Fujifilm FinePix HS50EXR Review
The Fujifilm FinePix HS50EXR is a new bridge super-zoom digital compact camera. Looking and handling like a DSLR, the Fujifilm HS50EXR boasts a 42x zoom lens which covers a 35mm equivalent focal range of 24-1000mm and features mechanical image stabilisation and twist-barrel manual zoom and focusing controls. Other highlights of the HS50 EXR include a 16 megapixel ½-inch EXR Back Side Illuminated CMOS sensor, a 3-inch vari-angle 920k-dot LCD monitor, 920k-dot electronic viewfinder with eye-sensor for automatic switching, and full 1080p HD movie recording at up to 60fps with stereo sound. The biggest difference over the previous HS30EXR model is the inclusion of Phase Detection pixels on the sensor to achieve an incredibly short autofocus lag of just 0.05 second in ideal conditions. In addition there’s an ISO range of 100-12800, High Speed movie capture at 480 fps, continuous shooting at 11fps, Focus Peak Highlight function, 500 shot battery life, a customisable Function button, full manual controls and support for the RAW file format. The Fujifilm FinePix HS50EXR is available now for £469.99 / $549.95 in the UK / US respectively.
Ease of Use
In terms of its external design the new Fujifilm FinePix HS50EXR looks almost identical to the HS30EXR model that it replaces. Therefore a lot of the comments that we made about that model apply equally to the HS50, which looks, feels and handles very much like a mid-range DSLR. Designed as a do-it-all, all-in-one solution for the serious photo enthusiast, the Fujifilm FinePix HS50EXR is more than weighty and well built enough to withstand a few glancing knocks in the heat of the action. The moulded curves of the body and new rubberized matt black finish deliver a purposeful look that is as aesthetically pleasing as it is practical, with nice chunky controls, an ergonomic control layout that allows both quick and easy access to functions, and a deep hand-grip with a well-thought-out indentation into which a middle finger slots comfortably.
At the heart of the HS50EXR is a new, incredible non-interchangeable 42x zoom lens, up from 30x on the HS30EXR, complete with manual zoom and focus rings, just like on a DSLR lens. This incredibly versatile lens offers a focal range starting at an ultra-wide 24mm and finishing at an ultra-telephoto 1000mm, which, as Fujifilm cannily point out, would take at least two super-zoom DSLR lenses to offer similar reach. Throw in the 1cm Super Macro Mode and impressive maximum apertures of a bright f/2.8 at 24mm wide-angle to a slightly brighter f5.6 at 1000mm telephoto, and it's clear that the HS50EXR is perfectly suited for any subject that you can think of, near or far.
To help avoid blur resulting from camera shake when shooting in low light or hand-holding the camera at the telephoto extremity of the zoom, Fujifilm have added a 'belt and braces' solution of high ISO sensitivity, stretching up to ISO 12,800 at full resolution (Small JPEG only), a built-in mechanical stabilizer with Continuous or Shooting Only modes, and digital image stabilisation too if required. Activated via the IS Mode menu option, you can set the system to Continuous, Shooting Only, either mode with the addition of digital stabilisation, or Off. Note that the camera will only automatically adjust the ISO speed when using the Auto shooting mode - in the other modes the ISO speed that you select will always be used, so only the mechanical sensor-shift part of the system is used.
The full 42x zoom range also be accessed in the Motion JPEG format movie mode, with the HS50EXR offering full 1920x1080 pixel footage at up to 60 frames per second with constantly adjusting auto exposure and auto-focus with stereo sound. You can also manually focus during movie shooting. It can record video clips up to 29 minutes long for the 1920x1080 and 1280x720 pixel formats, with longer times available for VGA and SVGA modes. The dedicated Movie button on the rear makes it quick and easy to shoot a movie without missing the start of the action, and there's a mini-HDMI port for connection to a HDTV (cable not supplied). You can select one of the Film Simulation or Advanced Filter modes to give your footage a more creative look, and there's the option to take a still photo at any time during movie recording.
In addition to these "normal" movie modes, the HS50EXR also offers several high-speed modes. There are three different speeds on offer - 480, 240 and 120fps, with the file size varying from 320x112 to 640x480 pixels. This slow-motion effect is initially very appealing and sure to impress your friends, but there are some drawbacks to be aware of. Sound isn't recorded at all, horizontal bands can appear as the lighting fluctuates, and the actual sizes of the recorded movies are pretty small.
From the front the Fujifilm HS50EXR looks like a serious bit of kit. The large optically stabilised zoom lens dominates proceedings, with a push-on lens cap, retaining strap and petal-shaped lens hood provided in the box. Above the lens and extending out across the lens barrel, which boasts a textured surround allowing you to get a good firm grip and achieve a smooth, steady zooming action, is a sloping ridge that conceals the pop-up flash (when not in use), which is activated via a dedicated button positioned on the right. Still viewing the HS50EXR from the front, the stereo sound speakers are positioned one on either side of the lens barrel, with a familiar dual purpose AF-assist illuminator and self-timer lamp to the left. Above the pop-up flash is another DSLR-like touch - a hotshoe for additional illumination via an optional external flashgun (EF-42 and EF-20 models).
