I am not sure if I just got unlucky with one of the sample units, but it could definitely be a concern for a potential owner. I am not sure exactly why Fuji decided to extend the back of the camera, but based on the layout, it probably had to do with the size of the battery and space limitations. Ability to attach/detach EVF and other accessories using the flash socket is a great idea, especially if Fuji is planning to release additional accessories and offer future EVF upgrades. I have practically no complaints on the menu system, aside from one bug that has been annoying me forever on all X-series cameras – inability to go back the last state when navigating the setup menu options. The difference in light can be better handled by cameras with high aperture dynamics. Thanks to its focal plane shutter and a relatively short flange distance, it is also possible to adapt many different lenses from other systems, the advantage the X1D cannot compete with. FUJINON GF 110mm F2 R LM WR. For most people, this is simply a huge waste of money. The VG-GFX1 vertical battery grip allows easier shooting in vertical orientation and you can double the battery capacity of the camera by inserting an additional NP-T125 battery into the grip. Take a look at the below comparison and you will see exactly what I mean: That’s a massive difference in camera width between the two, with Hasselblad X1D-50c looking much slimmer and sleeker in comparison. To be honest, I do not know why Fuji even bothered providing audio ports, since the camera is crippled to 1080p video recording anyway. As such, the camera is capable of shockingly large prints, such as a 24 x 36 at ISO 6400 and even just hitting the mark for a quality 11 x 14 inch print at ISO 25,600. The right compartment is for video – it contains a microphone input and a headphone jack. Fuji left very little space on the top and the bottom of the camera, which shows that the engineers wanted to make the camera as compact as possible, obviously without any serious compromises. Lightroom uses non-defeatable lens corrections with the 63 on the GFX. One should understand that moving up to “medium format” can differ quite a bit depending on what size of medium format sensor one chooses. ISO 25,600 images still manage to have very well-controlled noise, despite now hitting the GFX's expanded ISO range, but noise is stronger now and it's taking its toll on subtler, finer detail. We've also decided to change up our typical IQ Comparison layout to accommodate larger crops -- the 250 x 250-pixel square crops normally seen in our IQ tables just don't show much from very high resolution images like these when viewed at 100%. The 51-megapixel GFX easily out-resolves Sony's 42-megapixel full-frame A7R II mirrorless, as expected. At the end of the day, sensor size certainly does matter, but the big question is, how much of a difference is there really between medium format and full-frame sensors? 2,360K-dot Tilt-Type Color LCD Monitor, Weight: 920g (Camera Body, battery and EVF attached), Dimensions: 147.5mm (W) x 94.2mm (H) x 91.4mm (D). Many seem to prefer a tilt adapter that allows the EVF to be used in different angles. Personally, I would prefer that Fuji engineers instead found a way to work out the battery size issue by perhaps making the camera grip a little larger and moving it there. Here at ISO 6400, the Fuji continues to produce a noticeably cleaner, crisper and more detailed JPEG than the Pentax with a tighter noise grain and better color as well, but again that's mostly due to better processing from the Fuji as RAW files contain similar noise characteristics. Even if the latter has a 586% as large of a sensor, the cost difference is a whopping 6,600%, which is mind-boggling. This obviously would require Fuji to redesign the EVF to be shorter in length and possibly increase the vertical size of the camera (since the EVF would have to be made a bit taller), but I would rather have a slightly taller, but slim camera, than one that is even deeper than my Nikon DSLRs. At this ISO, the Fuji GFX 50S still manages to produce an impressively-large 24 x 36 inch print. If I banged the EVF with my hand, the blocks sometimes went away and EVF went back to normal. Although on paper the Fuji has just a slightly higher resolution (51.1MP with a 8256 x 6192 pixel image versus 50.3MP with a 8688 x 5702 image for the Canon), when framed vertically the 4:3 Fuji has a larger advantage over the 3:2 Canon in terms of resolving power than their relative