Fuji GFX 50R Hands-on Review — First Impressions

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The Fuji GFX 50S delivers excellent image quality thanks to its 51.4-megapixel medium-format image sensor, but the camera is fairly large and quite expensive, with a suggested retail price well north of $6,000 USD. Fujifilm has heard from customers who would like medium-format image quality in a more compact and affordable camera body. The Fujifilm GFX 50R — the second camera in the GFX mirrorless medium-format camera system — has been designed to respond to these criticisms of the GFX 50S.

Fuji 50R Review -- Product Image

Basic Specifications
Full model name: Fujifilm GFX 50R
Resolution: 51.40 Megapixels
Sensor size: Medium format
(43.8mm x 32.9mm)
Kit Lens: n/a
Viewfinder: EVF / LCD
Native ISO: 100 – 12,800
Extended ISO: 50 – 102,400
Shutter: 1/16000 – 3600 sec
Dimensions: 6.3 x 3.8 x 2.6 in.
(161 x 97 x 66 mm)
Weight: 27.3 oz (775 g)
includes batteries
Availability: 11/2018
Manufacturer: Fujifilm

The Fuji GFX 50R offers the same 51.4-megapixel image sensor as the GFX 50S but in a more compact and lightweight body, which is reminiscent of retro rangefinder medium-format film cameras, and it introduces Bluetooth compatibility, a wireless feature missing from the GFX 50S. Let’s take a closer look at the GFX 50R, including covering which specifications and features are shared between the new GFX 50R and the existing GFX 50S, which released in March 2017.

Kết quả hình ảnh cho Fujifilm GFX 50R

Key Features

  • Rangefinder-style GFX camera
  • More compact and lighter than the GFX 50S
  • Built-in electronic viewfinder
  • Tilting touchscreen
  • 51.4-megapixel medium-format CMOS image sensor
  • 14-bit RAW recording
  • Fujifilm Film Simulations
  • Native ISO range of 100-12,800, expandable to 50-102,400
  • 425-point contrast-detect autofocus system
  • Maximum shooting speed of 3 frames per second
  • Full HD video recording
  • Built-in Bluetooth 4.0

Camera Body and Design

Before we dive into a run-down of the camera’s design, you should definitely watch our hands-on video below for a great look at the 50R compared to the 50S and other cameras.

This is the primary area of differentiation between the GFX 50R and the GFX 50S. Where the GFX 50S is shaped more like a DSLR camera and includes a detachable electronic viewfinder on the top and a rather substantial bulge behind the rear display for the battery, the GFX 50R is shaped more like a rangefinder. The GFX 50S is a complex shape, which some have described as unattractive. The GFX 50R, on the other hand, is a generally rectangular block with a considerably simpler, more streamlined aesthetic.

Designed like a rangefinder, the electronic viewfinder is located in the top left corner of the camera rather than on top. Another difference between the GFX 50R and its 50S sibling is that the 50R does not have a battery bulge on the back. The difference in overall size with respect to depth is considerable, with the GFX 50R having a maximum depth of 2.62 inches (66.4 millimeters) versus 3.6 inches (91.4 millimeters).

Fuji 50R Review -- Product Image

Considering other dimensions, if you compare to the GFX 50S with its electronic viewfinder attached, the camera is 5.81 inches (147.5 millimeters) wide, 4.48 inches (113.8mm) tall and has the maximum depth of 3.6 inches mentioned above. The GFX 50R is wider at 6.33 inches (160.7mm) and shorter at 3.8 inches (96.5mm). If you remove the electronic viewfinder of the GFX 50S, it’s 3.71 inches (94.2mm) tall, which is slightly shorter than the GFX 50R — which has a built-in electronic viewfinder. With the EVF attached, the GFX 50S weighs 32.5 ounces (920 grams) and the GFX 50R weighs 27.3 ounces (775 grams).

Returning to the electronic viewfinder, the GFX 50R has a 0.5-inch OLED panel which offers 100 percent frame coverage and 0.77x magnification. This is lower magnification than the GFX 50S, which offers 0.85x magnification. Both cameras’ EVFs have 3.69 million dots, so the primary difference appears to be in terms of the optics within the viewfinder rather than the underlying technology. The GFX 50R also offers two degrees less angle of view (38 versus 40). Finally, unlike the GFX 50S’ electronic viewfinder, the GFX 50R cannot be used with Fujifilm’s optional tilting viewfinder.

