for a compact and clearly attempts to address versatile shooting conditions.

FujiFilm’s F300EXR lacks such features, with no face detection, continuous AF, or tracking. It relies on a basic single-shot AF system absent of dedicated AF points and no contrast detection AF during live view.

The difference plays out in the field. During controlled tests with moving subjects - pets, children, or street activity - the Panasonic worked more reliably, adapting focus zone quickly. The Fuji required more patience and planning around static subjects.

Burst rates of both cameras max out at a leisurely 2 frames per second, insufficient for serious action photography but adequate for casual shooting.

Lens and Zoom Capabilities - Reach and Flexibility

Superzooms are defined by their extensive focal length range. Here the FujiFilm leads with an impressive 24-360mm equivalent (15x zoom), compared to the Panasonic’s 25-250mm (10x zoom).

Practically speaking, the Fuji’s longer telephoto reach unlocks wildlife and distant event photography opportunities without swapping lenses. The Panasonic covers wide to medium telephoto comfortably but leaves some reach on the table.

Let’s consider aperture, another crucial factor. The FujiFilm’s lens ranges from f/3.5 at wide-angle to f/5.3 telephoto; the Panasonic is marginally faster initially at f/3.1 wide but dips to f/5.9 at the tele end.

In lens sharpness testing (center and edge resolution patterns), the Fuji’s lens delivers consistently sharp results across most of the zoom range, with acceptable corner softness typical of compact zoom designs. The Panasonic’s lens tends to soften a bit more at the long end.

Both cameras provide a 5cm macro focus range, enabling decent close-ups, which we’ll revisit shortly.

Display and User Interface - Reviewing Your Shots

A 3-inch LCD screen is standard on both, but the quality and interface impact usability. Here’s a side-by-side look.

FujiFilm’s 460k-dot fixed screen provides richer color and better outdoor visibility than Panasonic’s 230k-dot display. While neither offers touchscreen functionality, the Fuji’s brighter display coupled with intuitive menu layouts makes framing and reviewing images more user-friendly.

Panasonic’s screen sometimes struggled under bright sunlight conditions, necessitating arm-shadowing or alternate angles during outdoor shooting.

Image Samples That Speak for Themselves

To illustrate their image characteristics in real environments, I photographed a variety of scenes - portraits, landscapes, and close-ups.

FujiFilm F300EXR front FujiFilm F300EXR screen back Panasonic SZ5 front Panasonic SZ5 screen back

Here’s what stands out:

• FujiFilm retains natural skin tones and well-controlled highlight rollout in portraits.
• Panasonic’s images look slightly crisper at base ISO but introduce color shifts at higher sensitivities.
• Landscape shots show Fuji exhibiting superior dynamic range and shadow detail.
• Macro shots capture fine details, but Fuji’s in-body stabilization noticeably improves handheld sharpness.

Battery Life and Storage - Shooting Duration and Convenience

Battery life specs tell part of the story. Panasonic quotes 250 shots per charge for the SZ5, while FujiFilm does not list official battery life, but real-world usage suggests similar or slightly fewer shots per charge due to the sensor-shift stabilization mechanism.

Both models use proprietary rechargeable batteries (Fuji’s NP-50 for the F300EXR and a custom Battery Pack for the SZ5). Neither supports USB charging, so carrying spares is advisable for heavy users.

On storage, each accommodates a single SD/SDHC card slot with internal memory fallback. No support for SDXC on Panasonic limits storage ceiling for lengthy trips shooting RAW (not supported anyway) or high-res JPEGs.

Video Capabilities - Why It Matters Today

Both cameras top out at 720p HD video, with FujiFilm recording at 24 fps using Motion JPEG, and Panasonic at 30 or 25 fps via MPEG-4 encoding.

Neither supports 1080p or 4K, and unfortunately, both lack microphone or headphone ports, limiting creative audio control. The FujiFilm does have HDMI output, a welcome inclusion missing on the Panasonic, providing a path for external monitoring.

Image stabilization helps reduce handheld jitter, with FujiFilm offering sensor-shift stabilization, and Panasonic providing optical lens stabilization. I observed Fuji’s system performed slightly better during video recording, especially panning shots.

In brief, these cameras are adequate for casual video clips but not contenders for videographers.

Weather Sealing and Durability - Built to Last?

Neither the FujiFilm F300EXR nor Panasonic SZ5 feature environmental sealing, dustproofing, waterproofing, shockproofing, or freezeproofing. These conditions are understandable given their budget and compact form but worth noting for those planning outdoor adventures in challenging weather.

Connectivity and Wireless Features - Keeping Pace with Modern Needs

A clear divide here: Panasonic SZ5 offers built-in wireless connectivity, albeit limited given the era - basically early Wi-Fi for image transfer, whereas FujiFilm F300EXR has none.

Neither has Bluetooth, NFC, GPS, or HDMI output (only FujiFilm features HDMI). USB 2.0 ports exist on both for tethered image transfer.

This disparity means Panasonic’s wireless transfer capability gives it an edge in convenience.

Price and Value - What Will It Cost You?

The FujiFilm F300EXR originally priced around $280 and the Panasonic SZ5 about $195 reflect their respective feature sets.

Currently, both are secondhand bargains if you shop carefully, but availability can be spotty.

Scoring Their Strengths - The Numbers Don’t Lie

Based on combined lab metrics, field performance, and user experience I’ve synthesized the following overall scores:

Specialized Use Cases - Which Model Excels Where?

Breaking down by photography genres:

• Portraits: FujiFilm’s color rendering, skin tone accuracy, and bokeh from longer lens make it better.
• Landscapes: Fuji’s dynamic range and detail hold favor.
• Wildlife & Sports: Panasonic’s focusing and continuous AF wins.
• Street Photography: Panasonic’s lightness and quick autofocus feel handier.
• Macro: Both capable; Fuji’s stabilization edges out.
• Night & Astro: Neither excels, but Fuji’s slightly better ISO handling prevails.
• Video: Fuji’s stabilization and HDMI output offer minimal advantage.
• Travel: Panasonic’s compactness and wireless make it a friendly companion.
• Professional Work: Neither suitable for professional-critical demands.

Final Thoughts & Recommendations

Pulling all this together, here’s a distilled verdict:

• Choose FujiFilm FinePix F300EXR if you prioritize image quality, exposure control, longer zoom reach, and more robust handling for static and semi-active photography like portraits, travel landscapes, and casual macros. The lack of wireless and slower autofocus is a conscious tradeoff for image fidelity and better display.

• Opt for Panasonic Lumix DMC-SZ5 if your focus is on portability, autofocus versatility in busy scenes (street, children, pets), wireless image transfer, and lighter day-to-day carry. The marginally weaker optics and smaller zoom range are offset by comfort and convenience perks.

Ultimately, both cameras occupy a humble spot in photographic history but still carve niches for precision versus portability.

In an age of mirrorless and smartphone dominance, these compact superzooms remind us that sometimes, a small, simple tool that gets the job done reliably is all the company you need.