Fujinon G-Mount Medium format
size sensor
image of Fujifilm GFX 50S
Front side of Fujifilm GFX digital camera Front side of Fujifilm GFX digital camera Front side of Fujifilm GFX digital camera Front side of Fujifilm GFX digital camera Front side of Fujifilm GFX digital camera
Basic Specifications
Full model name: Fujifilm GFX 50S
Resolution: 51.40 Megapixels
Sensor size: Medium format
(43.8mm x 32.9mm)
Kit Lens: n/a
Viewfinder: EVF / LCD
Native ISO: 100 - 12,800
Extended ISO: 50 - 102,400
Shutter: 1/16000 - 3600 seconds
Dimensions: 5.8 x 3.7 x 3.6 in.
(148 x 94 x 91 mm)
Weight: 32.5 oz (920 g)
includes batteries
Availability: 02/2017
Manufacturer: Fujifilm
Full specs: Fujifilm GFX specifications

Fuji GFX 50S Review -- Now Shooting!

02/23/2017: Gallery Images added
02/26/2017: Gallery Images: A closer look added
03/03/2017: First Shots & Crop Comparisons added
03/17/2017: Extended Gallery Article added
04/06/2017: Field Test added
: Performance posted

For those looking for our detailed product overview, complete with specs and features, click here for our Fuji GFX Overview.


Fuji GFX Field Test

The medium format GFX tries its hand at landscape photography

by Jeremy Gray | Posted 04/06/2017

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/13, 7.5s, ISO 100.
This image has been modified. Click for original image.

At Photokina 2016, Fujifilm did something many Fuji shooters had been eagerly anticipating: they announced a camera with a sensor larger than APS-C size. What was surprising about this announcement was that Fujifilm opted to skip over the popular full-frame format and dive straight into medium format territory with the Fuji GFX 50S, a 50-megapixel medium format mirrorless camera.

Launching in late February 2017, the Fujifilm GFX 50S hit store shelves with a body-only price tag around US$6,500. This price tag makes it about $2,500 less expensive than the competing Hasselblad X1D mirrorless camera, which also employs a 50-megapixel sensor, albeit in a slimmer, sleeker camera body with many less physical controls than the GFX 50S.

I have been testing the Fujifilm GFX 50S as a landscape camera using the GF 32-64mm f/4 R LM WR zoom lens, the only zoom lens launched alongside the camera. Let's take a look at how the GFX 50S and zoom lens performs as a landscape photographer's tool.

Key Features and Info

  • Mirrorless camera with a DSLR-inspired camera body
  • 51.4-megapixel medium-format CMOS sensor
  • ISO 100-12800 range
  • 425-point contrast detect autofocus system
  • Detachable OLED EVF
  • 3.2-inch tilting touchscreen display
  • UHS-II support
  • $6,500 body-only price

Camera Body & Handling: Fuji GFX looks and controls like other Fuji cameras

Fujifilm GFX Review: Field Test -- Product Image Beauty
Size and button layout

Size-wise, the Fujifilm GFX 50S is very similar to a full-frame DSLR camera despite having a larger sensor and new, robust G lens mount. It is comparable in size to a Nikon D810, for example, which means that it's larger than many other mirrorless cameras but also surprisingly small for a medium format camera.

What sets the GFX 50S apart physically from a full-frame DSLR camera -- apart from the obvious lack of a mirror and the larger sensor inside -- is the flat top deck of the camera and the large protruding area on the back where the tilting display is. If not for the tilting display assembly, the GFX would be a fairly slim camera. The electronic viewfinder, when attached, gives the camera more of a DSLR look. (More on the electronic viewfinder in a bit.) The grip is quite similar to that of a DSLR. The front grip is deep, but fairly narrow, offering a comfortable holding position and easy access to the front command dial. The rear thumb rest area is nice as well, with protrusion to rest your thumb against for a stronger hold on the camera.

Fujifilm GFX Review: Field Test -- Product Image Size Comparison
The Fuji GFX 50S (right) is not much different in size than a Nikon D800E full-frame DSLR (left).

Despite its size, the GFX 50S proved very user-friendly thanks to generally excellent physical controls and design. This is Fujifilm's largest digital camera, but it borrows a lot of aspects of its design from its X-series mirrorless cameras, such as the dedicated ISO and shutter speed dials. These dials have engraved markings, and they rotate nicely, not requiring too much force but also not being prone to accidental rotation while using the camera. If you want to lock the dials, you can do so by pressing a central locking button, but I never felt it necessary as accidentally moving the dials seemed difficult.

On the topic of the button layout, it's mostly good news all around, albeit with a few issues. The exposure compensation button on the top of the camera is small, and I found that it didn't always register my press. Another minor issue is the location of the playback and delete buttons, which are located on the area that juts out on the rear of the camera; on top of the rear display. They are difficult to press with the right hand; you really need to hold the camera in an unnatural position to press them. It's a similar story with the focus mode switch, which sits at the other top corner of the rear display. There isn't a lot of free space on the camera, but nonetheless, the playback and delete buttons seem to be in an odd spot. On the other hand, the camera's buttons mostly feel great, and the shutter release in particular is nice and responsive.


The Fuji GFX 50S' rear display is a large 3.2-inch touchscreen LCD monitor. The display has 2.36M dots and is sharp. The display is quite reflective, though, and can be difficult to view in bright light; however you can tilt the display to help alleviate this. The touchscreen tilts 90-degrees upwards, 45-degrees downwards and 60-degrees toward the right. The latter tilt is triggered by pressing a release button on the left side of the display and is very useful when shooting the camera in vertical orientation. The tilting mechanism itself is quite robust and feels durable.

Fujifilm GFX Review: Field Test -- Product Image Tilting Display
The Fuji GFX 50S has a tilting display. It can tilt up and even 45 degrees to the side. In this image, the GFX display is tilted 90 degrees up and 45 degrees to the side.

You can use the touchscreen display for many functions, such as navigating the Quick Menu, tapping for focus and tapping to trigger a shot. However, you cannot use the touchscreen to navigate the camera's standard menus.

There is a second display on the top deck of the camera, a "sub monitor" as Fuji calls it, that uses an E-Ink display. By default, it is dark with light text. The text is readable from practically any angle, which is very nice. The display lights up by pressing the illumination button to the left of the sub monitor, which reverses the colors, making the background light and the text dark.

