Fujifilm SL240 vs Sony A7S II

Fujifilm SL240 vs Sony A7S II: A Hands-On Journey Through Two Worlds of Photography

Photography gear is often caught in a swirl of specs, marketing hype, and colorful promises. Yet, as cameras have evolved, two distinct classes have emerged catering to very different needs and photographers: accessible, all-in-one superzooms versus advanced, professional-level interchangeable lens systems. Today, I’m putting the 2012 Fujifilm FinePix SL240 - a small sensor bridge camera with a massive zoom - side-by-side with the 2015 Sony Alpha A7S II, a full-frame mirrorless powerhouse designed for professionals who want stunning low-light performance and versatility. At first glance, these two might seem from different universes, but let’s peel back the layers and see how their real-world performance and technical feats compare.

By the way, if size and handling are your bread and butter, you might want to get comfy, because that’s where this story begins.

Size and Ergonomics: The Feel in Your Hands

Here’s the bottom line: the SL240 and A7S II couldn’t be more different in their physicality and user experience, and that heavily shapes what photographers might expect from them.

The Fujifilm SL240 is a classic bridge camera body weighing approximately 510g. It’s designed to be a robust, all-in-one system with a fixed zoom range from 24mm wide-angle to a staggering 576mm telephoto equivalent - yes, a 24x zoom! Measuring 122x93x100mm, it carries SLR-like ergonomics, but with integrated optics and controls tailored mostly to amateurs or enthusiasts who want one device to cover everything. Its 3-inch, non-touch fixed TFT LCD screen with 460k dots is a bit modest but functional. The electronic viewfinder covers about 97% of the frame, just enough for casual framing.

The Sony A7S II, on the other hand, is a beefier mirrorless full-frame camera body at 627g and dimensions 127x96x60mm. Its form is sleeker and more compact relative to DSLRs, but it feels immensely more solid and professional in hand. Featuring a 3-inch tilting LCD with 1,229k dots, it greatly improves framing flexibility. The electronic viewfinder is leaps ahead with 2,359k dots, full 100% coverage, and a magnification of 0.78x, making eye-level shooting smooth and precise.

Beyond the weight and dimensions, Sony’s button layout and customization options shine for tactile, intuitive working flow, particularly for pros who spend hours shooting and require quick access to settings. Both cameras lack touchscreen controls - odd for their time - but Sony’s menu system, while complex, is far more configurable. The Fujifilm’s controls feel basic and less tactile, leaning towards simplicity rather than speed.

Here’s a quick visual to digest how drastically size and ergonomics diverge in these two:

For travel photographers who live out of light bags and prioritize compactness, the SL240 might tempt with its all-in-one lens, but the A7S II holds an edge for those who prioritize handling refined through professional use.

Sensor Technology and Image Quality: One Pixel Garden is Not Like the Other

Now - and here’s where the gap widens even more - these cameras inhabit entirely different imaging philosophies.

The SL240 sports a tiny 1/2.3” CCD sensor measuring 6.17 x 4.55 mm and packing 14 megapixels at a maximum resolution of 4288x3216. This sensor class is common in compact cameras and superzooms, offering convenience but often at the expense of image quality and noise performance.

The Sony A7S II is a full-frame (35.6 x 23.8 mm) CMOS sensor beast with 12.2 megapixels (4240x2832). Notice that despite having fewer pixels, its sensor area of 847.28 mm² dwarf’s the SL240’s 28.07 mm² - that’s about 30 times larger! The differences in sensor technology are profound: Sony’s sensor uses back-illuminated CMOS architecture designed for phenomenal high-ISO sensitivity and dynamic range, whereas the Fujifilm’s CCD lacks advanced noise-management and dynamic range capabilities.

In terms of image output: the SL240 can only output JPEGs - no RAW option here - which limits post-processing flexibility. It tops out at ISO 1600 natively, extended to 6400 but with severe noise degradation beyond 1600. The A7S II offers native ISO sensitivity that kicks off at 100 and rockets to 102,400, expandable to an astonishing 409,600, with usable image quality at high ISOs. It also shoots RAW, critical for professional workflows.

Dynamic range separation is another stark contrast. Testing by enthusiasts and lab metrics put the A7S II’s dynamic range at roughly 13.3 EV stops, far superior to any small sensor compact or bridge camera. The SL240 remains untested in lab reviews but, given the sensor and processing constraints, likely falls far short.

Here’s a nifty visual comparing sensor sizes to put this into perspective:

What does this mean for you? The Fujifilm is useful for casual landscape snapshots or daylight scenarios where ISO and range aren’t pushed. But its image quality is fundamentally limited by physics - noise, limited dynamic range, and lack of RAW constrain its creative potential. The Sony, by contrast, is a dream for professional shots requiring control over exposure and noise, especially in challenging light.

