FujiFilm SL300 vs Panasonic Lumix DMC-LZ20: Unpacking Two Small Sensor Superzooms from 2012

When you’re shopping for a superzoom bridge camera on a budget - especially models released around the early 2010s - it’s easy to get overwhelmed by specs that blur together. I’ve spent years handling and testing a wide range of entry to mid-level superzooms, so today I’m excited to give you a detailed, no-nonsense comparison between two such contenders: the Fujifilm SL300 and the Panasonic Lumix DMC-LZ20.

Both promised attractive focal lengths, beginner-friendly controls, and affordable price points when launched. But as always, the devil is in the details - and whether you’re a casual shooter craving reach or a photography hobbyist dipping toes into wildlife or travel photography, you’ll want to know which delivers the best bang for your buck. Let’s dive in.

A Quick Look: Design, Ergonomics & Handling

First impressions often come down to how the cameras feel in your hands and how comfortably you can operate them day after day. Both these cameras flaunt the classic SLR-like bridge body style, but there are subtle differences.

The Fujifilm SL300 messages its presence with a chunkier profile - measuring about 122x93x100mm and weighing 510g - while the Panasonic LZ20 trims down a bit to 120x76x80mm and 499g. That slimmer grip on the LZ20 makes it feel less like a heavyweight club for your thumbs, which might appeal if you’re lugging it around on a long hike or extensive street shooting strolls.

Looking at the control layout, the SL300 offers a more traditional DSLR-style button arrangement, including dedicated exposure modes like shutter and aperture priority. The LZ20 goes for simplicity - with no top screen or dedicated priority modes - leaning on a menu-driven interface instead. Neither camera has illuminated buttons or touchscreen capability, so expect to juggle the buttons in varying light conditions, though the SL300's option dials feel firmer and more tactile under fingers.

In my hands-on experience, the SL300's heft and button placement provide better confidence for manual adjustments, while the LZ20’s compactness makes it more pocketable, though less adaptable on the fly.

Sensor & Image Quality: Unlocking the Small Sensor Challenge

Both cameras house a 1/2.3" CCD sensor - standard territory for budget superzooms of the era - but with slightly differing bullet points on resolution and imaging output.

• Fujifilm SL300: 14 Megapixels, max image dimensions 4288x3216, ISO range 64–1600 native (up to 6400 boosted), 28.07 mm² sensor area.
• Panasonic LZ20: 16 Megapixels, max image dimensions 4608x3456, ISO range 100–1600 native (up to 6400 boosted), 27.72 mm² sensor area.

Floating near identical sensor sizes with a slightly higher resolution on the Panasonic could suggest a potential edge in detail. But as seasoned sensor watchers know, megapixels alone don’t dictate real-world quality. The SL300 uses Fujifilm’s image processor (though the exact model isn’t specified), which often produces pleasing color science and decent noise control, whereas Panasonic’s image engine tends to push sharper images at the expense of a little more noise.

Real-world verdict: The LZ20’s extra megapixels translate into marginally sharper images in good lighting. However, the SL300’s deeper base ISO of 64 provides more nuanced handling of highlights and shadows, resulting in smoother gradations in portraits and landscapes. Both cameras struggle above ISO 800, with noticeable noise - an inevitable compromise for tiny sensors of their generation.

The lack of RAW format support on both models severely limits post-processing flexibility - a dealbreaker if high-fidelity workflow integration is a priority.

Viewing & Composing: Screen and Viewfinder Showdown

Seeing what you shoot is understandably crucial, especially in bright outdoor situations.

Both cameras sport a 3-inch fixed TFT LCD screen at 460k-pixel resolution. The quality and color accuracy are typical of 2012 budget cameras: decent but can feel washed out under direct sunlight. Neither supports touch, so navigation relies entirely on physical controls.

However, here’s a vital difference:

• The Fujifilm SL300 includes an electronic viewfinder (EVF) covering about 97% of the frame.
• The Panasonic LZ20 has no EVF.

An EVF is a big ergonomic asset, especially in bright or tricky shooting environments, letting you steady yourself better than an LCD alone. The SL300’s viewfinder is basic, lacking resolution details, and some lag exists, but it’s a worthy inclusion at this price point.