pixel counts would imply. When it comes to focus accuracy, I found both cameras to be similar – most images turn out to be very sharp in the areas where the focus point was aimed at, which is great news. Contrast in the red-leaf swatch does however remain better from the Canon. Speaking of firmware, I am glad that Fuji finally fixed another serious bug – inability to save the Self-Timer state! In fact, compared to the Hasselblad X1D-50c, one could argue that it is a pretty ugly camera and I would not disagree. The only area I would be worried about is the top LCD – if you drop anything sharp and heavy on it, the glass cover might break and destroy the LCD, which would probably not be cheap to replace. In case you're wondering, resampling the Phase One down to the GFX's image size of 51 megapixels reduces the appearance of noise, but the GFX's image is still significantly cleaner. FUJINON GF 23mm F4 R WR. Fujifilm GFX 50S GF 32-64mm F4 R LM WR Lens, f/13, /1/125th sec, ISO 200 This is something that should be fixed via a firmware update as soon as possible since it adds to many more steps when one wants to experiment with some of the setup settings. The series starts here. While jumping from an APS-C sensor to medium-format would be huge, moving up from full-frame to medium format is not going to show night and day differences in image quality. GF23mm F4 GF45mm F2.8 GF63mm F2.8 GF110mm F2 GF120mm F4 Macro GF250mm F4 GF32-64mm F4 GFX 50S GFX 50R GFX 100 First, since the GF lenses use fly-by-wire focusing, the focusing state would not get saved when playing back images or turning off the camera. The star of the day, however, was the new GFX system with its near three-dimensional 50-megapixel resolution. FotodioX Nikon F to Fuji GFX 50S Adapter Review, Z6 II vs. Z7 II – advice on which one better for enthusiast level, To watermark or not to watermark on prints, Full-Frame is 236% as large as APS-C and typically 2x-4x as expensive, Medium Format Small (Fuji GFX 50S, Pentax 645Z and Hasselblad X1D-50c) is 167% as large as full-frame and typically 3x-4x as expensive, Medium Format Large (Hasselblad H6D-100c) is 149% as large as Medium Format Small and 3x-4x as expensive, Extended ISO Sensitivity: 50, 25,600-102,400, Electronic Shutter: 60 minutes to 1/16000, Viewfinder: 3.69M-dot OLED Color Viewfinder, Autofocus System: Contrast Detection Only, LCD Screen: 3.2 inch, Approx. Fujifilm's 3.00 firmware update adds a new Pixel Shift Mult-Shot mode to its GFX 100 camera that works alongside a new Pixel Shift Combiner program to output 400MP Raw images made up from 16 individual still images. To make sure that the LCD matches the image sensor, Fuji made the LCD screen in 4:3 aspect ratio, so there is no dead space on either side of the frame. I have been shooting with the GFX 50S since it was released, so the experience that I am sharing with our readers is based on quite a bit of fieldwork, including international travel. Up to ISO 400, images are pretty much identical, and we only start to see a hint of shadow noise -- that appears more like a fine grain -- at ISO 800, which doesn't negatively affect print quality size. Dynamic range of the Fujifilm GFX 50s. However, if the strap is down, you will need to move it upwards to access the side doors. Aside from these, you will also find a focus switch with two other buttons on the protruded area of the camera rear. Fujifilm has continuously pursued image quality as a leading photographic manufacturer. Both cameras produce very pleasing colors as we've come to expect from Canon and Fuji. To the left of the EVF there is an ISO dial that is made in the same style as we are used to seeing on other modern X-series cameras, minus the drive modes. I'd get my GFX-50R body at Adorama, at Amazon, or at B&H (or used at eBay) or get it as part of a kit or with a lens at Adorama, at Amazon or … All cameras in this comparison were shot with our very sharp reference lenses. Now considering that the smaller medium format sensor is only 167% as large as full-frame and yet it is 2-3 times as expensive compared to something like the Nikon D810, one wouldn’t get the same dollar per sensor inch value as say when moving from an APS-C to a full-frame camera. Ahead of our full review, here are some sample images taken with a final production version of the brand new Fujifilm GFX 50S medium format camera, using the GF 23mm f/4, 45mm f/2.8, 63mm f/2.8 and 110mm f/2 lenses. Fujifilm GFX 50S Images Mom, Dad & the grandkids. If Fuji addresses some