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Fujifilm FinePix HS20EXR Camera Review  

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Since its founding in 1934 Fujifilm has had a history of innovative products from film to X-rays and cameras to medical imaging - even branching out into a range of skin care products. They are best known for their cameras and this is the area we will be exploring today. Unlike long time rival Kodak, Fuji have been quick to embrace change by prediciting the disruptive effects digital photography would have and readily cannibalised their existing ranges to remain current. This willingness to remain competitive is what ultimately saved them from the same fate as Kodak and now they are one of the world's oldest photographic manufacturers. Their cameras range from compacts for everyday use to specialist products for enthusiasts and professionals. One area they have avoided is the Digital SLR, instead offering up a range of Bridge cameras with the allure of SLR functionality but with the convenience of a compact camera and without the hefty price tag. Given the difficulty Panasonic (the last entrant into the Digital SLR arena) has faced becoming established against the incumbents (Canon and Nikon) this may be a wise strategy.

Today we are reviewing the Fujifilm FinePix HS20EXR and will take a detailed look through the course of this article.



Before delving into the camera, we should examine the specifications to give readers some idea of what the HS20EXR is capable of. These specs are taken from the Fujifilm site:.

Model FinePix HS20EXR
Sensor type 1/2-inch EXR CMOS with primary colour filter
Storage media
  • Internal memory (Approx. 20MB)
  • SD / SDHC / SDXC(UHS-I) memory card*2
File format
still image
JPEG (Exif Ver 2.3)*3, RAW (RAF format), RAW+JPEG
(Design rule for Camera File system compliant / DPOF-compatible)
H.264 (MOV)
WAVE format, Stereo sound
Number of recorded pixels
still image
L : (4:3) 4608 x 3456 / (3:2) 4608 x 3072 / (16:9) 4608 x 2592
M : (4:3) 3264 x 2448 / (3:2) 3264 x 2176 / (16:9) 3264 x 1840
S : (4:3) 2304 x 1728 / (3:2) 2304 x 1536 / (16:9) 1920 x 1080
<Motion Panorama>
360 Vertical 11520 x 1624 Horizontal 11520 x 1080
180 Vertical 5760 x 1624 Horizontal 5760 x 1080
120 Vertical 3840 x 1624 Horizontal 3840 x 1080
Fujinon 30x optical zoom lens
focal length
f=4.2 - 126mm, equivalent to 24-720mm on a 35mm camera
F2.8 (Wide) - F5.6 (Telephoto)
11 groups 15 lenses
Aperture F2.8-F11 (Wide) F5.6-F11(Telephoto) 1/3EV step
Focus distance (from lens surface)
  • Wide : Approx. 50cm / 1.6ft. to infinity
  • Telephoto : Approx. 3.0m / 9.8ft. to infinity
  • Wide : Approx. 10cm - 3.0m / 0.3ft. - 9.8ft.
  • Telephoto : Approx. 2.0m - 5.0m / 6.5ft. - 16.4ft.
Super Macro
  • Approx. 1.0cm - 1.0m / 0.4in. - 3.2ft.
Sensitivity Auto / Equivalent to ISO 100 / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 (Standard Output Sensitivity)
  • * ISO6400 : M mode or lower, ISO12800 : S mode
Exposure control TTL 256-zones metering, Multi, Spot, Average
Exposure mode Programmed AE, Aperture Priority AE, Shutter Priority AE, Manual
Shooting modes
Natural Light, Natural Light & with Flash, Portrait, Portrait Enhancer, Dog, Cat, Landscape, Sport, Night, Night (Tripod), Fireworks, Sunset, Snow, Beach, Party, Flower, Text
Image stabilisation CMOS shift type
Face detection Yes
Exposure compensation -2.0EV - +2.0EV 1/3EV step
Shutter speed (Auto mode) 1/4sec. to 1/4000sec., (All other modes) 30sec. to 1/4000sec.
(combined mechanical and electronic shutter)
Continuous shooting
L : TOP- 4 / 8 frames (3 / 5 / 8 frames/sec.)
M : TOP- 4 / 8 / 16 frames (3 / 5 / 8 / 11 frames/sec.)
S : TOP- 4 / 8 / 16 / 32 frames (3 / 5 / 8 / 11 frames/sec.)
Best Frame capture
L : 8 frames (3 / 5 / 8 frames/sec.)
M : 8 / 16 frames (3 / 5 / 8 / 11 frames/sec.)
Auto bracketing AE Bracketing : 1 / 3EV,2 / 3EV,1EV
Film Simulation Bracketing : PROVIA / STD, Velvia / VIVID, ASTIA / SOFT
Dynamic Rang Bracketing : 100% / 200% / 400%
Single AF / Continuous AF (EXR AUTO, Movie) / Manual AF (One-push AF mode included)
TTL contrast AF, AF assist illuminator available
AF frame selection
Center, Multi, Area, Tracking
