FujiFilm JZ300 vs Sony H50: A Hands-On Comparison of Vintage Compact Superzooms

In the ever-evolving world of digital cameras, it’s a bit of a nostalgic treat to dig into two small sensor compacts that carved out their own superzoom niches over a decade ago - the FujiFilm FinePix JZ300 and the Sony Cyber-shot DSC-H50. Both hail from an era where megapixels were climbing steadily, zoom ranges were expanding rapidly, and photographers who wanted versatility in a pocketable form factor were spoilt for choice.

Having tested hundreds of compact cameras in my 15+ years behind the lens, I’ve always found these superzooms fascinating. They bridge casual and enthusiast photography, with super-telescopic reach, decent image sensors, and some manual controls tucked in here and there. So let’s deep dive - unpacking their technical bones, practical handling, image outcomes, and real-world usability - to reveal which of these relics still has value for today’s diverse photographic needs.

Size, Handling and Ergonomics: The First Impression That Lasts

When you pick up the FujiFilm JZ300 and Sony H50, the difference in heft and bulk is immediately apparent. The JZ300 is a delightfully petite and light companion at a mere 168 grams and compact dimensions (97×57×29 mm). It’s closer to a traditional point-and-shoot, ideal for stashing in a jacket pocket or purse. Its slim profile really nails portability - great news if traveling light or snapping quick street shots.

Contrast that with the H50, which is more than three times heavier at 547 grams and significantly chunkier (116×81×86 mm). While it’s still a compact, it edges toward a “bridge camera” feel with an SLR-esque grip and heftier build. This bulkiness might deter those who prioritize inconspicuous carry but will appeal to users who prefer a firm grip and more substantial presence for stable telephoto shooting.

The ergonomics mirror this divide - the Fuji offers basic controls without much finesse. No dedicated dials or manual focus rings, but it does have a simple, straightforward fixed-lens design. Meanwhile, the Sony packs manual and aperture/shutter priority modes, along with a tactile manual focus ring and a more involved top control layout. The larger body accommodates a more comprehensive button array - a boon for users who like to fiddle with settings on the fly.

To sum it up in handling terms: Fuji’s JZ300 is your go-to ultra-portable zoomer, perfect for casual shooters and travel minimalists. Sony’s H50 aims at the enthusiast who values control and doesn’t mind the tradeoffs in size or weight.

Sensors and Image Quality: Tiny Windows, Big Differences

At the heart of any camera, the sensor defines image quality potential. Both cameras employ a 1/2.3-inch CCD sensor measuring 6.17×4.55 mm (~28.07 mm² sensor area). On paper, this small sensor is limited in dynamic range and noise resilience compared to APS-C or full-frame rivals, but that’s par for compact superzooms in this price tier and era.

The FujiFilm JZ300 offers a higher resolution of 12 megapixels (4000×3000 max), whereas the Sony H50 taps out at 9 megapixels (3456×2592). The slight edge in resolution might suggest Fuji’s sensor can deliver more detail, but sensor size and pixel density also influence noise and dynamic range performance.

Both cameras have an anti-aliasing filter, which helps prevent moiré at the cost of slight softness.

ISO performance reflects their generation: both max out at ISO 1600 for Fuji and ISO 3200 for Sony, but digital noise becomes prominent well before those limits. Fuji’s native ISO starts at 100, Sony’s at 80, both typical sweet spots for sensor performance.

While neither have been subjected to DxOMark testing (a common industry benchmark), my controlled lab tests and field trials reveal the following:

• Fuji’s CCD leans toward slightly cooler color hues with decent color depth for the class but struggles in extreme shadow detail.
• Sony’s slightly larger pixel pitch and lower resolution help retain slightly cleaner images at higher ISOs, yielding cleaner images in low light, but its CCD sensor noise pattern can be grainy.
• Both produce respectable JPEGs straight out of the camera but lack RAW shooting, limiting post-editing flexibility - a significant consideration for advanced photographers.

While neither camera will win awards for sensor prowess, Fuji favors resolution; Sony edges low-light noise - a tradeoff to weigh according to shooting preference.

LCD Screens and Viewfinders: Framing Your Shot

A camera’s interface heavily impacts shooting comfort, especially for prolonged sessions or tricky lighting.

The FujiFilm JZ300 sports a modest 2.7-inch LCD with a 230k-dot resolution. Its fixed display is serviceable but not particularly sharp or color-accurate - typical of the time. No touchscreen, no articulating mechanism. Composing in bright daylight can be a bit frustrating due to low brightness, and there’s no electronic or optical viewfinder to fall back on.

The Sony H50 steps up with a larger 3-inch LCD, also 230k dots, but the extra size slightly improves framing and menu navigation. More importantly, the H50 includes an electronic viewfinder (EVF), which can be an absolute game-changer outdoors or in tricky lighting. It’s not the highest resolution EVF, but having a sturdy eye-level finder helps stabilize shots and compose with precision.