of the concerns I brought up above in the next generation GFX, it will feel much more thought-out and complete in comparison. Still, at the end of the day, image quality differences might not matter in the long run – it mainly boils down to differences in camera systems. Personally, I love the way Fuji designed its menu system. Even when you are shooting only in RAW, the camera records 12-megapixel thumbnails at the same time. Clearwater by sal patalano 274 88 The Street Walker. The Fujifilm GFX 50S, a great camera with those amazing Fujifilm dials. Although not a fair comparison, here we compare the Fuji GFX 50S to the highest resolution camera we have ever tested at IR, the 101-megapixel Phase One XF 100MP, which has an even larger medium format sensor and sells for approximately 7.5x the price as the GFX 50S. So whether you are looking at the Pentax 645Z, Hasselblad X1D-50c or Fuji GFX 50S, they all share a very similar sensor. The Fuji continues to produce better colors. Talk about an absolutely stunning performance in our print quality analysis. Some additional pictures of the Fujifilm GFX XΩ modular medium format mirrorless camera prototype that was presented during the recent X Summit.This specific design never reached production because the shutter mechanism was too large: “Here are the three main modules – a grip component, the main body of the camera, and a removable EVF. The world around you changes the moment you hold this camera in your hand. bigger. Considering that one can get a new camera with an APS-C sensor for around ~$500 nowadays, does it make sense to move up to a Hasselblad H6D-100c that costs $33 thousand dollars? The priority has always been to achieve premium image quality. Perhaps Fuji can focus on that in the next iterations of the GFX camera line…. Again, the Fuji GFX 50S bests the Sony A7R II in this comparison at ISO 3200, producing a cleaner, crisper, more detailed image with better color and fewer noise reduction artifacts. FUJIFILM has continued to develop and manufacture medium format film cameras. Both cameras compete head-to-head when it comes to image quality since they feature a very similar 44x33mm sensor, which is why I will be bringing them up quite a bit for side-by-side comparisons in this Fuji GFX 50S review. GFX 50S + GF120mmF4 R LM OIS WR Macro @ 120mm, ISO 100, 1/8, f/8.0. However, for those who want to have the best image quality and do not mind the much higher price premium, medium format cameras certainly do have an edge over full-frame cameras. While the Phase One XF continues to readily out-resolve the GFX here at ISO 1600, its resolution advantage isn't nearly as great as at base ISO. In landscape photography, the dynamics capture of a camera is especially important. Perhaps a 5 x 7 inch print would work for less critical applications, but we'd avoid this ISO if printmaking is your end goal. The grip protrudes way too much in my opinion, and its a bit too edgy, which made it somewhat painful to use in the field – my thumb kept getting sore on one side. Although the sensor is excellent in every way (as I have described in my Pentax 645Z review), Sony simply decided to resell existing sensor technology to three different manufacturers: Pentax, Hasselblad, and Fuji. Once again, the Fuji shows lower chroma noise in the shadows, but the Sony does a better job at reproducing the offset printing coloration in the mosaic crop. The Fuji does however show slightly lower noise levels here at ISO 100, particularly chroma noise in the shadows, but it also doesn't reproduce the subtle offset printing coloration in the mosaic crop. Additional notes regarding these and the recently announced Fuji GF lenses can be found in the next few pages. Colors are also slightly less vibrant. Besides that, it has a terrible design, which is improved a great part with the new Fujifilm GFX 100. While the Hasselblad X1D-50c is made to appeal photographers of any level, the GFX 50S prioritizes functionality over design, so it’s aimed at enthusiasts and professionals who know what they are doing. This would have removed the necessity to make the camera appear so bulky when compared to the Hasselblad X1D-50c. While the three medium format cameras technically have more resolution than any other full-frame camera on the market (the closest in resolution is the Canon 5DS / 5DS R), it is not the resolution, but the sensor size that plays a huge role in the overall image quality of a system. If Fuji found a way to relocate the battery to the