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Fujifilm Finepix F200 EXR by Jon Sienkiewicz Revolutionary Approach to the Best of All Worlds Article rating: 9.58

Fujifilm cameras are legendary when it comes to delivering superior candid images under low light levels. They are so good, in fact, that many serious hobbyists carry classic Fujifilm Finepix F10, F20 or F30/31 models for noise-free performance in those special high ISO situations. Under normal light levels they produce colors that are rich and vibrant with clean shadows and no grain. The secret to their outstanding performance lies in Fujifilm’s proprietary Super CCD imaging sensor—and to another fact: low pixel density.

The older Fujifilm F-series cameras were built on 6-megapixel CCDs that measured 1/1.7 inches diagonally. Nowadays many manufacturers install sensors that are in the 1/2.5 inch range in their newer models; some sensors are even smaller. The discrepancy can be confusing, but keep in mind that we’re dealing with fractions here. Therefore, 1/1.7 = 0.59 inches, whereas 1/2.5 is a much smaller 0.40 inches. Long story told short, at the same resolution, the pixels are farther apart—they’re spread out more—on a larger CCD. The distance between pixels, technically called the “pitch,” is greater. That means less noise and just as important, the camera’s signal processing engine does not have to perform sharpness-killing manipulations to reduce the noise that is produced.

At the root of the problem, the American public has demanded higher and higher resolution cameras. Many people are apt to buy 8, 10 or 12 megapixel cameras—convinced that they are getting better overall performance—because they believe that bigger is better. Think about it: pack 10-megapixels onto a 0.4” CCD and the pixel density is substantially greater compared to a 6-megapixel CCD that’s physically 50% larger to begin with.

So how does a camera maker give the people what they want and still deliver optimum performance in terms of CCD architecture? Give them both. Offer a 12-megapixel camera that can downshift to become a 6-megapixel camera when the situation calls for it. And that is exactly what the new Fujifilm Finepix F200 EXR does. It’s important to note that Fujifilm is the first camera manufacturer to address the issue this completely.

The latest version of Fujifilm’s Super CCD, designated “Super CCD EXR,” has been optimized in three critical areas. Fujifilm calls it a “3-in-1” sensor combination and it’s designed to deliver high resolution, “Pixel Fusion” (high sensitivity with low noise) and very wide dynamic range.

High resolution, of course, is desirable under all circumstances, and goes inescapably hand-in-hand with our assessment of picture quality. In the High Resolution mode, the Fujifilm Finepix F200 EXR creates excellent 12-megapixel images that are sharp edge-to-edge. Shooters planning large prints opt for this mode without disappointment.

Shifting down to 6-megapixels in the High ISO/Low Noise mode, the Finepix F200 enables candid indoor shooting without flash. Fujifilm has acquired years of experience dealing with available light photography, and they’ve packed all of that knowledge into this model.

The additional benefit that goes well beyond what the venerated older-generation Fujifilm F-series cameras provided in terms of low-light performance is a vastly improved and broadened dynamic range. Dynamic range is the measure of a camera’s ability to capture a full range of brightness levels from pure black to snow white.

In D-Range Priority the Finepix F200 simultaneously captures two images to produce a single image with Wide Dynamic Range up to 800% greater. In practical terms, wide dynamic range means that good details are visible in the shadow areas without blowing out the highlights.

It’s important to realize that this is a breakthrough approach. These are groundbreaking features that will doubtlessly be exploited by other manufactures as time goes on.

The Finepix F200 EXR is a fine camera, even without these advanced capabilities. It features a 12-megapixel Super CCD that measures 1/1.6 (0.625) inches—larger, even than the classic Fujifilm models that came before it. The lens is a very versatile 5X zoom (28-140mm equivalent) that provides true wideangle 28mm reach and is backed by a CCD shift-type Image Stabilization system to neutralize camera shake. Images are composed and reviewed on a sharp 3-inch LCD (230,000 pixels). And unlike many compact cameras that offer Program AE only, the Finepix F200 provides Aperture Priority mode for greater creative control.

Never forgetting that their roots run deeply into the world of film-based photography, the Finepix F200 has three film emulation modes. The Standard Mode produces results similar to Fujifilm’s PROVIA brand. Expect colors with a natural tone and true, lifelike color fidelity. The Vivid Mode emulates Fuji’s popular VELVIA film, so results exhibit increased saturation. As they put it, “Produce the vivid colors of subjects in photos with great sharpness and color tones.” Last but not least, the Soft Mode delivers what pros have come to appreciate about ASTIA films: soft, fine, smooth tonality.

One characteristic that’s often overlooked in compact camera reviews is durability—from a pragmatic point of view. Some people call it “build quality” but that doesn’t really quite sum it up. Fujifilm makes cameras that I can put in my pocket, bike bag, briefcase, car’s cup holder, backpack,  kid’s backpack,  golf bag, wife’s purse, desk drawer, field jacket pocket, fanny pack—you get the idea—and never, ever have to worry about anything.

Unlike many brands, Fujifilm cameras do not have what I call “hanging slide switches” or other hidden entrapments waiting to snag on something and foil a fun day of shooting. Plus, the batteries are always long-lasting. In short, they’re easy to pack and fun to use and above all else, deliver top notch results. Every time.

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