Fujifilm F500 EXR vs Panasonic Lumix DMC-TS2: A Hands-On Comparison for Practical Photography

As someone who has spent over 15 years in the trenches testing cameras - facing all kinds of light, weather, and action - I’m excited to take a deep dive into two intriguing compact cameras aimed at distinct user needs: the Fujifilm F500 EXR and the Panasonic Lumix DMC-TS2. Though both fall into the “compact” category, their design intentions and technical underpinnings couldn’t be more different. One promises a powerful superzoom with versatile manual controls, the other a rugged, waterproof design ready for adventure.

I’ve extensively tested both, putting them through the paces across multiple photographic disciplines to give you a thorough read on their strengths, limits, and where you might find personal value depending on your style. Along the way, I’ll pepper in practical tips, critical technical insights, and image samples so you can see how they really perform in the field. No fluff - just honest, experience-backed guidance.

Let’s start with the basics: how these cameras compare physically and ergonomically.

Handling and Ergonomics: Compact but Purposeful

When I first held the Fujifilm F500 EXR and Panasonic TS2 side by side, their sizes were surprisingly close: the Fuji feels a bit chunkier, owing to its 15x superzoom lens and built-in sensor-shift image stabilization, versus Panasonic’s more compact and sleeker profile designed for on-the-go adventures.

The Fujifilm F500 EXR measures roughly 104x63x33 mm and weighs in at 215 grams, while the Panasonic TS2 is slightly smaller at 99x63x24 mm and a lighter 188 grams. Though dimensions alone don’t tell the full ergonomic story, this size difference translates into a more pronounced grip on the Fuji offers better stability when zooming long-range. Panasonic, while streamlined, prioritizes portability, making it easy to slip into a pack or pocket for hiking or travel.

The controls reflect each camera’s philosophy. Fujifilm’s layout emphasizes manual overrides and exposure control, making it friendlier for enthusiasts who like to tinker with aperture and shutter priority modes. Panasonic, on the other hand, keeps things straightforward – fewer external dials and buttons but with ruggedized, rubberized surfaces that give confidence in tough environments.

I personally found the Fujifilm’s control cluster more intuitive for quick exposure tweaks in the field, especially when shooting in challenging lighting. The Panasonic’s buttons felt a bit cramped but were reassuringly sealed against dust and moisture, and their tactile feedback was excellent even when wearing gloves or my hands were wet.

Let’s talk about one of the most critical pieces of the photographic puzzle: the sensor.

Sensor and Image Quality: Small Sensors, Big Differences

Both cameras rely on small sensors, typical for compacts and superzooms from their release era, but with quite distinct sensor technologies and implications for image quality.

The Fujifilm F500 EXR sports a 1/2" EXR CMOS sensor with 16 megapixels at 4608x3456 resolution. This sensor is backed by Fujifilm’s EXR processor, designed to optimize dynamic range and noise performance by switching sensor modes intelligently depending on the scene. In real-world use, this resulted in noticeably better handling of highlights and shadows compared to peers from the time, especially in high-contrast scenes like bright landscapes or shaded portraits.

Meanwhile, the Panasonic TS2 uses a 1/2.3" CCD sensor with 14 megapixels (4320x3240). CCDs traditionally excel in color rendition and highlight roll-off but tend to lag behind modern CMOS sensors when it comes to high ISO noise and dynamic range. In my side-by-side testing, TS2 images showed more noise above ISO 400 and tighter highlight clipping in bright outdoor scenes.

It’s worth mentioning that neither camera offers RAW image capture - a limitation for serious pros or enthusiasts who prioritize postprocessing flexibility.

Practical takeaway: For crisp, higher-resolution photos with better dynamic range, the Fujifilm has a slight edge, especially in daylight and balanced exposures. The Panasonic’s sensor renders pleasing colors but struggles more when shadows deepen or ISO climbs.

Shooting Experience Across Genres

Portrait Photography: Skin Tones, Bokeh, and Face Detection

Portraiture is where I always personally test cameras for delicate color reproduction and skin tone fidelity - something my subjects (friends and family) appreciate greatly.

The Fujifilm’s EXR sensor delivered natural, warm skin tones with minimal oversaturation, producing smooth gradients even around faces. Its 15x zoom lens (equivalent focal length 24-360 mm) lets you step back or tightly crop headshots with ease. Unfortunately, the lack of face or eye detection autofocus - a standard on modern cameras - means you’ll occasionally have to micro-adjust focus manually, especially at the telephoto end where depth of field is shallow.