grip area, as in the case of the X1D-50c, all that extra bulk from the back of the camera could have been cut off. Fujifilm GFX 50S samples gallery: 134 images Feb 24, 2017 Fujifilm X-T20 Sample Gallery: 66 images Feb 23, 2017 Nikon PC Nikkor 19mm F4E ED Sample Gallery: 66 images Feb 20, 2017 Fujifilm 23mm F2 R WR Sample Gallery The FUJIFILM GFX 50S delivers the world’s best image quality. So if you wear a strap, you would be OK changing memory cards as long as the camera is hanging off your neck or shoulder. At this print size, noise is surprisingly well-controlled and the print has lots of detail throughout. Be aware the Phase One camera does not produce in-camera JPEGs, requiring the use of computer software (in this case we used Phase One's Capture One at default settings), so this is another reason this comparison is unfair but still interesting. Fujifilm GFX 50R JPEG Images If you go to any setup menu or sub-menu, the moment you get out of the menu and go back in, the camera will always default to Image Quality Setting. A gallery of sample JPEG and Raw images taken with the Fujifilm GFX 50R medium format camera. A stunning print quality performance from the GFX! Sample Images Intro Specifications Accessories Performance Compared User's Guide Recommendations More Fujifilm GFX 50R (27.2 oz./772g with battery and one SD card, has two SD slots, $3,999 new or about $3,700 used if you know How to Win at eBay) and Fujifilm GF 32-64mm f/4. GFX, 1/250, f/2, ISO 100. The rear monitor on the GFX 50S can be tilted in three ways just like … On the top of the LCD you will find the camera on/off switch with the shutter release button on top, along with a tiny exposure compensation (EC) button. The Pentax on the other hand produces much better contrast in our red-leaf swatch but it renders the pink fabric much too magenta. Here we compare the medium format Fuji GFX 50S with the full-frame Canon 5DS R at base ISO. Unfortunately, this good old trick did not work every time and it certainly did not make me look from the side, beating up an expensive medium format camera! The Fuji GFX 50S image is dramatically cleaner than the Phase One image here at ISO 3200, with fewer noise reduction artifacts. Fuji 50/3.5 on GFX 100. An 11 x 14 inch print just passes muster, which is still quite remarkable. The “edgy” retro look of the camera, along with the extruded LCD just don’t look good on such a large camera body in my opinion. Subtle detail in our tricky red-leaf swatch has been degraded more by the Pentax, however contrast is still a bit better. By Jeff Meyer. GFX 50S GF110mmF2 R LM WR lens 110mm f/3.2 1/250s 100 ISO -0.7 EV GFX has a sensor that is approximately 1.7 times the size of a 35mm full frame. ISO 6400 images display slightly stronger noise, but they maintain a film-like graininess, which isn't overly detrimental to print quality. The Fujifilm GFX 50R is a medium format camera with 51.4 million pixels, backed up by an amazing lineup of Fujifilm GF lenses… so there is obviously no doubt about the image quality. While Fuji is known to make stylish retro-style cameras, I cannot describe the GFX 50S as one. A detailed list of camera specifications is available at Fujifim.com. NOTE: These images are from best quality JPEGs straight out of the camera (except for the Phase One XF 100MP which cannot produce in-camera JPEGs), at default settings including noise reduction and using the camera's actual base ISO (not extended ISO settings). Once again, the Fuji GFX 50S easily wins this comparison, producing a cleaner, crisper, more detailed image with better color and fewer noise reduction artifacts than the Sony A7R II. Both show similar levels of noise, however the Fuji's grain pattern is a bit more regular and film-like. Both cameras blur our troublesome red-lead swatch, but the GFX holds on to a bit more detail. Fujifilm GFX 50S Images Taken on a visit to Cragside Estate in Northumberland. The Hasselblad X1D-50c is a lightweight and stylish mirrorless camera with leaf shutter lenses. You can follow him on Instagram and Facebook. Nasim Mansurov is the author and founder of Photography Life, based out of Denver, Colorado. Keep in mind this is with default settings, so it's possible with some careful processing the added resolution provided by the 100MP will allow you to apply stronger noise reduction while still retaining better detail, but the Fuji still comes out ahead in terms of noise when you simply resample the Phase One image down to the same 51 megapixel size. Stunningly