Fujifilm FinePix S2 Pro

APS-C AF digital SLR camera



Production details
Announced:January 2002
Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Nikon F [46.5mm]
Imaging plane:23 × 15.5mm Super CCD sensor
Resolution:4256 × 2848 - 12 MP
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Sensor-shift image stabilization:-
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Physical characteristics

Manufacturer description

Fujifilm today announced the FinePix S2 Pro digital camera, the widely anticipated successor to the acclaimed FinePix S1 Pro. The new digital SLR builds upon its predecessor's reputation for outstanding picture colour and detail while giving professional photographers even greater control over the taking, editing, storing and transferring of high-resolution images, both in the studio and on location.

The FinePix S2 Pro boasts the 3rd generation of Fujifilm's newly-developed Super CCD sensor. The sensor, which has 6.17 million effective pixels is capable of producing 12.1 million (4256 x 2848) recorded pixels for pictures with stunning colour and detail that are designed to please even the most demanding professional photographer.

The FinePix S2 Pro also features a CCD Raw mode, which delivers the image before it has been processed by the camera's internal algorithmic settings, thereby liberating professional photographers to experiment with their photographs as they see fit.

New features at a glance:

  • New 3rd Generation Super CCD sensor and advanced LSI algorithm (6.17 million effective pixels) producing an astounding 12 million recorded pixels (4256 x 2848)
  • Compatible with all AF-D type, AF-G type and AF-S type Nikkor lenses
  • New, hard-wearing body design
  • High ISO values (100-1600)
  • 36 MB uncompressed file, 72 MB CCD-Raw file (16 bit TIFF-RGB)
  • High speed shooting at up to 2 frames per second
  • Dynamic AF, Dynamic AF with closest-subject-priority, Single Area AF and Focus Tracking
  • Dual IEEE1394 FireWire and USB interface for image transfer and computer-controlled shooting
  • Dual media slots for SmartMedia and Compactflash type II (IBM Microdrive compatible)
  • Cross-ranged, five area Autofocus System
  • 3D Matrix*, Centre-Weighted and Spot Metering
  • 3D Multi-Sensor Balanced Fill Flash
  • Flexible Program mode
  • 18 Custom settings
  • Flash Synch socket (X-type)
  • Audio recording with voice caption mode

* With D-type lenses

The FinePix S2 Pro features a host of cutting edge camera functions and has a Nikon F mount that is fully compatible with all Nikkor AF-D lenses, including the latest AF-S type professional optics. Inside the changes are equally fundamental, with a third generation Super CCD sensor with 6.17 million effective pixels providing an class-leading 12 million pixel output - easily enough for photo quality printing at sizes well above A3.

3rd Generation Super CCD and advanced LSI for stunning image quality

At the heart of the FinePix S2 Pro Zoom lies the 3rd Generation Super CCD sensor. Already renowned for its class-leading colour reproduction, high sensitivity and low noise, the latest incarnation of Fujifilm's unique technology offers significant improvements in sensitivity (up to 1600 ISO) and even lower levels of noise.

The higher sensitivity of the new Super CCD system brings with it several significant benefits, especially in challenging lighting situations. Users can now choose to shoot hand-held photographs without flash in situations that would be impossible with other digital cameras, even by candlelight. Professional photographers using the FinePix S2 Pro will find the added versatility of noise-free shooting at such high ISO sensitivities invaluable. Fujifilm has managed to overcome the most serious problem associated with higher sensitivity - that increasing sensitivity generally amplifies unwanted noise in the image. The 3rd generation Super CCD system resolves this problem through the use of Fujifilm's new Noise Reduction Technology, which utilises a new LSI to process both the luminescence and chroma information from captured images before removing the noise element.

As a result, the 3rd generation Super CCD system offers high sensitivity shooting while maintaining outstanding picture quality. Fujifilm has also newly developed a Pixel Data Coupling Technology that is applied by the new LSI to realise the higher sensitivities. From light location work to high-speed sports and action photography the ability to shoot at up to 1600 ISO without the worry of noise causing significant degradation to the image will have profound benefits for all professionals.

In addition, a new auto white balance algorithm guarantees perfect colour by incorporating focus distance information into the calculation, whilst a new digital signal processing system improves sharpness without any increasing noise.

The 3rd generation Super CCD is not just a new CCD, but reflects a comprehensive improvement in overall image quality through consideration of the complete system, including the CCD and the new LSI featuring an advanced image-processing algorithm.

Super CCD's proven ability to capture a wide dynamic range with rich, accurate colours in any shooting situation together with the technological improvements in its latest incarnation mean the FinePix S2 Pro is a uniquely powerful solution for the working photographer demanding the ultimate in quality and versatility.

The camera has a shutter speed of 30 to 1/4000 second and continuous shooting of approximately 2 frames per second for up to seven frames. Its adjustable ISO equivalents of 100/160/200/400/800/1600 allow for picture taking under a wide range of challenging lighting conditions. For further flexibility, the S2 Pro has a variety of high-end photographic controls, including four shooting modes (single frame, continuous, preview and multiple exposure), four exposure modes (multi-programmed AE, shutter-priority AE, aperture-priority AE and manual exposure control. In addition, there are nine modes for white balance (auto, fine, shade, incandescent light, two custom settings and three for fluorescent light).

