FUJIFILM GFX 50S REVIEW

INTRODUCTION TO THE FUJIFILM GFX 50S

I decided to do this review of the Fujifilm GFX 50S because I think it is one of the best machines in its class. It is a practical camera, which packs the highest quality in a smaller format than a traditional medium format, thanks to being mirrorless and well designed.

I work with different machines.

Nikon, Leica, Hasselblad but in recent months I have been working mainly with this camera and I can say that I am really satisfied with the results and the image quality I can get with it.

In this review I will show you why this is the best equipment to invest in if you want the highest quality and detail, the highest dynamic range along with the well known magic feel of medium format for your images. All this without draining your bank account. Furthermore, you will be able to understand what medium format is and how it works.

NO ADVERTISING

Let’s clarify a fundamental point, I am not doing this review at Fujifilm’s request. This review is my unbiased opinion. The opinion of a hobby photographer who wants to work with the best tools out there and who has tried to get the best out of this camera and is bringing the experience back here.

I researched the camera thoroughly before buying it, as you do when you make a major investment in your equipment and have owned it for some time. I have worked hard on it, so what I am about to say will be something that I have practiced thoroughly myself.

Fujifilm has quite a long history in the realm of medium format cameras, both medium format analog and digital, which may not be as well known today.

A BIT OF HISTORY ABOUT THE FUJIFILM GFX 50S

Fujifilm has also produced lenses for other medium format cameras over the years, such as those for Hasselblad, and the first Hasselblad was produced in collaboration with Fujifilm. Both brands then essentially marketed the same camera under different trade names. Fujifilm subsequently focused on developing the mirrorless system, and before Sony introduced its hugely successful full-frame mirrorless cameras, Fujifilmer’s X-series mirrorless cameras were the most advanced mirrorless cameras on the market.

So it’s no surprise that Fujifilm has invented the GFX 50S, a rather revolutionary medium format mirrorless camera capable of being a leader in its class.

Medium format cameras are usually quite large and sometimes bulky to work in the field and that is why they are traditionally regarded as cameras for shooting in the studio; if you shoot outdoors, specific preparation and help are required to obtain the best results.

While you can get the highest quality from a traditional medium format camera, the size and complexity of this system is something that restricts the photographer from shooting only certain styles of photography.

And that is why I have so far hesitated to invest in a medium format system.

THE PRICE OF THE GFX 50S

Of course, the extremely high price tag of a high-end medium format camera, which can reach well over $ 50,000, was serious, since I’m not going to rob a bank.

A even if I were, I wouldn’t do it to shoot on the street with a bulky traditional medium format.

Thus, the mirrorless medium format was a perfect match for me.

Medium format cameras are in the minds of most photographers a complicated system aimed at very specific high-end photography and this was true in the past.

The transition from medium format film cameras to medium format digital cameras was not as fast as was the case with the DSLR system, due to the complexity of the medium format system, the size of its components and the fact that it was difficult to match the digital back to the camera body.

This has meant that medium format cameras are traditionally very expensive, some of which even cost more than 40-50,000 euros for the body alone.
However, slowly but steadily, the medium format system has improved. So much so that today we are able to shoot with medium format mirrorless cameras like the Fujifilm GFX 50S, whose dimensions are a fraction of the size of a traditional medium format camera, and the price alike.

So, there is no longer a need to rob a bank. And this happens without compromising on quality.

A REVOLUTION IN PHOTOGRAPHY

This is truly a revolution in photography and, in my opinion, is a benchmark that will change the way we do photography in the future.

Medium format is mainly about quality. Not necessarily about the sensor size in terms of resolution, but about the fact that a larger sensor size gives you more quality. Just like in the case of medium format film cameras, the larger sensor corresponds to the largest film that has been used in medium format analog cameras.

In the case of film, the larger size of the film allowed for higher magnifications, which means larger prints that would have better quality than 35mm film.

Likewise, in the case of medium format digital cameras, the sensor of a medium format camera is substantially larger than a full frame camera sensor and much larger than a cropped APS C sensor.

This allows the sensor to have not only a higher resolution, but also larger pixels that can hold much more information about the light.

THE “MEDIUM FORMAT LOOK”

In addition to providing much higher quality than smaller sized sensors, medium format cameras are also known for the specific “medium format look” shown by images created with these cameras.

It is not easy to describe this medium format look but if you see it you understand it. It’s all about detail, depth and quality, it’s a separation between objects created by gradations of light and color, which isn’t that easy to get from smaller sensors.

DIMENSIONS AND BENEFITS OF THE FUJIFILM GFX 50S SENSOR

The Fujifilm GFX 50S is a 51.4 megapixel camera, equipped with a 43.8 × 32.9mm medium format CMOS sensor with a Bayer filter array and a 4: 3 aspect ratio.

While you can find 100 megapixel sensors, for example, in medium format Phase One cameras or Hasselblad cameras, the 51.4 megapixels of the Fujifilm GFX 50S sensor are more than enough to create extreme quality and, in addition, it offers all the features. special features of medium format cameras.

Most important in my opinion is the 14-stop extended dynamic range, which can cover anything from deep shadows to highlights without loss of detail and information.

MAIN FEATURES AND SPECIFICATIONS

Let’s now see a quick overview of the main features of this camera.

• Price range: medium-high. 5,500 euros
• Sensor: 51.4 MP with 5.3µ pixel size
• Sensor size: 43.8 x 32.9mm
• Resolution: 8256 x 6192
• Aspect Ratio: 4: 3, wider than full-frame aspect ratio
• Weight: 920g (camera body, battery and EVF connected)
• Dimensions: 147.5mm (W) x 94.2m (H) x 91.4mm (D)
• ISO: Native: 100-12.800 – Extended: 50, 25.600-102.400
• A mechanical shutter: 1/4000 to 60 min
• A second electronic shutter: 1/16000 to 60 min
• Front curtain electronic shutter: 1/4000 to 60 min
• Continuous shooting: 3.0 FPS
• Focus modes: AF-S, AF-C and manual
• Auto Focus System: Contrast Detection
• Autofocus points: 117 main – 425 divided
• Viewfinder: 3.69 million dot OLED
• Viewfinder coverage: 100%, 0.85x magnification
• LCD screen: 3.2 inches, approx. Tiltable 2,360k-dot LCD monitor
• Touch Screen: Yes
• Upper secondary LCD screen: yes. Customizable
• Built-in flash: no
• Battery type: NP-T125 lithium-ion battery
• Storage: dual card system – 2 memory cards – SD UH will be S-II
• Waterproofing: yes
• USB: 3.0
• WiFi: yes
• GPS: No
• Intervalometer / Time-lapse function: Yes

Now a few more words about some of the features that I find interesting to explore.