detailed 30 x 40 inch prints up to ISO 3200; Usable 11 x 14 inch prints up to ISO 25,600; Nice 8 x 10 inch prints all the way until ISO 51,200! A detailed list of camera specifications is available at Fujifim.com. GFX-50s, 1/250, f/2, ISO 100 – GF 110mm The advantage of the E-mount series is without a doubt the wider selection of lenses. At ISO 6400, the Fuji GFX's image quality is so much better than the Canon 5DS R's, that it can barely see the Canon in its rear-view mirror! Second, when shooting in manual or AF-S focus modes, the camera would occasionally shift lens focus when half-pressing the shutter release, making it appear that lenses have very serious focus shift issues. Seattle Sunrise GFX50s by Mike Reid 71 8 Manchester, NH 3Aug20 by sal patalano 362 16 The Street Walker. When it comes to the EVF, many Fuji GFX 50S owners love its flexibility and modularity. Now, this is a really cool and useful feature that I have never seen on any other camera before! prints are the largest we test. The Fuji's image appears crisper due to more sophisticated default processing and perhaps a slightly better lens, and it has more pleasing, accurate colors as well. The menu system on the GFX 50S is very similar to that of the Fuji X-T2, so if you are already familiar with the Fuji X-series cameras, you will have no problem navigating and customizing the camera through its extensive and easy to use menu system. I wish Fuji kept the grip area smaller and smoother, similar to what Hasselblad has done on the X1D-50c. bigger. The Pentax 645Z is a large and heavy DSLR with a good selection of lenses already available – it is a fairly mature medium format system. Medium-Format vs. Full-Frame Image Quality Comparison (GFX 50 vs. Nikon Z7 vs. Canon 5DS/R) All Fujifilm Cameras Compared. To learn more about what we’re about, please explore Innovation at the Fujifilm global website. It has been just over a year since the release of Fujifilm’s entry into the digital medium format market, the Fujifilm GFX 50s. Noise in flatter areas is more visible from the Phase One already here at base ISO though, even at its lower base sensitivity of 50. Speaking of the top LCD, Fuji did a great job with it, since it is very functional and has plenty of space for all the relevant information. Photos taken with the Fujifilm GFX 50R medium format mirrorless camera. Without a doubt, the EVF on the Fuji GFX 50S is noticeably better than the one on the Hasselblad X1D-50c. Think of the GFX 50S sensor as a crop-sensor medium format, because that’s what it is really…. The XF 100MP continues to be a little crisper with better contrast, but overall the Fuji comes out ahead here with lower noise, fewer noise reduction artifacts and better color. See more ideas about Fujifilm, Medium format camera, 50s. At lower ISOs, you could probably get away with printing even larger sizes, however 30 x 40 in. Fujifilm GFX 50S with GF 23mm f/4, GF 32-64mm f/4, GF 45mm f/2.8 & GF 110mm f/2 Early morning landscape The GFX’s ‘cropped’ 43.8×32.9mm sensor offers 68% more surface area compared to the D850’s 35.9×23.9mm full frame chip. In my opinion, even if camera buttons are fully customizable, the default labels for buttons should always be there. EXTENSIVE UPDATE 2020 This Fujifilm GFX 50S review is the most extensive and complete review of this camera to date (continuously updated with everything new in the GFX world), also covering shooting long exposure, which hasn’t been covered before with this camera. During the one day event we tried the GFX 50s in a few different scenarios, and want to share some early impressions, as well as some of the images that we took during the event. This is another area where the GFX 50S stands above the Hasselblad X1D-50c – both ports are UHS-II compatible. The XF easily out-resolves the 51-megapixel GFX 50S as expected, reproducing the finest of details the Fuji simply cannot. Thursday January 19, 2017. Both are large and tall, which is particularly useful when using the camera with gloves in cold temperatures. Here at ISO 3200, the GFX continues to produce a noticeably cleaner, crisper and punchier JPEG image with better color than the 645Z. You can customize the camera in many ways and there are plenty of other useful options, such as the ability to map out hot / stuck pixels. The “Drive” modes on the GFX 50S are moved to a small button to the right of the shutter speed dial, while a tiny button on the bottom left of the top LCD is there to reverse the colors of the LCD