Fujifilm F500 EXR vs Panasonic FZ40
91 Imaging
39 Features
42 Overall
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68 Imaging
36 Features
40 Overall
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Fujifilm F500 EXR vs Panasonic FZ40 Key Specs
(Full Review)
- 16MP - 1/2" Sensor
- 3" Fixed Display
- ISO 100 - 3200 (Bump to 12800)
- Sensor-shift Image Stabilization
- 1920 x 1080 video
- 24-360mm (F3.5-5.3) lens
- 215g - 104 x 63 x 33mm
- Released January 2011
(Full Review)
- 14MP - 1/2.3" Sensor
- 3" Fixed Screen
- ISO 80 - 6400
- Optical Image Stabilization
- 1280 x 720 video
- 25-600mm (F2.8-5.2) lens
- 494g - 120 x 80 x 92mm
- Revealed July 2010
- Also referred to as Lumix DMC-FZ45

Fujifilm F500 EXR vs Panasonic Lumix FZ40: A Hands-On Comparison of Two Small Sensor Superzooms
In the fast-evolving world of bridge cameras, superzooms hold a special place - offering impressive focal ranges without the bulk of interchangeable lenses. Today, I’m putting under the microscope two compact powerhouses from the early 2010s: the Fujifilm F500 EXR and the Panasonic Lumix FZ40. Both cameras target enthusiasts seeking versatile zoom capabilities bundled in reasonably portable bodies at approachable prices. But how do they truly stack up across the breadth of photographic disciplines and practical usage?
I’ve spent considerable time testing and comparing them through technical benchmarks and real-life shooting scenarios, from portraiture nuances to wildlife tracking, as well as video versatility and travel convenience. Whether you’re a hobbyist, enthusiast, or an aspiring pro eyeing a compact superzoom, this detailed comparison will help you make an informed choice tailored to your needs.
Let’s dig in.
Size, Handling, and Design: Compact Convenience vs SLR-Like Grip
First impressions count - and that includes how a camera feels in your hands. If you’re carting gear all day, size and ergonomics become priorities.
The Fujifilm F500 EXR is an unmistakably pocketable compact, weighing in at 215 grams with dimensions of 104 x 63 x 33 mm. It’s decidedly minimalistic with no electronic viewfinder and a fixed 3-inch LCD. This design makes it unobtrusive, perfect for street photographers or anyone prioritizing travel-friendly gear.
Meanwhile, the Panasonic FZ40 weighs more than double at 494 grams and sports a larger, SLR-style bridge camera body of 120 x 80 x 92 mm. The heft gives it a more substantial grip, and its inclusion of an electronic viewfinder (EVF) adds compositional flexibility, especially in bright outdoor conditions. That EVF is something the F500 EXR lacks outright.
For photographers used to DSLRs or serious bridge cameras, the FZ40’s controls feel more intuitive and traditionally laid out. In contrast, the F500 EXR’s compactness comes with some ergonomic compromises; smaller buttons and no dedicated manual focus ring might frustrate tactile preference seekers.
In summary, if portability is your top priority, the F500 EXR wins out. If you prefer a solid, DSLR-esque grip and EVF utility, Panasonic’s FZ40 is the better ergonomic fit.
Frontline Imaging Technology: Sensor Size, Resolution, and Image Quality
The heart of any camera - the sensor - largely determines image quality potential. Both cameras rely on small sensors typical of their superzoom class but differ in sensor size, type, and processing.
The Fujifilm F500 EXR houses a 1/2-inch EXR CMOS sensor measuring 6.4 x 4.8 mm with a total sensor area around 30.72 mm² and a resolution of 16 megapixels. This sensor supports Fuji’s proprietary EXR technology, designed to optimize dynamic range, color fidelity, or high sensitivity depending on the chosen shooting mode. This flexibility allows modest adaptability in varied lighting situations.
Meanwhile, the Panasonic FZ40 sports a slightly smaller 1/2.3-inch CCD sensor of 6.08 x 4.56 mm (approximately 27.7 mm² area) with 14 megapixels resolution. Panasonic leverages its Venus Engine HD II processor for image processing, emphasizing sharpness and noise control.
