We continue our comparative test of medium format cameras: mirrorless Fujifilm GFX 50S And SLR Pentax 645Z. In our first test, during subject photography, they performed equally well. This time we will test them on a model shoot and, as last time, under identical conditions.

We will try to shoot in such a way as to appreciate the large dynamic range of medium format. Again we use two lenses with the same focal lengths, 125 mm.
We set the light in a so-called T-shaped pattern: we place a strip on top, above the model’s head, and use the same strip as a backlight source.

Let's put a black background

This concludes testing of our Fujifilm GFX 50S and Pentax 645Z cameras. We tested them on product and model shooting in a studio environment. In my opinion, the cameras are equal in terms of image quality. Both have excellent dynamic range, excellent shadow and highlight detail, stunning contrast and sharpness. The matrices in the cameras are the same, only the processors and image processing algorithms are different.

Of course, there are differences. The Pentax 645Z is a DSLR, and when shooting models, I liked the picture in the viewfinder more. Fujifilm GFX 50S is a mirrorless camera with an electronic viewfinder, and when I turn the model, when a shadow falls, for example, on the cheek, I don’t see this shadow, because this viewfinder contains various “improvers” that highlight this shadow, but I need to see a reliable picture .
The weight of the cameras turned out to be almost identical, since due to the higher power consumption of the Fujifilm GFX 50S, we used it in conjunction with a battery grip.
I tested cameras in studio conditions and, since this is a professional shooting, I always want the highest possible quality result already during shooting, without post-processing. Both cameras meet these requirements perfectly, for which many thanks to the developers of both companies.
It's worth noting that the Pentax 645Z has slower autofocus, while the Fujifilm GFX 50S has faster autofocus.
With the Pentax 645Z you can use optics from film cameras, since the mount remains the same.
To date, only 3 lenses have been released for the Fujifilm GFX 50S camera, but the company assures that the line will expand. But, most importantly, the GFX 50S has a short flange distance and, through various adapters, you can install any medium format optics on the camera, including those from Pentax. And this is a very significant plus.

The FUJIFILM GFX 50S Body is a medium format mirrorless camera with a focal point shutter, housed in a lightweight, compact yet durable magnesium alloy body. The camera's CMOS sensor measures 43.8 x 32.9 mm, with an area approximately 1.7 times larger than a full-frame 35 mm sensor. The matrix resolution is 51.4 megapixels! Camera body dimensions have been kept to a minimum for maximum flexibility, completely redefining the portability of medium format digital cameras.

The camera sensor has been improved by FUJIFILM, in particular the shape of the light-gathering microlenses and the signal processing of the photodiodes have been improved to achieve high definition and wide dynamic range. The superior light-gathering power of each photocell's large area ensures high sensitivity and accurate color reproduction for impeccable image quality that exceeds that of full-frame 35mm cameras with an equivalent number of pixels. In addition, for studio and outdoor flash use in bright daylight, the FUJIFILM GFX 50S's camera sensor supports a low sensitivity of ISO 100. It is also possible to set a shallow depth of field for flash photography by reducing the selected aperture value.

The high-performance X Processor Pro allows you to fully experience Fujifilm's renowned Film Simulation color rendering modes. The video function supports Full HD 30p recording. When using Film Simulation modes, users can enjoy high-quality videos without the need for post-processing as if they were still photographs. In addition, FUJIFILM GFX 50S comes with a new Color Chrome Effect feature. It can help you reproduce deeper shades when shooting subjects with high color saturation.

The camera's electronic viewfinder is a 0.5-inch OLED display with a resolution of 3.69 million dots. Featuring 5 glass elements for 0.85x magnification, the electronic viewfinder provides extremely clear images and a wide viewing angle (40° diagonal). Additionally, by attaching the EVF-TL1 adapter (not included), the viewfinder angle can be adjusted up to 90° for landscape shooting and up to ±45° for portrait shooting.