For many photographers, especially those used to viewfinders on DSLRs or mirrorless systems, Sony’s inclusion of an EVF makes a compelling case. Fuji’s lack thereof simplifies operation but limits versatility.

Lens, Zoom Performance, and Stabilization: Getting Close to the Action

Here’s where these cameras shine unmistakably: their superzoom lenses.

• FujiFilm JZ300 lens covers a 28-280mm equivalent focal range - a respectable 10x zoom range that covers wide-angle to telephoto needs.
• Sony H50 punches further, offering 31-465mm equivalent (15x zoom), an extraordinary reach for a compact of this vintage.

This difference affects usage scenarios substantially. The H50’s 465mm telephoto extends reach for wildlife, sports, and distant landscapes, though image quality can soften toward the extreme end.

Maximum aperture ranges for Fuji at f/3.3-5.6, and Sony at f/2.7-4.5 reveal Sony’s lens is brighter, especially at the wide end, offering better low-light capabilities and potential for shallow depth-of-field effects.

Macro focus ranges show Sony outperforms Fuji with a minimum 1 cm focusing distance vs 5 cm for Fuji. This makes Sony more adept at close-up and macro-style photography, even if neither are dedicated macro cameras.

Both cameras feature image stabilization, with Fuji employing sensor-shift type stabilization and Sony using optical stabilization. Optical IS generally has a slight advantage in reducing motion blur across focal lengths, which gives Sony an edge especially at long telephoto reaches.

In real-world testing, the Sony’s longer zoom combined with optical IS produces better handheld telephoto shots, while Fuji’s zoom is more balanced for everyday shooting.

Autofocus System and Shooting Speed: Catching Fleeting Moments

When it comes to autofocus, both cameras use contrast detection, the standard for compacts at the time. Neither have phase detection systems or hybrid AF.

• Fuji’s JZ300 offers single and tracking autofocus modes, but no continuous AF or face detection.
• Sony H50 incorporates 9 AF points and multi-area AF, but again, no face or eye detection and no continuous AF.

Shooting speeds are modest. The Fuji lacks continuous shooting, while Sony offers a slow 2 frames per second burst mode. In practice, neither caters well to fast action workflows like wildlife or sports.

Focusing speed on both cameras is average - adequate for casual snapshots but sluggish in low-contrast or low light. Sony’s more advanced AF points offer a slight advantage in subject tracking and framing flexibility.

In sum: Both cameras are best suited for static or moderately paced subjects, not high-speed action.

Video Capabilities: Modest Moves in Motion

Video has never been a strong suit for these cameras.

• Fuji records 1280×720 HD video at 24 fps (Motion JPEG codec) - basic but usable for casual clips.
• Sony offers only 640×480 VGA at 30 fps, a significantly lower resolution and more dated codec.

Neither camera supports external microphones, 4K, timelapse recording, or advanced stabilization during video capture.

If video is a priority, the Fuji’s HD recording is a bonus, but still nowhere near modern standards. For quick, casual video snippets, Fuji leaps ahead.

Battery Life and Storage: What Keeps You Shooting

Both cameras use proprietary rechargeable lithium-ion batteries:

• Fuji employs the NP-45A battery
• Sony runs on the NP-BG1 battery

Practically speaking, Sony’s larger body accommodates a bigger battery, leading to longer shooting durations. However, official battery life specs are scarce.

Storage-wise, Fuji uses SD/SDHC cards, a ubiquitous and inexpensive format today. Sony relies on the proprietary Memory Stick Duo/Pro Duo cards, which can be costlier and less readily available, potentially an inconvenience.

On battery and media, Fuji provides more modern convenience; Sony wins in longevity but at logistic cost.

Build Quality and Weather Resistance: Ready for the Field?

Neither camera was designed as a rugged outdoor tool:

• Both lack any environmental sealing, dustproofing, or waterproofing.
• Build quality is typical for consumer compacts of their era, leaning on polycarbonate plastic chassis with metal accents.
• The Sony’s heft and bulk offer a feel of sturdiness, while Fuji’s lightness feels more delicate.

If you plan to shoot outdoors intensively, consider protective gear or look elsewhere.

Price and Value: What Will You Pay?

At the time of announcement and in the current used market, pricing reflects positioning:

• Fuji JZ300 priced around $180 new, but commonly found in used markets for less.
• Sony H50 launched nearer $80, making it a budget-friendly option with extended zoom.

The H50’s lower price combined with greater zoom reach and manual controls provide excellent bang for limited bucks - if you can live with older technology and heavier handling.

Fuji’s higher price asks for portability, HD video, and higher resolution.

How Do They Perform Across Photography Genres?

Let’s zoom out and place these cameras in the real-life genres where you might test their mettle.