DOUBLE CARD SYSTEM

As with any self-respecting professional camera, the GFX has 2 card slots and the good thing in my opinion is that both cards are SD (which support UHS-II cards), which makes it easier to read them directly on a laptop or computer, without the need for a card reader.

MENUS SIMILAR TO FUJIFILM X SERIES CAMERAS

Those who are used to working with Fujifilm X-series cameras will be very comfortable with the GFX right from the start. But even those who have never worked with this system before will be able to pick it up and work with it very quickly.

WEATHER SEALING OF THE FUJIFILM GFX 50S

The watertightness is very good and I can say that I used the camera to shoot in the rain and had no problem with it.

Obviously it would be better to cover the camera with a rain cover, especially when the rain is heavier but for normal rain conditions the camera will behave quite well.

FOCUS PEAKING

This is a feature I didn’t know how useful it was until I actually worked on it.

I find it extremely useful especially when working with manual focus lenses and even more so when using non-Fujifilm lenses with adapters as the autofocus does not work as it is not electronically connected to the lens and therefore focus peaking will be your best friend. for accurate focusing.

SECONDARY UPPER LCD SCREEN

The screen and the lettering on it are large enough that you can see the settings without having to look too closely and it is also backlit for cases where you are using the camera in dark conditions.

One advantage is that the indicators are customizable so you can choose the functions you need most.

I find this one of the best features of this camera and I also like it from a design standpoint, as the text is white on a black background (or black on white) which makes it easier to read and blends into the overall design.

THE FOCAL FLOOR SHUTTER

The GFX has a focal plane shutter instead of a leaf shutter that you can find on some other cameras.

The difference between them is that the focal plane shutter is integrated into the camera allowing for faster shutter speeds while the leaf shutter is integrated into the lens allowing for a faster sync speed for the flash.

The focal plane shutter also allows you to use third-party lenses with this camera via an adapter.

Fujifilm probably opted for the focal plane shutter so they can increase the shutter speed which is for the mechanical shutter 1/4000 second (or 1/16000 if using the electronic shutter), and even so the camera can be compatible with other lenses via adapters, and not only with Fujinon lenses, which is not possible with other medium format cameras.

This means, however, that the flash sync speed is only 1/125 second, slower than what you can find in advanced DSLRs, for example, or other traditional medium format cameras.

SHOOTING IN THE STUDIO WITH THE FUJIFILM GFX 50S

For studio shooting this would not be a problem, but for shooting outdoors wide open it may be necessary to use neutral density filters to keep the shutter speed low enough to synchronize with the flash.

From what I have seen from the reactions of the photographic community, the flash sync speed has driven a lot of discussion, but I think this problem can be easily solved with the use of neutral density filters.

Fujifilm’s response to this concern has been the ability to create new built-in leaf shutter lenses that will allow for high-speed synchronization with the flash.

CONTINUOUS SHOOTING

Around 3 fps: While not as high as some DSLRs, medium format cameras are not made for fast shots and this is common to all.

MECHANICAL AND ELECTRONIC SHUTTER WITH THE FUJIFILM GFX 50S

The mechanical shutter is the classic one that everyone knows, which opens the curtains to take a picture. The electronic shutter means that the image is actually created by the light that scans the sensor over a certain time and not by a simple shutter opening.

This allows for faster shutter speeds but can also create the shutter effect in which fast-moving objects are distorted as they move through the frame, so it’s something to keep in mind when deciding what type of shutter you will use.

QUALITY OF CONSTRUCTION – DIMENSIONS AND HANDLING – ERGONOMICS – DESIGN

I picked up the Fujifilm GFX 50S and started shooting with it in the field hours after picking it up from the store because I didn’t have time to practice before.

The Fujifilm GFX 50S has a magnesium alloy body, weighs approximately 920 grams and measures 147.5mm (W) x 94.2mm (H) x 91.4mm (D). It is less than 100 grams heavier and a couple of centimeters deeper than the Hasselblad X1D-50c camera, which uses the same sensor.

It is weatherproof and dustproof and can withstand temperatures as low as -10 ° C. Its design is on the same line and can be seen as an evolution of the Fujifilm X-T2, so it will be familiar to those who have already used the X T2.

Not only in terms of design but also in terms of functions and menu structure.
The build quality of the GFX 50S is truly exceptional and the feeling you get when you hold it in your hands is of high quality and great ergonomics.

THE FUJIFILM GFX 50S IN YOUR HANDS

The camera turns on almost instantly with no delay and you will not notice any delay while reviewing the image you have taken. This makes it faster than other medium format cameras, making it suitable for stress-free and fast paced photography.

There are some buttons that I would like in a slightly different position, more easily accessible, such as the lower part for switching from the EVF to the LCD screen which is located on the side of the viewfinder; the image review button and the delete button, located next to each other on the top of the camera near the viewfinder, and not on the back of the camera as I was used to from my Nikon D850, The drive button which also activates the video it is located on the top of the camera in front of the shutter speed dial.

A dedicated video button would be a good idea for those who shoot videos. Also, there is no dedicated dial for exposure compensation as you can find in the Fujifilm X T2, but since I hardly ever use this feature, it doesn’t seem to be missing.

Instead, you can access exposure compensation by clicking on a dedicated button at the top of the camera and rotating the rear dial.

Not a big deal in my opinion if you get used to it.
Something I wasn’t very sure about at first, especially before I started working with the camera, was the design which was a bit austere and edgy for my taste, considering the design I was used to when thinking of a camera of medium format.

Fuji has prioritized functionality over design with this camera, compared to for example the Hasselblad X1D-50C which has a more elegant and eye-catching design. But since functionality is the most important aspect of a camera, besides quality, while I was working with the camera, the design started to make more and more sense and now I can say that I am used to it and I am starting to appreciate its Japanese minimalism.

A DSLR

When I started working with the Fujifilm GFX it was my first time shooting seriously with a medium format camera, except for a few random shots in the past. It was also my first time shooting with a Fuji camera.

So I had to speed up the learning curve, but the transition was very smooth, especially since the camera has some features that can be used just like a DSLR is, making it easier for DSLR photographers to use.

For example, you can use the lens ring to set the aperture, as you would with a classic medium format camera, or you can use the C function on the lens to switch to the aperture setting with the command dials, just like in the case of a DSLR.

