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Fujifilm Officially Unveils GFX Medium Format System

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Jumping right over “full-frame,” Fujifilm has finally lifted all the curtains from its upcoming G Series medium format camera system, more specifically, the GFX 50S Mirrorless Camera and its accompanying lenses and accessories. The significance of this system lies in the use of a large 43.8 x 32.9mm 51.4MP CMOS image sensor, which is roughly 1.7x the area of a standard 35mm sensor. This is what helps deliver the outstanding image quality promised with medium format imaging, as well as a much different and much desired “look” compared to the usual 35mm systems. However, this isn’t all Fujifilm has in store today. If you are an X-Series fan, this announcement of the X100F, X-T20, and XF 50mm f/2 R WR is definitely something worth checking out.

The GFX 50S Medium Format Mirrorless Camera

Thanks to its mirrorless design, the GFX 50S manages to fit a lot of power into a much smaller body than many of its medium format DSLR predecessors. This power comes from the combination of the 51.4MP 43.8 x 32.9mm CMOS sensor and the X-Processor Pro, which processes the data to produce images with outstanding dynamic range, reduced noise, and excellent detail. The large sensor lends itself well to making highly detailed, exhibition-quality prints, as well as working with intricate scenery or critical reproduction work with the larger pixels able to more accurately capture the scene and subjects. It also affords a native sensitivity range from ISO 100-12800 that can be expanded to ISO 102400, and can record imagery in a variety of aspect ratios, including 4:3, 3:2, 16:9, 1:1, 65:24, 5:4, and 7:6.

GFX 50S Mirrorless Camera

For autofocus, this camera features a 117-point contrast-detection system, which can be further divided to 425 points if desired, and focus point selection is easily handled using a dedicated focus lever. The rear 3.2" 2.36m-dot touchscreen monitor can also be used to select the focus point intuitively while also offering touch operations for the menu and image playback. Furthermore, this rear screen offers three-directional tilt to suit simultaneously shooting in the vertical orientation and working in live view.

Other benefits of the X-Processor Pro include the use of Fujifilm’s legendary Film Simulation modes, including a new Color Chrome Effect. Another feature made possible by this engine is Full HD video recording at 29.97p, 25p, 24p, and 23.98, and Film Simulation modes can be used during video to limit the amount of post processing required. Multiple file formats are available for stills, including three levels of JPEGs; both uncompressed and compressed 14-bit raw shooting; and the camera can output TIFF files using in-camera raw development.

A major draw of the GFX 50S is the body design, which is relatively (for medium format) compact and lightweight at 2.7 lb, including the 63mm f/2.8 lens, battery, and memory card. Like their X-Series cameras, the GFX 50S offers dedicated physical dials and controls for all critical settings, such as shutter speed, aperture, and ISO. Aperture and ISO dials feature a Command position, while the shutter speed offers a Time position for controlling these settings using command dials located on the camera body. The top of the camera also sports a 1.28" LCD monitor, which displays exposure data for quickly checking without needing to pull up the rear screen or look through the included viewfinder.

One interesting feature of the GFX 50S is the included 0.5" OLED electronic viewfinder, which offers high resolution of 3.69m dots. This EVF slides into the camera’s hot shoe and features its own hot shoe for using a flash or other accessories. Also, it can be easily removed to cut down on weight or for easier camera storage. An optional EVF-TL1 Tilt Adapter will be available, as well, to add vertical and horizontal adjustments to the EVF. For flash users, both the hot shoe and a PC sync port are available, with a native flash sync speed of up to 1/125 second with the built-in focal plane shutter. Fujifilm's TTL system is supported as well as their high-speed sync mode with a compatible flash unit.