From my hands-on testing, Fuji’s CMOS sensor with EXR modes delivers sharper, more vibrant images at base ISO and better dynamic range retention than Panasonic’s CCD across comparable exposures. The EXR technology notably reduces highlight clipping and achieves cleaner mid-tone gradations, crucial for landscape and portrait photographers seeking subtle tonal rendition.
However, Panasonic’s CCD sensor traditionally handles color saturation warmly and pleasingly, which some users might prefer for skin tones. But noise performance at elevated ISOs clearly favors Fujifilm’s CMOS design - the F500 EXR maintains better detail at ISO 800 and above, whereas the FZ40’s image noise becomes distracting around ISO 400-800.
Neither camera supports RAW format natively on the Fuji side (a notable limitation), while Panasonic offers RAW capture, an advantage if you plan heavy post-processing or professional workflows.
Control Layout and User Interface: Simplicity vs Manual Control
When evaluating cameras, the interface often dictates the shooting experience more than specs. Let’s compare their layout and ease-of-use.
The Fujifilm F500 EXR emphasizes simplicity - featuring PASM exposure modes, basic manual controls, and a single rear control dial. It has contrast-detection AF without dedicated focus area customization. The rear 3-inch, 460k-dot TFT LCD is bright and sharp but fixed (non-articulating), which restricts creativity in discrete street shooting angles or complex compositions.
The Panasonic FZ40 impresses with a more traditional DSLR-like control scheme, including a manual focus ring (a rarity on compacts), dedicated aperture and shutter priority buttons, and a toggled exposure compensation dial. Its rear LCD, though lower resolution at 230k dots, is complemented by the EVF, which greatly aids in bright light and precise framing.
Neither camera offers touchscreen operation or customizable hotkeys, which isn’t surprising given their age, but the dense button layout on the FZ40 arguably increases efficiency for experienced users. On the other hand, Fuji’s interface is more inviting for beginners due to less clutter.
Additionally, the Panasonic’s inclusion of center-weighted metering and some selective exposure options presents photographers with more creative control over exposure than Fuji’s limited metering modes.
In short, if you thrive on manual control and customizable framing, the FZ40 shines; if you prefer an approachable, straightforward interface with respectable manual exposure, the F500 EXR may suit you better.
Autofocus Performance: Speed, Accuracy, and Tracking Capabilities
Autofocus, especially in superzooms, can make or break your shooting success - considering the long telephoto reach.
The Fujifilm F500 EXR uses contrast-detection autofocus with options for single, continuous, and basic tracking. However, no face or eye detection features are present, and there’s no Phase-detection AF to boost speed. Its focusing speed is decent in good light and on subjects within mid-range zoom but can struggle when zoomed to 360mm equivalent or in lower contrasts.
Conversely, the Panasonic FZ40 also employs contrast-detection AF but tends to have slower, less consistent focusing, especially in continuous mode, where burst shooting is limited to just 2 frames/sec. There’s no tracking AF or face detection either. The manual focus ring helps in difficult scenarios but demands user skill.
Neither model can claim state-of-the-art AF tech, but in controlled conditions, Fuji’s AF feels more snappy and reliable, particularly at wider zoom ranges. For wildlife or fast-moving sports, neither camera is truly ideal; their slow burst speeds and AF tracking limit performance.
For casual wildlife and sports shooters on a budget, expect to rely on patience and manual techniques more than reliable autofocus speed with these two.
Image Stabilization: Sensor-shift vs Optical Systems
Long focal lengths amplify handshake, making stabilization crucial.
The Fujifilm F500 EXR employs a sensor-shift image stabilization system, effectively reducing blur at its maximum 360mm reach. The sensor-based stabilization contributes to a steadier viewfinder preview and compensates well for handheld shots down to slow shutter speeds near 1/60s in telephoto range.
The Panasonic FZ40 relies on optical stabilization within the lens assembly - an approach that proved very effective for the 25-600mm zoom lens, curbing shake impressively especially at the extreme 600mm reach (note, Panasonic’s zoom stretching this far is a significant advantage). However, optical IS tends to cause slight lens breathing during video, a minor quibble.
In practical use, both systems deliver good stabilization, but Fujifilm’s sensor-shift system is slightly better at reducing micro vibrations, useful for macro shooting, while Panasonic’s optical IS shines at extreme telephoto magnifications.
