Digitalcamerainfo.com had a look at the Fujifilm FinePix S3 Pro, the 12.3 megapixel DSLR touted for an extended dynamic range that aims to rival the tonal range of 35mm film. They found the unit does indeed impress in its 9-stop expanded dynamic range, beautiful color and excellent noise control — yet that range is accompanied by some serious drawbacks, including “glacially slow” shooting and writing speeds and mediocre autofocus which is particularly weak in low lighting situations. Following a half second startup delay, the S3 will do no better than one frame per second, so at $2500 professional photographers will have to decide if the expanded tonal range is worth the cost and the speed limitations. It may be an ideal choice for wedding and portrait photographers who need the guaranteed rich color even in uncontrollable lighting situations, but for those who don’t need the expanded range, you may be better off looking at the Nikon D70s, the Canon EOS 20D, or the Nikon D2X.

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Fujifilm FinePix S3 Pro Digital Camera Review
by Patrick Singleton

Since the advent of digital photography, photographers, and particularly wedding and portrait photographers, have complained that digital SLRs have lacked the dynamic range of film. Fujifilm hopes the S3 Pro will fill this void and provide those photographers with a digital imager that will rival the attainable tonal range of 35mm film. At an MSRP of $2499.00, and built around Fujifilm’s own Super CCD SR II imaging chip, the S3 offers two more stops of dynamic range than Fujifilm’s previous offering, the S2, or competing cameras. Additionally, the camera's image processor has been designed by Fujifilm to make print-ready JPEGs, a convenient feature intended to save commercial photographers time in postproduction.

Fuji has done some very smart engineering to address a very real need in digital photography. Unfortunately, the FinePix S3 blends its uniquely impressive image quality with glacially slow shooting and writing speeds, and mediocre autofocus – it’s unsure in low light, and slow all the time. This results in some very strong limitations that many users will not be able to look past. But for some, the S3 will offer a formidable alternative that is superior to any other camera currently on the market.

Like the S2, the 5.8 x 5.3 x 3.2-inch, 29.5 oz. S3 is a hybrid of pro-level imaging technology with prosumer-level photomechanical technology. Addressing a few particular concerns among S2 users, Fuji added a new shutter release for vertical shots, a larger LCD, and a simplified power supply of four NiMH AA cells, rather than the S2’s bizarre requirement of four AAs and two lithium CR-123s. But the improvement isn’t as substantial as it could be; the S3’s competition all utilizes much higher-capacity and more convenient lithium-ion packs.


Color (8.39)

Since color preference is largely subjective, our testing measures the accuracy of the reproduced tones by contrasting the camera’s rendered tones with the corresponding ideal. We do this by recording a series of exposures of an industry standard GretagMacbeth color chart and importing the results into Imatest Imaging Software. For cameras that offer multiple color modes as well as tonal and saturation adjustments, a series of tests are conducted at the various available settings, with the best results reported. Again, these are the most accurate color results achieved by the camera, not necessary the most striking or appealing to the user. It is far easier to embellish a “realistic” representation of a scene in postproduction than it is to try to revert it back to its actual appearance. Cameras that score high on these color tests will give photographers an opportunity to capture a more natural scene and then work with the file; it is not a gauge of how well the camera might be tailored to any given individual’s taste.

The S3’s color performance was acceptable, earning an 8.39 overall color score; however, overall performance was not quite as strong as might be expected. While users can manually adjust color saturation in 3 levels, the S3’s rendering of most red and green tones (# 15 Red, #9 Moderate Red, #16 Yellow, #14 Green, #11 Yellow Green) were far from accurate. Blue channels were shifted, while red values were over-saturated and green values under-saturated. The inconsistency in the S3’s rendering makes it difficult for users to properly calibrate tones in-camera, making it necessary to adjust individual tones post-capture. For some users, this will not be a problem; however, those looking for a usable JPEG straight off the card might see this as a sizeable roadblock.

Most of the inaccurate tones produced by the S3 appear to be deliberate adjustments by Fujifilm to add vibrancy and brilliance to the image. While many might prefer the aesthetics of the S3’s reproduction, those seeking flawless color representation will have to invest time some editing the file.