Fujifilm GFX Review: Field Test -- Product Image Sub Display
I really like the GFX 50S' sub display. It is customizable, has a backlight and is easy to read.

You can customize what shows up on the sub monitor for both stills and movie shooting. For shooting stills, you can select shutter speed, aperture, exposure compensation, ISO, movie mode, frames remaining, recording time, shooting mode, photometry, drive mode, focus mode, white balance, image size, image quality, battery level, card slot options, shutter type, film simulation and dynamic range. When the camera is off, the sub monitor displays the card slot info, remaining images and battery level (or levels when using the vertical grip with the additional battery pack).

I want to point out something about the GFX 50S's menus. When you turn the camera off -- or it turns off on its own after a period of idling -- the camera doesn't keep track of where you were in the menus.

Electronic Viewfinder and optional Tilt Adapter work very well in the field

The detachable electronic viewfinder, known officially as the EVF-GFX1, is very good. It's a 0.5-inch 3.69M-dot OLED viewfinder with 100% coverage and a 35mm equivalent magnification of 0.85x. In real-world use, the viewfinder's large size and sharp display proved very good. The circular eyepiece cup around the viewfinder is very comfortable and does an excellent job of blocking out ambient light. I did notice that there is some stuttering of the live view when shooting in low light, but this is not unusual while in auto-exposure modes. When using manual exposure, I didn't experience this stuttering, laggy effect.

The live view feed to the EVF and to the rear monitor sometimes displays an odd "shimmering-like" effect whenever the camera autofocuses. It's as if the video quality of the live view feed drops during the focusing operation. Since your eye is up close, I noticed it more when using the EVF and with scenes with lots of fine detail. It can be a little distracting, but it's not bad.

Fujifilm GFX Review: Field Test -- Product Image EVF Tilt Adapter
The optional tilt adapter may be expensive, but it is also very useful.

There is also an optional adapter for the GFX that lets you tilt and rotate the whole electronic viewfinder. This adapter, the EVF-TL1, costs US$570, which is very high for what amounts to a pretty small piece of plastic. Nonetheless, the adapter offers vertical movement up to 90-degrees and horizontal movement in either direction up to 45-degrees. There is a locking knob toward the front of the adapter to control vertical movement. To move the viewfinder side to side, you have to unlock a tab underneath the EVF. This metal tab requires considerable force to move but works fine. The tilting adapter does add quite a bit of size to the top of the GFX 50S and even some depth as the EVF sticks out quite a bit further when attached to the TL1 than when attached straight to the camera. With that said, it is very useful out in the field, and I use it frequently. If you often work at unusual angles and don't want to rely entirely on the tilting touchscreen -- which doesn't work so well in bright light outdoors -- then the adapter is worth the price.

Optional Vertical Grip looks strange but feels fantastic

Another optional accessory I tried is the vertical grip for the GFX. The VG-GFX1 vertical battery grip, like the tilt adapter, is quite expensive, selling for around $600. The grip is very comfortable but does employ a somewhat unusual design. Rather than have the shutter release and dials near the "top" of the grip, which would place them on the corner of the camera body, the grip has an indented area about two-thirds of the way up that houses the shutter release and buttons. It's an odd-looking design, but it works very well and gives you a similar grip on the camera as if you were holding it in the horizontal orientation.

Fujifilm GFX Review: Field Test -- Product Image Vertical Grip
The vertical grip looks odd, but it's comfortable and offers all the controls you need.

The grip is full-featured, including a joystick for moving the AF point, six function buttons (such as Q and exposure compensation buttons) and a menu/OK button. The two command dials feel exactly like the ones on the camera body itself, which I like as sometimes battery grips have different dials than the camera itself. The grip also has a DC input and a loop for the strap. One of the best reasons to get the grip is to double the camera's battery life from 400 to 800 shots. It's disappointing that the grip doesn't come with a battery, as those are $120 separately, so you're looking at $720 to get the full use of the grip.


While not the sleekest camera I've seen, the GFX 50S employs a very functional design that can become surprisingly compact with the viewfinder detached, especially for a medium format camera. In real-world use, the GFX 50S feels like a full-frame camera rather than a medium format one, which is something that medium format cameras have rarely been able to accomplish.

Despite being a first-generation product, the design seems very refined. A few small things stand out, such as the battery and memory card compartments being on the sides of the camera, making them easy to access, even when using a tripod. Further, this allows removal of the primary battery with the vertical grip attached. On many cameras I've used with vertical grips, you have to remove the grip to access the primary battery as it's typically on the bottom of the camera. It's not all good news, however, as I've already touched on the odd placement of the playback and delete buttons, but also the neck strap lugs, rugged as they may be, allow the GFX's strap to become easily twisted. It's a small issue, but it's one worth pointing out.

Fujifilm GFX Review: Field Test -- Product Image Vertical Grip
While not exactly a looker, the Fuji GFX is a very functional camera that feels good to use.

Overall, the GFX 50S is very comfortable and user-friendly. It is a thoughtfully-designed camera that puts a lot of controls at your fingertips and offers quick access to all the primary shooting settings. The tilting display is also a highlight here, as its touchscreen functionality is very useful. When you want to instead use a viewfinder, the EVF proved to be very good and one of the best EVFs, if not the best, I have used.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 64mm (51mm eq.), f/16, 1.5s, ISO 100.
This image has been modified. Click for original image.

Fujifilm GFX Shooting Features and Experience

Image sensor: Medium format sensor excels in a wide variety of situations

We've already covered First Shots from the GFX, which we called the best we have ever seen. It's going to be hard to expand much on that, so I will keep this section fairly brief. The GFX uses a 51.4-megapixel medium format CMOS sensor (maximum image is 51.1 megapixels). It is not as big as the medium format sensor found in a camera like the Phase One XF 100MP, but rather a smaller medium format sensor, like the one found in the Hasselblad X1D. The sensor size is 43.8 x 32.9 millimeters and has a 4:3 aspect ratio. The focal length multiplier is 0.8x when using the GFX, so the 32-64mm zoom lens I used with the camera is a 25-51mm equivalent in 35mm terms.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 64mm (51mm eq.), f/11, 1/25s, ISO 100.
This image has been modified. Click for original image.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 64mm (51mm eq.), f/11, 1/25s, ISO 100.
100% crop from the original file above. Click for full-size image.