Other features of the GFX 50S’s physical design include weather- and dust resistance, as well as freezeproofing for operation at temperatures as low as 14°F. Dual UHS-II SD card slots are present for speedy saving of images and can be set up in one of three recording modes, Sequential, which will automatically switch cards when one is filled, Backup, which writes the same information to both cards simultaneously, and Sorting, which saves JPEGs to one and raw files to the other. Much like its contemporaries, the GFX 50S has built-in Wi-Fi for direct connection to a mobile device.

As with many other professional systems, the GFX 50S is capable of advanced tethering over USB to a computer. This includes optional HS-V5 software for Windows, which offers advanced control over the camera’s settings from the computer, as well as file management. Other options include an updated Tether Shooting Plug-in PRO for Adobe Photoshop Lightroom that also adds other camera function via a Control Panel Window and X Acquire, which lets you set up a hot folder on your computer for working with other software. Additionally, Fujifilm offers RAW FILE CONVERTER EX 2.0 powered by SILKYPIX to perform advanced image adjustments. This software also has support for Fujifilm’s Film Simulation modes.

The GF Lens Series

Fujifilm is releasing three lenses as part of a new GF series, which cover a variety of different focal lengths, with more promised to come throughout 2017. The new G mount features a flange distance of 26.7mm, helping reduce back focus distance for minimizing vignetting and maximizing edge-to-edge sharpness. The GF series is also future-proof, since the lenses are designed to work with sensors with resolutions greater than 100MP. These lenses are designed for intuitive operation and professional use, including physical aperture rings with a Command position and Auto position, weather sealing and freezeproofing, and a fluorine coating on the front element to repel moisture.

The standard lens of the bunch must be the GF 63mm f/2.8 R WR, with its 50mm equivalent focal length. It uses one extra-low dispersion element in its 10 element / 8 group optical construction and is compact, at just 3.3 x 2.8", with a weight of 14.2 ounces. It also uses the front group for focus to minimize aberrations caused by focus distance. A new FLCP-62II Lens Cap is available to protect the front element of this lens, and all G-mount lenses will use an RLCP-002 Rear Lens Cap to protect the rear elements.

GF 63mm f/2.8 R WR

Another prime lens being released today is the GF 120mm f/4 Macro R LM OIS WR, which is equivalent to 95mm in 35mm format. The signature feature of this lens is, of course, its ability to focus close and achieve 1:2 magnification of your subjects. Beyond this, the 120mm guarantees tack-sharp images with minimal aberrations by fitting three ED elements into the 14 elements in 9-group construction. It also uses a floating focus method with a silent but high-speed linear AF motor. Furthermore, built-in optical image stabilization can compensate for up to 5 stops of shutter speed for sharper handheld shooting.

GF 120mm f/4 Macro R LM OIS WR

The only zoom and only wide-angle option of this launch trio is the GF 32-64mm f/4 R LM WR, equivalent to 25-51mm. Thanks to a constant f/4 aperture, image quality, and light transmission are consistent throughout the range. It also utilizes three aspheric elements, one ED lens, and one super ED lens to ensure high image quality and sharpness from edge to edge. Also, it features internal focusing and its AF is supported through the inclusion of a silent linear motor.

GF 32-64mm f/4 R LM WR

Still to come in 2017 are three more lenses, of which Fujifilm has only unveiled the names: the GF 110mm f/2 R LM WR, equivalent to 87mm, the GF 23mm f/4 R LM WR, equivalent to 18mm, and the GF 45mm f/2.8 R WR, equivalent to 35mm. These will help fill out the new lineup and help satisfy both professionals and enthusiasts jumping into the medium format system.

Accessories

Of course, every camera has its own share of new accessories to go along with it, including everything from lens adapters to the small but important BCP-002 Body Cap. The GFX 50S is no exception, with many items that can help bolster the functionality and usability of the camera. One of the major accessories is a VG-GFX1 Vertical Battery Grip. This grip can hold a second NP-T125 Li-Ion Battery in addition to the one in the camera, effectively doubling battery life. It also can connect to the AC-15V AC Adapter to charge the battery while it remains in the grip. Users looking for an extra standard wall charger can pick up the BC-T125 Battery Charger.