A 3.2-inch high-definition (2.36 million dot) LCD display is used for focus and exposure adjustments. Tiltable in three directions, it improves comfort when framing and checking focus. The display also functions as a viewfinder and supports touch controls for various operations, such as selecting menus and AF points, zooming in and out of images, scrolling through frames, etc.

The focal point curtain shutter was designed specifically for this mirrorless camera. Along with a minimum shutter speed of 1/4000 sec (1/16000 when using the electronic shutter), flash sync speed of 1/125 sec and shutter durability (up to 150,000 frames), the camera also offers low vibration and quiet operation. In addition, users can choose between electronic front curtain and full electronic shutter modes, which is useful at long shutter speeds between 1/30 and 1/125, where the slightest fluctuations caused by the mechanical shutter can reduce resolution.

The design of the FUJIFILM GFX 50S is largely the same as the X Series. The grip and top control section have been redesigned to accommodate a larger body to accommodate a larger sensor. Like the flagship X series models, the FUJIFILM GFX 50S features separate dials for independently adjusting aperture, shutter speed and ISO sensitivity, which are important factors in determining exposure. The camera features an additional 1.28-inch LCD display in the top control dial section.

The autofocus system uses 117-point contrast AF with distance metering points. The mirrorless camera's high-precision AF system measures distance and focuses using the sensor surface, greatly improving focus accuracy.

The camera features a new, extremely robust and durable G Mount with a large diameter (65mm) and short flange distance (26.7mm). By increasing the aperture, engineers were able to reduce the rear focal length to 16.7mm, significantly expanding the lens's design optimization capabilities. Stainless steel is used where the camera is attached to the mount, and high-strength brass is used on the lens mount side. The new bayonet mount guarantees reliable installation even of heavy lenses with high aperture.

Since the large sensor and large focal length shutter result in increased power consumption, the camera is powered by the new NP-T125 high-capacity battery. You can take up to 400 photos on one battery charge. The particularly durable housing was designed for professional photographers who often shoot in extreme conditions. Like the flagship X-series models, this camera is dust- and splash-resistant and can operate in temperatures down to -10°C. Housing weighing approx. 825 g (including battery and memory card) allows you to easily shoot without a tripod thanks to the camera's compact size and ergonomic grip.

IMPORTANT: The camera rental period is maximum 1 week (7 days)

Includes: FujiFilm GFX 50S digital camera, 2 batteries, charger, bayonet cap, strap, cable protector (on request), detachable electronic viewfinder EVF-GFX1, instruction manual, carrying case

The Fujifilm GFX 50S impressed us with its outstanding image quality during our test. A huge medium format matrix with a resolution of 50 megapixels allows you to obtain edge clarity, detail and low noise levels that are still unsurpassed at a high level. The luxurious equipment here, including an extremely clear electronic viewfinder and touchscreen display, is very convincing here. Only in matters of speed and battery life does this professional-level DSLM camera allow itself slight weaknesses.

Advantages

superb image quality
relatively compact and stable housing
extremely clear electronic viewfinder
intuitive controls
really affordable for a medium format camera

Flaws

short battery life
Continuous shooting is slow and short
video mode with only Full-HD resolution

• Price-quality ratio
  Fine
• Place in the overall ranking
  7 out of 30

• Price/quality ratio: 64
• Image quality (40%): 100
• Equipment and management (35%): 91.4
• Performance (10%): 71.6
• Video quality (15%): 69

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The matrix is ​​almost the size of a dance floor

Almost twice as large as a small format matrix. A good 4 times more than an APS-C chip. And - to cap off the comparisons in style - it's about 48 times larger than the sensor area in the iPhone 7. The Fujifilm GFX 50S's medium-format sensor is downright majestic. Expectations from such a huge chip, given its size, are also not the most modest. And yes, Fujifilm GFX 50S meets all of them with dignity.