when shooting in dark conditions. Second, Fuji decided not to put any labels on the three function buttons, which is not something I would like to see on any camera. Imaging Resource © 1998 - 2020. Here at ISO 1600, the Fuji produces a noticeably cleaner, crisper and brighter image even though amount of detail preserved is still comparable. Lastly, it feels like Fuji simply copy-pasted some of the components from the X-series cameras into the GFX 50S. Once the camera powered up and EVF turned on, it would display white horizontal blocks. News. The GFX 50S has been a big hit for Fujifilm, so the new camera comes as a bit of a surprise, being basically a repackaged 50S – it features the same sensor and processing engine and almost identical specifications, albeit housed in a sleeker, rangefinder-style body. Sharpening halos are practically nonexistent from the Sony, but they aren't very obtrusive from the GFX. The same cannot be said about the EVF on the GFX 50S – it feels much smoother and responsive in comparison. (Note that the Canon was shot with Fine Detail Picture Style which does a better job rendering fine detail without visible sharpening artifacts than Canon's Standard Picture Style, but images also have lower contrast.) Hasselblad and Fuji got quite a bit of buzz in 2016 when they introduced the first mirrorless medium format cameras. Previously, if one set a self-timer, then turned the camera off and back on, the self-timer would turn off, forcing one to set it back again. Tilting screen mechanism. In shooting landscapes, you are almost always confronted with bright areas (sky) and dark areas (shadows in the foreground). Initially, I thought that perhaps Fuji wanted to reduce sensor heat, but that theory does not make sense for one main reason – the battery sits directly behind the camera sensor. Fujifilm GFX 50S Users. Take a look at the below illustration: Unlike APS-C and full-frame, medium format does not strictly define one particular size of the sensor. The Phase One's image is much grainier and default noise reduction distorts fine detail and edges more than the GFX. In fact, when doing discreet street photography, using a tiltable EVF would have definitely let my subjects know that I am pointing the camera at them, whereas using the tiltable LCD allowed me to remain more or less unnoticed since I appeared as if I was just looking down at the camera. I ran an f-stop series with the Siemens Star at about 40 feet. Below are crops from our laboratory Still Life target comparing the Fuji GFX 50S' image quality to the highest resolution challengers we have tested to date: The 50-megapixel full-frame Canon 5DS R, the 51-megapixel medium format Pentax 645Z, the 101-megapixel medium format Phase One XF 100MP, and the 42-megapixel full-frame Sony A7R II Mark II. Considering that UHS-II SD cards are much faster compared to UHS-I cards and they will soon become the standard, Hasselblad definitely goofed up by limiting both ports to UHS-I on the high-end X1D-50c. Sample Images We will first start with the front of the camera. In the shadows, a combination of noise and noise reduction processing reduces fine detail to a degree as well as displays a somewhat mottled appearance in some areas. ISO 3200 prints begin to display a bit more shadow noise, but the level of sharp, fine detail is still excellent all the way up to 30 x 40 inches. And since Fuji did not want to make the camera any taller than a DSLR, the decision was made to extend the back of the camera. For those interested in working with the RAW files involved: click these links to visit each camera's respective sample image thumbnail page: Fuji GFX 50S, Canon 5DS R, Pentax 645Z, Phase One XF 100MP and Sony A7R Mark II -- links to the RAW files appear beneath those for the JPEG images, wherever we have them. The Phase One also produces much better contrast in our tricky red-leaf swatch. Fujifilm is helping make the world a better, healthier, and more interesting place. For example, the Fuji GFX 50S’s pixel size is 5.3µ, whereas the Nikon D810 has a pixel size of 4.88µ. This would also eliminate the awkward-to-access switches and buttons in this area and make the GFX 50S appear like the X-series cameras. On the left side of the camera, you will see a battery door, along with two extra compartments for connectivity options. Here at ISO 3200, we'd recommend stopping right at 30 x 40 inches; any larger and noise might become an issue. As a Nikon shooter, I prefer to have main menus and sub-menus