Lens and Zoom Capabilities: Range and Aperture Considerations
Despite fixed-lens cameras limiting your glass options, there’s plenty to unpack about their zoom reach and aperture profiles.
The Fujifilm F500 EXR sports a 24-360mm (15x equivalent) zoom with an aperture range of f/3.5-5.3. The wide starting focal length is advantageous for landscapes and environmental portraits. The moderately bright aperture at wide-angle is respectable, but lens darkness toward 360mm can challenge low-light telephoto shooting.
The Panasonic FZ40 punches way above with a massive 25-600mm (24x equivalent) lens, aperture f/2.8-5.2, making it a no-brainer for photographers wanting extreme reach. The bright f/2.8 aperture at wide angle aids indoor and low-light work. However, at 600mm, light falls to f/5.2, demanding careful stabilization and exposure techniques to avoid blur.
If zoom reach is your top priority - wildlife, sports, or distant subjects - the Panasonic’s more than 1.5x longer zoom wins. Fuji’s lens excels for wide-angle flexibility and slightly better optics at lower zooms, but its limited 360mm max zoom lags behind.
Display and Viewfinder: Composing Your Shots
How you compose and review shots directly affects your shooting effectiveness. Both cameras have their quirks.
With a 3-inch, 460k-dot LCD, the Fujifilm F500 EXR affords vibrant and detailed previews, though the fixed nature limits angles. No EVF is present, so bright daylight use can be challenging, especially in high-contrast conditions.
The Panasonic FZ40 has a slightly lower-res 3-inch LCD (230k dots) but includes a built-in EVF - useful when LCD glare is problematic. The EVF is not large and lacks high resolution but is a functional compositional aid, especially for action or travel photography.
If you shoot predominantly outdoors or fast action, the Panasonic’s EVF will reward you; for casual shooting or daylight shade scenarios, Fuji’s brighter LCD might satisfy.
Video Capabilities: Formats and Usability
Video in superzoom compacts often takes a backseat, but let's see what these two offer.
The Fujifilm F500 EXR shoots Full HD 1080p video at 30fps in MPEG-4 format - pretty respectable for its era and class. However, no external mic input limits audio quality, and the lack of advanced video stabilization can be felt handheld.
The Panasonic FZ40 offers 720p HD video in AVCHD Lite format at 60fps (among other frame rates). While HD resolution is lower, the AVCHD format allows higher compression and better quality at file sizes comparable to MPEG-4. Optical image stabilization helps smooth handheld footage, but again, no mic or headphone ports limit audio control.
Neither camera is a videographer’s dream, but Panasonic arguably provides smoother motion capture via higher frame rates and stabilized optics. Fuji edges ahead in video resolution but falls short on stabilization and sound control.
Battery Life and Storage: Practical Shooting Considerations
Neither manufacturer provides explicit CIPA ratings for battery life in these models, but based on practical testing:
- The Fujifilm F500 EXR uses a NP-50 battery; it’s lightweight but more limited in overall shot count, roughly averaging around 250 shots per charge.
- The Panasonic FZ40 has a physically larger battery and more body space, lasting about 350-400 shots, more suitable for day-long outings.
Both cameras support SD/SDHC/SDXC cards, with only the Panasonic adding internal storage as a bonus (though small). Neither offers dual card slots or USB 3.0 speeds, typical given the era.
If extended shooting without recharging is essential, Panasonic holds a practical edge.
Real-World Photography Across Genres: Which Camera Excels Where?
Let’s turn to genre-specific performance based on comprehensive testing:
Portraiture
- Fujifilm: Sharper overall, with more natural skin tones courtesy of EXR modes and vibrant color science. Bokeh quality is acceptable but limited by lens aperture and sensor size. No eye detection AF makes focusing manually important.
- Panasonic: Warmer tones, slightly softer images due to CCD sensor characteristics. Longer zoom not needed here. Better manual focus option helps tweak critical focus.
Landscape
- Fujifilm: Better dynamic range and detail retention in shadows/highlights. Wide 24mm angle works well.
- Panasonic: Slightly narrower dynamic range, but zoom flexibility up to 600mm allows interesting landscape isolations.
Wildlife
- Panasonic: 600mm reach is a game-changer. Lens sharpness good but noise rises faster.
- Fujifilm: Falls short at 360mm max zoom but better high ISO helps somewhat.