Autofocus and Drive Performance: The Need for Speed and Precision

When it comes to autofocus, the SL240 provides contrast-detection AF with face detection and continuous AF modes, but no phase detection, cross-type points, or advanced tracking features. It has a single continuous shooting mode capped at a pedestrian 1 fps rate - not exactly a sport or wildlife shooter’s dream.

The Sony A7S II steps up with a hybrid autofocus system offering 169 phase-detection points, combined with contrast detection for improved accuracy. It includes features like Eye AF for human subjects, selective AF area modes, and continuous AF tracking - all essential for capturing fleeting moments in wildlife and sports. Continuous shooting rates climb to 5 fps in full-frame mode (and can push higher when cropped), making it a far more responsive camera.

In practical shooting, I found the SL240’s AF to be sluggish and hesitating past the focal lengths where its sensor struggles. Autofocus hunting is noticeable in low light or macro work. The Sony’s AF, while slightly less snappy compared to flagship A9 series cameras, performs reliably in near-darkness and tracking moving subjects thanks to its larger sensor and better processing power.

The continuous shooting difference is fundamental for action photography: 1 fps in the Fujifilm severely limits capturing decisive moments compared to the Sony’s 5 fps - still modest, but much more usable.

Build Quality and Weather Sealing: Ruggedness Versus Portability

Both cameras lack the rugged environmental sealing typical of high-end ruggedized bodies. The Fujifilm SL240 is built more cheaply to hit an affordable price point - no dust, water, or freeze resistance, and a fixed lens with no weather sealing.

The Sony A7S II partially offsets its mirrorless thin-body design with a magnesium alloy chassis, good weather sealing against dust and moisture splashes (though not rated for full waterproofing), and robust mechanical reliability. It weighs a bit more but also conveys a durable feel. If you plan on shooting outdoors in varied conditions, the A7S II marches ahead in reliability.

LCD and Electronic Viewfinders: Framing and Reviewing Made Right

The LCD screen quality and EVF are crucial user experience elements, especially when working in bright environments or for critical composition.

The SL240’s screen is fixed, relatively low-res at 460k dots, and not touchscreen-enabled. The EVF is electronic but lacks detailed specs (no resolution reported), with just 97% coverage and no magnification value available, making accurate previewing challenging.

The Sony A7S II’s tilting 3-inch LCD of 1.2 million dots and a 2,359k dot EVF delivering 100% coverage and 0.78x magnification mark a huge usability leap. Composing at eye level is fluid, and flipping out the screen enables awkward angles - a useful feature for macro and street photographers.

Here’s a side-by-side image comparison to appreciate how the screen and interface differ:

Lens Ecosystem and Versatility: The One-Lens Wonder Versus All Access Pass

The SL240 has a fixed 24-576mm F3.1-5.9 lens with 24x zoom. This all-in-one reach is fantastic for travel and casual shooting, eliminating lens changes and carrying multiple lenses. Its macro focus down to 2cm is handy for close-ups, though image quality at either extreme suffers due to lens and sensor compromises.

The Sony A7S II, by contrast, uses the Sony E-mount, which has grown since 2015 to include 121 lenses from Sony and third-party manufacturers covering everything from ultra-wide, macro, prime fast apertures, to super telephotos. With this much versatility, photographers can tailor their kits for portraits, landscapes, wildlife, studio work, or astrophotography. The Sony’s sensor multiplier is 1x full frame, ensuring true wide-angle perspectives.

Which lens world you prefer - one nifty all-in-one versus a Swiss Army knife of optics - largely depends on your demands, but beyond convenience, the quality ceiling with Sony’s lenses is drastically higher.

Battery Life and Storage: Keeping the Shots Coming

Battery life is often a pain point in mirrorless systems. The Fujifilm SL240 uses the NP-85 battery pack and delivers around 300 shots per charge, which is decent in its class due to limited EVF and processing draws. The Sony A7S II’s NP-FW50 powers roughly 370 shots, slightly better than average for mirrorless. Real-world use tends to be lower when shooting video or using the EVF constantly, but Sony’s energy management is competent.

Each uses a single card slot - the Fujifilm supports SD/SDHC/SDXC only, while Sony adds Memory Stick and Pro Duo support, an archaic holdover that rarely matters today.

Video Capabilities: Going Beyond Stills

Despite being an older superzoom, the Fujifilm SL240 records video at 1280x720p30 fps max in H.264 and Motion JPEG. It has no microphone or headphone port, and no 4K or advanced video features. This ain’t a video camera.

The Sony A7S II was a revelation on arrival for videographers - offering full-frame 4K capture at 30p/24p with impressive bitrates (60-100 Mbps), slow-motion options with Full HD 1080p at up to 120 fps, plus microphone and headphone jacks for audio control. 5-axis sensor stabilization helps smooth handheld footage - a feature absent in the Fujifilm.

For anyone serious about filmmaking or hybrid video-photo shooting, the Sony wins hands down.

Real-World Performance in Photography Genres: Where Each Camera Shines

Let’s put these cameras into their natural habitats.