Lens & Zoom Range: Telephoto Dreams Tested

Let’s talk zoom, because these cameras are all about versatility wrapped in one fixed lens.

• SL300: 24–720mm equivalent (30× zoom), f/3.1–f/5.9 maximum aperture
• LZ20: 25–525mm equivalent (21× zoom), f/3.1–f/5.8 maximum aperture

The SL300’s huge 30× zoom potentially gives photographers the ability to capture distant wildlife or tight sports action better, but longer zooms invariably bring trade-offs, including slower apertures and reduced fixed-lens sharpness at the far end.

In my field tests, the SL300’s telephoto images at full zoom show more distortion and softness, especially in lower light, whereas the Panasonic’s shorter zoom length manages a bit cleaner, sharper output under similar conditions. If you prioritize reach for casual wildlife or travel - even knowing you’ll need a tripod or stabilization - the SL300 wins. Otherwise, the LZ20’s 21× is adequate for most everyday superzoom needs.

Autofocus and Burst Shooting: Capturing the Moment

Neither camera thrills when it comes to high-speed or precision autofocus.

• Both rely on contrast detection AF only - no phase detection or hybrid systems here.
• The LZ20 boasts 9 focus points, while the SL300’s is unspecified but inclusive of face detection and continuous AF modes (AF tracking, AF continuous).
• Burst shooting on both is limited to 1 fps - pretty slow by today’s or even 2012’s trendy standards.

For sports or wildlife shooters, these cameras feel more like a “point-prepare-wait-shoot” proposition than rapid fire action machines. Subject tracking and focus speed suffer noticeably. Face detection helps for portraits but is rudimentary.

Stabilization & Shutter Systems: Staying Steady Matters

Image stabilization is crucial in superzoom cameras to counteract camera shake.

• SL300 features sensor-shift (sensor-based) stabilization
• LZ20 has optical image stabilization (OIS)

Both types offer similar benefits, but sensor-shift generally handles a broader range of movements and can be advantageous when using manual zoom.

Shutter speeds range largely from 8 seconds minimum on the SL300 (great for longer exposure shots) to 15 seconds minimum on the Panasonic - the Panasonic caps at the same max shutter speed of 1/2000 second.

In practice, both cameras can handle moderate low-light and handheld telephoto shots, but pushing their limits - even with stabilization - results in softness.

Flash, Battery, and Storage: Power and Light Coverage

Both models offer built-in flash units with comparable ranges - around 7 meters wide on Fujifilm and about 6.8 meters on Panasonic. The SL300 supports an external flash; the LZ20 does not.

Battery life tips slightly toward the LZ20 at 380 shots per charge against SL300’s 300. While not exceptional, both are reasonable for casual outings, though serious travelers may want spares.

Storage-wise, both accept SD/SDHC/SDXC cards, but the Panasonic also supports internal memory (a small plus). Neither camera has wireless connectivity, Bluetooth, or GPS - features that were more niche in 2012 but are now standard.

Video Capabilities: Basic HD for Social Sharing

Neither camera will win awards for video, but they can economize with decent HD clips.

• Both max out at 1280×720 resolution at 30fps.
• SL300 supports H.264 and Motion JPEG encoding.
• LZ20 only supports Motion JPEG.

No microphone inputs, no 4K, no advanced stabilization for video - video is strictly casual at best. If video is a must-have, these models feel dated even at launch.

Real-World Use Across Genres: Strengths and Limitations

I know folks will ask about how these fare across favorite genres. Here’s a rundown, based on hands-on experience and testing:

Portrait Photography

• SL300’s face detection and slightly better exposure controls help flesh out skin tones.
• Both struggle with shallow depth of field (small sensors, slow lenses).
• Bokeh is weak and busy; don’t expect creamy backgrounds.
• LZ20’s simpler AF and fewer controls make it less portrait-friendly.

Landscape Photography

• Resolution advantage to LZ20, but dynamic range is middling on both.
• SL300’s lower base ISO slightly improves highlight retention.
• Neither camera is weather sealed; cautious with outdoor conditions.
• Zoom to wide end both capable, but small sensor size limits detail on large prints.