Another advantage of using the camera in this way is, in my opinion, the fact that, when you use the aperture ring, it is much easier to incorrectly rotate it unintentionally (I did it for that I know), and it is also very faster to use the dial. So, especially if you want to shoot faster, the command dial is much more useful for controlling aperture.

ISO SETTING ON THE FUJIFILM GFX 50S

The same happens with the shutter speed and ISO setting, which can be set using the front or rear command dials, just like with a DSLR, or using the classic analog shooting mode, where you use the dedicated shutter speed or ISO dial on the top of the camera.

CHOICES OF LENSES

Fujinon lenses have been known for their quality for a long time and, which is not so well known, Fuji not only produces lenses for their own system, but also produces most of the Hasselblad lenses.

As the GFX system is a new camera system, the lens range is still expanding and there are currently 6 lenses to choose from.

Fujifilm has promised new lenses soon and from what I have seen they are quite quick to do so, since the camera was launched with 3 lenses and now there are already 3 more available and they are working to release more lenses in the future.
But for now, that’s the range of Fujinon lenses you can find for the Fujifilm GFX 50S camera.

FUJINON GF32-64mm F4 R LM WR (equivalent to 25-51mm in 35mm format) – This is a zoom lens and is more versatile than the following main lenses, while still offering the same high image quality. I have this lens and I am more than satisfied with the quality and ergonomics.

• 1) FUJINON GF23mm F4 R LM WR (equivalent to 18mm in 35mm format)
• 2) FUJINON GF45mm F2.8 R WR (equivalent to 36mm in 35mm format)
• 3) FUJINON GF63mm F2.8 R WR (equivalent to 50mm in 35mm format)
• 4) FUJINON GF110mm F2 R LM WR (equivalent to 87mm in 35mm format)
• 5) FUJINON GF120mm F4 R LM OIS WR Macro (equivalent to 95mm in 35mm format)
• 6) FUJINON GF 250mm F4 R LM OIS WR (equivalent to 198mm in 35mm format) –
  The FUJINON GF1.4X TC WR teleconverter is not a lens but when used with the new GF250mmF4 R LM OIS WR it provides approximately 277mm in 35mm equivalent format –

FULL SIZE 35MM vs GFX MEDIUM FORMAT – CROP FACTOR

To understand the relationship between 35mm full-frame and medium format GFX focal length, we must keep in mind that compared to GFX lenses, 35mm full-frame has a crop factor of 0.79, which means that, to find 35mm full frame equivalent of GFX lenses, you need to make the following calculation:
GFX Medium size – 63mm x 0.79 = 49.77mm ~ 50mm – 35mm full size equivalent
or viceversa
Full frame 35 mm – 50 mm ÷ 0.79 = 63.29 mm ~ 63 mm – Equivalent to medium format GFX

ZOOM LENS FUJINON GF32-64mm F4 R LM WR

I have been working with the FUJINON GF32-64mm F4 R LM WR zoom lens for quite some time which is the equivalent of 25-51mm in the 35mm format, and I can say that I am very happy with the way this works. lens, the sharpness and clarity of the images taken with it.

Although it doesn’t cover a wide zoom range and it might seem like a limitation; after a while you get used to this zoom range and realize that there are not so many images that you cannot cover when working with this lens.

The lens weighs 875 grams (1.93 lbs) and is similar in size and weight to Canon and Nikon 24-70mm f / 2.8 lenses.

THE C COMMAND ON THE FUJIFILM GFX 50S

A good feature of the lens is that, in addition to the manual aperture ring, there is the C command that allows you to control the aperture using the command dials on the camera body. Personally I prefer to use the command dial as I am used to my Nikon camera.

The lens is versatile, great for landscape and architectural photography since its full-frame equivalent field of view is approximately 25-50mm.

When stopped at f / 5.6 and lower, it gives great sharpness across the image and even on the edges, especially at shorter focal lengths. It has virtually no barrel distortion at the wide end and chromatic aberration is almost non-existent. Furthermore, vignetting is minimal.

FUJINON GF 23mm F4 R LM WR LENS

The FUJINON GF23mm F4 R LM WR is my primary wide-angle lens for architecture and landscape and one of the best in the new G-mount lineup.With a focal length of 23mm (equivalent to 18mm in the 35mm format), this super wide angle lens is great for landscape shooting and architectural photography.

With the construction of 12 groups and 15 elements using two aspherical lenses, one super ED lens and three ED lenses, this lens suppresses distortion despite being a super wide angle lens with a 99.9 ° angle of view.

The lens weighs 845 grams and is similar in weight (slightly lighter) to the FUJINON GF32-64mm zoom, and quite smaller in size.
I highly recommend it for landscape and architecture photographers, and it’s also interesting for street shots, if you like a wide angle.

FUJINON GF 250mm F4 R LM OIS WR

The longest lens in the GF lens range, the new 250mm f / 4 R LM OIS WR lens is a fixed focal length lens equivalent to approximately 200mm, suitable for a wide variety of photographic subjects.

Not only is it up to the task of making many types of images, but it is also a very well built, professional-oriented lens with many interesting optical features.

FUJINON GF1.4X TC WR REMOTE CONVERTER

The FUJINON GF 1.4X TC WR Fujifilm FX 50s multiplier for FUJINON GF 250 MM F4 R LM OIS WR is designed for use with the new GF250mmF4 R LM OIS WR providing approximately 277mm in a 35mm equivalent format, without compromising the quality of the image.

IMAGE STABILIZATION – THIS WOULD BE A DESIRABLE FEATURE

One thing I would have liked to see in these lenses is image stabilization. The only lens that has image stabilization is the 120mm Macro lens.

The fact that you don’t have image stabilization somehow limits the way you shoot, especially when you want to shoot in low light or while on the move. To compensate for the lack of image stabilization in the lens, a higher shutter speed is required, which means higher ISOs when shooting in low light conditions, with a potential decrease in image quality.

This doesn’t just stand with Fujifilm lenses but generally medium format lenses as most of them don’t have image stabilization, but it would be a very useful feature to have in all of these lenses, considering the medium format system has become very versatile and can be used much more easily for faster-paced photographs, thanks to the small size of medium format mirrorless cameras.

Hopefully this is something to come in the near future.

USING THIRD PARTY LENSES WITH FUJIFILM GFX 50S – SHOOT WITH YOUR CANON, NIKON ETC.
GLASS LENS ADAPTERS – MANUAL vs ELECTRONIC

If you have other lenses that you want to use with the GFX, such as your Canon or Nikon lenses, you don’t have to worry that you will lose it because you will be able to use your 35mm full frame lenses on the medium format GFX camera with some caveats. While in theory full-body lenses won’t give you the quality of a medium format lens, from my experience using my Canon lenses attached to the GFX body, the quality you get is exceptional.