In contrast, the Panasonic TS2, while it includes 11 autofocus points and contrast-detection AF, lacks face detection. Its shorter zoom range (28-128 mm equivalent) limits tight portrait framing unless you crop heavily. I noticed the lens’s maximum aperture of f/3.3 at wide-angle narrowing to f/5.9 telephoto resulted in weaker background separation compared to the Fuji. Skin tones appeared slightly flatter under indoor incandescent lighting, and the lower screen resolution made review less satisfying.

Verdict: For dedicated portrait shooters craving focal length range and subtle skin tone rendition, the Fujifilm is superior. Casual snapshot portraits with occasional environmental context will be well served by the Panasonic.

Landscape Photography: Dynamic Range and Resolution

Landscape photography stresses sensors and lenses differently - high dynamic range and resolution paired with rugged weatherproofing count for a lot.

The F500 EXR’s larger sensor area (30.7 mm² vs. 27.7 mm² for Panasonic) combined with EXR sensor technology shines in capturing rich detail across shadow-to-highlight gradients. I tested this camera alongside the TS2 on a bright morning in Yosemite, exposing scenes with shaded forest and sun-drenched granite. The Fuji held detail in both extremes much more gracefully with subtle textures visible in leaves and rocks.

Lens sharpness across focal lengths was decent for both, although the Panasonic’s super tough lens was optically simpler, exhibiting slight vignetting and softness wide open. The Fuji’s lens had more distortion at 24 mm but better edge-to-edge sharpness overall.

The Panasonic TS2’s standout feature is its environmental sealing: fully waterproof to 10m, freezeproof, shockproof, and dustproof. For landscape shooters who brave waterfalls, beaches, and cold alpine conditions, this is an invaluable advantage - even if sensor performance is marginally compromised.

Fujifilm F500 EXR screen back Panasonic TS2 front Panasonic TS2 screen back

My field images illustrate the Fujifilm’s superior tonal range and detail, while Panasonic shots offered peace of mind in harsh weather but with softer images.

Wildlife and Sports: Autofocus and Burst Performance

Wildlife and sports call for fast, accurate autofocus and high burst rates to capture fleeting moments.

Both cameras rely exclusively on contrast-detection autofocus, but Panasonic has an edge with 11 AF points versus Fuji’s system where exact coverage is unclear but effectively fewer points. In my experience, neither is ideal for fast action - the Fujifilm manages about 3 fps continuous shooting and Panasonic drops to 2 fps, which limits sequences of rapidly moving subjects.

Tracking performance was basic on both. The Fuji’s ability to do continuous AF during bursts helped somewhat for static or slow-moving animals, while the Panasonic felt sluggish, prone to focusing "hunting."

Telephoto reach strongly favors Fujifilm’s 360 mm equivalent versus Panasonic’s 128 mm max. This means better wildlife framing from a distance with the Fuji, assuming you can lock focus.

Street Photography: Discreetness and Low-Light Performance

Street photography demands compactness, quiet operation, and quick autofocus.

The Fujifilm’s slightly larger design and zoom lens make it less discreet, especially in urban crowds, but its relatively quiet shutter and fast autofocus at short focal lengths mitigated this. The lack of an electronic viewfinder meant relying on the rear LCD, which performed well outdoors but turned reflective in some lighting.

The Panasonic is more pocketable, weatherproof, and easier to grab on the fly. However, its 2.7” screen with 230k resolution made composing in dim light tougher, and shutter noise was more noticeable, potentially drawing unwanted attention.

Both cameras struggle in low light; the highest native ISO settings (3200 for Fuji, 6400 for Panasonic) deliver noisy images with little detail retention, particularly with Panasonic’s older CCD sensor.

Macro Photography: Focus Precision and Magnification

Close-up shots - whether flowers, insects, or textures - reveal a camera’s ability to focus precisely and stabilize.

Both models allow focusing down to 5 cm; however, the Fujifilm’s sensor-shift image stabilization gave a real edge in handheld macro shooting, allowing me to capture sharper photos at slower shutter speeds without a tripod.

Panasonic’s optical image stabilization was helpful, but its smaller screen and less forgiving autofocus made framing critical focus areas trickier.

Night and Astro Photography: High ISO and Exposure Modes

Astrophotography or nighttime scenes test a camera's noise handling and exposure flexibility.

Fujifilm’s max mechanical shutter speed of 1/2000 sec and minimum shutter speed of 8 sec allow for extended exposure shots necessary for star trails or light painting. Its EXR sensor also produces cleaner high ISO images up to ISO 1600, beyond which noise becomes prominent but still manageable in JPEG output.

Panasonic’s shutter range maxes at 1/1300 sec shutter speed, with minimum 60 sec exposure, opening possibilities for nightscapes. However, the CCD sensor generates more noise at ISO 800 and up, so I found ISO 400 to be the practical ceiling.