While full-frame sensors are very impressive, the GFX sensor is outstanding. Its lack of an anti-aliasing filter does make it more susceptible to moiré, but it also allows the sensor to capture a very fine level of detail unlike anything produced by full-frame sensors. Obviously when you are comparing a 50-megapixel medium format sensor to a roughly 40-megapixel full-frame sensor, such as those in the Nikon D810 or Sony A7R II for example, the differences aren't always dramatic nor are they visible when viewing files at smaller sizes or making small prints. But when you print full-size image files, the differences are quickly evident.

Another impressive area for the GFX is its dynamic range performance. I have been able to pull shadow detail out of images unlike anything I've been able to do with full-frame cameras I've used. Highlight detail is easily recovered as well. The files are very flexible, particularly at lower ISOs.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 38.2mm (30mm eq.), f/14, 0.7s, ISO 100.
This image has been modified. Click for original image.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 38.2mm (30mm eq.), f/14, 0.7s, ISO 100.
This is the JPEG image straight from the camera of the shot above. The GFX allows for the recovery of considerable highlight and shadow detail.

It is not just low ISO performance which impresses, the camera also does surprisingly well at high ISO despite its high megapixel count. The extra sensor size and what Fujifilm has done to the sensor pays big dividends. You can see a variety of high ISO samples here. I was very impressed with the GFX's high ISO performance. I wouldn't hesitate to use this camera at ISO 1600 or even ISO 3200 when planning on making large prints.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/11, 1/340s, ISO 1600.
This image has been modified. Click for original image.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/11, 1/340s, ISO 1600.
100% crop of the image above taken straight from the camera with default noise reduction settings.

As is often the case with high-end photographic gear, the difference in performance compared to the best full-frame cameras can be fairly small, and it is up to the consumer to determine whether or not the difference is worth the sometimes high increase in cost. The GFX's image quality is phenomenal, there is no disputing that, but its advantages over great full-frame cameras aren't easily noticed until you push the files to their limits.

Autofocus is not very fast, but it is very precise

The Fujifilm GFX relies on a contrast detect autofocus system; it has no phase detection autofocus. Further, it is important to keep in mind what the GFX is and who it is designed for. It's a medium format camera aimed at slower-paced shooting, such as landscapes, portraiture and the like. This is not a sports camera, and the limited autofocus speed backs up that sentiment.

Let's get the negatives out of the way first. The Fuji GFX's autofocus system is slow. I haven't previously used a medium format camera, so I cannot comment on how it compares to other MF systems, such as the Pentax 645Z or the recent Hasselblad X1D. However, I can say that compared to APS-C Fujifilm cameras, the GFX is sluggish. The camera has a mode called "Rapid AF," which decreases the display quality but increases autofocus speeds, according to the manual. I used the feature some and didn't find it to offer much of a speed increase.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 35.6mm (28mm eq.), f/4.0, 1/35s, ISO 100.
This image has been modified. Click for original image.

The GFX's low light autofocus is also an area of weakness. When shooting in dim morning or evening conditions, which are common lighting conditions for me, the GFX regularly struggled. With a polarizing filter attached, the problem was unsurprisingly exacerbated. I have shot with many cameras in similar conditions and didn't encounter as many issues as I did with the GFX.

Now to the positives. The GFX has 425 autofocus points, which cover a huge portion of the image area. Considering the size of the sensor, this is very impressive. The autofocus point density and coverage is better than most cameras I've used, even those with much smaller sensors to cover.

Autofocus modes include single point, zone and wide/tracking. Moving points around using the dedicated autofocus joystick also works very well and you can adjust the size of the points/zone using the rear command dial. When using zone and wide/tracking AF modes, the number of focus points decreases to 117.

Overall, autofocus is not fast, but it is consistently accurate and works well for the types of photography for which the GFX is designed. I enjoyed the density of autofocus points in the image area, but the low-light autofocus performance was disappointing.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 39.6mm (31mm eq.), f/16, 6.5s, ISO 100.
This image has been modified and focus stacked. Click for background focus image and foreground focus image.
Metering is reliable in most situations

The conditions recently have been quite snowy here in Maine, which provided a good opportunity to challenge the GFX's exposure and white balance metering. The camera uses a TTL 256-zone metering system, which proved to be quite good. In scenes with a lot of white areas, the camera tended to underexpose, sometimes considerably, but it was consistent, so exposure compensation worked well. White balance metering was mostly good as well, although it struggled a bit in low light conditions, tending to produce images with a bluish tint.

Metering options include multi, spot, average and center-weighted, with spot metering linked to a single autofocus point. Available exposure compensation is +/- 5 EV in 0.3 EV steps. I regularly used the GFX with a live histogram on the display, which works very well as it can be quite difficult to accurately assess exposure using just the image on the camera's display. The GFX also has a highlight alert option, which while useful, isn't quite as good as using the histogram.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 33.2mm (26mm eq.), f/8.0, 8.5s, ISO 100.
The GFX 50S tends toward cooler tones in low light with automatic white balance.
Click for full-size image.
Performance: Shallow buffer and slow speeds

You will want to refer to our lab testing for the Fuji GFX 50S for the full details on its performance, but suffice it to say, it's not a speedy camera. The GFX relies on an X-Processor Pro, which is quick for single shot cycling, but can't handle many of the GFX's large image files. I tested the GFX with a Lexar 64GB 2000x SDXC II card, which is rated with a max read speed of 300 MB/s and a max write speed 260 MB/s. It worked great for my type of photography. Single images were processed quickly, and I could view them almost immediately. The camera worked quickly, menus were snappy and changing settings was fast.

During my own testing with the camera, I was able to shoot a buffer of 7 frames both in RAW and RAW+JPEG modes at 3 frames per second, with the buffer clearing in around 10 seconds in both cases. This buffer depth is obviously small, but it should be sufficient for many types of photography. Another aspect of the camera's overall speed worth pointing out is that when using the mechanical shutter, the viewfinder blackout is fairly long. When you shoot continuously, you don't have a true live view look through the viewfinder, but captured images display in the viewfinder instead.