Fuji 50R Review -- Product Image

Similarly, the rear touchscreen LCD has basically the same technology. The GFX 50R has a 3.2-inch 4:3 display with approximately 2,360K dots and full 100 percent frame coverage. However, unlike the GFX 50S, the GFX 50R’s display tilts in two directions rather than three (up and down versus up, down and to the side). Further, the GFX 50R does not have a top display like the GFX 50S, which offers a customizable 1.28-inch monochrome LCD status screen near the shutter release.

As for the ruggedness of the GFX 50R, it is weather-sealed in 64 locations. It is designed to be weather- and dust-resistant, plus it can be operated in temperatures as low as 14 degrees Fahrenheit (-10 degrees Celsius). The camera is built using a magnesium alloy body and its two top dials are constructed of milled aluminum.

Fuji 50R Review -- Product Image

The primary takeaway is that the GFX 50R is smaller and lighter than the GFX 50S. In some ways, particularly with respect to depth, it is considerably smaller. That said, the GFX 50S has an ample front grip, something the GFX 50R lacks.

Image Sensor

The GFX 50R includes the same Fujifilm G Format 51.4-megapixel medium-format image sensor. The sensor is not a “full-size” medium format sensor, but is instead 43.8 x 32.9 millimeters, which while a fair bit larger than a full-frame image sensor is not as large as the medium-format sensor found in cameras like the Phase One IQ4 150MP, for example. With that said, the image quality from the GFX 50S has proven to be very impressive in our laboratory and real-world testing, so we can expect much of the same from the GFX 50R. The GFX 50R offers an ISO range of 100 to 12,800 and can be expanded to ISO 50-102,4000.

Fuji 50R Review -- Product Image

Like the GFX 50S, the sensor in the GFX 50R is paired with Fujifilm’s X-Processor Pro image processing engine, which is designed to offer high-quality color and tone reproduction. To that end, we find the same Fujifilm Film Simulation modes: Provia, Velvia, Astia, Classic Chrome, Pro Neg. Hi, Pro Neg. Std, Black and White (standard, yellow, red and green filters), Sepia and Acros (standard, yellow, red and green filters). Similarly, you will also find identical crop modes on the GFX 50R, including: 4:3 (51.1 megapixels), 5:4 (48.0MP), 3:2 (45.4MP), 16:9 (38.3MP), 1:1 (38.3MP) and numerous smaller sizes, including a 12-megapixel 4:3 file. The GFX 50R records RAW images at up to 14 bits of depth in uncompressed or lossless compressed settings and can produce 24-bit TIFF files via in-camera RAW conversion.

Digging further into the nitty-gritty details of the image sensor, it offers a pixel pitch of about 5.31 microns and does not include an anti-aliasing filter. Further, compared to a full-frame sensor, the GFX 50R’s sensor has a ~0.79x focal length multiplier. In practical terms, this results in a lens such as the GF 32-64mm f/4 offering a 35mm-equivalent focal length of about 25-51mm. The sensor is also self-cleaning via ultrasonic vibration.

Fuji 50R Review -- Product Image

Autofocus and Performance

The GFX 50R has the same autofocus system as the GFX 50S, which includes contrast-detect autofocus and 425 autofocus points. The autofocus area covers a large portion of the image frame and can be utilized via single point (six sizes), Zone AF and Wide/Tracking AF area modes. The camera offers face and eye-detect autofocus, including left versus right eye priority and has subject tracking continuous autofocus. The GFX 50R supports touch AF as well.

The GFX 50S is not a fast camera, nor is the 50R. The camera can shoot images at up to 3 frames per second and has an uncompressed RAW buffer depth of 8 frames (or 13 frames if you are using lossless compressed RAW file quality). It is worth pointing out that we got better RAW buffer depths for the 50S in the lab with the same continuous mode specs, so it will be interesting to see how the 50R fares in this respect.