FujiFilm JZ300 front FujiFilm JZ300 screen back Sony H50 front Sony H50 screen back

Portrait Photography

Neither camera has face or eye autofocus detection, nor a large sensor to produce natural background bokeh. Fuji’s slightly faster aperture at f/3.3 offers some shallow background separation at 28mm, but overall, don’t expect creamy skin tones or pronounced depth. Sony’s brighter wide end aperture f/2.7 helps here, plus the telephoto reach can isolate subjects better. Both produce decent color rendition - the Fuji marginally truer out of the box.

Landscape Photography

Both small sensors limit dynamic range, but Fuji’s higher resolution aids in detail rendition. Sony’s longer telephoto helps compositional flexibility (e.g., selective framing of distant subjects). Neither camera has weather sealing - a downside for outdoor conditions. Both perform best in bright daylight.

Wildlife Photography

Sony’s 15x zoom and slightly better stabilization cater well to casual wildlife shoots. Fuji’s shorter zoom is limiting here. However, slow autofocus and lack of continuous AF impede capturing fast-moving subjects. Neither is ideal for serious wildlife.

Sports Photography

With max 2 fps burst on Sony and no continuous shooting on Fuji, and slow AF systems on both, neither camera suits fast action. Fuji’s lack of exposure modes and Sony’s shutter priority give H50 a slight edge for exposure control.

Street Photography

Fuji’s compact size, light weight, and silent shutter capabilities score well here, making it discreet. Sony’s bulk and noisy zoom weight count against it. Neither excels in low light.

Macro Photography

Sony’s minimum focusing distance of 1cm is impressive and useful for close-up work. Fuji’s 5cm minimum focus is less flexible. Neither camera offers focus stacking or bracketing.

Night/Astro Photography

Small sensors and limited ISO performance restrict this domain. Fuji’s ISO 1600 and sensor-shift IS help a bit. Neither camera supports long exposure modes or RAW shooting for serious astro photography.

Video Work

Fuji’s 720p at 24 fps is acceptable for casual vloggers, while Sony’s VGA resolution looks dated.

Travel Photography

Fuji’s pocketability and light weight make it an ideal travel companion for snapshots, street scenes, and landscapes. Sony offers versatility in zoom and controls but at the cost of size and weight.

Professional Workflow

Neither camera offers RAW file capture or advanced connectivity (Wi-Fi, NFC, Bluetooth) and have limited manual controls. They are best considered casual or enthusiast compacts rather than professional tools.

Closing Thoughts and Recommendations: Which Camera Wins Your Heart?

Assessing these cameras through the lens of 2024 standards, but with eyes rooted in decade-old tech, here’s the lowdown:

Choose the FujiFilm JZ300 if:

• Portability and ease of use top your list
• You desire a simple superzoom for travel and everyday photography
• HD video recording matters to you
• You prefer SD memory cards and lighter gear
• You prioritize slightly higher resolution for printing or cropping

Go with the Sony H50 if:

• You want the longest zoom reach in a compact
• Manual controls (shutter/aperture/manual focus) are important for creative flexibility
• You need better optical image stabilization for telephoto shooting
• Macro photography is part of your niche
• Bulk and heft don’t bother you and you prefer an electronic viewfinder

Neither camera amazes with cutting-edge features or professional capabilities - at this price and vintage, that’s hardly surprising. But for enthusiasts craving zoom range or portability in an affordable compact package, they both hold their own charm.

If you want slightly sharper images, touch-and-go shooting, and HD video in pocket-sized comfort, Fuji’s the pick. If reaching far-off details, manual tweaking, and stabilized telephoto frames get your shutter finger itching, Sony pulls ahead.

A Final Word on Legacy and Usefulness Today

Both cameras offer a window into the evolution of compact superzooms, reflecting the balance between convenience, zoom versatility, and rudimentary creative control.

For photography enthusiasts and professionals considering these models second-hand, remember their limitations - no RAW, limited dynamic range, small sensors, slow AF, and dated video codecs. However, they can be fun travel companions or casual daily shooters, especially for beginners learning zoom techniques or needing lightweight gear.

Be sure to factor in the cost and availability of batteries and memory cards, as these can be pain points.

When it comes to vintage experience, neither camera wins by a knockout but each delivers a unique value proposition depending on your priorities:

• FujiFilm FinePix JZ300, the nimble snapshot wizard
• Sony Cyber-shot DSC-H50, the zooming control enthusiast’s sidekick

Happy shooting, and if you do find yourself wielding one of these retro compacts - take a moment to marvel at how far digital camera design has come and maybe, just maybe, appreciate the charm tucked within their modest specs.

If you’re curious about how these cameras perform in various photography styles or want a quick technical recap, feel free to scroll back through the images and sections above. No marketing fluff here - just a veteran’s perspective on two fascinating relics of compact photography’s superzoom dawn.