Resolution / Sharpness (5.55)

The S3’s 23.0 x 15.5mm Super CCD SR II imaging sensor records 6.17 million pixels, but it has two photoreceptors for each pixel - an “S” photoreceptor for the basic image, and a smaller, less-sensitive “R” receptor for the highlights. When the camera is set for maximum dynamic range, the S and R data are combined to produce a single 6.17 megapixel image. The “S” site is very much like the ones on traditional CCDs, but the “R” site is much smaller and less sensitive to light. So, when the “S” is overexposed, the “R” site is not, which is key to the S3’s extended dynamic range. The camera can interpolate the CCD data into 12.1 million pixels, but not by using the “R” data as separate pixels.

To test the resolution of the S3 Pro, we captured several exposures of an ISO 12233 resolution chart and uploaded the images into Imatest Imaging Software. The software reads the imported file and detects the number of pixels active in forming the image. Our resolution tests are conducted under controlled studio conditions, using three softbox lamps totaling 350 lux of illumination. The exposures are recorded at various aperture settings and span the entire focal range of the applied lens. We report the best results attained, indicating the camera’s optimal performance capabilities. The results are given as both an exact pixel count and as a percentage score of the camera’s advertised resolution. When this is done, cameras that achieve a score exceeding 70 percent of their advertised megapixel count are viewed as "good" performers, while cameras that score beyond 80 percent are "very good" and anything exceeding 90 percent is designated as "excellent" and is quite rare.

Our tests concluded that the Fuji S3 records images with 5.55 megapixels of resolution. This is 91% of its advertised pixel count and earns the rare and coveted “excellent” distinction. By contrast, the Canon Rebel XT achieved a resolution score of 89% of its advertised count, though with an 8.0 megapixel sensor, the XT utilized 7.102 megapixels during imaging. But the 5.55 active pixels used by the S3 will certainly enable photographers the flexibility to tweak images to their client’s specifications and create 11 x 14-inch prints with stunning sharpness and tonal quality. The image displayed above was captured at a focal length of 41mm with an aperture setting of f/9.5. This was taken using the S3’s expanded dynamic range as most users willing to pay $2500 for a camera that features such a thing will likely keep the camera on that setting.


Noise – Auto ISO (0.0)

The S3 does not offer an automatic ISO setting, but contains a manually selectable 100-1600 ISO range, accessible in all shooting modes.


Noise – Manual ISO (14.17)

When shooting with the Fuji S3, users can choose a sensitivity rating between ISO 100 – 1600, in full stop increments, with the exception of an additional ISO 160 option. This is a flexible range, although it does not include an ISO 3200 rating which would significantly increase the camera’s low light capabilities.

In terms of noise suppression, the Fuji S3 performed far beyond expectation, earning a 14.17 overall noise score. Even at ISO 1600, images produced by the Fuji S3 had impressive image clarity and minimal perceivable noise. To shed some perspective on the S3’s performance, the images captured by the S3 at its highest ISO setting (ISO 1600) contained less noise than images that would be shot from the Canon EOS 20D and Rebel XT at an equivalent ISO setting of 300 (as interpolated from our noise graph). When the cameras were set to ISO 800, the amount of visible noise produced by the 20D and EOS Digital Rebel XT was nearly double that of images shot with the S3 at 1600. The S3’s performance at 1600 even rivaled Olympus’ introductory/prosumer-level DSLR, the EVOLT E300, at its lowest available ISO setting (ISO 100).

The tonal gradations and expanded dynamic range of the Fuji S3 are clearly strides beyond other available digital SLRs, and the S3’s ability to control noise is equally impressive. Although the S3 does not contain the resolution or speed offered by most competing models, the minimal noise and expanded tonal range of the camera results in images of superior quality. This test clearly shows why so many wedding and portrait photographers are willing to spend $2,500 on a 6.1 MP DSLR that can only capture high quality JPEGs every 1.02 seconds.