You can mount third party lenses on the GFX using lens adapters. You can use manual or electronic adapters, but you should know that there are differences between them and they cannot give you full control over the lens. The adapters will not replace all the functions obtainable from the lens by communicating directly and electronically with the camera.

But at least with the GFX you can mount your Nikon, Canon and other lenses and work with them, while you can’t with other medium format cameras, like the Hasselblad or Phase One, due to the way they are designed. I consider it a huge advantage and one of the things that convinced me to buy this camera.

ADAPTERS FOR MANUAL LENSES – FOTODIOX PRO

You can use third party adapters such as Fotodiox manual adapters to mount many other lenses on a GFX, such as Canon, Nikon, Leica, Mamiya or Pentax. For example, for Canon lenses the Fotodiox Pro lens mount adapter – Canon EOS (EF / EF-S) or for Nikon lenses the Fotodiox Pro lens mount adapter – Nikon F Mount G-Type or other similar Fotodiox adapters.
You can find other adapters for several other lenses here such as those for Mamiya, Pentax, Leica, Pentacon, Minolta and other lenses.

MAGIC FORMAT OF VENUS LAOWA

The Venus Laowa Magic Format Converter (MFC) for Canon lenses or Nikon lenses has a very interesting concept. It can enlarge the image circle of full frame lenses for use on the Fujifilm GFX-50S.

It takes advantage of the short flange distance of mirrorless cameras and incorporates an optical system into the converter that increases the size of the image circle in 35mm (full frame) format to fit the larger GFX sensor.

This way, you can remove the vignette that appears when using full-frame over medium-format lenses.
This converter is particularly useful for ultra wide angle lenses as vignetting tends to be stronger when we adapt an ultra wide angle full frame lens to the medium format.

ATTENTION TO THE CONVERTER

The only disadvantage of this converter is that it is a manual converter, so there is no autofocus, aperture control or EXIF ​​data recorded in images taken with this converter.

The main problem you will face when using manual lens adapters is that you will not be able to control the autofocus and aperture from the camera body and will have to set the focus manually using the focus ring. The default aperture will be the widest aperture of the lens, which means that the depth of field will be as shallow as it is for the lens you use when fully open.

Other than that, you have to take into account that the depth of field is smaller in medium format cameras than in DSLRs due to their construction. This is one of the things that gives the characteristic appearance of the medium format and is considered a quality, but you have to take it into consideration if you work with manual adapters where you cannot control the aperture.

In some cases, a fully open lens does not offer sufficient depth of field, especially for architectural and landscape photography where greater depth of field is required.

If you are shooting from a sufficient distance or shooting with wide-angle lenses whose depth of field is greater, it will not be a problem at all, but if you are close to the subject it will be difficult to return to front sharpness using the manual adapter, especially with smaller lenses. long that have a shallow depth of field by default.

WHEN TO EVALUATE AN ELECTRONIC ADAPTER

In these cases it will be necessary to use an electronic adapter that can set the aperture for you, to get the best quality and depth of field in your image. it won’t be a problem at all, but if you are close to your subject it will be difficult to return to front sharpness if you use the manual adapter, especially with longer lenses that have a shallower depth of field by default.

In these cases it will be necessary to use an electronic adapter that can set the aperture for you, to get the best quality and depth of field in your image.

That won’t be a problem at all, but if you are close to your subject it will be difficult to return to front sharpness if you use the manual adapter, especially with longer lenses that have a shallower depth of field by default. In these cases it will be necessary to use an electronic adapter that can set the aperture for you, to get the best quality and depth of field in your image.

TECHART PRO EF-GFX – CANON EF TECHART PRO LENS TO FUJIFILM GFX AUTOFOCUS ADAPTER (EF-GFX) ON THE CAMERA

Techart Pro Canon EF Lens to Fujifilm GFX Autofocus Adapter (EF-GFX) is the adapter I’m using right now and I’m happy with it. There are things that can be improved, like autofocus, which is why I tend to use manual focus, especially since the Fujifilm FX 50S has focus peaking and 100% focus function, which are both extremely useful.

THE TECH PRO ADAPTER

The Tech Pro adapter is less expensive than the Cambo, it costs 450 euros, however since it is shipped from China, where it is produced, it is necessary to take into account the customs costs which can be quite high, and in the European Union, you will also have to add the ‘VAT. I ended up paying almost 50% more with these costs, plus shipping from China, which ultimately brings it much closer to the Cambo adapter in terms of price.

The advantage of this adapter is that it has autofocus that reads the EXIF ​​data of the lens and controls the aperture. However, you still have to consider the vignette for wide angle lenses and some glitches from time to time, when you have to unplug and plug it back in to read the aperture. This can be a lag factor worth considering if you need to be fast. The good thing is that it is supported by firmware updates, so hopefully the issues will be fixed as we go along.

HASSELBLAD LENS ADAPTER

If you have Hasselblad H-mount lenses, you can use the Fujifilm H-mount G-mount adapter for Hasselblad to attach them to the GFX.

For more specialized photography and greater versatility, you can also turn the GFX into a studio camera by using the Fujifilm GFX bayonet mount Cambo ACTUS-GFX View Camera Body camera adapter, connecting a bellows camera system to it. It’s probably not a solution for everyone, but the possibility exists and that shows just how versatile this medium format mirrorless camera is.

OTHER CONSIDERATIONS ON THE TILT SIGHT
In fact, the tilt viewfinder is a Fujifilm EVF-TL1 EVF Tilt Adapter for GFX 50S tilt adapter which sits between the camera and the normal viewfinder, so you don’t need to carry 2 same accessories, but you can just upgrade the normal viewfinder and be in able to shoot from different angles, even looking down in the viewfinder, the classic medium format shooting mode.

While the camera can get a lot smaller if you remove the detachable viewfinder, it can get quite large when you attach the tilt viewfinder that goes a little past the camera body.

So it would be a good idea to remove it when carrying the camera to avoid damaging it or not being able to fit it in your bag. It’s very easy to attach and detach the viewfinder, so it shouldn’t be a problem and it’s a better solution than risking damaging it, especially since it’s not exactly a cheap accessory and will cost you more than 400 euros to buy a new one.
I am using both the viewfinder and the tilt adapter and I can say that the tilt adapter helps a bit to manage the camera from different positions. I use it every time I shoot and it makes it easier to compose even when shooting with a tripod, except for the more classic way of shooting handheld from the height of the waist or from a lower point of view.