Another weak area for the GFX is its battery life, which is rated for 400 shots. You can double the battery life by using the optional vertical grip with a second battery, but I was chewing through battery life in fewer shots than that, so your mileage may vary.

Overall, the camera is far from fast, but it never felt sluggish during my landscape work. I think that some portrait photographers could feel hampered by the GFX's buffer depth, but the buffer clears pretty quickly. It will never be an action or sports camera, clearly, but that isn't the design intent.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 44.9mm (36mm eq.), f/4.0, 1/160s, ISO 800.
This image has been modified. Click for original image.
Shooting modes
Film Simulation

Film simulations are one of my favorite features on Fujifilm cameras. They are capable of capturing colors, contrast and tones in ways unlike anything found on non-Fuji cameras. The Fujifilm GFX 50S is no different. It includes the same standard suite of Film Simulations you've come to expect in Fuji cameras, except this time with a relatively new one, Acros. You can read more about the film simulation here, but basically it is a new black and white film simulation with a sharp, fine-grained look and rich tonality. I already liked Fujifilm's standard black and white option, but Acros is my new favorite, allowing me to create beautiful black and white images right in the camera.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/13, 3.1s, ISO 100. Acros Film Simulation.
Click for full-size image.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 48.2mm (38mm eq.), f/13, 2s, ISO 100. Velvia Film Simulation.
Click for full-size image.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 47.3mm (37mm eq.), f/13, 2.1s, ISO 100. Velvia Film Simulation.
Click for full-size image.
Auto ISO

While the Fujifilm GFX 50S offers the standard assortment of exposure settings like other Fujifilm cameras, there is also a good Auto ISO mode I wanted to bring attention to. The user has access to three customizable Auto ISO slots, which let you customize both the ISO range that the camera will utilize and the minimum shutter speed. There isn't a way to adjust for the focal length of the lens being used, but with three slots, you have a lot of flexibility.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 59.6mm (47mm eq.), f/11, 1/25s, ISO 1000.
This image has been modified. Click for original image.

Historically, it would seem odd to even consider using Auto ISO with a medium format camera. They've typically required special treatment, such as always using a tripod or keeping the ISO within a narrow range, but the GFX 50S is different. You really can use it as you would other mirrorless cameras or DSLRs. You need to ensure that focus is spot-on, but other than that, you can walk around with the camera and capture good shots in ever-changing situations.

Fujinon GF32-64mm lens is versatile, but the f/4 max aperture is slightly disappointing

As I've mentioned, I used the GFX exclusively with the GF 32-64mm f/4 R LM WR lens. This lens offers a 25-51mm equivalent focal length and an aperture range of f/4 to f/32. Its optical formula includes three aspherical elements, one Super ED element and one ED element. The lens' front element is fluorine coated as well. These elements are encased in a solid lens barrel, which is dust- and weather-sealed.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 46.5mm (37mm eq.), f/11, 120s, ISO 100.
This image has been modified. Click for original image.

It is an internally focusing lens and relies on a linear AF motor. Autofocus speeds are pretty quick, all things considered. What I really like about the lens is how good its zoom, focus and aperture rings feel. The zoom ring, in particular, feels fantastic, rotating smoothly but with purposeful resistance.

The lens balances nicely on the GFX 50S, weighing in at a fairly hefty 1.93 pounds (875 grams). The lens isn't much different in size from a Nikon 24-70mm f/2.8G lens, for example, and is considerably smaller and lighter than the newer Nikon 24-70mm f/2.8E lens. No, it's not as fast, but that's the sort of void the lens fills in the GFX system so it feels like a fair comparison.

As I'll discuss further down below, the f/4 aperture of the 32-64mm lens is fine for daytime shooting, typical landscapes-type shots, portraiture and other similar subject matter, but it can be limiting for certain situations, such as astrophotography, which I do quite a bit.

While I couldn't test the lens like our lab would, it proved to be a very sharp lens, offering great performance across the entire frame. It does have some vignetting at maximum aperture, particularly at the wide end, but it offers excellent performance overall, in my opinion.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/16, 10s, ISO 100.
Click for full-size image.

In the Field

Morning landscapes in Acadia

Acadia National Park is one of my favorite places to shoot. While much of the park is closed or simply too dangerous to access during the winter, one of my go-to locations, Duck Brook, is easily accessible no matter the season. The only difficulty in winter is navigating the often icy rocks. Water flow was good when I visited recently, making it a suitable test subject for the GFX 50S.

The GF32-64mm f/4 lens has a 77mm filter thread, meaning I could use the same filters I used with my Nikon 24-70mm f/2.8G lens within my Nikon system, which proved convenient. What was also very convenient was the tilting display and tilt adapter for the EVF. I typically like to set my gear up low when shooting landscapes, which often requires getting down on the ground to be able to see through the viewfinder of a camera. Not so with the EVF tilt adapter.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 38.9mm (31mm eq.), f/16, 1s, ISO 100.
This image has been modified. Click for original image.
Testing the weather resistance in a blizzard

As winter storm Stella closed in on us here in eastern Maine in mid-March, I decided to take the GFX out and test its weather resistance in hopes of getting some nice black and white images in the blizzard-like conditions.

First things first, the GFX survived fine. Its weather sealing looks good, and the seals around the battery and memory card compartments are strong. There aren't any obvious gaps surrounding any of the buttons. The only area I noted moisture was between the camera body and the rear display, but it was easy to dry and I don't foresee this being a problem. To help prevent any potential water issues with the EVF, I opted to use the included hot shoe mount cover that came with the camera and rely only on the rear display. Despite Fuji's weather resistance claims, the conditions were particularly bad, so I had brought a few cloths with me to dab away snow on the camera and lens as needed.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/16, 1.4s, ISO 100.
This image has been modified. Click for original image.

In addition to dealing well with the elements, the GFX 50S also works well while wearing gloves, something important to me since I spend a lot of time shooting in very cold conditions. The touchscreen worked well with a pair of my gloves designed for touchscreen devices, but regular gloves were a no-go. The dedicated autofocus joystick worked fine for moving the AF point around with gloves on, although I did accidentally press the joystick a few times, which resets the AF point to center. The directional pad and other buttons worked well with gloves with the exception of the small exposure compensation button, which required a very deliberate press. Overall, the GFX 50S handles as well with gloves as any other camera I've used.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 50.8mm (40mm eq.), f/4.0, 1/500s, ISO 1600.
This image has been modified. Click for original image.