Fuji 50R Review -- Product Image

The GFX 50R has a focal plane shutter system which offers shutter speeds ranging from 60 minutes to 1/4000s. There is an electronic shutter as well, which offers shutter speeds as fast as 1/16,000s. Regarding flash sync, unlike camera systems which utilize leaf shutters in their lenses, the GFX has a flash sync of 1/125s, which is considerably slower than something like the Hasselblad X1D but also a bit slower than modern full-frame cameras.

With respect to shooting functionality, the camera offers bracketing up to 9 frames (with up to +/- 3 EV), +/- 5 EV worth of exposure compensation, Auto ISO functionality and TTL 256-zone metering. The available metering modes include Multi, Spot, Average and Center-weighted, with the spot metering mode being tied to the active autofocus point.

Fuji 50R Review -- Product Image

Video

Video features were not particularly good on the GFX 50S and the story remains the same with the GFX 50R. The GFX 50R can record Full HD (1,920 x 1,080) video at up to 29.97p with a bit rate of up to 36Mbps for 30 minutes. The camera can also record 720p video which also tops out at 29.97p.

Connectivity, Storage and Power

The addition of Bluetooth connectivity is one of the primary differences between the GFX 50S and GFX 50R. The GFX 50R has Bluetooth version 4.0 low energy technology and this Bluetooth connectivity allows for geotagging of images, image transfer, image viewing, printing to an Instax printer, auto image transfer and remote control functionality.

Fuji 50R Review -- Product Image

Looking at ports, there are some differences between the GFX 50R and GFX 50S. The GFX 50R opts for a combined 2.5mm mic/remote jack in lieu of separate 3.5mm microphone and headphone jacks and a 2.5mm remote jack. Further, the GFX 50R uses USB Type-C (USB 3.1 Gen 1) port whereas the GFX 50S used a Micro USB 3.0 (Micro-B) terminal. It’s located on the bottom of the camera this time, next to the 15V DC IN connector and no longer supports Fuji’s Remote Release RR-90. The 50R still includes a Micro Type-D HDMI port, a PC sync terminal and of course, a hot shoe.

Like the GFX 50S, the GFX 50R writes to SD/SDHC/SDXC cards — UHS-II is recommended — and features two card slots. The GFX 50R also uses the same NP-T125 lithium-ion battery pack which is CIPA-rated at up to 400 shots per charge, identical to the 50S.

Fuji 50R Review -- Product Image

Fuji 50R Pricing and Availability

The Fujifilm GFX 50R will be available starting in late November for a suggested retail price of $4,499.95 USD and $5,699.99 CAD.

The GFX 50R includes a Li-ion NP-T125 battery, battery charger (BC-T125), plug adapter, body cap, strap clip, protective cover, clip attaching tool, shoulder strap, cable protector, hot shoe cover, sync terminal cover and owner’s manual. The GFX 50R does not appear to include support for an optional vertical battery grip like the GFX 50S.

Fuji 50R Review -- Product Image

GFX 50R versus 50S

When you consider the imaging pipeline of the GFX 50R, it is identical to the GFX 50S. This is a common theme with the GFX 50R as a lot of its shooting features are shared with the GFX 50S. Where the two cameras differ the most is in terms of their design and appearance. The GFX 50R, as we’ve seen, opts for a rangefinder-like design which is ultimately simpler than the design of the GFX 50S. Some people may prefer the look of the 50S, but we suspect most will consider the 50R a more attractive-looking camera.

Fuji 50R Review -- Product Image

Looks are only part of the equation. The 50R has lower viewfinder magnification, doesn’t have as many physical controls as the 50S, lacks a top status display and its rear touchscreen tilts in two directions rather than the three directions offered by the 50S’ rear display. Further, the 50S can take a vertical battery grip to improve ergonomics for portrait orientation shooting and greatly improve the battery life, an option the 50R does not appear to offer.

In terms of buttons and controls, the GFX 50S has a dedicated ISO dial whereas the 50R opts for a dedicated exposure compensation dial but no dedicated ISO dial. The GFX 50S also has directional navigation buttons, which can be assigned to be different function buttons. The GFX 50R uses the sub-selector focus point joystick for menu navigation and also moves the menu and playback buttons from the top of the display to the right side.

