Fujifilm GFX Review
|Full model name:||Fujifilm GFX 50S|
|Sensor size:||Medium format
(43.8mm x 32.9mm)
|Viewfinder:||EVF / LCD|
|Native ISO:||100 - 12,800|
|Extended ISO:||50 - 102,400|
|Shutter:||1/16000 - 3600 seconds|
5.8 x 3.7 x 3.6 in.
(148 x 94 x 91 mm)
|Full specs:||Fujifilm GFX specifications|
Your purchases support this site
- Amazon for $6,407.43
- Adorama for $6,499.00
- B&H Photo for $6,499.00 Buy here to enter drawing this month for $500 Gift Card
Fuji GFX 50S Review -- Now Shooting!
For those looking for our detailed product overview, complete with specs and features, click here for our Fuji GFX Overview.
Fuji GFX Extended Gallery
Delving into portraits, higher ISO's and more
By Dave Pardue | Posted: 03/17/2017
As I started writing this extended gallery piece I couldn't help but notice that the Fuji GFX is not only the most popular camera on our website as of today (populated by readers in the Most Popular pod on our homepage) but it also has been for some time, and is leagues ahead of the next camera on the list. That wouldn't be at all surprising to me, given several factors such as how good our First Shots looked from a first pass through our test lab. However, the relatively high price tag compared to even most full frame cameras makes that enormous popularity all the more intriguing. My colleague William Brawley had just brought the camera stateside after an initial gallery sampling in Japan, and asked if I'd take it out for a portrait spin. (Well... sure!)
Given the enormous sensor housed inside, I was, like many others, surprised by how relatively light the camera is. Even with the 63mm f/2.8 attached, which is the only lens I had to work with, the entire package is scarcely larger than a typical full-frame DSLR. Given this reasonable weight and the ability to fit in my relatively small "everyday" camera bag (a slim, over-the-shoulder Lowepro) I therefore kept the camera with me a lot more than I would have expected, including on some extended family hikes in the hills. This is obviously not your father's medium format camera here, and the more I shot with it the more I could understand the attraction. It's not without a few obvious and immediate drawbacks in the performance arena, which we'll be exploring in depth for you from the lab and from the field. But, then again, that's not why people spend their money for a medium format camera.
1/125s / f/2.8 / ISO 1250
[Film Simulation: Acros+R]
(Images have been resized to fit this page, cropped and/or altered in post-production, primarily to balance shadows and highlights as needed. Clicking any image will take you to a carrier page with access to the original, full-resolution image as delivered by the GFX. For additional images, EXIF data and access to the RAW files from these images for downloading please see our Fuji GFX-50S gallery page.)
Portraits: The medium format Fuji way
Of the two prime lenses announced alongside the Fujifilm GFX, the 120mm f/4 (95mm eq.) certainly sits more snugly in the range of common portrait territory, but the 50mm-equivalent 63mm f/2.8 is a full stop brighter, and sports a focal length that is definitely still within the common portrait wheelhouse, especially for capturing more of the subject than just basic head shots. As you'll see from these images as well as a few down below, the much larger sensor adds to the shallow depth of field potential lost by the shorter focal length and dimmer aperture than what's typically found on most classic portrait lenses and somewhat levels the playing field for this lens when shooting wide open.
While I've very much enjoyed shooting with the capable and reasonably lightweight 63mm f/2.8, it will be interesting to see if our friends at Fuji have a special portrait lens on the drawing board for this mount coming at some point down the road, especially given their excellent XF 56mm f/1.2 and XF 90mm f/2 portrait lenses for their X-series mount. When they do, this photographer will surely be eager to try it out!
ISO freedom: Cranking the gain on a large sensor
When you crank the volume on a tiny speaker it breaks up quickly and turns to noise, but not so with a quality speaker of ample proportions. So too are we accustomed to that luxury while cranking the ISO gain as the sensor size increases, and as we saw from the initial lab images of our Still Life test target from the GFX, this sensor and processor combination are indeed designed to allow for that freedom in spades. I suppose the use of higher ISOs isn't the first reason people reach out for a medium format camera, but it's certainly nice to know you have that power at your disposal when you need it.
Stay tuned for much more to come from us in the higher-ISO image quality department, as we'll soon bring you our signature Image Quality Comparisons and Print Quality Analysis. Those should both prove eye-opening based on the initial results from our laboratory First Shots. We'll have more to come from the lab and the field in the performance department as well.