White balance Automatic scene recognition
Fine, Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent light (Cool White), Incandescent light, Custom
Self timer Approx. 10sec. / 2sec. delay
Flash Auto flash (super i-flash)
Effective range : (ISO AUTO)
  • Wide : Approx. 30cm - 7.1m / 1ft. - 23.2ft.
  • Telephoto : Approx. 2.0m - 3.8m / 6.5ft. - 12.4ft.
Flash modes Red-eye removal OFF : Auto, Forced Flash, Suppressed Flash, Slow Synchro.
Red-eye removal ON : Red-eye Reduction Auto, Red-eye Reduction & Forced Flash, Suppressed Flash, Red-eye Reduction & Slow Synchro.
Hot shoe YES
Electronic viewfinder 0.2-inch., approx. 200,000 dots, colour LCD viewfinder approx. 97% coverage
LCD monitor 3.0-inch, approx. 460,000 dots, TFT colour LCD monitor, approx. 100% coverage
Other functions PictBridge, Exif Print, 35 Languages, Time difference, Silent mode
Video output
NTSC / PAL selectable with stereo sound
Digital interface
USB 2.0 High-Speed
HDMI output
HDMI Mini connector
Power supply 4xAA type alkaline batteries (included) / 4xAA type Ni-MH rechargeable batteries (sold separately) / 4xAA type lithium batteries (sold separately) / CP-04 with AC power adapter AC-5VX(sold separately)
Dimensions 130.6(W) x 90.7(H) x 126.0(D) mm / 5.1(W) x 3.6(H) x 5.0(D) in.
Weight Approx. 636g / 22.4oz. (excluding accessories, battery and memory card)
Approx. 730g / 25.7oz. (including battery and memory card)
Operating temperature 0C - 40C
Operating humidity 10% - 80% (no condensation)
  Alkaline batteries : Approx. 350frames
Ni-MH rechargeable batteries : Approx. 400 frames
Lithium batteries : Approx. 700 frames
Accessories included 4x AA type alkaline batteries
Shoulder strap
USB cable
A/V cable
Lens cap and Lens cap cord
Owner's manual
Lens hood
Optional accessories AC Power Adapter AC-5VX
DC coupler CP-04
Lens hood LH-HS10
Remote release RR80
Shoe Mount Flash EF-42 / EF-20
  *1 Number of effective pixels: The number of pixels on the image sensor which receive input light through the optical lens, and which are effectively reflected in the final output data of the still image.
*2 Please see the Fujifilm website to check memory card compatibility.
*3 Exif 2.3 is a digital camera file format that contains a variety of shooting information for optimal printing.
Number of images
Modes Still image (L)
Number of recorded pixels 4608 x 3456 (4:3) 4608 x 3072 (3:2) 4608 x 2592 (16:9)
SDHC memory card 4 GB 630 1000 710 1120 840 1330
8 GB 1260 2020 1430 2260 1690 2670
Number of images
Modes Still image (M)
Number of recorded pixels 3264 x 2448 (4:3) 3264 x 2176 (3:2) 3264 x 1840 (16:9)
SDHC memory card 4 GB 990 1960 1120 2210 1330 2630
8 GB 2000 3950 2260 4440 2670 5290
Number of images
Modes Still image (S)
Number of recorded pixels 2304 x 1728 (4:3) 2304 x 1536 (3:2) 1920 x 1080 (16:9)
SDHC memory card 4 GB 1990 3870 2210 4270 3750 5630
8 GB 4010 7770 4440 8580 7540 11310
Recording time
Modes Movie*6
Number of recorded pixels Movie recording time
Quality FULL HD (1920 x 1080)*4 HD (1280 x 720)*4 VGA (640 x 480)*5
SDHC memory card 4 GB 38min. 49min. 1hr. 55min.
8 GB 1hr. 16min. 1hr. 39min. 3hr. 52min.
  • *4 Individual movie files cannot exceed approx. 29 minutes.
  • *5 Individual movie files cannot exceed approx. 115 minutes.
  • *6 Use a class 4 card or better when shooting HD movie.

That was a bit long-winded but should answer most questions and give prospective buyers a good idea of whether their needs are met. With SDHC cards being so cheap these days there's no reason to go for anything less than 16GB to ensure space never runs out (except perhaps in movie mode). Having said that, it is important to note that while Class 6 SDHC cards are recommended for movies, we found that Class 10 is required to give flawless recording at 1080p. Even more so, the responsiveness of the camera (time taken to write to the memory card) is highly dependant upon the speed of the SDHC/SDXC card. We used a 45MB/s card and it made a big difference in burst mode but realistically the host controller of the HS20 is limited to 20-25MB/s (something not mentioned in the official spec) so any card that can (sustained) write faster than this will be ideal.