Fuji 50R Review -- Product Image

The 50R opts for USB-C instead of Micro USB 3.0 but loses 3.5mm microphone and headphone jacks, offering instead a combined 2.5mm mic/remote input but no headphone jack. For both cameras, video functionality is not particularly impressive, topping out at 1080/30p recording.

Perhaps most notably, the GFX 50R is also considerably less expensive than the GFX 50S. When the GFX 50S is not on sale, it is $2,000 more than the GFX 50R in the United States. The 50S is currently on sale for under $6,000, but the difference in price is nonetheless significant.

Fuji 50R Review -- Product Image

Ahhh… to have Medium Format in a rangefinder-styled body sporting 50mp that costs a few thousand dollars less than the original GFX 50S… Now that is the promise of the Fuji GFX 50R. We were given a prototype of the camera last week, ahead of the announcement, and then a few days later were told that we could actually shoot with it in the field… so straight out the door I went!

I went to fields with flowers, fields with insect life, even to a soccer field. I searched and waited for the rising moon, and for any dramatic skies I could find to bring you examples of what a sensor this powerful could convey. And, while only a prototype sample, I did let the ISO climb on occasion as well. After all, Fuji bodies have historically shined brightly in higher-ISO competitions, with the GFX 50S itself setting a new record for maximum print size while dialed to ISO 51,200!

But mostly, I just had a lot of fun shooting with this incredibly capable, large-sensor camera.

Fujifilm GFX-50R - Sample Image
1/2000s / f/2.5 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: Pro Ng. Std]
Bright midday sun: The dynamic range afforded by a sensor as large as the one housed in the 50R can help tame even harsh summer sun in the Southeastern U.S. This shot with a smartphone or even a camera with a much smaller sensor would most certainly show blown out faces and a severely overblown sky lacking much detail.

(Images have been resized to fit this page, cropped and/or altered in post-production, primarily to balance shadows and highlights as needed. Clicking any image will take you to a carrier page with access to the original, full-resolution image as delivered by the GFX 50R. These images are from a prototype sample, and are therefore labeled as “beta” — final image quality may differ slightly. For additional images and EXIF data please see our Fuji GFX 50R Gallerypage.)

GFX 50R: A modern, beefy “rangefinder”

Before moving on to the gallery samples, let’s talk about the GFX 50R in the hands. I had the privilege of shooting with the original GFX 50S shortly after it was unveiled for an initial gallery piece and was duly stunned by the image quality. But of course the feel of that camera in the hands is far different from the new 50R, as they are simply “different beasts” in their overall external designs.

Fujifilm GFX-50R - Product Image
Fujifilm GFX 50R in the hand (shown with the GF 63mm f/2.8)

Just as Fujifilm offers the X-Pro series (rangefinder-styled) alongside the X-T series (DSLR-styled), both equipped similarly under the hood, this split-type series idea now makes its way to their GFX Medium Format offerings. The only big difference other than external shape is that the GFX 50R is priced far less than the original 50S, which runs about $1500 higher. So while not an inexpensive camera to be sure, the 50R is now the most modestly-priced Medium Format offering available, which should certainly turn the heads of some landscape and portrait shooters who’ve been waiting for a more affordable entry point into this enticing realm.

Having a camera this large but without a traditionally deep grip took some getting used to at first. There is a small front grip, and the rear thumb grip is beefy and generous, but I still felt compelled to quickly add a wrist strap for safety. The camera is simply larger than any rangefinder-style camera I’ve yet held, and is reminiscent of models from bygone days in the film era. I love the aesthetic, but again it took some getting used to out in the real world, especially in the hot, humid days in Atlanta where perspiration is a given.

The 50R controls are rock-solid, as I’d both hoped and expected. The metal dials are firm and reassuring, and the shutter speed dial has a locking mechanism as well. Every photographer is different in their personal preferences regarding external controls, but for me there is no substitute for actual dials. Simple, solid, old-fashioned dials. I love them, am addicted to them, and once I don’t have them I get upset and lose my bearing. Hey, to each his own, as that just happens to be the way I am. Being able to look through the EVF while I am adjusting the dedicated shutter speed dial to suit the shot is just awesome to me, or aperture, or EV, and with bodies from Fujifilm that is exactly what you get. Nothing more, nothing less, very simple.