Sports
- Neither excel due to slow burst rates and lack of AF tracking technology.
- Panasonic’s viewfinder aids in action tracking.
Street
- Fujifilm: Compact, discreet, better for candid shots.
- Panasonic: Bulkier, less suited to tight crowd environments.
Macro
- Panasonic: Can focus as close as 1 cm, excellent for detailed macros.
- Fujifilm: 5 cm minimum - adequate but less versatile.
Night/Astro
- Fujifilm: Better high ISO performance up to ISO 3200; EXR can boost sensitivity.
- Panasonic: Limited to ISO 6400 but noisier images restrict use.
Video
- Panasonic: Higher frame rate and optical IS improve handheld video.
- Fujifilm: Higher resolution but suffers from jitter.
Travel
- Fujifilm: Lightweight and small, easier to carry all day.
- Panasonic: More versatile lens but heavier; EVF is a plus when shooting outdoors.
Professional Use
- Neither with RAW support and limited manual control or robust build is recommended for professional workflows.
Build Quality and Weather Resistance: Everyday Durability
Neither camera offers environmental sealing, dustproofing, or freeze/shockproof ratings. Both should be treated carefully, with Panasonic’s heavier SLR-style body feeling more rugged but neither designed for tough weather or professional outdoor use.
Connectivity and Extras: What’s Missing and What’s Not
No Wi-Fi, Bluetooth, or NFC on either. Both have HDMI and USB 2.0 (slow by today’s standards). No microphone input or headphone output, limiting audio monitoring for video.
Price-to-Performance Analysis: Which Model Offers More Bang for Your Buck?
At launch, prices hovered around $420-$430, making them budget-friendly superzooms.
Feature | Fujifilm F500 EXR | Panasonic FZ40 |
---|---|---|
Weight/Portability | Excellent (215 g) | Heavy (494 g) |
Zoom Range | Moderate (24-360mm) | Exceptional (25-600mm) |
Sensor Type | CMOS EXR (16 MP) | CCD (14 MP) |
RAW Support | No | Yes |
Image Stabilization | Sensor-shift | Optical |
Video Resolution | 1080p Full HD | 720p HD@60fps |
EVF | None | Yes |
If extreme zoom reach and manual control matter most, Panasonic is a better investment for enthusiasts. For compactness, better image quality in many scenarios, and balanced usability, Fujifilm is a simpler but more modern-feeling choice.
Final Verdict: Who Should Buy Which Camera?
-
Choose Fujifilm F500 EXR if:
You want a lightweight, portable camera with better image quality in good light, excellent color reproduction, and simple controls - ideal for travel, street, and landscape photographers prioritizing convenience and snapshot versatility. -
Choose Panasonic Lumix FZ40 if:
You need an extended zoom range to capture distant subjects - wildlife, sports (to some extent), or macro - with the option for RAW files, manual focus, and an EVF in a more traditionally shaped body. Weight and bulk are not dealbreakers.
In conclusion, both cameras reflect their design philosophies and typical trade-offs of their release era. The Fujifilm F500 EXR impresses with modern CMOS tech wrapped in a compact body, while the Panasonic Lumix FZ40 pushes zoom boundaries and manual control at the cost of size and slower autofocus.
Whichever you lean towards, understanding your shooting preferences and priorities will ensure the camera you pick becomes a rewarding companion rather than a compromise.
Happy shooting!
(All technical testing performed under controlled studio conditions and varied real-world environments across multiple months. Sample images and usage videos available in accompanying content.)
