Fujifilm S9900w vs Nikon Coolpix P510: A Deep Dive into Bridge Superzoom Superstars

When it comes to small sensor superzoom bridge cameras, the Fujifilm S9900w and the Nikon Coolpix P510 stand out as intriguing models from the early-to-mid 2010s. Both wield their hefty zoom ranges and SLR-like bodies aiming to appeal to travelers, wildlife enthusiasts, and generalists who want “one camera does it all” versatility without swapping lenses. But how do they really stack up when you dig below the spec sheets and take an experienced eye through their real-world handling, image quality, and overall system? I’ve logged dozens of days putting cameras like these through their paces across portrait, landscape, sports, macro, and video shooting. Let’s take a thoughtful journey comparing these two quirky superzooms with a critical eye - and maybe a smidge of nostalgic affection for this category of cameras.

Designs That Suggest Confidence: Size, Build & Handling

First impressions matter. Both cameras come wrapped in the classic bridge DSLR-like form - designed to feel like a pro package without the interchangeable lens complexity. The Fujifilm S9900w is a chunky fellow at 670 grams and measures 123x87x116 mm, giving it a meaty, substantial grip but not so heavy it’s a chore to carry around. The Nikon P510 is a bit lighter at 555 grams and a tad smaller at 120x83x102 mm, which will appeal if you crave slightly greater portability.

Looking at their ergonomics side-by-side, this difference in bulk is noticeable but neither are pocketable by any stretch. The Fujifilm’s heft supports a secure grip and suggests robustness, while the Nikon’s lighter footprint lets you stay nimble on the street or trail. One gripe for both: no environmental sealing means you’ll want to keep these out of the rain or heavy dust.

The control layout - revealed nicely in the top view comparison - shows some thoughtful design choices.

The Fujifilm’s controls feel a tad more modern and approachable, with intuitive dials and a clear mode dial that’s robust enough for quick adjustments on the fly. Nikon’s P510 tries to keep things streamlined, but some of the buttons feel a bit more cramped, less confident in rugged handling. Both fall short on illuminated buttons, which might frustrate night shooters or event photographers fumbling in the dark.

In sum: if you prize a very firm grip and solid-feeling dials, Fujifilm wins. But for a lighter grab-and-go option, Nikon’s form factor has its fans.

Small Sensor Specs: What’s Under the Hood Matters More Than Ever

Small sensor superzooms often struggle with the compromises imposed by sensor size, so let’s check the details closely. Both use 1/2.3” CMOS sensors with identical physical dimensions (6.17 x 4.55 mm, 28.07 mm² area). This means at their core, sensor performance will be broadly similar and a key segmentation differentiator will be processing, lens quality, and software optimization – critical areas where brand philosophies diverge.

Resolution clocks in identically at 16 megapixels (4608 x 3456 pixels). However, the Nikon’s sensor is BSI-CMOS, a back-illuminated design which theoretically should yield better light-gathering capabilities compared to the Fujifilm’s straightforward CMOS sensor. It’s a small difference on paper, but in low light, it can be meaningful.

Another notable point: Fujifilm’s max native ISO extends up to 12800 versus Nikon’s 3200, although I regard that as mostly marketing window dressing. Noise levels degrade rapidly in both beyond ISO 800-1600, so high ISO use is quite limited on these bodies. Still, for dim scenes or dawn wildlife photography, the Nikon’s BSI sensor and optimized Expeed C2 processor may edge out Fujifilm slightly in preserving detail with less noise.

Anti-aliasing filters are present on both, potentially softening fine textures but reducing moiré artifacts - a balanced choice for versatile point-and-shoot superzooms.

Viewing and Interface: How You See It is How You Shoot It

Given that these cameras mostly rely on their electronic viewfinders (EVFs) and LCD screens for composition, evaluating these is crucial.

The Fujifilm S9900w offers a 0.39” electronic viewfinder with 920k dots resolution, covering 97% of the frame. It’s bright and clear enough for precise framing outdoors, though the lag and refresh rate are a bit sluggish compared to modern mirrorless systems. The Nikon lacks specified resolution data for its EVF but has a similar electronic viewfinder offering.

On the rear, both cameras sport 3” screens but with differing specs. The P510’s screen boasts 921k dots and a tilting mechanism with anti-reflective coating, essential for shooting at odd angles or overhead - hello, crowd shots or macro framing. The Fujifilm’s fixed screen has only 460k dots and no touch sensitivity, which feels dated even for its era.

No touchscreens or selfie flips to speak of here, so manual settings require button navigation or dials exclusively. The Nikon’s tilting screen definitely helps versatility in the field, although the Fujifilm compensates with a slightly larger EVF and more comfortable eyecup.

Zoom, Optics, and Macro: Reaching and Getting Up Close

Ah, the heart of a superzoom - the lens. Compare Fujifilm’s 24-1200mm equivalent 50x zoom with Nikon’s 24-1000mm 41.7x zoom and it’s clear that Fujifilm demands attention by offering a longer reach, hugely beneficial for wildlife or distant subjects without carting telephoto primes.

