VITAL STATISTICS FUJIFILM GFX 50S $9999 body only.
Type: Professional digital medium format
mirrorless camera with Fujifilm G bayonet
lens mount.
Focusing: TTL automatic using contrast-detec-
tion measurements. 117 or 425 measuring
points (13x9 or 25x17 patterns). Single-point,
zone (7x7, 5x5 or 3x3 point clusters selected
from 117 points) and wide/tracking modes.
Six focus point sizes. Face/eye detection with
left/right priority. Manual switching between
one-shot and continuous AF modes. AF+MF
mode. Low-light assist via illuminator. Manual
focus assist via magnified image (up to 16.7x),
focus peaking display (white, red or blue; low
or high levels).
Metering: 256-point multi-zone, centre-
weighted average, full average, spot (2.0% of
frame area) and TTL flash. Spot metering can
be locked to AF point/zone. Metering range is
EV -4.0 to 20 (ISO 100/f2.0).
Exposure Modes: Continuously-variable pro-
gram with shift, shutter-priority auto, aperture-
priority auto and metered manual.
Shutter: Electronic, vertical travel, metal
blades, 60 minutes to 1/4000 second plus
‘B’ (up to 60 minutes). Flash sync up to 1/125
second. Sensor shutter has a speed range
of 60 minutes to 1/16,000 second. Exposure
compensation up to +/-5.0 EV in 1/3-stop
increments.
Viewfinder: Detachable 1.3 cm OLED-type
EVF with 3.69 megadots resolution, 100%
vertical/horizontal scene coverage and 0.85x
magnification (35mm equivalent). Automatic/
manual switching between the EVF and the
LCD monitor screen. Eyepiece strength adjust-
ment built-in. 8.1 cm LCD monitor with 2.36
megadots resolution, tilt adjustments (in both
the vertical and horizontal planes) and touch-
screen controls.Flash: No built-in flash. External flash units
connect via hotshoe or PC terminal.
Additional Features: Magnesium alloy
bodyshell sealed and insulated, AE/AF lock,
auto exposure bracketing (up to +/-3.0 EV over
two, three, five, seven or nine frames), mul-
tiple exposure facility (two shots), multi-mode
self-timer (2 and 10 second delays), audible
signals, auto power-off, wired remote trigger.DIGITAL SECTIONSensor: 51.4 million (effective) pixels
CMOS with 32.9x43.8 mm imaging area
and 4:3 aspect ratio. No optical low-pass
filter. Sensitivity equivalent to ISO 100-12,800,
extendable to ISO 50, 25,600, 51,200
and 102,400.
Focal Length Magnification: 0.79x (35mm for-
mat), 1.3x (6x4.5cm format).
Formats/Resolution: Three JPEG compression
settings, RAW output (lossless compression
or uncompressed) and RAW+JPEG capture.
Two resolution settings at 4:3 aspect ratio;
8256x6192 and 4000x3000 pixels. Two resolu-
tion settings at 3:2 aspect ratio; 8256x5504
and 4000x2664 pixels. Two resolution settings
at 16:9 aspect ratio; 8256x4640 and 4000x2248
pixels. Two resolution settings at 1:1 aspect
ratio; 6192x6192 and 2992x2992 pixels. Two
resolution settings at 65:24 aspect ratio;
8256x3048 and 4000x1480 pixels. Two resolu-
tion settings at 5:4 aspect ratio; 7744x6192
and 3744x3000 pixels. Two resolution settings
at 7:6 aspect ratio; 7232x6192 and 3504x3000
pixels. RAW files captured at 8256x6192
pixels. 24-bit RGB colour for JPEGs, 42-bit RGB
colour for RAW files.
Video Recording: MOV format (MPEG 4
AVC/H.264 compression) at 1920x1080 pixelsand 30, 25 or 24 fps (36 Mbps) and 16:9
aspect ratio. 1280x720 pixels and 30, 25 or 24
fps (18 Mbps) and 16:9 aspect ratio. Stereo
microphones with manual levels adjustment.
Stereo audio input and output provided (3.5
mm minijacks). Full HD clip length up to
30 minutes.
Video Features: FHD video streaming via the
HDMI connection (8-bit 4:2:2 colour), focus
peaking display.
Recording Media: Dual slots for SD, SDHC
and SDXC with UHS- and UHS-II support.
Sequential, Back-Up and RAW/JPEG slot file
management modes.
Continuous Shooting: Unlimited JPEG/large/
superfine frames at 3.0 fps or 13 RAW (com-
pressed) frames using the ‘electronic first
curtain shutter’ (i.e. hybrid sensor /focal plane
shutter operation). Low speed continuous
mode captures at 1.8 fps using the focal
plane shutter.
White Balance: TTL measurement. Auto mode,
seven presets and three custom settings.
White balance compensation (amber-to-blue
and/or green-to-magenta) in all presets, and
white balance bracketing. Manual colour
temperature setting from 2500 to 10,000
degrees Kelvin.
Interfaces: High-Speed USB 3.0 (micro
USB), micro HDMI (Type D), 3.5mm stereo
audio input and output, 2.5 mm remote
trigger connector.