HASSELBLAD LENS ADAPTER

If you have Hasselblad H-mount lenses, you can use the Fujifilm H-mount G-mount adapter for Hasselblad to attach them to the GFX.

For more specialized photography and greater versatility, you can also turn the GFX into a studio camera by using the Fujifilm GFX bayonet mount Cambo ACTUS-GFX View Camera Body camera adapter, connecting a bellows camera system to it. It’s probably not a solution for everyone, but the possibility exists and that shows just how versatile this medium format mirrorless camera is.

AN ALTERNATIVE …

There may be another workaround for achieving vignetting when shooting with third-party lenses when this Venus Optics Laowa Magic Format Converter (MFC) is released. The converter does not promise vignetting when shooting with Canon or Nikon lenses by correcting the smaller image circle of these lenses when mounted on a GFX camera. So, let’s keep our fingers crossed that it will be released soon.

Bottom line, it won’t be as easy to shoot with your full frame lens on the GFX, as it is with a native Fujifilm lens, but the good thing is that you can still use your full frame lenses on medium format cameras too, especially the your tilt-shift goals, and I know there are some of you who are interested in doing so. It is worth mentioning that this only happens with the Fujifilm GFX, other medium format cameras do not have this option, which makes it even more convenient and flexible as a system.

SIGHT – ADJUSTABLE AND TILTABLE IN THE FUJIFILM GFX 50S

Being a mirrorless camera, there is no optical viewfinder in the Fujifilm GFX 50S, but an electronic detachable one. The viewfinder has 100% coverage and 0.85x magnification.
There are 2 types of viewfinders you can use for Fujifilm GFX 50S. One is the normal viewfinder that comes with the camera and the other is a tilting viewfinder that you can buy separately.

SIGHT – ADJUSTABLE AND TILT IN THE FUJIFILM GFX 50S

Being a mirrorless camera, there is no optical viewfinder in the Fujifilm GFX 50S, but an electronic detachable one. The viewfinder has 100% coverage and 0.85x magnification.
There are 2 types of viewfinders you can use for Fujifilm GFX 50S. One is the normal viewfinder that comes with the camera and the other is a tilting viewfinder that you can buy separately.

Both are removable so you can only use the camera with the LCD screen if it needs to be smaller. Especially when shooting in bright light, the LCD screen can become useless unless you attach a Hoodman magnifying glass to cover it, driving away bright light. So if you want to shoot in different conditions and be able to shoot in the middle of the day, the viewfinder will be a useful accessory. I personally prefer the viewfinder to the LCD screen every day, so I’m happy that the GFX comes with a viewfinder by default.

OTHER CONSIDERATIONS ON THE TILT SIGHT

In fact, the tilt viewfinder is a Fujifilm EVF-TL1 EVF Tilt Adapter for GFX 50S tilt adapter which sits between the camera and the normal viewfinder, so you don’t need to carry 2 same accessories, but you can just upgrade the normal viewfinder and be in able to shoot from different angles, even looking down in the viewfinder, the classic medium format shooting mode.

While the camera can get a lot smaller if you remove the detachable viewfinder, it can get quite large when you attach the tilt viewfinder that goes a little past the camera body.

So it would be a good idea to remove it when carrying the camera to avoid damaging it or not being able to fit it in your bag. It’s very easy to attach and detach the viewfinder, so it shouldn’t be a problem and it’s a better solution than risking damaging it, especially since it’s not exactly a cheap accessory and will cost you more than 400 euros to buy a new one.
I am using both the viewfinder and the tilt adapter and I can say that the tilt adapter helps a bit to manage the camera from different positions. I use it every time I shoot and it makes it easier to compose even when shooting with a tripod, except for the more classic way of shooting handheld from the height of the waist or from a lower point of view.

THE TOUCHSCREEN OF THE FUJIFILM GFX 50S

The same goes for the touchscreen, which I didn’t think was necessarily necessary, but which I am now using intensively. With the touchscreen, you can quickly scroll through the photos you’ve taken, pinch to zoom and tap the screen to change settings in the Q menu, or tap to set an autofocus area.

I find the touch screen very useful especially for the ease of double-clicking to zoom in to check photos at 100% zoom. This is truly invaluable for a medium format camera where the amount of detail is so high that even the smallest shake or movement can blur the image, and unless you zoom in to 100%, you can’t see if the images are sharp or not. I zoom in after taking each image and check the sharpness.

I advise you to do the same because it will save you a lot of shots that you thought were sharp, but which in fact could have a very small amount of blur, perhaps imperceptible when you zoom out, but enough to ruin an image.

THE TOUCHSCREEN OF THE FUJIFILM GFX 50S

The same goes for the touchscreen, which I didn’t think was necessarily necessary, but which I am now using intensively. With the touchscreen, you can quickly scroll through the photos you’ve taken, pinch to zoom and tap the screen to change settings in the Q menu, or tap to set an autofocus area.

I find the touch screen very useful especially for the ease of double-clicking to zoom in to check photos at 100% zoom. This is truly invaluable for a medium format camera where the amount of detail is so high that even the smallest shake or movement can blur the image, and unless you zoom in to 100%, you can’t see if the images are sharp or not. I zoom in after taking each image and check the sharpness.

I advise you to do the same because it will save you a lot of shots that you thought were sharp, but which in fact could have a very small amount of blur, perhaps imperceptible when you zoom out, but enough to ruin an image.

LIVE VIEW

Another very useful feature is that the live view that you can see on the LCD screen will give you a live preview of your final image, so you can play with different generally different effects, exposures and settings while viewing the results directly on the screen. without the need to rely on measurements or assumptions alone. The LCD touchscreen is a true “live view” screen that you can interact with directly while shooting.

POSITIONING AND BATTERY LIFE

The camera is equipped with an NP-T125 lithium-ion battery which, according to Fujifilm, will take around 400 frames before needing to be swapped. I haven’t counted the frames I’ve taken per battery, and my shooting style also means shooting long exposures that consume a lot more battery, but overall I think the duration is very good, especially for a mirrorless camera.

One thing you will notice very quickly about the battery compartment is that it is not accessible from under the camera as you would be used to if you were working with a DSLR or other camera, but it is accessible from the side of the camera, so you will have to charge the battery from the side.

Some photographers love this feature as it is easier to charge the battery sideways especially when you have the camera on the tripod, but in case you use an L plate to shoot on a tripod and always keep it attached to the camera like me, this becomes a little tricky, because to change the battery you need to remove the L plate. Fortunately, the L plate I use is in a Really Right Stuff RRS plate with the side element removable so I can only remove that element when I change the battery.