The dark stormy conditions also gave me a good reason to test out the GFX's high ISO capabilities a bit. I wanted to shoot at around 1/500 of a second to capture the snow as it fell, but with the GF 32-64mm zoom lens having a maximum aperture of f/4, this meant I had to dial the ISO upwards. I like that both shutter speed and ISO have dedicated dials on the GFX 50S body, which made adjusting settings a quick, simple process.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/11, 1/6s, ISO 100.
This image has been modified. Click for original image.
Night shooting in Acadia National Park

Using the Fujinon GF32-64 f/4 is tricky for night shooting. The focal length of the lens requires a fairly short exposure time in order to ensure that the stars are sharp, but the maximum aperture of f/4 on this zoom lens therefore requires a higher ISO to get those shorter exposure time. There are ways around this, such as stacking multiple high ISO images to reduce visible noise, but I instead decided to take advantage of the GFX's long shutter speed options. You can record single images with shutter speeds as long as 60 minutes on the GFX without needing to use an intervalometer or cable release, which is great. (The GFX actually has a built-in intervalometer function, which is both easy to use and convenient.)

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/4, 30 minutes (sky) and 15 minutes (foreground), ISO 400 (sky) and ISO 3200 (foreground).
This image has been modified and stacked. Click for sky image and foreground image.

In part due to the f/4 lens, focusing at night can be quite challenging. The GFX's lenses don't include a built-in focus scale, so you need to rely on an electronic focus scale on the display. This method works well and allows for very fine, precise focus adjustments.

Unsurprisingly, making a series of long exposure images can drain the GFX's battery quite quickly. And I'm sure the cold environment I was in didn't help either. I went through one battery in a short few hours, which is far shorter than the battery life I get from my DSLR cameras.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/4, 30 minutes (sky) and 8 minutes (foreground), ISO 400 (sky) and ISO 1600 (foreground).
This image has been modified and stacked. Click for sky image and foreground image.

This is definitely not a strong night photography camera, at least not with the current trio of GF lenses. The ability to shoot star trails with a single frame, or longer ones with only a few files, is very nice, but for shooting photos of the Milky Way, Fuji will need to release faster wide-angle lenses or you will need to adapt other lenses to the GFX. With that said, the sensor is excellent and the camera handles well in the field at night, so the potential is there.

Fujifilm GFX Field Test Part Summary
Fuji GFX delivers an excellent option for landscape photographers

As a landscape camera, the Fujifilm GFX 50S is excellent. The Fujinon GF32-64 f/4 lens is fantastic and offers great performance across the frame throughout its 25-51mm equivalent focal length range.

With the addition of the vertical battery grip and tilt adapter, the GFX becomes a very flexible, usable camera in a variety of situations. Its tilting touchscreen display works well, and the control layout is generally good. The camera is rugged with dependable weather sealing, which makes it well-suited for landscape and nature photography.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 32mm (25mm eq.), f/11, 0.6s, ISO 100.
This image has been modified. Click for original image.

Autofocus speed is a weak area for the GFX, to be sure, but it proved sufficient for landscape work, but fast-paced portrait shooters could be limited by the GFX's autofocus speed and continuous shooting performance.

The primary highlight of the GFX is its sensor, which excels in a wide variety of situations across an impressive ISO range. Its sharpness is unmatched by full-frame cameras, and Fujifilm's traditionally excellent color rendering and film simulation options translate well from the X series to the GFX.

Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 46.5mm (37mm eq.), f/16, 30s, ISO 100.
This image has been modified. Click for original image.

What I like:

  • Fantastic image quality
  • Functional design
  • Small for a medium format camera
  • Detachable EVF is excellent
  • Zoom lens works very well
  • Great tilting touchscreen display
  • Ample autofocus point coverage

What I dislike:

  • Although AF coverage is good, autofocus speed is underwhelming, especially in low light
  • Slow continuous shooting performance, as expected
  • Sparse video features
  • Max flash sync of 1/125s could be limiting for studio photographers
  • Some may consider the GFX an unattractive camera
Fujifilm GFX Review: Field Test -- Gallery Image
Fujinon GF 32-64mm f/4 R LM WR at 49mm (39mm eq.), f/16, 60s, ISO 100.
This image has been cropped. Click for original image.



Fuji GFX 50S Review -- Overview

Preview posted: 01/19/2017

Fujifilm stole the show back at Photokina 2016 with the surprise development announcement of its GFX 50S, a super-high-res medium-format camera in a mirrorless form factor. At the time, though, relatively little was known of the Fuji GFX 50S' feature set, and so we focused our reporting on the camera's form factor and handling instead. Now, with its official unveiling having been made some four months after that development announcement, we know a whole lot more about the GFX 50S, and we're proud to present our hands-on preview for your reading pleasure!

GFX in a nutshell: A brand-new system that focuses on portability and top-notch image quality

The Fuji GFX system itself is brand new, and it's clear that Fuji's designers had several key goals for its creation: Keeping size and weight to an absolute minimum, while not compromising on handling or image quality.

Fuji GFX 50S Review -- Product Image

At launch, the GFX system will be comprised of the GFX 50S camera body itself and three lens models, while three further lens models are expected to follow with announcements of their own later in 2017. There will also be several GFX accessories including a portrait / battery grip, tilting viewfinder adapter, and adapters allowing use of various medium and large-format lens models from the days of film photography.

The Fuji GFX 50S pairs a mirrorless design and high-res 50-megapixel sensor

The key to the Fuji GFX 50S' compact form factor is its mirrorless design. Instead of providing a DSLR-style thru-the-lens optical viewfinder, the Fuji GFX 50S opts instead for a high-res electronic finder. That decision allowed Fuji to do away with the bulky mirror box typical of a medium-format DSLR like Ricoh's competing Pentax 645Z.

And the advantage of paring down that mirror box is clear: Despite using the exact same sensor size as its Ricoh rival, Fuji's camera is about 5% less wide, 20% less tall and and a whopping 26% less deep, with dimensions of 5.8 x 3.7 x 3.6 inches. Loaded and ready to go, the Fuji GFX 50S' body-only weight is just 29.1 ounces without the electronic viewfinder accessory, or 32.5 ounces with it mounted, again comparing very favorably to the 54.7-ounce weight of Ricoh's camera. That's barely more than half the weight of its rival!