Fujifilm GFX-50R - Product Image
Fujifilm GFX-50R – Controls

They’ve removed the 4-way dial and associated buttons from the back, which at first seemed a little weird. But the joystick takes the place of it for the most part, and the joystick is, um, a joy to use. Once you’ve had one at your disposal for jockeying your AF point you’ll see what I mean and will miss it when you switch to a camera without one. My right hand constantly goes back and forth to and from the dials and the joystick. Oh, and much like on the 50S, having the AF switch (S, C, M) near where your thumb sits is awesome. Fuji often puts this switch on the front of their cameras, and that has always seemed counter-intuitive to me. Now it’s in a logical place that’s easy to reach (and remember!).

With this initial prototype sample I found autofocus to be fast and responsive, and accurate as well. With the super-shallow depths of field provided by bright lenses on a huge sensor, you certainly have to pay close attention, but that’s not the camera’s fault. The power afforded to photographers with this combination is awesome, but the learning curve heavily increases as well. I found myself concentrating more on the shooting than ever before, or at least in a similar fashion to when I shot with the GFX 50S. But wow, when you nail focus, the rewards are significant.

We’ll discuss handling in deeper detail in a forthcoming Field Test once we receive our full production sample. And for a comprehensive 50R hands-on video please click here!

50R: Images from the field

Let’s head out into the field and take a look at the image potential from this rangefinder-esque beauty!

Fujifilm GFX-50R - Sample Image
1/500s / f/2 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Dreamscape: This is shot in my boring little back yard, and that’s the beauty of a camera like this. The otherwise boring can quickly become sublime.

The Simulator

As mentioned earlier I’ve only had a few days with this sample so far, and fortunately the weather cooperated for the shooting time. I’m a big fan of Fuji’s Film Simulations, so I’ve tried to give you a good assortment in this initial piece as well. I shot part of the piece in Film Simulation bracketing, where the camera captures one RAW file but provides three Film Sims (user-chosen) as JPEG files. This provides a lot of flexibility during image culling, as you can quickly choose a good starting point for rendering your final image (even if you decide to process from RAW).

My personal favorites are Classic Chrome, Pro Neg Standard and Velvia, so you’ll see a lot of these here. I also delved into several of the relatively new Acros presets, which I’d only gotten to use on a few occasions before. They’re a ton of fun to use and can really add tone and texture to an image before any post-processing need occur. In a fast-paced and chaotic world I enjoy this as a benefit, because while I enjoy post-processing, I often simply don’t have much time for it.

Fujifilm GFX-50R - Sample Image
1/250s / f/3.6 / ISO 125 / GF 100mm f/2 lens
[Film Simulation: Acros Yellow Filter]
Acros Magic: This little local garden scene is heavily transformed by the Acros simulation, and I’m glad they added it to the arsenal a few years ago, as it imparts a lot of natural depth and texture to the right subject matter.
Fujifilm GFX-50R - Sample Image
1/500s / f/2 / ISO 1600 / GF 100mm f/2 lens
[Film Simulation: Pro Ng. Std]
The Standards: I use Pro Neg Standard more than any other film simulation, more or less a “go-to” for me in the Fujifilm world, as it simply has a timeless quality for portraits and such. It removes “digital sterility” for me before I even need to touch the images.
Fujifilm GFX-50R - Sample Image
1/250s / f/4 / ISO 800 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
1/1000s / f/2.8 / ISO 500 / GF 100mm f/2 lens
[Film Simulation: Pro Ng. Std]
Fujifilm GFX-50R - Sample Image
1/1000s / f/4 / ISO 125 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Rich Colors: Fujichrome/Velvia film simulation really brings out the natural world. It’s nice to have in Film Simulation bracketing, as you can also include less dramatic simulations to have after the fact.
Fujifilm GFX-50R - Sample Image
1/400s / f/4 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: Classic Chrome]
The Classics: For a more subdued look, and yet still having a lot of presence, Classic Chrome brings a far different feel to the natural world, and other subject matter. I have also used it successfully on portraits before.
Fujifilm GFX-50R - Sample Image
1/200s / f/2.8 / ISO 100 / GF 63mm f/2.8 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
1/250s / f/4 / ISO 640 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Sublime: Similar to the image of the fall foliage earlier in this piece, the combination of the 50R and Velvia can yield an otherworldly beauty to what would otherwise seem normal or ordinary.

