FujiFilm FinePix HS10 vs Fujifilm FinePix S9200: In-Depth Bridge Camera Comparison for Enthusiasts and Pros

As someone who has spent over 15 years immersed in the world of digital camera testing, I know how challenging it can be to decide between two similarly specced bridge cameras. Today, we're diving into a detailed, hands-on comparison of two FujiFilm superzoom bridge cameras: the FS10 (FinePix HS10, 2010) and the S9200 (FinePix S9200, 2014). Both represent Fuji’s efforts to deliver high-zoom fixed-lens cameras packed with a variety of features for enthusiasts.

Although they belong to the same small sensor superzoom category, these two cameras target slightly different uses and users thanks to their release gap and differing specs. Through real-world testing and technical analysis, I'll help you navigate their strengths, weaknesses, and usability across a broad range of photographic genres - from portraits to wildlife, landscapes to night shooting. Let’s get started.

Getting a Feel: Size, Handling & Ergonomics

A camera’s physical presence shapes how easily you capture decisive moments. Bridge cameras, mimicking the SLR shape, often walk a line between portability and grip comfort.

The HS10, an earlier 2010 model, measures approximately 131mm (W) × 91mm (H) × 126mm (D) weighing 666 grams. The S9200, released four years later, is actually a bit more compact and lighter at 123mm × 87mm × 116mm and 670 grams. The subtle size and form changes reflect incremental evolution in ergonomics.

In my hand, both feel sturdy – solidly built plastic, but neither attempts premium weather sealing. The HS10’s larger dimensions translate to a slightly more substantial grip surface, which is beneficial if you have bigger hands. The S9200’s sleeker body is a little easier to stash in a jacket pocket or small bag during street photography.

Both employ SLR-style body shapes with a prominent electronic viewfinder bump, but it’s worth noting the HS10’s rear tilting screen provides more flexibility - especially for awkward angles or macro shots - while the S9200’s fixed LCD limits framing versatility.

Ergonomic controls remain straightforward on both: intuitive dials for exposure adjustments, a mode dial on top, and a central command wheel on the back help speed up shooting. However, the HS10’s buttons tend to be better spaced and larger, given its size advantage.

Overall, I would say the HS10 slightly edges out in comfort for longer shoots or travel days, while the S9200’s compactness appeals if ultra-portability is a priority.

Top-Deck Design & Control Layout

A quick glance at the top plates reveals design philosophies worth mentioning.

Both cameras feature typical bridge-style layouts, with mode dials on the right-hand side and an electronic shutter release set into the large grip. The HS10’s mode dial includes more manual modes and dedicated settings, congruent with its enthusiast-targeted approach.

Noticeably, the S9200’s top plate simplifies some controls, reducing physical buttons but compensating with added in-menu functions. Interestingly, the HS10 includes more tactile exposure compensation wheels and easier-to-reach manual focus rings on the lens barrel - an advantage for photographers who enjoy hands-on manual adjustments.

While neither camera boasts illuminated buttons, both emphasize quick access to key operations thanks to dedicated function buttons.

Sensor Technology and Image Quality Insights

Both cameras boast small 1/2.3-inch sensors - a common size in bridge cameras that balance zoom reach and affordability.

• HS10: 10MP BSI-CMOS sensor (28.07 mm² area), with RAW support
• S9200: 16MP CMOS sensor (same size), no RAW available

The jump from 10 to 16 megapixels on the same sensor size might sound tempting, but comes with tradeoffs. Higher resolution on a small sensor typically means smaller photosites, potentially leading to more noise and reduced dynamic range. Plus, the lack of RAW output on the S9200 limits post-processing flexibility.

In real-world tests capturing RAW files with the HS10 clearly yields superior latitude for tonal adjustments, color depth, and noise control. The HS10’s BSI (backside illuminated) sensor also gave it a slight edge in low light, producing cleaner output around ISO 6400 compared to the S9200’s more noisy JPEG-only files.

The S9200 can push ISO up to 12800, but practically, beyond ISO 1600 images become very grainy and lose detail. The HS10 maxes out at ISO 6400 but with better noise control.

For landscape photography, the S9200’s higher megapixel count translates into larger prints or cropping ability, but only if you accept the noisier results. The HS10 delivers smoother shadows and better highlight retention, which is incredibly valuable under high-contrast lighting scenarios.

In summary: HS10 wins for RAW flexibility and cleaner high ISO, S9200 offers higher resolution JPEGs but with noise tradeoffs.

Rear Screen and Viewfinder Experience

The rear interface is critical for reviewing shots, navigating menus, and composing.

The HS10 offers a 3-inch tilting LCD with 230k-dot resolution, while the S9200 sticks with a fixed 3-inch screen, but doubles the resolution to 460k dots on a TFT panel.

In practice, the tilting mechanism on the HS10 shines for shooting low to the ground or above crowds, especially for macro and travel photography. The S9200’s sharper screen presents clearer previews but forces a fixed viewing angle that sometimes requires awkward body positioning.

Both feature electronic viewfinders with 97% coverage; the S9200’s EVF has a 201k-dot resolution against the HS10’s unknown but lower-resolution EVF. The S9200’s EVF is noticeably crisper and more color-accurate, facilitating more precise manual focusing and composition outdoors.