And this despite using not just the same sensor size, but also while sporting much the same sensor resolution. Like the Pentax 645Z before it, the Fuji GFX 50S offers up around 51.4-megapixel resolution from a 43.8 x 32.9mm, Bayer-filtered CMOS image sensor with approximately 1.7x the light-gathering area of a 35mm full-frame chip.

Fuji GFX 50S Review -- Product Image

Although its size and resolution are quite familiar, as is performance which we'll come to in just a moment, Fuji describes the sensor in the GFX 50S as being a "Fujifilm exclusive", indicating that it's not the same Sony-sourced sensor used in the Pentax 645Z. Of course, that doesn't necessarily mean that it was an in-house design -- it could be a variant of the Sony chip, but with tweaks to the color filter array, microlenses and/or pixel structure to meet Fuji's needs. Suffice it to say that we'll be very interested to get the GFX 50S into our lab and the real world to see how it compares to Ricoh's camera.

Performance is modest, as is par for the course in medium-format photography

We hinted at performance of the Fuji GFX 50S in the previous paragraph, and here too Fujifilm's camera looks to be on level pegging with Ricoh's now almost three-year old Pentax 645Z design. Like that camera, the GFX 50S will be capable of capturing full-resolution images at up to 3.0 frames per second.

Burst depth is expected to be on the order of eight uncompressed raw or 13 losslessly-compressed raw frames, with JPEG burst depth essentially limited only by available storage space and power. For raw shooters, this is not dissimilar to the situation on the Pentax 645Z, where Ricoh specs a burst depth of around 10 raw frames. However, JPEG shooters using sufficiently-fast flash cards will find that they can shoot much longer bursts thanks to the GFX 50S' ability to write data out to storage just as quickly as it is being captured, where the Pentax 645Z hits its JPEG buffer limit in around 30 frames or ten seconds of continuous shooting.

Sensitivity is another area in which the Fuji GFX 50S looks quite similar to its Ricoh rival at first glance. Both cameras have a base sensitivity of ISO 100 equivalent, with the GFX 50S able to roam as high as ISO 12,800-equivalent by default, and spanning a range from ISO 50 to 102,400-equivalents with its extended sensitivity range enabled. The Pentax 645Z doesn't have an extended range, and instead provides everything from ISO 100 to 204,800-equivalents by default. That gives Fuji a slight edge on the lower end of the range, and Ricoh a similar edge at the higher end.

Fuji GFX 50S Review -- Product Image
A detachable, high-res finder and tilting touch-screen display

The viewfinder and displays are a couple of areas in which the Fuji GFX 50S really distinguishes itself from its Ricoh rival, just as you'd expect of a mirrorless camera. Where the 645Z uses a Keplerian telescopic trapezoid prism finder with 98% coverage, the Fuji GFX 50S instead selects a high-res 3.69 million dot organic LED-based finder with 0.85x magnification and a manufacturer-claimed 100% coverage.

And while its rear-panel display has the same 3.2-inch diagonal measurement as in the Pentax 645Z, the Fuji GFX 50S boasts higher display resolution (2.36 million dots, vs. 1.04 million for the 645Z), a more versatile articulation mechanism (tilting in three directions, vs. two directions for the 645Z) and includes touch-control capability, a feature its Ricoh rival lacks altogether.

There's also a small monochrome LCD on the top deck of the Fuji GFX 50S. It's rather smaller than the top-deck info display of Ricoh's camera, but still manages to fit in all of the main exposure variables for at-a-glance confirmation of setup. Interestingly, it has a dark background with lighter text rather than the more typical dark text, light background design used in the 645Z. It also remains active even when the camera is powered off.

Fuji GFX 50S Review -- Product Image
Price and availability

Available in the North American market from late February 2017, the Fuji GFX 50S is priced at around US$6,500 body-only, making it just slightly more affordable than the Pentax 645Z, which as of press time now lists for around US$7,000 body-only. Body-only pricing for the GFX 50S in Canada is expected to be in the region of CA$8,500.

Pricing for the first three FUJINON GF lenses is set at around US$1,500 (CA$1,900) for the GF63mmF2.8 R WR, US$2,300 (CA$3,000) for the GF32-64mmF4 R LM WR and US$2,700 (CA$3,500) for the GF120mmF4 R LM OIS WR Macro. All three optics are also expected to be available from February 2017.


Fuji GFX 50S Review -- Technical Info

Posted: 01/19/2017


The Fuji GFX 50S sports a brand-new medium-format, mirrorless camera body crafted from magnesium alloy. According to Fuji, its choice of a mirrorless design allowed a one-third reduction in weight, as compared to a similar camera with a DSLR design and the same sensor size.

Fuji GFX 50S Review -- Product Image

The GFX 50S body is weather and dust-resistant, and freezeproof to allow use in temperatures as low as 14°F (-10°C). Dedicated dials are provided for shutter speed and ISO sensitivity control on the camera body itself, while there's a ring dedicated to aperture control on all GFX lenses.

Each of these controls also has an Auto position, so you can attain fully-manual control by switching all three to their Auto positions, then return to priority or manual control by switching some or all of the controls back away from their Auto positions.

And if you prefer the more commonplace front-and-rear dial control over exposure used by most cameras, the Fuji GFX 50S can also function in that manner if you switch over to command dial operation.


At the heart of the Fuji GFX 50S is a 4:3-aspect, medium-format CMOS image sensor with dimensions of 43.8 x 32.9mm, referred to by the company as the Fujifilm G format. The sensor has an effective resolution of 51.4 megapixels, and a standard Bayer RGBG color filter array. Output image dimensions are a maximum of 8,256 x 6,192 pixels. The total pixel count had not been disclosed at press time.

Fuji GFX 50S Review -- Product Image

According to Fuji, the sensor itself is an exclusive, indicating that the precise design hasn't been used previously, although it could still be related to an existing chip such as the similarly-specified Sony sensor used in the Pentax 645Z.