Using your resolution

One of the major advantages to a camera like this of course is the generous 50mp resolution you’re provided! There are precious few cameras available that go this high. In addition to the promise of massive print sizes, this also affords ample cropping potential, and here are a few examples where I needed to use it simply because I couldn’t get close enough to my quarry without scaring them away.

Fujifilm GFX-50R - Sample Image
1/1000s / f/4 / ISO 160 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
[1:1 crop of above image]
The image above is already cropped in to a degree, while the lower crop is at 1:1 to show you the full cropping power of the 50R and its generous resolving power.
Fujifilm GFX-50R - Sample Image
1/500s / f/4 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
[1:1 crop of above image]
Shallow: Even stopped down to f/4, nailing focus can be quite tricky with such a large, high resolution sensor!
Fujifilm GFX-50R - Sample Image
1/500s / f/5 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
[1:1 crop of above image]
Detail: One more example of the image quality while zoomed all the way into the image.

More Film Simulation examples

Fujifilm GFX-50R - Sample Image
1/680s / f/4 / ISO 100 / GF 63mm f/2.8 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
1/450s / f/4 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
1/300s / f/4 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]
Fujifilm GFX-50R - Sample Image
1/2000s / f/8 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: Acros]
Fujifilm GFX-50R - Sample Image
1/2000s / f/7.1 / ISO 200 / GF 100mm f/2 lens
[Film Simulation: Acros Red Filter]

50R: An unlikely sports camera

The GFX 50R won’t likely be mistaken for a high-end sports camera, nor would I take one to a professional sporting event (unless, of course, I was hired to shoot portraits of the athletes!). But if you buy one of these and also have a child in a sport like soccer, you may want to tote it along for the game, and that is exactly what I did.

Fujifilm GFX-50R - Sample Image
1/2000s / f/2.5 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: Pro Ng. Std]
xxxx: xxxx

I used Continuous AF and continuous drive mode through much of the game. The camera didn’t feel like a high-end sports camera, and I got far fewer keepers than misses, but a lot of that comes down to very shallow depth of field and also simply being new to the camera. It is also a prototype sample, so the final C-AF adjustments are likely yet to be made. But the image quality is second to none and so the shooting experience was still an enjoyable one, especially since I knew not to expect anywhere near the kind of performance you’d get from a high-end sports camera.

Fujifilm GFX-50R - Sample Image
1/2000s / f/2.5 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: Pro Ng. Std]
Fujifilm GFX-50R - Sample Image
1/2000s / f/2.8 / ISO 100 / GF 100mm f/2 lens
[Film Simulation: Pro Ng. Std]
Dynamics: These are the type of shots that the GFX 50R lends itself to with aplomb. With most cameras, and virtually all smartphones, that bright Georgia sky would be completely blown out and unusable. One side benefit I should mention to shooting the GFX 50R in a public place: The camera itself turns heads! Buy one and you’ll see…

Summing it all up

Using a medium format camera to capture images is like using a high-end microphone to capture a singer in the studio. The bump up in image quality from enthusiast-grade gear may not be huge, but once you’ve experienced it, there is a noticeable difference that just can’t be achieved with lesser gear. Thus far, and even with this prototype, the GFX 50R is capable of producing astounding images, even in the hands of this non-professional photographer. I’m quite sure I’ll be sneaking the full production sample out of our lab on weekends once one arrives.

Fujifilm GFX-50R - Sample Image
1/2000s / f/22 / ISO 1600 / GF 100mm f/2 lens
[Film Simulation: F2/Fujichrome/Velvia]

(imaging-resource.com, http://bit.ly/2P4WAdR)

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