located on the left side of the screen and I really like being able to quickly add and remove important menu options in “My” camera menu. I have been fortunate to have used all three systems, so everything I say in this review is based on my extensive experience with each camera. Both issues have been addressed via firmware updates and I can confirm that they indeed take care of these problems. The Fuji has also lost some subtle detail in the red-leaf fabric, though not to the same extent. As a result, the Fuji does resolve a bit more detail in this comparison, but it also applies stronger default sharpening and contrast producing a crisper image with more "pop," though with slightly more noticeable sharpening halos as well. It was the home of William Armstrong, 1st Baron Armstrong, founder of the Armstrong Whitworth armaments firm. However most of the difference is due to better JPEG processing from the Fuji, as noise levels in RAW files appear very similar. For example, the size of the joystick on the GFX 50S is the same size as on the X-T2, which to me does not make sense, given that the GFX 50S is much larger in comparison. Still, I wish Fuji engineers came up with a slightly cleaner design that made the camera a little bit more attractive, so that it feels a bit more “premium” when compared to other medium format cameras on the market. The Phase One XF 100 MP also renders a much sharper image, while at the same time producing fewer sharpening halos around high-contrast edges. This was rather annoying, particularly for landscape and architecture photographers who wanted to evaluate the sharpness of their images. The Phase One image is crisper and contrast remains higher in the red-leaf swatch, though, however color is better from the Fuji. The Fuji GFX's image quality continues to pull away from the Canon 5DS R's at ISO 3200, with a much cleaner, crisper, more detailed image all around. View allAll Photos Tagged GFX50S. Putting on the straps is an interesting process – there is a metal piece that you need to slide in on the camera pins first, then the strap goes through it. It might not have the sleek design and comfort of the X1D-50c, but given that it is a very functional tool aimed at fairly technical photographers who know what they are doing, I prefer the GFX 50S to the X1D-50c any day. Overall, the Fuji GFX 50S feels like a very durable camera with fairly good usability and ergonomics. Not only does the latter have less resolution, but it also has smaller pixels, which gives a fairly noticeable advantage to the GFX 50S. The images, when viewed through the LCD screen and then on my iMac, are probably the best I have seen in terms of image quality . The GFX appears more than a stop better in terms of noise, and still produces a much sharper (even though sharpening tends to exacerbate noise) and clearer image with far fewer noise reduction artifacts. When comparing the EVF performance between the two, I can tell you that the EVF on the GFX 50S is far superior – not just in terms of detail due to higher resolution, but also in terms of refresh rate. The Fuji image is again dramatically cleaner than the Phase One here at ISO 6400, with far fewer noise reduction artifacts. The Sony continues to produce better contrast in our troublesome red-leaf swatch, however fine detail is more distorted than the Fuji's. Those images were process using Lightroom’s default settings, except for Exposure. Buy FUJIFILM GFX 50S Medium Format Mirrorless Camera (Body Only) featuring 51.4MP 43.8 x 32.9mm CMOS Sensor, X-Processor Pro Image Processor, Removable 3.69m-Dot OLED EVF, 3.2" 2.36m-Dot Tilting Touchscreen LCD, 117-Point Contrast-Detection AF System, Extended ISO 50-102400, 3 fps Shooting, Full HD 1080p Video Recording at 30 fps, Multi Aspect Ratio Shooting, Film … ISO 102,400 images, alas, finally hit a point of too much noise and too little detail for us to consider acceptable. Yesterday I posted a series of images made with the Fujifilm GFX-50S and the 63mm f/2.8 native lens. The X1D-50c has a total of 35 usable focus points, whereas the Fuji GFX 50S can go all the way to 425 focus points, so Fuji definitely comes out on top there. Here at ISO 1600, the Fuji GFX 50S continues to out-resolve the Sony A7R II. Here, Fuji kept things rather simple. I wish Fuji made it bigger and moved it away from the shutter release a little so that it is much easier to access. As ISO rises, the GFX displays excellent noise control, with a very gradual increase in noise; and the noise