As well as its native 4:3 aspect ratio, the Fuji GFX 50S also allows users to shoot with a choice of 3:2, 16:9, 1:1, 65:24, 5:4 or 7:6 aspect ratios. As compared to a 35mm full-frame sensor, the Fuji GFX 50S image sensor has 1.7x the surface area, allowing it to gather significantly more light.


Output from the GFX 50S' new image sensor is handled by Fujifilm's proprietary X Processor Pro image processor, as featured previously in the X-Pro2 and X-T2 cameras.


As is typical of medium-format cameras, the Fuji GFX 50S has rather sedate performance. Burst capture is possible at either 1.8 or 3.0 frames per second, depending upon whether or not you opt for its electronic first-curtain shutter function.

Fuji GFX 50S Review -- Product Image

At the higher rate, the GFX 50S can capture eight uncompressed raw or 13 compressed raw frames in a burst. At the lower rate, the uncompressed raw burst depth is unchanged, but losslessly compressed raw files can be shot for as long as sufficient card space and power remain. The same is also true of JPEG capture at either rate.


The Fuji GFX 50S provides a generous default sensitivity range of ISO 100 to 12,800-equivalents, and this can be expanded to encompass everything from ISO 50 to 102,400 equivalents if image quality isn't your overriding concern.


The GFX 50S debuts a new Fujifilm G lens mount with a flange-back distance of 26.7mm.

At launch, three optics will be available for the Fuji G mount. These will include the GF63mmF2.8 R WR, the GF32-64mmF4 R LM WR, and the GF120mmF4 R LM OIS WR Macro. Three further models are to be launched later in 2017, including the GF110mmF2 R LM WR, GF23mmF4 R LM WR and GF45mmF2.8 R WR.

According to Fuji, all G-mount optics are designed to be capable of resolving detail sufficient for a 100-megapixel image sensor, far in excess of the GFX 50S' actual 51.4-megapixel resolution. They also all feature dust, weather and freeze-proofing to the same degree as the GX 50S camera body, as well as hydrophobic fluorine coatings to protect their front elements. And as noted previously, all Fuji GF lenses also include a dedicated aperture control ring. This has a locking function to prevent accidental changes, and offers up Auto and Command positions, the latter used if you prefer to control aperture from the camera body rather than the lens ring.

Fuji GFX 50S Review - Fujinon GF 63mm f/2.8 R WR lens

At press time, only the focal length and aperture information was available for the latter three optics, however we do have further details for those lenses which will be available at launch. The GF63mmF2.8 R WR prime lens has a 10-element, eight-group design with one extra-low dispersion element, and uses the front group for focus control. Dimensions are 3.3 x 2.8 inches (84 x 71mm), and the 63mm prime weighs in at around 14.3 ounces (405g).

Fuji GFX 50S Review - Fujinon GF 32-64mm f/4  R WR lens

The GF32-64mmF4 R LM WR zoom lens, meanwhile, has a more complex 14-element, 11-group design with three aspherics, one ED lens and one Super ED lens. It has an internally-focusing design with linear AF motor. Dimensions are 3.6 x 4.6 inches (92.6 x 116mm), and the 32-64mm zoom weighs in at around 30.8 ounces (875g).

Fuji GFX 50S Review - Fujinon GF 32-64mm f/4  R WR lens

Finally, the GF120mmF4 R LM OIS WR Macro prime lens has a 14-element, 9-group design with three ED elements, and includes optical image stabilization with a claimed five-stop corrective strength. Attractive bokeh was apparently a key design goal for this optic, which uses a silent linear autofocus drive. Dimensions are 3.5 x 6.0 inches (89.2 x 152mm), and the 120mm prime weighs around 34.5 ounces (980g).

Dust removal

To help combat the effects of dust adhering to the image sensor's cover glass, Fujifilm has included an ultrasonic dust removal system in the GFX 50S.


Since the Fuji GFX 50S is a mirrorless camera, it must forgo a true optical thru-the-lens finder. In its place is an electronic viewfinder based around a 0.5-inch, 3.69-million dot Organic LED panel. Eyepoint is 23mm from the eyepiece lens, and there's a claimed 100% coverage with 0.85x magnification (50mm lens at infinity and -1 diopter adjustment dialed in). The diopter correction, incidentally, has a -4 to +2 diopter working range.

A proximity sensor is built in to allow the camera to automatically enable or disable the viewfinder as needed when you raise it to your eye or lower it again. The GFX 50S viewfinder is also detachable if you prefer to travel light and shoot using the LCD monitor instead, and can be supplemented by mounting it on top of the optional EVF-TL1 tilt adapter, which allows 90-degree vertical tilt and 45-degree rotation.

Fuji GFX 50S Review -- Product Image
Displays and articulation

The Fuji GFX 50S includes two built-in displays, one in color on its rear panel, and another being monochrome and located on the top deck.

The rear-panel display has a 3.2-inch diagonal and a 4:3 aspect ratio, and offers up a total of 2.36-million dot resolution. It has a claimed 100% coverage, and has a tilting design as seen previously in the X-T2. This allows not just tilting up and down in landscape orientation, but also tilting upwards when shooting in portrait orientation. (Here, it can't be tilted downwards but you can achieve the same thing by simply rotating the camera itself by 180 degrees to aim the display downwards.)

There's also a touch-sensitive overlay, allowing the rear-panel display to be used to control autofocus point selection, menus and the camera's playback mode, where you can use much the same gestures that you would to browse images on your smartphone.

The smaller 1.28-inch top-deck display, meanwhile, serves to show exposure variables and the like. It has a dark background with lighter text color, and can be viewed in the dark too courtesy of an adjacent illumination button. This display remains active even when the camera itself is powered off, and the resolution is 128 x 128 pixels with a 1:1 aspect ratio.


Exposures are determined using the image sensor, with the Fuji GFX 50S using a 256-zone metering system. As well as the default multiple metering, a choice of spot, center-weighted and average metering modes are also provided.

To help push the exposure in your chosen direction, Fuji has also included a healthy +/-5 EV of exposure compensation, set in 1/3 EV steps. For movie capture, there's a more abbreviated +/-2 EV exposure compensation range. You can also bracket exposures within a +/-3 EV range in 1/3 EV steps, with a total of two, three, five, seven or nine frames in each bracketed series.