Mention must also be made of the supplied software, SikyPix. We made the mistake of ignoring it and using Photoshop instead until we found that only SilkyPix can handle the RAW image types taken by the HS20. SilkyPix is a very capable editing suite and essential until a Fuji compatible RAW filter is available for Adobe Photoshop.


The Camera

Now lets take a look at the camera itself:


Often mistaken for an SLR, the HS20EXR has the same chunky body that professionals feel gives them a good grip. The body is dominated by the Fujinon lens which is not removable but gives a massive 30x zoom. The virtues of the Fujinon lens can be researched by doing a Google search for readers so interested but is outside the scope of this article. The HS20 sports 16 megapixels compared with the 10 megapixels of the HS10 it replaces.



Even with the lens retracted we can see that this is a hefty camera and at the school performance we used for our test, several parents assumed it was a much more expensive professional Digital SLR camera. The main button so familiar to Fuji camera owners is no longer sporting a zoom ring. Instead the zooming is done manually by turning the barrell of the lens. This is strange at first but soon becomes second nature. It does however pose some problems in movie mode for smooth zooming which would be much more graceful with a mechanised zoom. The flash is compact and hides away nicely and is now activated by a button on the side - no longer popping up unexpectedly as with our old Fuji S5700.



The back is where all the controls are and we have a plethora of options. The familiar menu ring is there and the usual dial for selecting shooting modes from full Auto to a setting for every occasion and a fully Manual mode for professionals. The EXR mode offers extra possibilies by extending dynamic range or clarity by doubling up on pixels and other tricks. We used the Auto mode for our testing and know from other users experiences that the pictures we took would have been even better over time and with tweaking as we gain experience. Also visible is the one press button (orange circle) for starting movie recording with the added capability of being able to take pictures while recording albeit one size category lower (remember to get a fast SDHC/SDXC card). The buttons down the left hand side are those commonly adjusted by photographers between shots and would be too onerous for the user to go through the menu to adjust each time so have their own buttons which is very handy in practice. The unmarked dial at the top is a command dial and is used to cycle through the available options with these buttons for extra speed but does require the use of both hands. The 3 inch screen is large and clear at 460,000 pixels and can be adjusted in dimness to save battery power. The viewfinder is not just a gimic and very functional, switching on when an eye is pressed close (not so good for spectacle wearers) and diopter is adjusted with a dial on the side of the viewfinder.



When the lens is fully extended it does protrude a significant amount (more so with the supplied lens hood attached - be sure to use this as it protects the lens if dropped as well as eliminating unwanted peripheral light). A manual focus ring is just behind the zoom ring but in practice we were unable to get manual focus to work (a shame as auto focus does not always give good results at full zoom). There is an improved rubber thumb grip and mounts for the included neck strap.



The screen flips up and down to a reasonable degree for waist level and overhead shots but is not as flexible as the screen on some Digital SLRs. The flap on the right holds the memory card slot and the one on the left the USB 2.0 and HDMI connectors (the USB socket is also used by the RR-80 remote release trigger).


Underneath we can see the mounting plate screw hole and while it is plastic rather than metal, this did not pose any problems and never once suffered any damage on the many occasions we used a tripod. The battery compartment has a locking slide to avoid popping open accidentally during handling and contains the 4x AA batteries required to power the camera. We recommend using Hybrid NiMh batteries as they retain a full charge for many months and if you use the camera only occasionally you may find normal rechargeable batteries drained in a matter of only days. In practice we managed to get over 500 shots with our 2100mah NiMhs before exhaustion - more than the rated 400 but cautious users will prefer to have a set of "hot swap" spares. It is possible to power the camera from the mains with an adapter but this does not recharge the batteries and limits placement to within reach of a mains socket.


Standard Photos

We had the perfect testing ground for our review in the form of a school play at the school of the reviewer's children. A big hall also allowed us to test the full zoom capabilities of the HS20.



The photo above was taken without any zoom from our fixed position at the back of the hall (notice how far away the stage is) and the clarity and contrast of the photo show how good the HS20 handles low light conditions (this photo was taken with the built-in flash in an otherwise darkened room).

The camera aims to increase the success of shots with a CMOS Shift sensor, and offers High-Speed AF to help make sure images are correctly focused. Fujifilm FinePix cameras are also some of the only cameras available with Super Intelligent Flash - this is designed to give you two shots, one with flash, and one without, so that you can choose the best after taking the photo.