Wildlife Photography

• SL300's 720mm reach is tempting, but autofocus speed and burst rate bottleneck shot success.
• LZ20 better for casual wildlife at 525mm with slightly crisper images.
• Neither is ideal for fast-moving subjects - consider DSLRs or mirrorless for demanding wildlife.

Sports Photography

• Both slow to autofocus and burst - expect frustration tracking fast action.
• SL300’s manual modes could help experimenters dial in exposure.
• Best reserved for casual sports or slow-motion scenes.

Street Photography

• LZ20’s smaller footprint and lighter weight suit this genre better.
• No EVF on LZ20 might hurt framing in bright sunlight.
• SL300 bulkier but with EVF is better for deliberate street portraits.

Macro Photography

• Both start focusing as close as 2 cm - impressive at the base level.
• Stabilization helps handheld macro shots.
• Fine focus control limited without focus peaking or manual focus rings.

Night / Astro Photography

• CCD sensors here aren't low-light champions.
• SL300’s longer shutter speeds and lower base ISO offer some flexibility.
• Expect grain/noise creeping in past ISO 400.
• Not ideal for serious astro work, but entry-level night snaps are possible.

Video

• Basic HD video with low bitrate compression.
• Minimal control over exposure or audio.
• Good enough for casual family/home movies.

Travel Photography

• LZ20’s compact size and longer battery life make it travel-friendly.
• SL300’s longer zoom plus EVF adds versatility but at size weight cost.
• Both benefit from stabilization while wandering through museums or streets.

Professional Work

• Neither model supports RAW or high bitrate to satisfy pro workflows.
• Reliability is fair but limited by slow AF and mediocre sensor tech.
• Best viewed as backup or casual cameras rather than primary pro tools.

Fujifilm SL300 front Fujifilm SL300 screen back Panasonic LZ20 front Panasonic LZ20 screen back

Technical Analysis Summary: Component-by-Component

Matching Cameras to Your Photography Needs

• Budget travelers and casual zoom lovers: The SL300 with its 30× zoom and better exposure modes lets you explore telephoto creativity for a little extra money.
• Everyday snappers and street photographers: LZ20’s compactness and slightly sharper images at base zoom deliver value and ease, especially if you prioritize carrying light.
• Nature amateurs dabbling in wildlife/landscape: Pick SL300 for zoom range but don’t expect miracles from autofocus or sensor.
• Video casuals or family holiday cameramen: Both are close equals - neither shines, but good enough for YouTube memories.
• Pro/serious enthusiasts: Neither camera makes sense unless as a secondary backup or for specific budget niches.

Final Thoughts: Balancing Reach, Control, and Affordability

If you’re a cheapskate superzoom fan who wants the longest possible reach without jumping into DSLR or mirrorless waters, the Fujifilm SL300 edges out with its 30× zoom, EVF, and exposure modes - but it’s bulkier and costlier. You gain flexibility at the cost of some image sharpness and a bit slower responsiveness. For a camera from early 2012, the SL300 feels like an ambitious all-rounder, inviting creative manual shooting on a shoestring budget.

The Panasonic LZ20 is more of an uncomplicated travel buddy, neat and handy with a more modest zoom but sharper base images and longer battery life. Its reliance on menu controls and omission of an EVF make it less versatile but friendlier for straightforward point-and-shoot uses. If portability and fuss-free operation matter most (and you’re less fixated on HUGE zoom levels), the LZ20 is your reliable little pal.

Both cameras reveal the typical 2012 compromises: no RAW, noisy high ISO, slow AF, basic video, and no weather sealing. But, for entry-level users or budget-conscious hobbyists needing a solid zoom platform, either fills a niche - your choice depends entirely on whether you value reach and control (SL300) or simplicity and portability (LZ20).

To summarize:

In closing, despite their years on the clock and budget positioning, both the Fujifilm SL300 and Panasonic LZ20 can be enjoyable “first superzoom” cameras and fine stepping stones into more advanced photography. If you’re mindful of their constraints and understand who each camera is designed for, you can land a surprising amount of photographic versatility without emptying your wallet or packing the whole camera store.

Happy shooting, and may your zooms be long and your shots ever crisp!

End of Review