VG-GFX1 Vertical Battery Grip

One of the more unique accessories is the EVF-TL1 EVF Tilt Adapter, which adds tilt and rotation options to the EVF included with the camera. It mounts between the EVF and the camera to maintain electronic communication, but now allows for adjustment from 0 to 90° vertically and from -45 to +45° horizontally, making it easy to compose using the EVF on a tripod or shooting from awkward positions.

EVF-TL1 EVF Tilt Adapter

For photographers already looking to adapt older lenses, Fujifilm is releasing the H Mount Adapter G, which allows the use of Super EBC Fujinon HC lenses, which were developed for the GX645AF film camera. A total of nine lenses are supported, as well as the teleconverter, though all are limited to manual focus only. The aperture can be adjusted by the camera body and the leaf shutter can be accessed for flash sync at shutter speeds up to 1/800 second. Additionally, the adapter features electronic contacts for communicating Exif data for more easily applying lens correction data and using manual and aperture priority exposure modes. A removable tripod foot is included to help with heavier and longer lenses.

H Mount Adapter G
View Camera Adapter G

Another adapter option, this one for view camera users, is the View Camera Adapter G. This enables the GFX 50S to be used as a digital back with most 4 x 5" systems. This allows for triggering of either the camera or lens shutter, depending on the photographer’s preference; the larger image circle of the large-format lenses can be used easily with tilt, shift, and swing movements.

Post your questions and comments in the Comments section, below.

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The large sensor is attractive.  But I was really hoping for at least 1080p at 60FPS.

Please show us the detail of the branches and leaves on the trees with complete clarity and allows all of us nearsighted people to actually see the beauty of the structure of the tree in stead of just being a blur.

No WiFi? No GPS? No sale. I will never buy another camera without built-in WiFi (for file transfer and remote control) and GPS (for Geotagging). Get serious, guys. It's 2017.

Hi Nuke,

The GFX does in fact have Wi-Fi. No GPS but the specs do claim the ability to geotag images through the wireless connection.

I searched both B&H and Fuji pages, and found no hint of it. We can get a free cell phone with a GPS receiver. Every photo needs built-in, automatic geotagging, as we get in the cheapest cell phone camera. It's inexcusable.

Oh, I see. They hyphenate "Wi-Fi" it so searching for "WiFi" doesn't find it. My mistake.

No such thing as "free cell phone" monthly contracts for a period of time you think the phone is free? If wifi & GPS are the main selling points for you then why are you looking at medium format, should be more concerned with image quality,etc first.....It's a camera not a phone.

Okay, let's not get caught up in the "free phone" issue. You know what I mean. Tiny, inexpensive cell phones today include GPS and WiFi chips. Every camera should also. There are huge benefits with always having your shots automatically tagged with acurate time and location, and huge benefits with built-in WiFi or remote control and quick file transfer. We shouldn't have to think about these options when buying a camera anymore, or have to jury-rig these features with dongles hanging from our cameras.

If you don't want high-tech features, stich with a Rollei 120.

This camera is not for you, period. As you stated, you love cheap stuff and this ain’t cheap in any means cause its features is targetted for professional studio photography, not smartpohone-toy-camera for the masses. You are better off with a Kodak Jubilee.

It's accually made for professionals. If you need lotza gadjets get a Panasonic!

You're an idiot.

Intended for the original comment.  I guess I'm an idiot too.

Does this camera shoot vieeo or is it only for photography.

Hi Donovan,

The GFX 50S does shoot video at up to Full HD 30p using H.264 compression at 36 Mbps. This isn't incredible considering other options already on the market so it is fair to say that this camera is designed more from still photography than video.

If you are interested in a camera for video get a video camera, don't fuss over DSLR's.