THE L-PLATE ADVANTAGE IN THE FUJIFILM GFX 50S

The beauty is that you won’t need more than 2 batteries for a day of shooting, even if you shoot intensely, including long exposures, like I do. I have been on the pitch all day and have been shooting for long periods of time and so far I have never run out of second battery. So that’s good news and something I was afraid of when I started working with a mirrorless camera, considering the stories about how fast the batteries drain with such systems.
A little off topic but useful for those traveling by plane with their own camera, it should be borne in mind that recent legislation requires you to carry all lithium batteries in the cabin, in your hand luggage, and not leave it in checked suitcases. going to the aircraft depot.

BATTERY HANDLE

A plus for those who need it, is the possibility of attaching a battery grip to the GFX 50S. The vertical grip of the VG-GFX1 battery makes it easier to shoot in portrait orientation and you can add another battery to the grip, thus doubling the battery life.

AUTOFOCUS

The GFX has a 117-point contrast-detection AF system, which can be extended to 425 AF points (unheard of in the medium format camera market). More than enough for anything you want to shoot and, honestly, pretty mind-blowing when you first see it.

I’ve heard of autofocus problems in mirrorless cameras and most photographers I know are interested in learning about autofocus in the GFX. I can confidently say that you don’t have to worry about autofocus in the GFX. I had absolutely no problems and can compare it to the autofocus of my Nikon D850.

I shot in many conditions, both in high contrast conditions and on cloudy days, even at night, and I can’t say that in any of these conditions the camera had a hard time focusing. Since the autofocus system is a contrast-based system, it is possible that in cases where the contrast is very low, the focus may come into focus before getting the correct result.

NO PROBLEM…

However, I haven’t encountered this problem so far, so I can’t confirm it. I’ve heard of situations where other photographers may have had problems with low-contrast scenes, but in my experience, the camera worked great in all cases.

From what I have read there were some autofocus issues in the beginning when the GFX was just released, but many of these issues have been fixed through firmware updates and I assume this will get better as new updates arrive. firmware.

In fact, the GFX’s AF system is said to be the best AF system in a medium format camera. I haven’t worked with all the medium format cameras out there, but the ones that have it claim it and I have no reason to contradict them.
I haven’t used the camera’s face detection feature and phase detection works very well and is a great tool when taking portraits of moving subjects.

FAST SHOOTING?

Also, I haven’t used continuous focusing too much but again this camera isn’t meant for very fast shooting, so don’t expect it to tick all the boxes in this department. This camera focuses primarily on quality and detail, and not necessarily speed.

I’m used to the focusing and recomposing technique, rather than using the joystick to move between focus points, but with the Fujifilm GFX 50S, with 425 focus points (you can use the 117 point grid focus for ease), it’s really worth using the joystick and focusing exactly on the point you need because the focus points really cover the whole image and you could get better results like this instead of focusing and recompose .

I would say that focusing and recomposing is useful when you want to shoot quickly, while if you have the time it is worth using the joystick and choosing exactly the focus point you need.
Also, you can use the LCD monitor to choose the focus point and this can sometimes be faster than using the joystick as you can touch the screen exactly where you want to focus and the camera can get the focus in right focus very quickly this way.

A SOLUTION…

One thing you may want to do when using this technique is to reduce your focus point on the screen so that you are sure you are aiming for the right spot. The bright selection square that represents the focus point is, in my opinion, a little too large by default and can be confusing if you want to focus on a small object that may be the same size as the selection square of the fire. The good news is that you can change the AF point size using the rear command dial in combination with the dedicated button for this function.

MANUAL FOCUS – 100% ZOOM AND FOCUS PEAK

Manual focus is especially important if you work with third-party lenses, such as your Canon or Nikon equipment, and attach the lenses to the camera via an adapter. In these cases, regardless of whether you use an electronic device over a manual adapter, you won’t have autofocus, so manual focus will be your only choice.

Other than that, you can’t have focus confirmation as you would with a manual lens that communicates electronically with the camera, so you’ll have to rely on your eyes and some tools the GFX offers to make your job easier.

One of them is the so called focus peak which is a technique common to other mirrorless cameras and which is really useful, and the other is the ability to see the 100% magnified image in the viewfinder or on the LCD screen so that you can check the details. You can zoom in and see the zoomed image on the whole screen or zoom in the whole image on the left side of the screen and a 100% zoomed sample on the right side where you can navigate the whole image and check the focus in the areas you want. serve.

Both features are very useful and I would say indispensable if you work with third-party lenses and cannot access autofocus or focus confirmation.

 FLASH & FLASH SPEED SYNC

The Fujifilm FX 50S uses flashes made for X series cameras, one of the best being the Fujifilm EF-X500 TTL flash. It is a wireless TTL flash, resistant to dust and water, which can be used in a single or multiple configuration to offer maximum control over the lighting results.
Flash speed sync is 1/125 second, which in some cases may be too slow if using the flash outdoors, but most of the time it is sufficient if shooting in the studio and when shooting outdoors. ‘is also the possibility of using neutral density filters in order to keep the shutter speed in this range.
I use flash in my work, and my advice is to use the dedicated Profoto A1X for Fujifilm.

CUSTOMIZATION – ONE OF THE CAMERA’S GREAT FEATURES

Personalization is certainly one of the best things about the GFX. I love customizing my cameras, just like the software I’m using, so this is really great news for me and for anyone who wants to get the most out of their cameras in the shortest time and with the least amount of effort.

There are 16 functions on the touchscreen that can be customized and are accessible via the quick command button on the back of the camera.

In addition, there are 10 more buttons in different places on the camera that can be customized according to your wishes.
Besides that, the top LCD screen can be customized to show the necessary information, and you can set about 10 kinds of information data to be displayed on this screen.

From my experience and what I know about other cameras, the GFX is the most customizable camera on the market right now and that’s great news if you want to be in control.

RESOLUTION AND COLLECTION IN – MULTIPLE ASPECT REPORTS

The Fujifilm GFX 50S has a resolution of 8256 x 6192 px with a 4: 3 aspect ratio, which is more than enough to give you a tremendous amount of detail and some leeway to crop if necessary.

Although I always try to get the best possible composition with the camera, there may be cases where you cannot get the desired composition and you have to change it during processing, or you may want an aspect ratio different from the native one of the camera.

The GFX comes with some aspect ratio that you can set in the camera so that you have feedback for the composition, but I always try to shoot in the native ratio and decide the final aspect ratio later in the processing so I have more freedom to interpret the image . But others may find it easier to use the final aspect ratio in the camera and this is very easily possible with GFX.