Max apertures are fairly close: F2.9-6.5 on Fujifilm versus F3.0-5.9 on Nikon, meaning low light shooting wide open is possible on the wider end but rapidly loses brightness at maximum zoom.

Macro performance reveals a tradeoff. Nikon’s closer minimum focus distance at 2cm allowing spectacular close-ups is much better than Fujifilm’s 7cm. You can actually get very intimate bug shots or texture detail with the P510 that the S9900w can’t quite beat.

Both have optical image stabilization, crucial when shooting at long focal lengths handheld to reduce blur. Both systems perform well here, but digital stabilization is minimal or non-existent. For handholding lunch in a restaurant or shaky hands, this is a decisive plus.

Autofocus, Speed, and Burst Shooting - Tracking the Moment

Autofocus systems in bridge superzooms often struggle compared to DSLRs or mirrorless but remain critical for good usability.

The Fujifilm S9900w uses contrast detection autofocus only - phase detection is absent - but supports face detection and continuous AF with reasonable accuracy. It has multi-area AF modes that work for most casual users.

The Nikon P510’s AF system is similar: contrast detection supplemented by face detection, but unfortunately does not offer continuous AF or live-view focusing. Autofocus speeds are a bit slower, especially in lower light or zoomed-in scenarios, causing some potential missed shots in fast action.

Both cameras support continuous shooting, but Fujifilm edges ahead with a top burst speed of 10 fps versus Nikon’s 7 fps. That difference translates to capturing those rapid wildlife or sports moments just that little bit better.

Neither camera supports advanced tracking autofocus modes like animal eye-AF or sophisticated subject tracking you find in newer systems. If you rely heavily on fast autofocus, these superzooms will feel modest and may frustrate professionals.

Image Quality in Various Disciplines: Where They Shine (and Stumble)

Portrait Photography

Skin tones and rendering of the subtle gradations in human faces can often be telltales of sensor and processing prowess. Guess what? Neither camera fully impresses in portraiture. The small sensor and strong AA filter conspire to soften fine detail and reduce the shallow depth of field you’d want for creamy, attractive bokeh.

Fujifilm’s 50x zoom does let you dial up zoomed-in headshots that insulate backgrounds, but the max aperture F2.9 is only available on the widest end; tele zoom bokeh gets crunchy and busy. Nikon’s slightly faster aperture on tele end helps but is still far from DSLR or mirrorless quality.

Both have face detection AF to assist focusing on eyes, which helps novices nail portraits - but bone fide portrait photographers will want to look elsewhere or add prime lenses from mirrorless or DSLR systems.

Landscape Photography

Here is where sensor performance, dynamic range, and resolution matter most. Both cameras capture 16MP images with decent detail, although small sensor size limits the amount of fine texture and low noise you can expect.

Between the two, Nikon’s BSI sensor may eke out slightly better dynamic range and cleaner shadows, especially in overcast or backlit scenes. Fujifilm’s lens at the wide end is marginally faster, which helps landscape handheld shooting in lower light.

Environmental sealing is unfortunately non-existent on either, so rough weather or dust demand caution. When it comes to physical durability and weight on long hikes, I slightly prefer Nikon’s smaller size, but Fujifilm’s bigger grip offers steadier handheld shots.

Wildlife and Sports Photography

The big zoom battle clearly favors Fujifilm’s 50x zoom versus Nikon’s 41.7x - critical for safely photographing skittish critters or distant subjects. The faster burst speed (10 fps vs 7 fps) and more confident autofocus tracking on the Fujifilm also put it on top for capturing decisive wildlife or sports shots.

That said, neither camera is specially tailored for action; subject tracking is rudimentary at best, and shutter lag can hinder timing for fast-moving athletes or birds. If you want a dedicated wildlife or sports shooter, consider DSLRs or mirrorless with advanced AF systems.

Street Photography

Street lovers treasure discretion, portability, and rapid handling. Both cameras’ SLR-like forms make them less covert than compact models, and their weight isn’t ideal for all-day urban roaming. Nikon’s smaller, lighter build helps here, as does its tilting screen for shooting from unconventional angles without drawing attention.

Low light performance is weak on both, but Nikon’s BSI sensor with optimized processor gives marginal advantage in dim subway or evening street scenes. Autofocus lag and noisy high ISO limit night shooting finesse.

Overall, neither camera is a street photography powerhouse but can serve casual users with patience and good technique.

Macro Photography

The Nikon’s 2cm macro minimum focus distance and tough-to-beat sharpness allow you get really close to details - a huge win for insect and flower photography approachable to enthusiasts. Fujifilm’s longer 7cm working distance limits flexibility.

Neither camera has focus bracketing, stacking, or post-focus - modern aids to macro shooters. Stabilization helps handheld shots to a degree but true macro photographers might quickly feel constrained.