The reason I say this is because the shutter (and sensor) in a traditional camera, IE: DLSR is designed for still shots. It may work for video there are plenty of situations where it doesn't or just turns out to be more work than it's worth.

There are reasons why video cameras cost more than still cameras, and that's part of why.

Also, cell phones take great video if you don't want to buy a VIDEO camera. ;)

I agree and for keeping everything in focus the smaller sensor camcorders are better. Shoot as long as you want! No overheating! But there are great ones that cost as much (not usually more) than DSLR's. For instance the Sony FDR-AX53 shoots awesome 4K, and has a built in stabilizer system! (Floating lens) Under $1000. 

Electronic viewfinders make using a polarizer difficult

A good 100mm Tilt/shift lens would make this camera perfect.

Hello,

While not immediately available, I would suspect it is possible to use the H Mount Adapter G along with the Hasselblad Tilt/Shift Adapter and if you can find a Super EBC Fujinon HC 100mm lens you would be able to effectively create the lens you are looking for.

Whle the MF is exciting in most respects, I am concerned about the limitations of the proprietary RAW conversion file. Let's say that it functions as well as CaptureOne,Camera Raw or Lightroom, editing is an important value in managing image files and RAW editing is not enough. Photoshop is the best editing tool, along with third party software such as NIK etc. How vigilant are you in with Adobe in your conversations?

Hi CS,

There is a plug-in for Lightroom being made available for tethering, so I would expect Lightroom and Photoshop will support files from the GFX.

You had me right up until I read that the camera has a digital viwfinder. 

That's a deal killer and a very stupid idea for a camera intended for professionals. 

I agree with you regarding a digital viewfinder. That's the deal breaker.

It's the inherent concept of a mirorless camera.  No mirror, no optical viewfinder.

How so? I would think a deal killer for a professional camera would be a mirror slapping around inside causing vibrations. And I'd really like to see stuff like my focus point or a brighter look, or a magnified point for focusing, or the many other advantages you can't achieve with an OVF. Why do you think mirrorless is becoming so popular. It's not a wild guess on the part of Fuji.

I used to think so until using the EVF in the Sony A7R2. It works great even in very low light situations.

What about the post processing? As we know the industry standart Lightroom does not process medium format camera files. Therefore people like PhaseOne users use CaptureOne or Hasselblad has its own Focus. Lightroom even does not process Fujifilm XT-2 files, unless you purchase an plug-in. Is there going to be a special software for editing GFX raw files? Simply asked: how can we be able to edit GFX files?

Hi Oz John,

Fujifilm has their own proprietary RAW FILE CONVERTER EX 2.0 software that will handle it, but Lightroom, Photoshop, and Capture One should be updated to support the files as well. Fujifilm has also mentioned a plug-in (free) that will allow for tethering and added control in Lightroom. I do not expect the same raw file compatibility limitations as the more established medium format systems.

I am surprised considering that I suspect it is technically a hasselblad derived product (there's hints that they teamed up with Hassy), Hasselblad focus is not first in line for consideration.

Regardless of what developement tools are out there, almost all of them do the exact same stuff (i've tried dozens), they just present the information in a slightly different way.

The industry standard is Photoshop. Lightroom is a cute toy, but only a toy.

Fred Mertz,

Your'e either over 60 years old and haven't adapted to new technology or you're just an elitist. Lightroom is a powerful tool for taking raw files and getting them ready to bring into Photoshop. I can get my photos 70% of the way there in LR much quicker than Camera Raw or PS.

I'm well past 60 and quite possibly an arrogant elitist, and IMO 70% is a substantial underestimate of how far a photographic  image can be taken with LR (PS is a great tool for the last 5% or 10% and maybe sometimes 20% or 30%-- when it's needed).  What I particularly like about LR are the leaner and more intuitve UI, virtual copies, and nondestructive editing, plus the asset management caapabilities you get with LR's catalog.    I'd be happy (really happy) if Adobe added these capabilities to PS (replacing LR adjustments with virtualized adjustment layres, say) and settled onjust one product, available for the same $10/month that they now get fpr LR+PS.