that we can see is very finely-grained, almost film-like. However, I did come across a potential problem with the modular EVF – out of the two GFX 50S cameras that I used in the past 6 months, one EVF started to malfunction after just two months of use. This is particularly evident in the red-leaf swatch which has become noticeably softer with much of the fine thread pattern blurred away. And that’s expected, given the relatively small difference in sensor size between the two, as shown above. As expected, both show some aliasing artifacts. First of all, the grip on the right side of the camera back is anything but comfortable. Fuji GFX 50S sample photos. Fuji officially launched the mirrorless medium format GFX 50S today – along with the Fuji X-T20, Fuji X100F, an XF lens and a professional service. And we've included one stop higher in terms of ISO sensitivity. And again, the leaf pattern in our tricky red-leaf swatch has been blurred more by the Pentax's default noise reduction. The Hasselblad X1D-50c stole the show with its beautiful design, compact build and leaf shutter lenses, whereas the GFX 50S got Fuji fans excited with its functional camera body, modular EVF, tiltable LCD screen and a lower price point. In other places, fine detail is still visible and quite sharp and clear. There are options for those on a budget, as well as those who want the best optical quality. All of the images presented in this review were captured with the three lenses that Fuji announced with the GFX 50S: Fujinon GF 32-64mm f/4 R LM WR (~25-50mm full-frame equivalent), Fujinon GF 63mm f/2.8 R WR (~50mm full-frame equivalent) and Fujinon GF 120mm f/4 Macro R LM OIS WR (~95mm full-frame equivalent). Moving on to the camera top, we can see that there is very little free space available, thanks to a number of dials, buttons and a large LCD. Personally, I did not bother with getting one, because I found the tiltable LCD on the back of the camera to give me enough flexibility when shooting from the top. One has to either press the buttons and experiment with them to see what they do or dig in the camera menu to find the answers. The difference is certainly visible in images, but it is very marginal. So if anything, it only potentially adds to heating concerns (although I never experienced the camera overheating, even with heavy use). Also, if the camera was turned off and turned back on, the last menu system selection is never retrieved either. The left compartment houses a USB 3.0 port, an HDMI micro port, remote shutter release terminal and a DC input terminal to feed external power to the camera. And remember, you can always go to our world-renowned Comparometer to compare the Fuji GFX 50S to any camera we've ever tested! The GFX is the most affordable mirrorless medium format camera – Fujifilm GFX 50S body Adorama Store – and, … While the X1D-50c does not have very basic functionality such as auto exposure bracketing or extended intervalometer / time-lapse features, the GFX 50S is stuffed with all kinds of menu options and features that are expected to be found on a modern camera. That’s because Fuji decided to place two buttons on this back grip (function button + “Q” button), so it had to come out a bit to prevent people from accidentally pressing those buttons. Never before have we had a camera capable of a usable 8 x 10 inch print at this ISO setting. The Fuji GFX 50S initially shipped with a few rather serious issues that affected focusing operations. Here we compare the medium format Fuji GFX 50S with the full-frame Canon 5DS R at base ISO. February 6, 2020 By JimK 8 Comments. Both cameras show some aliasing artifacts but the difference in resolution happens to make moiré patterns more visible from the Sony in our red-leaf swatch. And lastly, the Fuji GFX 50S is a functional machine designed with a similar user interface and functions as the existing Fuji X-series cameras. I doubt anyone who is serious about video would even consider a medium format camera, since the readout speed is simply insufficient to be able to push so much bandwidth through. I had seen The Fuji GFX's image quality advantage over the Canon 5DS R increases here a ISO 1600, with the Canon producing much higher luminance noise as can be readily seen in flatter areas, and as a consequence, its default noise reduction begins to blur fine detail more than the Fuji's does. Let’s now move on to the back of the camera, which looks like the following: I definitely have a few ergonomic complaints here.