Night and Astrophotography

Both cameras struggle with high ISO noise at anything beyond ISO 800, limiting their appeal for dark sky or dim indoor photography. Long exposure capabilities max out at 8 seconds on Fujifilm and 30 seconds on Nikon, so neither facilitates extended astrophotography exposures.

They also lack built-in intervalometers outside some timelapse functionality. So don’t expect mind-blowing starfield shots from these superzooms, but casual night snapshots are feasible.

Video Capabilities

Both offer Full HD 1920x1080 video: Fujifilm up to 60i fps, Nikon 15 or 30 fps - Fujifilm’s higher frame rate allows smoother motion capture. Video format is H.264 in both, but Nikon additionally supports MPEG-4.

Neither supports 4K or advanced video features like focus peaking or microphone/headphone ports, limiting appeal for serious videographers.

Optical image stabilization works well to reduce handheld shake in videos, but no hybrid or digital stabilization reduces walking jitters effectively.

Travel Photography

For globetrotters seeking all-in-one versatility without hauling tripods and multiple lenses, both cameras have much to offer. Fujifilm’s greater zoom range means fewer lens compromises for distant landscapes and wildlife; Nikon’s lighter, more compact body and tilting screen ease crowds and cramped angles.

Battery life favors Fujifilm’s 4x AA power with roughly 300 shots per charge versus Nikon’s EN-EL5 lithium-ion with 200 shots. Nikon’s built-in GPS versus none on Fujifilm adds convenient geotagging for travel journaling.

Connectivity-wise, Fujifilm’s built-in Wi-Fi eases photo transfers, whereas Nikon supports Eye-Fi cards but no wireless by default. Both have USB 2.0 and HDMI out.

Professional Use and Workflow Integration

Neither camera supports RAW recording, which severely limits professional workflows requiring maximum image quality and flexibility in post-processing. JPEGs from both are heavily processed and should be considered snapshots or casual use.

Build quality isn’t rugged enough for harsh professional use, and neither provides environmental sealing or advanced customizability demanded by pros.

They fit more into an enthusiast or advanced amateur bracket than professional lineups.

Summary of Key Technical Differences

Fujifilm S9900w front Fujifilm S9900w screen back Nikon P510 front Nikon P510 screen back

Diving into Real-World Use: What My Tests Revealed

Having shot hundreds of images in daylight, indoor events, wildlife parks, and street settings, here’s what struck me most:

• Fujifilm’s extra zoom reach was thrilling for distant wildlife but required careful handling and stabilization to avoid softness or shake.
• Nikon’s macro capabilities got me delightfully close to butterfly wings and texture detail practically impossible on Fujifilm.
• Video on Fujifilm feels smoother with 60 interlaced fps capturing better motion, while Nikon’s video runs smoother at 720p 60 fps.
• Environmentally, neither feels weatherproof; both need gentle love on dusty hikes.
• Both suffer with noise beyond ISO 800; base ISO shots in good light deliver pleasant colors but limited dynamic range.
• Battery life was noticeably better on Fujifilm’s AA cells, a carry-along convenience for trips without chargers.

Rating the Big Picture Performance

Let’s lay out overall ratings as I see them given typical photographic uses.

And breaking down scores by genre:

Who Should Consider Which Camera?

Choose the Fujifilm S9900w if…

• You crave the longest zoom range possible in a bridge camera for distant wildlife or sports.
• You prioritize faster burst shooting and more advanced AF continuous modes.
• You prefer a beefier grip and more robust external controls.
• Battery life and built-in Wi-Fi connectivity are important on travels.
• You want a better EVF for framing even if the rear screen is less versatile.

Choose the Nikon Coolpix P510 if…

• You want better macro shooting out of the box, with tiny subjects within easy focus range.
• A lighter, more compact form factor appeals for street or travel shooting.
• The tilting screen is a must-have for creative angles or video selfies.
• Built-in GPS and more straightforward image management through Eye-Fi cards entice you.
• Video frame rate flexibility and better screen resolution matter to your workflow.

Final Thoughts: Not the Latest Tech, but Still Fun Cameras

While both the Fujifilm S9900w and Nikon P510 belong to an earlier generation of superzooms now overshadowed by mirrorless and smartphones, they remain solid choices for enthusiasts wanting wide flexibility without switching lenses or complexity.

They excel in different niches: Fujifilm pushing zoom length and fast burst, Nikon nudging macro and tilt screen usability. Neither excels for enthusiasts who demand pro-level image quality or fast autofocus, but as snapshot specialists, they’re engaging tools.

For photographers new to bridge superzooms or those on a modest budget looking for “all-in-one” cameras with respectable image quality and reach, these are worthy contenders - especially if you can find them at bargain second-hand prices.

If you seek sharper portraits, better low-light prowess, or 4K video, modern mirrorless or DSLR systems with specialized glass should be your next stop.

Thanks for joining me on this deep dive. Remember, the best camera for you is the one that fits your style, budget, and creative workflow more than any specs sheet alone. Happy shooting!

End of Review