Neither camera includes bulb mode or advanced astro-specific features, but Panasonic’s slower shutter speed flexibility could be interesting for creative night shooters ready to experiment.

Video Capabilities: Resolutions and Stabilization

Video quality can be a deciding factor in today’s market.

The Fujifilm supports Full HD 1080p at 30 fps, while Panasonic tops out at 720p 30 fps. Both use different compression formats: MPEG-4 on Fujifilm and AVCHD Lite on Panasonic.

In my tests, Fujifilm’s videos appeared sharper with more detail, though both cameras struggled with wind and built-in microphone sound fidelity.

On stabilization during video, the Fuijfilm’s sensor-shift IS provided more effective steadying than Panasonic’s optical IS, yielding smoother footage handheld.

Travel Photography: Versatility and Battery Life

Travelers need one camera that can do many jobs, withstand variable conditions, and last all day.

The Panasonic TS2’s rugged sealed design - waterproof, dustproof, and freezeproof - is perfect for backpacks that include beaches, dusty trails, or rainy climates. Its compact size and lighter weight add to travel convenience.

The Fujifilm offers superior telephoto reach and manual exposure controls, favored by travelers who want creative flexibility and versatility over ruggedness.

Battery life data isn’t explicitly provided for either, but based on past real-world use with similar models, both cameras will comfortably last a day of moderate shooting, with the Panasonic having a slight edge due to simpler processor demands.

Storage options are equivalent: single SD/SDHC/SDXC cards.

Professional Use: Reliability, File Formats, and Workflow

In professional contexts, RAW support and workflow integration are critical.

Unfortunately, neither camera supports RAW capture, heavily limiting post-processing potential.

Fujifilm has manual modes (shutter/aperture priority), custom white balance, and exposure bracketing, which professionals will appreciate in controlled shooting, particularly in portrait or landscape work.

Panasonic adopted a more point-and-shoot approach, lacking any manual exposure modes or bracketing.

No wireless connectivity or GPS exists in either, precluding geotagging or remote control.

Built Quality and Weather Resistance

Fujifilm’s solid build quality doesn’t extend to environmental sealing - no waterproofing or dust resistance. The body feels sturdy but should be protected from moisture or dust.

Panasonic’s Lumix TS2 stands out in this regard with its IP57 rating - drop it in water, use in freezing conditions or dusty trails - and it keeps working.

Connectivity and Workflow

Both cameras offer USB 2.0 and HDMI output, but no Wi-Fi, Bluetooth, or NFC - unsurprising for their launch era but worth noting for photographers wanting quick sharing or tethering.

Price-to-Performance Considerations

At their current price points (Fujifilm ~ $430, Panasonic ~ $350), the Fuji’s superior zoom, sensor technology, and video features justify the price premium for enthusiasts prioritizing image quality and versatility.

Panasonic’s pricing makes it a strong choice for adventure seekers, families, or casual shooters requiring toughness over premium specs.

Final Thoughts: Who Should Buy the Fujifilm F500 EXR or Panasonic Lumix DMC-TS2?

Having thoroughly tested both cameras across a broad array of shooting scenarios, here’s my distilled advice:

Buy the Fujifilm F500 EXR if:

• You want extended zoom reach (24-360 mm) with solid image quality and dynamic range.
• You shoot portraits or landscapes and appreciate manual exposure modes.
• Video at Full HD 1080p with IS is important.
• You don’t need rugged weatherproofing but prefer more flexibility and image detail.
• You’re an enthusiast or hobbyist with a keen eye on image quality over convenience.

Buy the Panasonic Lumix DMC-TS2 if:

• You need a durable waterproof, freezeproof, and dustproof camera for outdoor adventures.
• You’re a casual user prioritizing reliability in harsh conditions rather than top-notch image quality.
• You want a compact, pocket-friendly camera to grab and go.
• Video needs are modest, up to 720p.
• Budget constraints lean toward a modest investment in a capable but simple point-and-shoot.

Though both cameras cater to somewhat different niches - one a small sensor superzoom, the other a rugged waterproof compact - they each fill their roles impressively well. If your photography demands versatility and image quality, Fujifilm’s model pulls ahead. For the rugged traveler or outdoor enthusiast confident in post-shooting tweaks and accepting some image compromises, Panasonic offers an unbeatable go-anywhere assurance.

My advice from years behind the lens: balance your shooting environment needs with your creative ambition. Choose accordingly - both cameras can capture beautiful moments, but the context of those moments will define which is better suited to help you tell your story.

I hope this comparison has demystified these cameras’ capabilities and limitations. Feel free to reach out with specific usage questions or photo samples you want analyzed - I’m always excited to talk shop with fellow photography lovers striving to make their next shot the best one yet.