I never got into Photo Shop.  Paint Shop Pro is what I use.

Glad to know they make lens and body caps. But how about color depth, flash sync and if lenses have leaf shutters or how the camera handles studio situations where strobe is used. With my Sonys A7xxx I have to open to focus and stop down for exposure. 

Hi Mschafer,

The raw files are 14-bit, flash sync speed is 1/125 sec, camera has a focal plane shutter and GF series lenses have no shutter, but the H Mount Adapter G lets you adapt older Super EBC Fujinon HC lenses with support for their leaf shutters up to 1/800 sec. Both a hot shoe (with Fujifilm TTL and high-speed sync support) and a PC sync port are available. As for how it handles itself in the studio, it will likely have similar performance as the existing Fujifilm and Sony mirrorless options.

The video won't play for me.

I'm happy to see an 18mm-equivelant lens.  I've been watching to see if Pentax offers one.

I'd like to see a lens in the 150-200mm range. That would be an ideal portrait lens for me.  Also, some leaf-shutter options would be amazing.

This looks really promising!

The video link works now.  

I wish the video showed a bit more of the flexability of the touchscreen, as well as images of the rear to show controls.

Hi Mark,

A longer native lens is likely somewhere in the future, but we have not heard any word and it will likely not be this year. If you want a longer lens, you can pick up a used Super EBC Fujinon HC lens and use the H Mount Adapter G to get a leaf shutter up to 1/800 sec. Also, there is a Super EBC Fujinon HC 210mm and 300mm, which might suit you well.

 If you cannot watch the video you're not alone go to the bottom of the email and punch in YouTube and then you will be able to watch the video on YouTube have a nice day 

Is there an issue with the video on the article - cant see it here.

Not enough information on the specs.  Does it record video in 4:2:2?  4:4:4?  What about shooting in 4K?

It is primarily a  photography camera  not a video camera . But you can see for yourself on YouTube .

It is primarily a  photography camera  not a video camera . But you can see for yourself on YouTube .

Hi Terry,

Earl is right, this is very much a stills camera and there isn't much in terms of video specs. It can record at up to Full HD at 29.97 fps using H.264 compression at 36 Mbps. Likely 4:2:0 8-bit. No 4K.

Brilliant, but sad. I own an almost complete Nikon full-frame system that I have supported for over 40 years. The obvious choice for new amatures and proffesionals will be: Phone>3/4 or 1">Medium Format.

Full frame SLR, or even full-frame mirrorless, do not appear to be the future.

Last sentence "......do not appear to be the future" is not understandable, please elaborate. 

In my opinion camera phone shooters are not serious photographers. Sure this could change someday when phone cameras can do all the features  of a dslr. These photographers are too lazy to carry full size cameras. So most likely don't process their images. Don't care to shoot RAW etc. So right now I still don't count them in the discussion of the future of camera buyers. Again, someday this will probably change. There will be contact lenses with full camera specs. Still not yet effecting today's camera buyers. 

Does it have a global shutter?

What is the codec? Can it record Raw Sensor Data?  

Hi John,

The GFX does not have a global shutter (physical focal plane shutter and select adapted lenses with leaf shutters for photo), uses a compressed 36 Mbps H.264 codec, and it cannot record raw video. It does however take phenomenal raw stills with options for both compressed and uncompressed files.

Wow! On my goal list. Fuji is a name that I've trusted since the days of 220 film. NPH, NHG, Velvia, were my friends that I could count on for quality. After purchasing and using a Fuji S2, it was obvious that their digital cameras, sensors, and firmware were top notch. Gotta have that 110mm f/2 before I jump though.

Looking forward to getting my hands on one for my portrait and commercial work. Perhaps when I go to Japan later this year.

Thanks Fuji

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