Film Simulation Mode gives you the choice of Velvia, Provia, and Astia, as well as black and white and sepia - to recreate the original look of film. Although without the original grain of film.

There are advanced shooting modes such as: Pro Focus / Pro Low Light - these combine a number of shots to produce either an out of focus background with Pro Focus, or low noise night shots using the Pro Low Light mode. Motion Panorama 360 / 180 / 120 degrees is included where you press the shutter release button and turn the camera around, the camera will then stitch the photos together in the camera so that you don't have to stitch the photos together on a computer.

You'll also be pleasantly surprised to find the camera has a built in electronic horizon level, a 1cm super macro mode, and RAW+JPEG support, as well as full manual controls. We will use the macro mode extensively in the future as we use the HS20 to photograph components (CPUs, Graphics Cards, SSDs etc.) for our mainstream reviews.


 Zoom Capabilities

The big test is how well the camera performs with zoomed shots and while the pictures on the Fujifilm website are very impressive, how hard is it for amateur photographers to get the same results? The key to understanding the problems of zoomed shooting is in knowing the problem of camera shake. Image stabilisation does a good job of eliminating camera shake when there is no zoom but zooming amplifies the effect. The solution is the use a tripod or if space forbids that, a monopod. We used a tripod for shooting at our school play as our reviewer is not known for his steady hands (and wisely chose not to pursue a career as a brain surgeon) but this still left us with a minor problem. Namely, at extreme zoom even pressing the shutter button creates enough shake to cause blurring. The solution to this is to use the optional Fujifilm RR-80 Remote Release Trigger. This plugs into the USB socket on the camera and has a long enough lead to the palm sized unit to completely eliminate button shake. Pressing halfway focuses just like the button on the camera. The one thing we could not compensate for was the poor and unbalanced use of spotlights by the school so please bear this in mind when viewing the photos below - the white balance is off.



Here we are using about 20x zoom. The picture is sharp and vibrant (apart from the white balance) and fine details can be clearly made out. Clicking on any photo in this review will bring up a larger version but sadly we could not include the full sized jpegs let alone the RAW files due to bandwidth restrictions.



Now we are at full 30x zoom and the subject we have focused on is clear and detailed. On the full size image we could zoom in on her eyes and see the fine detail in each iris and this is a remarkable achievement for a Bridge camera.

We took some 500+ photos at the event and less than 10% were blurry compared to about half for our old Fujifilm S5700 and all that given the poor lighting conditions.

Focusing was much quicker than we expected although occasionally the focus point was missed at maximum zoom and we had to focus on a nearby high contrast area before recomposing the shot.


 Movie Quality

One area we could not test in the time available was the video recording capabilities of the HS20. We had hoped to receive the review sample sooner and take still photos at one performance and make video recordings at the other. In the end we had one performance left when the camera arrived and chose still photos. It also gave us no time to experiment with the camera so our experience is the same as that of someone with no prior skill in photography who has just purchased an HS20. The recording options are listed in the specifications section but most notably, the hS20 can record in 1080p in .mov format which makes it better than our dedicated HD camcorder which can only record full HD in an interlaced format.

We scoured the net to bring our readers an example of the video recording capability of the HS20 and found the following recorded at 1080p. We think you'll find it quite impressive.

Other options include high speed modes and a search of YouTube will bring up many interesting HS20 clips.



The Fujifilm FinePix HS20 is a remarkable camera offering most of the features of Digital SLR cameras at the price of a compact camera. The single lens it is limited to has the versatility of carrying around several SLR camera lenses. Picture quality is superb even with our limited expertise and will no doubt improve substantialy over the coming weeks and months. The 30x zoom allowed us to capture detail which would have previously been impossible without physically getting closer to the action and will be a great boon for wildlife photographers.

Movie recording is on a par with dedicated HD camcorders - an unexpected bonus for a still camera albeit with a few problems when zooming during filming. Slowed down high speed shooting allows for some amazing effects.

Fuji have informed us that the Fujifilm FinePix HS20EXR is now end of line and being replaced with the HS30EXR. While this means that parts will be harder to source in a year or two, it also means that some incredible bargains are available for the HS20 with prices as low as 200 for those shopping around. This makes it about half the price of the HS30 and the only difference we can see between the two is a custom battery pack and an HDR mode.

We hope to bring you a review of the HS30 in the latter half of this year but for now the Fujifilm FinePix HS20EXR is an excellent product which meets all the needs of amateur photographers (and most professionals too) with the versatility of a Bridge camera at the price point of a compact camera. We give it our Gold Award.

We would like to thank FujiFilm UK for making this review possible.



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