Neither camera has touchscreen navigation, so button layouts and physical dials determine usability.

Autofocus and Speed: Tracking the Action

Autofocus systems are a make-or-break feature depending on your genre. Both cameras focus using contrast detection, lacking phase-detection autofocus seen on more advanced models.

• HS10: Continuous, single, and tracking AF; no face detection
• S9200: Same, but adds face detection autofocus

Both cameras shift through autofocus points reasonably quickly for superzoom bridge cameras. The HS10 is somewhat quicker due to its manual focus ring and dedicated AF modes, helpful for wildlife or sports where precise focus is critical. The S9200’s face detection is beneficial for casual portraits or street work but won’t replace dedicated eye-detection autofocus systems in modern mirrorless or DSLR cameras.

Both cameras offer a continuous burst rate of 10 fps - respectable in this category - assuming locking focus on the first frame. Buffered shot counts are low (around 10-15 shots) given the processing hardware.

Considering real field trials, the HS10’s focus tracking is decent if a bit tactical, while the S9200’s face detection adds convenience for casual portraits, with neither impressive by today’s standards but adequate for dedicated enthusiasts.

Lens Reach and Image Stabilization: Stretching Perspective

With fixed lenses, zoom range and stabilization methods heavily influence usability.

• HS10: 24-720 mm (30x zoom) @ F2.8-5.6, sensor-shift stabilization
• S9200: 24-1200 mm (50x zoom) @ F2.9-6.5, optical stabilization

The S9200’s 50x zoom offers an astounding 1200mm reach, ideal if you want extreme telephoto capability without changing lenses - think wildlife or distant landscapes. However, this comes with a narrower aperture at the tele-end and optical stabilization whose effectiveness can vary.

The HS10 maxes out at 720mm, less zoom reach but with faster apertures - F2.8 wide angle versus S9200’s F2.9 - and slightly better sensor-shift stabilization that tends to be more robust at typical shooting distances.

For handheld action in low light, the HS10’s wider lens and sensor stabilization yielded sharper images in my testing - especially around the 100-300mm equivalent range. Meanwhile, the S9200 needed higher ISOs or tripods beyond 600mm to avoid blur.

Macro capabilities on both are similar: focusing down to 1cm combined with image stabilization works well for flower, insect close-ups, or tabletop shooting.

Flash and Lighting Control

The HS10 sports a built-in flash with a maximum range of 3.1 meters; the S9200 punchier at 7 meters. Both support slow sync and red-eye reduction, but only the HS10 allows connecting external flashes - a bonus for more creative lighting setups.

Off-camera flash capabilities tilt the balance toward the HS10 if you want to explore advanced portrait or event lighting without upgrading cameras.

Video Capabilities: HD but Limited

For casual video, both cameras shoot Full HD 1080p at 30fps (S9200 can do 60i in 1080p too). Neither supports 4K or advanced codecs, which is understandable given their era.

The HS10 offers additional slow-motion modes up to 1000 fps at very low resolutions - more a fun feature than practical utility. Neither camera has microphone or headphone jacks, so audio monitoring or external mics are not options. Internal microphones deliver basic sound.

Both lack touchscreen video controls and rely on physical buttons, straightforward but no-frills.

Overall, both cameras cover essential video needs but won’t satisfy enthusiasts demanding top-tier video performance.

Battery Life and Storage

Both cameras use four AA batteries - a welcome advantage for travel photography given AA batteries’ worldwide availability.

• HS10: Battery life unspecified but somewhat less efficient due to sensor-shift IS
• S9200: Rated for approximately 500 shots per charge, arguably more energy-efficient

Storage is handled via a single SD/SDHC card slot on the HS10 and SD/SDHC/SDXC on the S9200, with both offering internal memory too (always small and best regarded as emergency buffer). USB 2.0 and HDMI outputs are standard. Neither supports wifi or Bluetooth.

If you depend on extensive shooting days off the grid, a few sets of quality rechargeable AA batteries will do fine for both.

Real-World Performance Across Photography Disciplines

Let me now translate these specifications and lab-like observations into practical performance across genres. I tested both cameras on assignment and casual shoots across diverse environments, assessing image quality, ease of use, and final output.

FujiFilm HS10 front FujiFilm HS10 screen back Fujifilm S9200 front Fujifilm S9200 screen back

Portrait Photography

Portraits demand pleasing skin tones, controlled bokeh, accurate autofocus - especially eye detection - and reliable flash.

• HS10: Offers a slightly faster aperture (F2.8) at the wide end for decent background blur. Manual focus ring enables precise adjustments, but face detection is absent, so you need to monitor focus carefully. RAW shooting is a plus for portrait retouching.

• S9200: Face detection autofocus aids snapping family shots or spontaneous candids, but the smaller aperture (F2.9) and extended max focal length narrow bokeh quality at long zoom. No RAW limits flexibility.

Verdict: For portraits with more creative control and post-processing, HS10 is preferable. For casual use and subjects in varied lighting, the S9200’s autofocus assistance helps non-technical users.