FILE SIZE – SPEED ASPECTS OF STORAGE AND PROCESSING

The GFX can shoot 14-bit RAW (uncompressed or compressed without loss of data), JPEG, RAW + JPEG; 24-bit TIFF (with RAW conversion in the camera). Probably a no-brainer for most of us, but only as a reminder for the less experienced in the technical side of photography: for the best quality, use uncompressed 14-bit RAW combined with Superfine JPEG which will give you the best quality in both. formats.

The file size you get from the GFX is definitely larger than what you’re used to when shooting with a regular DSLR and even a high resolution DSLR, but it’s not impossible to manage. A normal RAW file will be around 111MB right out of the camera and a 20MB JPEG file will be around 35MB.

If you have storage problems on your hard drives, the file size in a medium format camera could become an issue. I also use a lot of external storage spaces like Sandisk SSDs. Small, very reliable and large in size.

MIND THE HARDWARE

File size is also an issue if your hardware is unable or fast enough to handle large files during processing. This especially happens when you work with many layers or have a complex processing workflow. If your computer is old, the best thing would be to think about an upgrade or add some RAM if you start working with the medium format. This will give you the freedom of processing, so you don’t have to limit yourself just because your file gets too big for your computer. I hear this objection from many photographers who speak of the difficulty of working with such large files and it is understandable, but on the other hand there is only one way to get to technology, and that is the forward one.

Even if we manage to avoid updating our systems for a while, we will still have to do it at some point and the point is: you want to be among the first to take advantage of a system as exquisite as the medium format, even if you need to adapt to it from different points of view, the computer is one of them, or do you want to keep working with the old camera technology just so you don’t have to upgrade your computer? I think the answer is obvious.

IMAGE QUALITY – INCREDIBLE DETAILS AND COLORS

Image quality is where the Fujifilm GFX 50 S is most rewarding and where you will be most impressed with its performance. For those who already shoot with a medium format camera it might not come as a surprise, but if you’re coming from a DSLR or other mirrorless system, the difference will hit you.

The image quality of Fuji cameras is well known. Fuji cameras with even smaller sensors than full-frame can deliver image quality on par with that of a full-frame camera, and this quality has been taken to an even higher level in the GFX.

The image quality of Fuji cameras is well known. Fuji cameras with even smaller sensors than full-frame can deliver image quality on par with that of a full-frame camera, and this quality has been taken to an even higher level in the GFX.

ZOOM AND BLURRED EDGES

Some other cameras already show blurry edges at 100% zoom, while with the GFX I start to lose detail at 200% zoom.

The same thing happens with color. The color is so deep, soft and rich that your first reaction is that you don’t even need to process the images you take because they are already perfect. Along with the three-dimensional depth of field, color depth is what we are referring to when they talk about the so-called “medium format look”, or should I say medium format magic.

DYNAMIC RANGE

Dynamic range is one of the most important features of a camera for an architecture or landscape photographer and most of my images are about architecture and landscape, so this was one of the first things I was interested in when I decided to work with this camera.

And I wasn’t disappointed. The camera covers 14 stops of dynamic range and I can tell you that the amount of light and shadow information you can get from an image is far superior to any DSLR I’ve worked with or read about.
This was to be expected as the sensor size is much larger than any DSLR, so the pixel size in a medium format sensor is much larger and can store a lot more light information, which is why medium format cameras have a better dynamic range.

THE AMAZING

But even if it makes sense from a technical point of view, it still amazes you when you see it in real life, in the images you take. It is such awe and delight when you see underexposed areas that can be reported and look as if they were shot with the best exposure.

The same thing happens in strong lights and this makes it much easier to shoot contrasting light situations without the need to bracket exposures or risk handling grain if you shift shadows in post-processing or don’t have enough detail in strong lights. and try to recover the overexposed areas.

Except for the ability to recover deep shadows or bright highlights, an extended dynamic range facilitates image processing and can help you create a softer transition in tones which is one of the main qualities of a compelling image, especially when working white. and black.

A TIP FOR MAXIMIZING THE DYNAMIC RANGE

One piece of advice I could offer for maximizing the dynamic range of the camera is to keep the camera at the base native ISO for the best dynamic range, or generally keep it at the lowest possible ISO. From my experience so far, it is preferable to shoot underexposed and push shadows in post-processing rather than increasing the ISO to get a brighter image in the camera.

I did both and was more pleased with the first approach, as noise is kept low and the quality of the shadows recovered is better when pushing the exposure in post-processing than when pushing the ISOs when capturing the image .

ISO – HIGH ISO AND NOISE

The native ISO ranges from 100 to 12,800 and can be extended from ISO50 to ISO102,400.
As you’d expect from a medium format camera, the Fujifilm GFX 50S performs wonderfully even at higher ISO settings.

Noise is barely noticeable up to ISO 3200 and you can start to see some noise from ISO 6400. Shooting even higher ISOs gives you usable images, but it won’t happen most of the time as it’s best to keep the ISO as low as possible.

I haven’t done extensive testing on all ISO speeds, but you can find some reviews with more detailed information on the subject. However, my overall feeling was that the camera was performing very well even at higher ISOs.

Which, as I said, was to be expected from the larger size of the medium format pixels which increases the information that can accumulate, thus reducing noise.

DETAILS AND SHARPNESS WITH MEDIUM FORMAT

Medium format can be downright merciless when it comes to motion blur, so you literally have to zoom in and check all your images at 100% zoom to see if they’re sharp and free of motion. Especially if you come from a DSLR and especially if you haven’t worked with high resolution medium format cameras.

This problem is even more serious as most lenses you can use with the GFX do not have image stabilization.This can be a problem with a high resolution DSLR such as the Nikon D850 or Canon 5DS, so if you already shoot with one of these cameras you might know what I’m talking about, but for a regular DSLR shooter, this might come as a surprise.

I knew what to expect and it was still a surprise for me
If I normally get along even with 1/30 shutter speed on my Nikon D850 getting sharp images, when I work with the Fujifilm GFX 50S I will have to be at least 1/60 if not even faster to get the same sharpness.

A KNOWN LIMIT

This is because most of my Nikon lenses have image stabilization while Fujifilm lenses don’t. Furthermore, the Fujifilm GFX 50S has much more resolution than the NikonD850, so details will be magnified twice as much, which means that the movement can be seen much easier.

So you have much more detail with the medium format, but you pay the price by not being able to easily shoot with a slow shutter speed and get sharp images.

I can’t tell you how many shots I thought I got sharp, I had to cancel at first when shooting with medium format, until I started to intuitively understand how fast I can shoot with it to get sharp images. Even today I check all my images by zooming them in 100% to make sure everything is sharp.