Looking down on top of the camera, viewed from the rear, there's a clearly labeled and logically laid out control set, with a chunky, ridged shooting mode dial which is reminiscent of those found on, yes you've guessed it, DSLR cameras. Ranged around the dial, which turns with just the right amount of resistance for it to lock firmly into place at each setting, are the expected shooting options, such as full auto, program, shutter priority, aperture priority and manual modes, along with a customizable mode via which favoured shooting settings can be saved for rapid access, plus two scene position modes (SP1 and SP2) pre-optimised for common subjects.
In addition, there are several more shooting modes that are particularly noteworthy. First up is the EXR Auto mode (one of the four EXR modes), which is an 'auto everything' scene recognition mode that's the equivalent of Panasonic's Intelligent Auto mode. Although far from infallible - if you're not paying close attention and it's presented with a busy scene it will call up landscape when macro is needed and vice versa – it instantly makes the HS50EXR more beginner friendly, instantly recognising 10 basic scenes and then applying one of the three other EXR modes too.
|Side||Tilting LCD Screen|
Fujifilm's EXR sensor can be utilized in one of three ways by the photographer. There's a choice between shooting at full 16 megapixel resolution in High Resolution (HR) mode, or an 8 megapixel image in the Low Noise (SN) mode for shooting without flash in low light conditions, or the Dynamic Range (DR) mode to achieve an optimal balance between shadows and highlights. The latter offers five strengths ranging from 100-1600%. If you can't decide which is best for a chosen scene or subject, then just leave the camera on the scene-detecting EXR Automatic Mode and let it choose for itself.
Next is the rather misleadingly named Advanced mode, which actually has four options that are well suited to all experience levels. The first shooting mode is the new Advanced Filter, which as the name suggests houses six artistic filters that can be applied to your photos as you take them. The options are Toy Camera, Miniature, Pop Color, High-Key, Dynamic Tone and Partial Color, so nothing that we haven't seen before on other competing models.
The Pro Focus mode makes it easier to achieve a blurred background, perfect for portraits where compact digicams traditionally struggle, with three strengths of blurring on offer. The Pro Low-light mode uses multi-bracketing technology, taking a series of four high sensitivity/low-noise shots in quick succession and combining them into an image with less noise than the single exposures. In the Multiple Exposure advanced mode the Fujifilm FinePix HS50EXR can combine two seperate images into one. You can see examples of all four Advanced shooting modes on the Image Quality page.
The final shooting mode on the top dial is the Panorama option, clearly inspired by Sony's popular Sweep Panorama function. This lets you capture a 120, 180 or 360 degree panoramic image very easily without the use of a tripod. All you need to decide is whether you would like to start from left or right, top or bottom, then press and hold down the shutter release while doing a "sweep" with the camera in hand. Exposure compensation is available before you start the sweep, with the exposure fixed once you depress the shutter button. After you are done with the sweeping, the camera does all the processing required, and presents you with a finished panoramic image.
Although undoubtedly fun, there are a few catches. The final panorama is of relatively low resolution, and if you do the sweeping too slowly, or you let go of the shutter release button too early, the panorama will be truncated. If the exposure varies throughout the scene, then some areas will be over or under exposed, depending upon the exposure value that was chosen as the panorama was started. Finally, people and indeed anything that moves in the frame are recorded as several ghost outlines, which means that you can really only record static, empty scenes, something that Sony have solved in the latest iteration of their Sweep Panorama feature.
To the right of the shooting mode dial is a smaller command dial with a positive clicking action which is used for scrolling through features and captured images, and will feel immediately intuitive to anyone who has handled a DSLR before. The same dial is also used to change the aperture and shutter speed when using the more advanced shooting modes. In the Manual mode, you hold the Exposure Compensation button down with your forefinger and give the dial a flick with your thumb to change the aperture, not as intuitive as having two separate command dials but perhaps understandable given the HS50's target audience. Otherwise the exposure compensation button works largely as you'd expect, with a visual slider graph on screen accompanied by a live histogram.
Next to the EV button is the rather innocent-looking Continuous Shooting button, which accesses another of the HS50EXR's mouth-watering features. Pressing this button brings up six options - Still, Continuous, Best Frame Capture and three different kinds of bracketing (exposure, film simulation mode and dynamic range). Choosing Continuous accesses four further options - SH/16fps, H/11fps, M/6fps and L/fps. The SH option shoots at 16fps for 13 frames, but only at the Medium image size. The H option shoots at 11fps at full resolution, but only for 5 frames, while the M and L options shoot at 6fps and 3fps, again only for a maximum of 5 full resolution frames. Choosing one of the Best Frame Capture modes shoots at 16/11/6/3fps at full resolution from the moment that you focus and then saves up to 7 images including pre-recorded frames. Once the burst is completed, it takes just over two seconds for the camera to clear the buffer, during which you cannot take another picture.