Additional Digital Features: Sensor cleaning,
15 ‘Film Simulation’ presets (Standard/Provia,
Vivid/Velvia, Soft/Astia, Classic Chrome,
Pro Neg High, Pro Neg Standard, ACROS,
ACROS+Yellow, ACROS+Red, ACROS+Green,
Monochrome, Monochrome+Yellow,
Monochrome+Red, Monochrome+Green,
Sepia), ‘Grain Effect’ (Strong, Weak, Off),‘Colour Chrome Effect’ (Strong, Weak, Off),
‘Quick Menu’ control screen, ‘Lens Modulation
Optimiser’ processing, intervalometer (up to
999 frames), pixel mapping, dynamic range
expansion (Auto, 100%, 200%, 400%), adjust-
able image parameters (Colour Saturation,
Sharpness, Highlight Tone, Shadow Tone),
real-time RGB/brightness histogram display,
highlight alert, single/dual-axis electronic level
displays, grid displays (choice of two), depth-
of-field preview, auto bracketing functions (AE,
‘Film Simulation’, Dynamic Range, ISO, White
Balance), high ISO noise reduction (plus/minus
four levels), long exposure noise reduction (On/
Off), seven custom set-up memories, sRGB and
Adobe RGB colour space settings, RGB histo-
grams in playback, highlight alert in playback,
in-camera editing functions (RAW Conversion
to TIFF or JPEG [17 adjustable parameters],
Erase, Crop, Resize, Protect, Image Rotate,
Red-Eye Removal, Copy, PhotoBook Assist),
auto playback, multi-image playback, 9/100
thumbnail displays, zoom playback, silent
mode, Instax print, customisable ‘My Menu’
(16 items), copyright info, voice memo record-
ing, built-in WiFi, DPOF support.
Power: One 10.8 volt/1250 mAh recharge-
able lithium-ion battery pack (NP-T125 type).
Battery age check facility. Optional VG-GFX1
vertical battery grip accepts an additional
battery pack.
Dimensions (WxHxD): body only =
147.5x94.2x91.4 mm.
Weight: 920 grams body only (including EVF).
Price: $9999 body only. $2399 for the 63mm
f2.8 standard lens, $3499 for the 32-64mm
f4.0 zoom and $4199 for the 120mm f4.0
macro lens.
Distributor: Fujifilm Australia, telephone
(02) 9466 2600 or visit http://www.fujifilm.com.au45
ON TRIAL FUJIFILM GFX 50S
One’s XF/IQ350 combo). Next, the
GFX 50S has the ergonomics and
effi ciencies of a smaller format
camera so, operationally, there’s
no dramatic learning curve. As
noted previously, there are some
considerations related to the ultra-
high resolution, but this is really
nothing more than well-disciplined
technical practices that should be
used with any camera, regardless
of sensor size. Additionally, the
mirrorless design confi guration
means a more compact and lighter
kit – comparatively speaking – with
the associated physical benefi ts
especially when shooting in
locations you have to reach by foot.
But the undoubted clincher
is the image quality which is
simply brilliant from ISO 100 to- Here, Fujifi lm demonstrates,
quite convincingly, that all 50 MP
cameras are not actually created
equal, either full-35mm or
medium format.
So the question is not
whether you can afford the Fujifi lm
GFX 50S, but rather whether
you can afford not to have one.
Simple really.
surprisingly, the GFX 50S’s image
quality at this speed is markedly
superior to that of any full-35mm
sensor. What’s more, there are
still a couple of stops of useable
speed even if both defi nition
and saturation start to diminish
because there’s considerably more
fl exibility in terms of using smaller
reproduction sizes.
In all areas then, truly a
command performance.THE VERDICT
For many non-professional photog-
raphers the step up to the Fujifi lm
GFX 50S is still a big one, not just
fi nancially, but also logistically.
When you also consider the cost
of additional lenses (well, you’re
going to want more than one aren’t
you?) and the possible need for a
system upgrade to more effi ciently
handle the bigger fi les, you’re look-
ing at a signifi cant outlay.
But... there are some
compelling arguments for making
the investment. For starters, it’s not
as substantial as getting into any 50
MP medium format D-SLR system
(check out the price of Phasebalanced and natural across the
spectrum. Viewing a 6x4.5cm
Fujichrome Velvia transparency
on a lightbox was always an eye-
popping experience in terms of
saturation, sharpness and contrast;
and the GFX 50S delivers the same
punch with the eponymous ‘Film
Simulation’ preset, but can be
equally subtle if you switch to the
Astia soft option.
The dynamic range is
exceptionally wide, particularly
holding detail in the brighter
highlights which you’d normally
expect to be devoid of any tonality.
Consequently, there’s huge
exposure latitude. And the dynamic
range stays good when shooting at
higher sensitivity settings too, as
does the resolving of fi ne details.
Superior high ISO performance is
another benefi t of a bigger sensor
with bigger pixels, but again
Fujifi lm pushes the envelope as it
has done with its ‘APS-C’ format
cameras. The noise reduction
algorithms work effectively
without compromising detailing
or defi nition so everything holds
together well up to ISO 6400. Notless depth-of-fi eld so accurate
focusing is very important
especially if you’re using a larger
aperture or a longer focal length.
The good news is that using a
quite small aperture to optimise
depth-of-fi eld – and all three of
the GF lenses currently available
stop down to f32 – doesn’t cause
any diffraction-related softening
because of the size of the sensor.
Fortunately too, the
autofocusing allows for very
precise positioning of the focus
area so you can be as selective
as you like even with very small
subjects. The GFX’s autofocusing
is far superior to anything
we’ve seen in a medium format
D-SLR, particularly in terms of its
coverage, and speed certainly isn’t
an issue compared to these phase-
difference detection systems.
With all this sharpness to play
with, there’s plenty of scope for
cropping too. Tonal gradations are
seamlessly smooth and while the
colour reproduction can be tuned
for fi lm-like palettes – Fujifi lm does
this better than anybody – the
overall reproduction is beautifullyCamMayJune17_036-045 Fujifilm.indd 45 13/04/2017 9:59 AM