Fujinon 63mm f/2.8: A nifty fifty with shallow DOF
We touched on the 63mm f/2.8 lens earlier, but let's take a closer look at the relatively shallow depth of field attainable with this combination. After all, when you think 50mm eq. at f/2.8, you're not generally thinking about the subject-to-background isolation potential afforded by something longer and brighter, as the classic portrait lenses generally provide. This is where the third part of the equation comes into play in the form of that huge sensor housed inside, one that can take an otherwise average-sounding aperture and focal length and make it behave more like something a bit more exotic.
1/600s / f/2.8 / ISO 200
[Film Simulation: F1b/Studio Portrait/Astia]
Frosted bokeh: This image more than any other in this collection showcases the shallow DOF possible with this combination, and also hints at the general flavor of the bokeh.
Fuji Film Simulations: Let's go to 11!
If you've not yet surmised, I'm a Fuji Film Simulation addict. Admitted, convicted, not restricted. I fell for them years ago and think about them often when I'm shooting with Fuji cameras (and yearn for them when I'm not). Their default simulation, called "Standard" and based on their Provia film, is fine and certainly the most "true" to the real life scene in front of you, but I rarely use it as I'm often going for a certain look from the start. You can certainly achieve this after the fact, but I very much like getting a head start on the look I want, knowing the RAW file will still be there later for choosing another direction or for converting in-camera. I'm quite certain these film simulations have changed the way I shoot, and most definitely expand the artistic canvas while out in the field.
There are 9 Film Simulations found in the GFX, and the two monochrome versions each come in 4 flavors, yielding 15 in total. In this piece and throughout our GFX gallery, I've covered 11 of these for you, including all 6 of the color varieties. They really can radically alter an image and give it the "feel" you're after, while generally remaining subtle enough to not seem like a gimmick. To each his own, as some purist photographers will surely disagree, but I'm also certain that there are some of you reading this who are fellow film simulation addicts like myself. (And I'd love to hear from both sides in the comments down below... do you have a favorite film simulation or two? Do you shun their very existence? Let's hear it! Family-friendly, please.)
1/1000s / f/2.8 / ISO 100
[Film Simulation: Pro Neg. Std]
So my addiction to film simulations remains alive and well, and even bolstered by the relatively new ability to process RAWs in-camera after the fact. Of course, you can also bracket 3 different simulations while shooting, but you do lose the RAW file option in that scenario. I do use the bracketing feature though, when I'm sure it'll be narrowed to one of those three, as that saves time and lends to the artistic enjoyment of selecting images after the fact.
GFX Extended Gallery Conclusion
Shooting with the Fuji GFX was an enjoyable experience for me and really taxed my skill level. Only once have I shot with this high a resolution (Canon 5DS) and once again found it a good learning experience. In addition, the enormous sensor housed in such a reasonably-sized package is very alluring for a variety of subjects, and when combined with the high ISO prowess and Fuji's film simulation modes, the camera lends itself to a wealth of artistic expression for the adventurous photographer, even while on-the-go. Of course, the medium format class is also known as a primary tool for landscape photographers, and our own Jeremy Gray is working on a Field Test for you as I type from the late winter locale of Maine, USA. Stay tuned for his experienced take from the field and snow, landscapes aplenty, and for more on factors like weather-sealing as well.
1/60s / f/16 / ISO 1000
[Film Simulation: F2/Fujichrome/Velvia]
"Hey babe, the sky's on fire." - James Taylor (Ibiza, Spain, 1968)
For more images from this collection and from our tour of Japan please see our Fujifilm GFX Gallery!
• Fuji GFX Gallery • Lab Samples •
Fuji GFX 50S Review -- Overview
by Mike Tomkins
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!
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.
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.
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.
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.
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.
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
by Mike Tomkins
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.
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.
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.
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.
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).
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).
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).
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.
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.
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.
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.
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.
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.
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.
$7450.00 (13% more)
24.2 MP (112% less)
Also has viewfinder
$5995.00 (8% less)
24 MP (114% less)
Also has viewfinder
$7199.98 (10% more)
24 MP (114% less)
Also has viewfinder
$5356.33 (21% less)
24 MP (114% less)
Also has viewfinder
$6995.00 (7% more)
24 MP (114% less)
Also has viewfinder
$15999.00 (59% more)
24 MP (114% less)
Also has viewfinder
$1199.00 (442% less)
25.56 MP (101% less)
Also has viewfinder
$5622.50 (16% less)
18 MP (186% less)
Also has viewfinder
$7755.00 (16% more)
18 MP (186% less)
Also has viewfinder