Forward of these two controls is the main shutter release button encircled by the on/off power switch. Flick this to On, and the rear LCD or electronic viewfinder – depending on which one you previously had selected – blinks into life, a process taking around half a second, as good as most DSLRs and a big improvement on the HS30EXR. The Fujifilm FinePix HS50EXR is even quicker to determine focus and exposure with a half press of the shutter button than it's already quick predecessor, taking a mere 0.05 seconds to lock onto the subject in ideal lighting conditions thanks to its ultra-fast hybrid AF system which has both a conventional contrast-detection system and built-in Phase Detection pixels. If you mostly use auto-focus rather than manual then this one improvement alone is reason to upgrade to (or indeed buy) the HS50EXR. Both JPEGs and RAW files are quickly committed to SD / SDHC / SDXC memory in single-shot mode with only the briefest pause between each one, another big speed improvement, although there's no card supplied out of the box, with just the 25MB internal capacity to fall back on.
Manual focusing is activated by setting the new focusing switch on the side of the camera to Manual and using the focusing ring to set the distance, with the LCD display automatically zooming in on the subject to help you judge the sharpness. There's a handy distance scale along the bottom of the LCD screen with a white bar indicating the the focusing distance. The HS50EXR also offers a Focus Peak Highlight function, which displays a white line around the subject when it's in focus. This addition makes manual focusing on the HS50 much more of a pleasure than a chore.
Moving to the rear of the HS50EXR, your attention is immediately drawn to the large 3-inch monitor, which offers 100% scene coverage and a higher resolution of 920K dots. The HS50EXR's LCD screen is now a vari-angle model that can be flipped-out to the side and tilted through 270 degrees, giving you a lot of flexibility in composing your shots, a big improvement on the more limited movement offered by the HS30EXR's screen.
|Memory Card Slot||Battery Compartment|
New to the HS50EXR is the Q button. This calls up the very handy Quick View screen, a feature borrowed from the X-E1 and X-Pro1 mirrorless cameras, and also newly incorporated on the X100S and X20. This provides quick access to lots of frequently used shooting settings including the ISO speed, White Balance, File Size and File Quality, with the 4-way controller and command dial used to quickly change them. An unfortunate consequence of the new flip-out LCD screen is the removal of the handy vertical column of five small buttons on the HS30EXR, which have essentially been replaced by the Quick menu.
Alos above the LCD is a small button for swapping the display between monitor and the 920k-dot resolution electronic viewfinder with 100% scene coverage and surrounding eyecup. The EVF also has its own dioptric correction wheel to its immediate left, which is far less stiff and physically larger than found on competing models, meaning that for the myopic adjustment can be made in a faction of a second. The viewfinder display is itself large, bright and clear, though the temptation to predominantly utilise the more flexible LCD below is almost overwhelming. A welcome addition comes in the form of a sensor which automatically switches between the EVF and viewfinder when you hold the camera up to eye-level, speeding up the transfer from using the LCD to taking a shot through the EVF. Note that his feature can be turned off if you find it annoying.
Above the screen again is the previously mentioned one-touch movie record button, and to the left a self-explanatory AE/AF lock button. Below that is a familiar four-way controller with a dual-purpose menu/OK button at its centre. Ranged at north, south, east and west around this control are variously, the customisable Function button which can be set to one of 10 key options (also doubling up as a file deletion button when in playback mode), the various flash modes, the self timer options, and shifting focus from infinity to either macro or super macro.
Press the Menu button in shooting mode and you get a comprehensive choice of options from two main folders., Shooting and Set-Up, with up to 6 screens containing 6 icons per screen. Most of the options are the "set once and forget" kind, so you won't have to dip into the menu system too often. Below the navigation pad is a dual-purpose control marked Display/Back that switches between the various LCD modes and also allows you to retrace your steps at any point. Completing the rear of the HS50EXR is a self-explanatory playback button for quickly viewing captured images.
The right hand flank of the Fujifilm FinePix HS50EXR features a flip-open compartment for the SD / SDHC / SDXC card slot, again usefully mimicking a DSLR, while the left has a rubber flap hiding the HS50EXR's mini-HDMI port and the regular USB / AV out sockets. New to the HS50EXR is a socket for an external microphone, again protected by a rubber flap, a handy switch for setting the focus mode (Manual, Continuous, Single), and the built-in microphone.
The base of the Fujifilm FinePix HS50EXR features a screw thread for a tripod, sadly made of plastic and not in line with the lens barrel, and a sliding door hiding the compartment for the Lithium-ion battery. At around 500 shots battery life is very respectable thanks to the adoption of a Lithium-ion rechargeable battery. There are metal eyelets on either side of the body for attaching the provided shoulder strap.
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