Low Light Performance (5.5)

To evaluate the Fuji S3’s low light performance, we captured a sequence of images at decreasing light levels. The images are shot at the camera’s highest available ISO setting without the assistance of the flash. This isolates the camera’s sensitivity to light and provides insight into the camera’s ability to capture shots at night or in dim indoor situations. Cameras are tested at 60, 30, 15, and 5 lux to simulate common low light conditions; 60 lux is comparable to an interior scene at dusk, while 30 lux appears similar to a room lit by a 40 watt light bulb. Images recorded at 15 and 5 lux indicate the camera’s ability to perform in near darkness.


Speed / Timing

Startup to First Shot (9.41)
The Fuji S3 takes a relatively leisurely 0.59 seconds to start up. That’s the slowest start-up among the digital SLRs we’ve tested, but not by much.

Shot to Shot (8.98)
The Fuji S3 needed an average of 1.02 seconds between shots for JPEGs in extended dynamic range mode. Shooting RAW, shots went off every 0.67 seconds, but the buffer was saturated after only three frames, and it takes many seconds for the buffer to clear. The camera performs much better when extended range is turned off, indicating that the delay is the mainly the result of the significant data processing the camera performs to integrate the information from the two sets of photoreceptors. Since the camera’s main strength is its extended dynamic range, the lag time in that mode is clearly the one to consider when evaluating the camera.

Shutter to Shot (9.99)
The Fuji S3’s only good Speed score is an important one: we measured only 0.0001 seconds of shutter lag, so when you press the shutter, you’re going to get the shot.



Viewfinder (6.5)

I wish Fuji had crafted the S3’s viewfinder a bit larger. Conventional wisdom about the S2 was that its viewfinder was simply a 35mm one masked off for the smaller digital format. The S3’s viewfinder isn’t any better. On the plus side, it’s easy to see the entire display, even when wearing eye glasses.

The diopter setting was somewhat troublesome; without a lock, it is susceptible to accidental alteration if bumped.

LCD Screen (8.0)

The FinePix S3’s LCD is a bit larger than the S2’s, at 2 inches. That’s comparable to the Canon 20D and the Nikon N70. At 235,000 pixels, though, it nearly doubles their specs, and the S2's specs. While it may not offer quality that’s exactly twice as good, it is a substantial and noticeable improvement.


Flash (7.5)

The S3’s pop-up flash does an excellent job adding a bit of fill in portraits, but it’s no substitute for an external unit. It covers the field of a 20mm lens, but at ISO 200, it won’t reach past 10 feet at f/5.6. And of course, it won’t bounce or accept any diffusers.


Lens Options (9.0)

Fuji does not market the camera with any lens, but they sent the test model with a “Tamron SP AF Aspherical XR Di LD (IF) 28-75mm 1:2.8 Macro [phi]67,” which delighted all us fans of initials and arcane product names. The lens is a very good choice for the camera. Though we didn’t test it rigorously, at first blush it’s sharp, has nice build quality, is bright at f/2.8, and has a useful zoom range.

Compatibility with the Nikon F lens mount is a major feature of the FinePix S3. Most importantly, Nikon makes excellent lenses. Not all Nikon optics are excellent, but lots are. Nearly as important, other strong lens makers offer excellent lenses that are compatible with Nikon cameras and the S3 – the Tamron lens on our test camera is an example. It’s possible to buy excellent Nikon and Nikon-mount lenses on the used market as well. Whatever lenses work on the S3 will work on current Nikon DSLRs, and almost certainly on future Nikon DSLRs. No 35mm and digital camera manufacturer has protected its customers from obsolescence better than Nikon.


Model Design / Appearance (7.0)

The S3 is cosmetically more refined and coherent than the S2. There are fewer straight lines on the S3, the buttons on the back of the camera are larger, and they better match the scale of the lines of the camera. Even though the S3 offers significantly more options than its predecessor, Fuji chose not to crowd the interface with more buttons or displays. That was a good decision – it’s not exactly an elegant camera, but the S3 at least appears uncluttered and utilitarian.