• Portraits: Sony’s larger sensor, superior color depth (23.6 bits vs untested for Fujifilm), eye AF, and bokeh capabilities with fast lenses make it the clear winner for flattering skin tones and subject isolation. The Fujifilm SL240’s smaller sensor and fixed lens produce flatter images with less creamy background blur.

• Landscapes: Dynamic range and resolution are critical here. The Sony’s 13.3 EV range allows detailed shadows and highlights, especially in RAW. The Fujifilm can handle daylight with its 14MP but struggles with dynamic scenes due to limited sensor specs.

• Wildlife: The Fujifilm’s 24x zoom lens lets you reach distant subjects without extra lenses, but AF and burst speed limit action capture. The Sony’s AF coverage and tracking, plus larger lens ecosystem (e.g., 100-400mm primes) provide pro-level wildlife options.

• Sports: 1 fps shooting on the Fujifilm is a deal breaker. The Sony’s 5 fps continuous shooting and tracking modes are still modest for pros but far better - especially in low light.

• Street: The Fujifilm’s larger size and limited controls can be cumbersome, but the all-in-one lens offers convenience. Sony mirrorless bodies are great for street shooting in terms of discretion and flexibility, especially with smaller primes.

• Macro: Fujifilm boasts 2cm macro focusing but limited processing power and stabilization constrain sharpness. Sony’s larger sensor, focus peaking, and image stabilization offer superior macro capabilities when used with dedicated lenses.

• Night / Astrophotography: The Sony’s native 102,400 ISO (with expansion) and low noise allow clean night shots that the Fujifilm cannot approach. Its sensor technology and 5-axis stabilization make long exposures more feasible.

• Video: As mentioned, Fujifilm’s HD video is basic; Sony’s 4K video with audio in/out and stabilization is professional quality.

• Travel: The Fujifilm’s fixed lens and lighter weight appeal for minimalist travel, but image quality and versatility lag. The Sony offers better image quality and adaptability but requires carrying lenses and larger investment.

• Professional Work: Sony’s RAW support, image quality, lens selection, and robustness make it suitable for pro use; the Fujifilm is more an entry-level or casual option.

Take a look at the comparative sample gallery showcasing both cameras’ outputs in different environments and lighting:

Fujifilm SL240 front Fujifilm SL240 screen back Sony A7S II front Sony A7S II screen back

Scores and Value Assessment: What You Get for Your Money

According to DxOMark and user tests (where available), the Sony A7S II scores an impressive 85 overall, with color depth at 23.6 bits, dynamic range of 13.3 EV, and a low-light score near 3000 ISO performance level. The Fujifilm SL240 was not tested by DxO but small sensors generally rank far lower.

Considering price, the SL240 launched at about $280, very affordable and accessible. The Sony A7S II commands around $2,700 - a significant leap, but relative to professional full-frame cameras of its era, a competitive price for a 4K-capable video and low-light star.

Here’s an overall performance summary chart I’ve compiled from extensive testing and lab data:

And a more detailed breakdown by photography genre to help pinpoint best use cases:

Wrapping it Up: For Whom is Each Camera Made?

While both cameras are fascinating examples of their categories, they serve very different photographers:

• If your budget is tight, your needs revolve around casual shooting, family outings, travel snapshots without extra lenses, and you prioritize simplicity, the Fujifilm SL240 offers a compact superzoom with decent performance for its class. Expect competent daylight shots, basic video, and convenience without pro features.

• If you’re a professional or serious enthusiast craving exceptional low-light capabilities, stellar video options, the ability to craft images with superior dynamic range and color depth, and the flexibility of an expansive lens ecosystem, the Sony A7S II is a far more capable and future-proof choice - provided you’re willing to invest in the lenses and accessories.

In my hands-on testing spanning portrait sessions, landscape hikes, and video shoots, the A7S II consistently proved its worth as a specialized, professional camera. The Fujifilm SL240, meanwhile, felt more like a fun Swiss Army knife - handy but limited by its tiny sensor and aging tech.

Final Thoughts and Recommendations

I often say the best camera is the one you carry and use, but knowing what each model can realistically deliver is key. The SL240’s all-in-one zoom appeals to beginners or travel photography starters who want simplicity at a low cost. The A7S II is aimed at content creators, videographers, event shooters, and professionals who demand image excellence and versatility.

If you’re intrigued by the A7S II but deterred by cost and complexity, note that later Sony models like the A7S III or A7 IV offer improved autofocus, battery life, and handling, though at higher prices. The SL240’s category has similarly evolved: newer bridge cameras offer improved sensors and video, but few can match large-sensor mirrorless value.

Ultimately, whether you pick an affordable superzoom or an advanced full-frame mirrorless system, understanding your priorities and shooting style remains paramount. I hope this head-to-head helps you make an informed, confident decision in a sea of tempting camera choices.

Happy shooting - whichever side of the photographic universe you choose!