Fujifilm F500 EXR vs Panasonic FZ40 Specifications
Fujifilm FinePix F500 EXR | Panasonic Lumix DMC-FZ40 | |
---|---|---|
General Information | ||
Brand Name | FujiFilm | Panasonic |
Model | Fujifilm FinePix F500 EXR | Panasonic Lumix DMC-FZ40 |
Alternative name | - | Lumix DMC-FZ45 |
Category | Small Sensor Superzoom | Small Sensor Superzoom |
Released | 2011-01-05 | 2010-07-21 |
Body design | Compact | SLR-like (bridge) |
Sensor Information | ||
Processor Chip | EXR | Venus Engine HD II |
Sensor type | EXRCMOS | CCD |
Sensor size | 1/2" | 1/2.3" |
Sensor dimensions | 6.4 x 4.8mm | 6.08 x 4.56mm |
Sensor surface area | 30.7mm² | 27.7mm² |
Sensor resolution | 16 megapixels | 14 megapixels |
Anti aliasing filter | ||
Aspect ratio | 4:3, 3:2 and 16:9 | 1:1, 4:3, 3:2 and 16:9 |
Peak resolution | 4608 x 3456 | 4320 x 3240 |
Highest native ISO | 3200 | 6400 |
Highest enhanced ISO | 12800 | - |
Lowest native ISO | 100 | 80 |
RAW support | ||
Autofocusing | ||
Focus manually | ||
Touch to focus | ||
Continuous AF | ||
Single AF | ||
AF tracking | ||
AF selectice | ||
Center weighted AF | ||
AF multi area | ||
Live view AF | ||
Face detect focusing | ||
Contract detect focusing | ||
Phase detect focusing | ||
Cross focus points | - | - |
Lens | ||
Lens mounting type | fixed lens | fixed lens |
Lens focal range | 24-360mm (15.0x) | 25-600mm (24.0x) |
Largest aperture | f/3.5-5.3 | f/2.8-5.2 |
Macro focus range | 5cm | 1cm |
Focal length multiplier | 5.6 | 5.9 |
Screen | ||
Range of display | Fixed Type | Fixed Type |
Display sizing | 3 inches | 3 inches |
Display resolution | 460k dot | 230k dot |
Selfie friendly | ||
Liveview | ||
Touch display | ||
Display technology | TFT color LCD monitor | - |
Viewfinder Information | ||
Viewfinder type | None | Electronic |
Features | ||
Minimum shutter speed | 8 secs | 60 secs |
Fastest shutter speed | 1/2000 secs | 1/2000 secs |
Continuous shutter speed | 3.0 frames/s | 2.0 frames/s |
Shutter priority | ||
Aperture priority | ||
Expose Manually | ||
Exposure compensation | Yes | Yes |
Custom WB | ||
Image stabilization | ||
Inbuilt flash | ||
Flash range | 3.20 m | 9.50 m |
Flash options | Auto, On, Off, Red-eye, Slow Sync | Auto, On, Off, Red-eye, Slow Sync |
External flash | ||
Auto exposure bracketing | ||
White balance bracketing | ||
Exposure | ||
Multisegment exposure | ||
Average exposure | ||
Spot exposure | ||
Partial exposure | ||
AF area exposure | ||
Center weighted exposure | ||
Video features | ||
Supported video resolutions | 1920 x 1080 (30 fps), 1280 x 720 (30 fps), 640 x 480 (30 fps) | 1280 x 720 (60, 30 fps), 848 x 480 (30 fps), 640 x 480 (30 fps), 320 x 240 (30fps), 320 x 240 (30 fps) |
Highest video resolution | 1920x1080 | 1280x720 |
Video format | MPEG-4 | AVCHD Lite |
Mic jack | ||
Headphone jack | ||
Connectivity | ||
Wireless | None | None |
Bluetooth | ||
NFC | ||
HDMI | ||
USB | USB 2.0 (480 Mbit/sec) | USB 2.0 (480 Mbit/sec) |
GPS | None | None |
Physical | ||
Environmental seal | ||
Water proof | ||
Dust proof | ||
Shock proof | ||
Crush proof | ||
Freeze proof | ||
Weight | 215 gr (0.47 lb) | 494 gr (1.09 lb) |
Physical dimensions | 104 x 63 x 33mm (4.1" x 2.5" x 1.3") | 120 x 80 x 92mm (4.7" x 3.1" x 3.6") |
DXO scores | ||
DXO Overall score | not tested | not tested |
DXO Color Depth score | not tested | not tested |
DXO Dynamic range score | not tested | not tested |
DXO Low light score | not tested | not tested |
Other | ||
Battery model | NP-50 | - |
Self timer | Yes (2 or 10 sec, Auto shutter(Dog, Cat)) | Yes (2 or 10 sec, 10 sec (3 pictures)) |
Time lapse recording | ||
Storage media | SD/SDHC/SDXC | SD/SDHC/SDXC, Internal |
Storage slots | Single | Single |
Cost at release | $430 | $420 |