The FinePix S2 Pro can record images at four resolutions (4,256 x 2,848, 3,024 x 2,016, 2,304 x 1,536 and 1,440 x 960 pixels) and in three file formats (TIFF-RGB, CCD-Raw and JPEG). There are two compression modes (fine and normal) within the JPEG file format, and captured images can be viewed on the camera's 1.8-inch low-temperature polysilicon TFT monitor with 100% frame coverage.

In addition, the FinePix S2 Pro offers the advantage of a dual-storage media option: SmartMedia™ and CompactFlash™ Type II. The CompactFlash slot is compatible with IBM's 1GB Microdrive™. It also incorporates a fast dual PC interface, allowing for increased workflow with the speedy transfer of very large image files from the camera to a PC via IEEE 1394 (FireWire) or USB 1.1 interface.

A special voice annotation feature allows the attachment of 30-second voice notes to each photo, which enables the busy photographer to track and describe a large portfolio of images.

Despite the high specification and resolution the FinePix S2 Pro still offers superb value for money. High end features such as FireWire (IEEE1394) connectivity, IBM Microdrive compatibility, CCD-RAW and TIFF modes mean the FinePix S2 Pro offers similar levels of specification to competitive models costing thousands of pounds more. Add to this the stunning high resolution, low noise and class-leading colour reproduction produced by the Super CCD sensor and you have a very compelling professional camera.

"The FinePix S2 Pro represents an exciting opportunity for professional and enthusiast photographers wanting a high specification, high-resolution digital SLR that won't break the bank," comments Michelle da Gama, Fujifilm's UK Digital Imaging Marketing Manager. "Fujifilm has once again managed to set the pace for high end digital cameras with a product that redefines the price/performance equation and offers truly outstanding output quality."

Similar cameras (39)

APS-C • Auto focus • Digital • Singe-lens reflex • Nikon F mount

Model Shutter Metering Modes Year
Fujifilm FinePix S1 Pro E, 1/2000 TTL • OA PASM 2000
Fujifilm FinePix S3 Pro E, 1/4000 TTL • OA PASM 2004
Fujifilm FinePix S5 Pro E, 1/8000 TTL • OA PASM 2006
Nikon D1 E, 1/16000 TTL • OA PASM 1999
Nikon D100 E, 1/4000 TTL • OA PASM 2002
Nikon D1H E, 1/16000 TTL • OA PASM 2001
Nikon D1X E, 1/16000 TTL • OA PASM 2001
Nikon D200 E, 1/8000 TTL • OA PASM 2005
Nikon D2H E, 1/8000 TTL • OA PASM 2003
Nikon D2Hs E, 1/8000 TTL • OA PASM 2005
Nikon D2X E, 1/8000 TTL • OA PASM 2004
Nikon D2Xs E, 1/8000 TTL • OA PASM 2006
Nikon D300 E, 1/8000 TTL • OA PASM 2007
Nikon D3000 E, 1/4000 TTL • OA PASM 2009
Nikon D300s E, 1/8000 TTL • OA PASM 2009
Nikon D3100 E, 1/4000 TTL • OA PASM 2010
Nikon D3200 E, 1/4000 TTL • OA PASM 2012
Nikon D3300 E, 1/4000 TTL • OA PASM 2014
Nikon D3400 E, 1/4000 TTL • OA PASM 2016
Nikon D3500 E, 1/4000 TTL • OA PASM 2018
Nikon D40 E, 1/4000 TTL • OA PASM 2006
Nikon D40X E, 1/4000 TTL • OA PASM 2007
Nikon D50 E, 1/4000 TTL • OA PASM 2005
Nikon D500 E, 1/8000 TTL • OA PASM 2016
Nikon D5000 E, 1/4000 TTL • OA PASM 2009
Nikon D5100 E, 1/4000 TTL • OA PASM 2011
Nikon D5200 E, 1/4000 TTL • OA PASM 2012
Nikon D5300 E, 1/4000 TTL • OA PASM 2013
Nikon D5500 E, 1/4000 TTL • OA PASM 2015
Nikon D5600 E, 1/4000 TTL • OA PASM 2016
Nikon D60 E, 1/4000 TTL • OA PASM 2008
Nikon D70 E, 1/8000 TTL • OA PASM 2004
Nikon D7000 E, 1/8000 TTL • OA PASM 2010
Nikon D70s E, 1/8000 TTL • OA PASM 2005
Nikon D7100 E, 1/8000 TTL • OA PASM 2013
Nikon D7200 E, 1/8000 TTL • OA PASM 2015
Nikon D7500 E, 1/8000 TTL • OA PASM 2017
Nikon D80 E, 1/4000 TTL • OA PASM 2006
Nikon D90 E, 1/4000 TTL • OA PASM 2008
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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.


Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),


CF – crop-factor of a sensor,
FL – focal length of a lens.


A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.


The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.


Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.


Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.


Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.