The right-hand grip of the S3 curves a bit around the lens mount, helping to form a more comfortable and suitable gripping platform. The camera’s black-to-very-dark-gray plastic and rubber surfaces are reminiscent of both the S2 and Nikons cameras, but Fuji finally dumped the red plastic accents that the S2 inherited from the Nikon N80. Though it seems that the S3 shares many internals with the S2, and by extension, the Nikon D100 and N80, Fuji isn’t playing up that link in marketing materials, referring instead to the camera’s “Unique, Professional Body,” which is “designed and crafted to Fuji specifications.”


Menu (6.5)

Fuji’s menu design is not user-friendly. There are too many places to look for information on the FinePix S3, and too few cues about where to look for any given setting. The S3 labels submenus with numbers instead of meaningful icons (unlike Nikon’s little wrench, camera, and pencil graphics for camera setup, shooting options, and file writing). It is much easier to remember that setting the date and time is under the wrench menu than that it’s under menu number three. Fuji even passed up the chance to color-code the headings, something both Nikon and Canon do in very helpful ways. Also, the S3 does not “tab” its menus, a feature that allows the user to conveniently jump from one submenu to another.


Ease of Use (6.0)

Fuji’s press releases say that the company talked to S2 users as the S3 design and feature set were developed. Clearly, many of those users were wedding photographers. Both the high-end wedding shooters, who shoot RAW, and the JPEG shooters will see an obvious benefit from the extended dynamic range. A fair number will set the camera to automatic dynamic range and JPEG. They will get great JPEGs when they nail the exposure, and true to Fuji’s marketing materials, even their overexposed JPEGs will be more salvageable than overexposed shots from other cameras. They’ll appreciate the automatic dynamic range setting – it will not become one more setting to have to remember.

The S3 offers significant image controls, but they can be automated, set once and left alone, or turned off. The camera is not any fussier than the S2, particularly for wedding photographers, who will probably shoot tests to figure out how they want the camera set, and then leave it that way.

Fuji deserves credit for maintaining a consistent interface between the S2 and the S3. It’s likely that many folks using the S2 professionally will add an S3 to their equipment roster. Both cameras are easy to use. The most important controls are easily accessible, and the less important ones are pretty inconspicuous.

The flaws in the camera interface - labeling menus with numbers rather than anything vaguely helpful, for instance, probably won’t actually slow down a shoot. I would also pass up Hyper-Utility for anything but RAW conversion and camera control, because so many other products are easier to use for viewing and organizing images.



Who It’s For

Point-and-Shooters – The S3 is far too expensive, and offers far too many options for this crowd.

Budget Consumers – At $2500, it’s only a budget camera compared to the very top of the line DSLRs.

Gadget Freaks – Given its unique technology, it’s gotta be intriguing -- someone’s going to get a kick out of explaining “S” and “R” photoreceptors to all their friends.

Manual Control Freaks – Again, a serious maybe here. Not only does the camera offer full manual control, it offers full control over dynamic range.

Pro/Serious hobbyist – These are the users who are going to buy the S3 and utilize the dynamic range option. At least some of them will use it side by side with something faster, probably Nikon, because of lens compatibility.


Conclusion

The FinePix S3 really does offer expanded dynamic range, with beautiful color and excellent noise control. Maybe we should stop right there, because that’s the news. That’s what the competition has to try to match.

The question is whether or not to buy one. Sure, lots of people need more dynamic range and good portrait color, but do they need it for $2500? Do they need it at one frame per second? Do they need it with autofocus that wasn’t top-of-the-line even three years ago?

Actually, yes. The camera will serve a sizable market. Wedding and portrait photographers need to take flattering pictures with rich color even when they can’t control the lighting. This is a very large sect of commercial photographers, compared to other segments of the photographic profession, and they can put up with many of the limitations of the S3. Fuji is wise to go after them.

Professional photographers will have to make their own judgments about whether they’ve been losing money thanks to limited dynamic range, or if more dynamic range will pay back a $2500 bill at the camera store.

For users who don’t have a cost/benefit analysis to run, the question is much more subtle. The FinePix S3 yields much, much better dynamic range than the Nikon D70 or Canon 20D, and better color. It’s not better in any other respect, and it’s inferior in many other regards, so the decision will inevitably come down to personal preference and shooting priorities.