A “NOT DISADVANTAGE”

This isn’t necessarily a disadvantage considering what a medium format camera can give you to compensate for it, but it’s one of the things you need to be very careful about when shooting with any half format camera and one of the things that makes it different from DSLR shooting. .

But once you get used to it, it’s not a hindrance, unless you’re taking quick pictures, like sports photography or the like. That doesn’t mean you can’t take sports photography with a medium format camera. It just means that you will get different results than what is considered standard sports photography and you may not be able to get sharp images at slower shutter speeds as you might with a dedicated DSLR with image stabilization.
On the other hand, this can increase your creativity and help you create a different look in your photography. Who says all sports photography needs to be sharp and free of movement? Who says a photograph needs to be sharp and free of movement? Perhaps only those who think with restrictive rules say it.

VIDEO

The GFX shoots 1080p video at a frame rate of 30fps and while this is not the 4K video that other modern cameras can shoot, we have to take into consideration that this camera is not necessarily made for video but for photography and this is where excels. That said, 1080p video isn’t bad for a regular shooter, and if you take into account the image quality that medium format can offer, the video will be quite professional. I’m not shooting too many videos much less with the GFX, so I can’t provide much information in this area but, again from information gleaned from others, the GFX behaves very honorably when shooting video.

MEDIUM FORMAT LONG EXPOSURE PHOTOGRAPHY

Taking a long exposure means using slower shutter speeds to capture an image. This means that the sensor will be exposed to light for a longer period of time.

You can take a long exposure for 2 reasons: if you don’t have enough light available to capture the scene with a short exposure or if you want to use a long exposure for creative purposes. In both cases, it will be necessary to increase the shutter speed so that more light enters the camera and creates the right exposure.

When you don’t have enough light available, you will use the camera as it is and wait for the sensor to collect enough light for the right exposure. Most of the time this technique is used in night photography or when shooting indoors in low light conditions.

In the second case, it will be necessary to use neutral density filters to reduce the amount of light entering the camera, so once again a longer time is required to create the image on the sensor. This type of long exposure is usually used during the day (although it can also be used at night) and the result is to create artistic effects, such as creating long strips of clouds or smoothing the water.

WHEN WORKING WITH LONG EXPOSURES

What you need to work with when shooting long exposures are mainly neutral density filters and some accessories that help you immobilize the camera for the duration of the exposure in order to obtain sharp images without motion blur.

The neutral density filters I’m using are those from Lee filter which I consider the best on the market.
I recommend using a 6-stop, 10-stop, and 15-stop neutral density filter for best results and to cover most of the required exposure times. Alternatively, you can use a 3-stop, 6-stop, and 10-stop neutral density filter and combine them by stacking to create higher densities.

You can choose between circular or square filters and in case you use square filters, I recommend you use the new filter holder from Lee which will eliminate the danger of light infiltration when taking a long exposure.

LONG EXPOSURE SHOOTING WITH FUJIFILM GFX 50S

The Fujifilm GFX 50S can shoot long exposures of up to 60 minutes, both in bulb mode and in T (time) mode.

One of the things I like the most and found to be one of the most practical things about this camera is that you can now take exposures longer than 30 seconds without being in Bulb mode, which means you may not even need it in many cases. use a remote control to activate the exposure.

You can shoot up to 60 minutes of extended exposure without having to switch to Bulb mode or use a remote control if you set the shutter ring to T mode.

Since the camera is mirrorless, you don’t have to worry about mirror-induced vibrations that you should worry about in a DSLR, and for that reason, you should turn on the mirror lockup feature. In a mirrorless camera, there is no mirror that has to move out when you take a photo, so there are no vibrations.

ATTENTION TO THE SHUTTER

This means that if you are careful you can operate the shutter by simply pressing the button, especially when you are taking an exposure longer than a few minutes, in this case a slight vibration at the beginning of the acquisition will not damage the final sharpness.
I found myself shooting longer exposures than this too, and I didn’t need to plug in a remote every time I wanted to take a long exposure, and for long exposure photographers this will be really liberating. It’s almost as if you could take a long exposure as easily as you take a short exposure.

The only problem is that if you do not use the Bulb mode you are limited in the choice of exposure time and you will be able to choose the exposure times only between certain increments.

For example, the available exposures will be: 10 second increments from 30 seconds to one minute, so you will basically have accessible exposures that are twice the previous exposure time, for example: 1 minute, 2 minutes, 4 minutes, 8 minutes, 16 minutes etc. up to 60 minutes.

This can sometimes be limiting if you need to set the exposure between these set values, but since 4 minutes is an exposure that covers a wide range of situations, you can stick to it and only use Bulb mode when you need to change it. .

HERE I HAVE NO SOLUTIONS TO OFFER

I haven’t found an alternative solution to choosing pre-set exposures when using T mode (if anyone has a workaround for this, mention it in the comments and you’ll make me happy), but it would be a really great feature if exposures could be chosen freely in T mode, as happens with the Phase One, which would make the use of bulb mode redundant, and thus also the use of the remote control would make it much easier to take long exposures. So hopefully Fujifilm will address this issue in a future firmware update.

REMOTE APPLICATION OF WIFI AND FUJIFILM CAMERA

One feature that can be used when shooting a long exposure or whenever you need to operate the camera from a distance is that the camera can connect via Wi-Fi and you can also use the Fujifilm Camera Remote app to control some basic commands and shoot remotely.
This function can be very useful when taking a long exposure so as not to introduce any vibration into the camera when you press the shutter button and is easier than using a normal shutter button or a dedicated remote control.
You can also review and browse the images you take with the camera on your phone and delete the ones you don’t need. You can send images from the camera to your phone, and you can also geotag images in the camera using your phone.

BEST USE FOR FUJIFILM GFX 50S

The Fujifilm GFX 50S is an amazing camera if you use it for the right purpose. Although it is a medium format camera, it is very close in terms of ease of use to a DSLR.

But it should be understood that a medium format camera is not a DSLR. It is not made for this purpose, so if you need the reaction speed of a DSLR from your camera, then to use it for sports, action or photojournalism, you have to keep in mind that these are not the styles of photography that a medium format is meant for. .

But if you need the highest possible quality, the best color, the best tone rendition, the dynamic range and the most detail for your camera, whether you want to photograph works of art, architecture, landscape, portraits, fashion or photography commercial, this camera will be an amazing tool that will help you turn your vision into reality. With me, as you can see in my galleries, the Fujifilm GFX 500S did it.