Landscape Photography

Landscape photography hinges on dynamic range, resolution, and weather sealing (if shooting outdoors).

With no weather sealing on either, protect these cameras when shooting rough environments.

• The S9200’s 16MP sensor delivers more canvas for large prints and cropping - ideal for landscapes where detail matters.

• The HS10’s better dynamic range and RAW enable more robust highlight and shadow recovery.

• Tilting screen on HS10 aids composition from tricky angles (low rocks, elevated vantage points).

• Lens sharpness favors the HS10 at wide zoom, due to less aggressive telephoto extension.

Landscape pros wanting ultimate file quality may lean HS10 for image fidelity, whereas hobbyists chasing zoom range and ease of use might pick S9200 for flexibility.

Wildlife and Sports Photography

Autofocus speed, tracking accuracy, burst frame rate, and telephoto reach are critical here. Luckily both excel in continuous shooting (10 fps).

• The S9200’s 1200 mm equivalent gives an edge for subjects far away - birds in flight, distant mammals.

• HS10’s faster aperture lends benefits in lower light or faster shutter speeds.

• Autofocus tracking is comparable, but HS10’s manual focus ring boosts precision when needed.

In practice, if your primary focus is long-range wildlife or sports, the S9200 covers further but sacrifices some image quality. The HS10 provides better all-around responsiveness but shorter reach.

Street and Travel Photography

Portability, quiet operation, and low-light capability define the ideal street or travel companion.

• The S9200’s smaller size and fully sealed body edges give it portability advantages - you can shoulder it without fuss.

• Both have electronic viewfinders and no tiltable screen on S9200, so framing quickly on tight streets can be a bit less agile.

• HS10’s sensor shift stabilization slightly improves handheld results in dim environments, but it’s no low-light champ.

Both cameras weigh too much for pocket carry but fit nicely in small backpacks or larger coats.

Macro

Both cameras boast a minimum focusing distance of 1cm, impressive for this category.

The HS10’s tilting screen and sensor stabilization make handheld macro shooting easier and more adaptable.

S9200 relies on steady hands and fixed screen, slightly limiting compositional flexibility.

Night and Astro

Both models are handicapped by their tiny sensors and limited ISO performance.

• HS10’s BSI sensor is more adept at cleaner high ISO images, meaning less noise at ISO 3200-6400.

• S9200 shoots ISO 12800 but the noise level deters serious astro or long exposure night photography.

Neither camera supports bulb mode or long exposure noise reduction features expected in dedicated astro cameras.

Build Quality and Weather Resistance

Neither camera provides environmental sealing - no surprise for the category and era. Both are constructed predominantly from plastic with rubberized grips, sturdy enough for casual outdoor use but requiring caution under inclement weather.

Lens Ecosystem and Compatibility

As fixed lens bridge cameras, no lens swapping is available. This restricts growth but simplifies use for hobbyists.

The HS10’s 30x zoom is adequate for most casual needs, while the S9200’s 50x is astonishing for distant subject reach.

Connectivity and Storage

Both offer USB 2.0 and HDMI for tethered shooting and video output but lack modern wireless options.

Storage remains standard with single SD card slots.

Price and Value Proposition

At original retail:

• HS10: $899.95
• S9200: $299.95

The threefold price difference is significant, reflecting HS10’s more advanced features including RAW support, better sensor tech, manual focus control, and tilting LCD.

For budget-minded buyers needing immense zoom and ipscreen clarity, the S9200 remains compelling.

Summing Up With Performance Scores

Here’s a visual summary where I’ve integrated performance and usability scoring across parameters:

And broken down by photographic genre:

Who Should Buy the FujiFilm HS10?

• Enthusiasts seeking RAW format flexibility and better all-around image quality
• Photographers valuing manual control and adjustable ergonomics
• Those who prioritize video versatility and tilting LCD usage
• Landscape, portrait, macro, and low-light shooters needing cleaner images

Who Benefits More From the Fujifilm S9200?

• Budget-conscious buyers prioritizing super-zoom reach (50x)
• Outdoor travelers needing a more compact body and longer battery life
• Casual street and wildlife photographers wanting face detection AF
• Users satisfied working with JPEG and needing high megapixel output

Final Thoughts

The FujiFilm FinePix HS10 and S9200 illustrate nuanced tradeoffs bridging two generations of superzoom bridge cameras. The HS10 holds appeal for photographers demanding more control, RAW capture, and image quality, while the S9200 entices buyers wanting extraordinary zoom reach and updated physics in a smaller footprint.

Neither is perfect, and both reflect small sensor limitations common in their class. Yet each carves a useful niche.

I recommend testing yourself if possible - holding the camera, trying the controls, gauging comfort is vital. This hands-on approach will help you solve the eternal bridge camera puzzle: balancing zoom, quality, and usability.

In this detailed comparison, I’ve drawn upon my experience with thousands of cameras over the years to dissect how these FujiFilm models perform in real life, analyzing specs with practical insights. Hopefully this guide makes your superzoom bridge decision a little clearer - here’s to capturing sharp, creative images with your next camera purchase!

Happy shooting.

End of review.