Fuji GFX 50S Review -- Product Image

Autofocus, too, is handled by the image sensor. The Fuji GFX 50S has a 117-point contrast detection autofocus system at the standard point size, with a grid of 13 x 9 focus points, although this can be increased to 425 points (25 x 17 grid) at the smallest AF point size. In total, you can select from six AF point sizes. There are also 3 x 3, 5 x 5 and 7 x 7 zone AF modes on offer when using the 117-point mode, as well as nine-point wide / tracking AF. And of course, you have a choice of single or continuous-servo AF operation.

The active focus point can be selected either using the touch-panel overlay on the rear of the camera, or using the same focus lever control as seen previously on the Fuji X-Pro2. And it's worth noting that since it doesn't have to rely on an external autofocus sensor, the GFX 50S' autofocus system shouldn't be prone to slight front- or back-focus concerns as can happen on cameras which must rely on a separate AF sensor, such as the Pentax 645Z.


The Fuji GFX 50S offers up a selection of program, aperture-priority, shutter-priority or manual shooting modes. Shutter speeds from the mechanical focal-plane shutter range from 60 minutes to 1/4,000 second, plus a bulb mode which is also limited to 60 minutes or less. Program autoexposure is limited to a maximum of four seconds, while at the other end of the range an electronic shutter function can manage exposures as swift as 1/16,000 second. X-sync is at 1/125 second or slower.

Fuji GFX 50S Review -- Product Image
White balance

A total of ten white balance modes are on offer, including auto, seven presets including underwater, plus custom and kelvin modes.


As noted previously, flash X-sync is at 1/125 second or slower. There is not surprisingly no built-in flash in this pro-oriented model, but a hot shoe and sync terminal are both provided for external strobes. Both first and second-curtain sync are available, along with Auto FP (high-speed sync).


The Fuji GFX 50S includes the company's clever Film Simulation modes. These are applicable both for still and video capture, and in total your choices are for Standard, Provia, Velvia, and Astia film looks, plus Classic Chrome, PRO Neg.Hi, PRO Neg.Std, Black&White (optionally with yellow, red or green filters), Sepia and Acros (with optional yellow, red or green filters). Grain and color effects can be enabled separately, and a two-step strength control is available. If you prefer, you can also bracket any three film simulation types, and bracketing is also available for white balance, ISO sensitivity, dynamic range and exposure.

If you want to get yourself in the picture or just avoid camera shake when shooting tripod-mounted, both two and 10-second self-timers are available. An interval timer function is also included, but details on the number of shots and available interval time hadn't been disclosed at launch.

Fuji GFX 50S Review -- Product Image

Although the focus is clearly on its still imaging capabilities, Fujifilm has nonetheless included video capture on the feature list for the GFX 50S. You can record movies at either Full HD (1,920 x 1,080 pixel) or HD (1,280 x 720 pixel) resolution, and have a choice of 29.97, 25, 24 or 23.98 frames per second capture rates.

H.264 / MPEG-4 AVC compression is used, and movies are stored in a .MOV container with 48KHz linear PCM stereo audio. Full HD movies have a 36Mbps bitrate, while HD movies have an 18Mbps bitrate, and both are limited to 30 minutes per clip maximum.


The Fuji GFX 50S includes dual SD card slots, and can use the secondary slot as an overflow for when the first slot is filled, as a backup of the card in the first slot, or to segregate images with raws on one card, and JPEGs on the other.

Both slots are compatible with the higher-capacity SDHC and SDXC card types, as well as with the higher-speed UHS-I and UHS-II card types. You can also select whether to use losslessly compressed or uncompressed 14-bit .RAF raw files, and can choose from one of three JPEG compression levels. TIFFs can't be captured natively, but you can convert raw images to 8-bit TIFFs in-camera.

Fuji GFX 50S Review -- Product Image

The Fuji GFX 50S includes a generous selection of wired and wireless connectivity options.

Wireless connectivity includes support for 802.11b/g/n Wi-Fi networks in infrastructure mode using WEP, WPA or WPA2 encryption, and allows for remote shooting, geotagging by piggybacking off your phone's GPS receiver, printing using Fuji's Instax Share tech, and image transfer.

Wired options include USB 3.0 High Speed data using a Micro USB terminal, a Type-D Micro HDMI video output, dual 3.5mm jacks for microphones and headphones, a 2.5mm remote release connector, hot shoe and flash sync terminal, and a 15-volt DC input. The Micro USB terminal is also compatible with an optional RR-90 remote release, and tethered shooting from a PC is supported.


Power comes courtesy of a new NP-T125 lithium ion rechargeable battery pack. Fuji says that this is sufficient for 400 shots on a charge when using the GF63mmF2.8 R WR lens and the GFX 50S' Auto Power Save function is enabled.


Several optional accessories will be available for the Fuji GFX 50S, including the VG-GFX1 vertical battery grip, EVF-TL1 EVF tilt adapter, H Mount Adapter G and View Camera Adapter G.

Fuji GFX 50S Review -- Product Image

The VG-GFX1 battery grip offers duplicate controls for portrait-orientation shooting, and allows a second battery to be installed for longer battery life. You can also charge a battery in the grip in two hours with an optionally-available AC-15V accessory.

The optional EVF-TL1 EVF tilt adapter, meanwhile, sits between the GFX 50S body and the included EVF accessory, and allows the finder to be tilted up to 90 degrees vertically, and swiveled +/-45 degrees horizontally.

Finally, the H Mount Adapter G and View Camera Adapter G allow use of historic glass on the GFX 50S body, a capability that will be particularly useful until Fuji has had sufficient time to build out its GF lens lineup. The H Mount Adapter G allows the use of a total of nine Super EBC Fujinon HC lenses and one teleconverter developed for the GX645AF medium format film camera using manual focus with flash sync speeds up to 1/800s, as well as the ability to adjust the aperture via the GFX's control dial when in manual or aperture priority mode. Electrical contacts permit lens-to-body communication for applying in-camera lens corrections and for recording metadata. Included with the adapter is a removable tripod foot. The View Camera Adapter G allows the GFX 50S to be used as a digital back by mounting the camera to the back of a 4x5 view camera body. The adapter is mounted in the film camera loading position of the view camera, and either the in-lens or in-body focal plane shutter can be used.


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