Photos look so clear, detailed and noise-free that we've never seen this quality before. It is clear that such remarkable characteristics entail the appearance of a price tag that is not the most modest. The “carcass” alone will cost approximately 420,000 rubles. The most affordable lens for this camera will cost about 1,600 euros (97,400 rubles). And perhaps you'd like to add a spare battery and battery grip to your shopping list? Then get ready to pay almost 10,000 euros (608,500 rubles) in total.

But what at first sounds like an unaffordable luxury ultimately turns out to be a very profitable purchase, because just a few years ago a camera with similar characteristics would easily cost five times more. The almost three-year-old Pentax 645Z, whose cost was approximately 500,000 rubles, was already a kind of price killer. And now you can get a similar camera for almost 80,000 rubles cheaper.

And even less: in addition to the Hasselblad X1D, the GFX 50S is also one of the first medium format mirrorless cameras. The best prerequisites for traveling with incredibly lightweight medium format equipment. Or? Almost, if not for the issue with lenses weighing more than a kilogram, which turn out to be clearly neither small nor light. And videographers, having learned about the cost, will most likely begin to turn up their noses. But let's talk about everything in order.

Fujifilm GFX 50S: the VG-GFX1 pen can be purchased optionally for approximately 43,000 rubles)

Hats off to image quality

Exactly 51.2 megapixels equals the resolution of every 4:3 image taken by the Fujifilm GFX 50S. Thanks to this, any photo can be printed on a canvas the size of the facade of a house. Who might need this? Primarily for professional photographers who sell their work to advertising agencies involved in the production of XXL prints. Accordingly, each RAW file is enormous in size: 45 MB with lossless compression and a gigantic 110 MB in the uncompressed version. Even JPEGs with their 20-30 MB can be classified as heavyweights.

But anyone who even once looks at the pictures of the Fujifilm GFX 50S will be ready to forgive the files of any size. Almost 3100 linear pairs per frame height provide 50 megapixels with minimal light sensitivity. Thus, our measurements in the test laboratory showed almost 400 line pairs more than the Canon EOS 5Ds R with identical resolution - that's a record in image resolution! Is this the result of using ordinary Fuji magic at the factory? Or is the secret to using a “non-X-Trans” CMOS sensor? This will remain a secret among engineers.

But at the latest, with an increase in light sensitivity, the answer appears to the question of why increasing the sensor area by 70 percent is justified: while the Canon already shows a significant loss of detail and sharpness at ISO 1600, the quality of the Fujifilm GFX 50S remains almost unchanged. Even at ISO 12800, the maximum value of the standard ISO range, sharpness at the edges of the image is an incredible 2946 line pairs - fantastic!

The noise level is also impressive: up to ISO 3200, interfering pixels are practically invisible. After this value, however, the noise still becomes noticeable. But since we are talking about monochrome noise, it does not look unpleasant.

In addition, the Fujifilm GFX 50S offers the full range of filters, as the X-T2 already did: Velvia, Prog Neg Hi, Acros and six more “film” imitations that decorate photos with just one click of a button . Those who aren't confident in their ability to select the right filter can subsequently process their RAW files directly in camera.

New but familiar

Speaking of the X-T2, the controls are also strikingly similar to those of the smaller APS-C model. And it doesn't matter whether it's the clearly organized menu system, the nine freely programmable function keys, the two adjustment wheels for ISO and shutter speed, or the autofocus joystick with which the photographer can conveniently switch between contrast fields: despite the fact that the Fujifilm GFX 50S uses a new system Fuji photographers will feel surprisingly familiar when operating the 860g, sealed magnesium alloy body.

On the back is a 3.2-inch display with extremely clear resolution, which has touch functionality and can be folded. By touching the screen with your fingers, you can select the focus point, swipe through photos when viewing the gallery, and zoom in on images with the usual movement, as is usually done on smartphones. Only menu navigation does not work. Of course, the main task of the display is to “search” and display the scene being filmed.

And yet, would you like to? Anyone who even once looks into an electronic removable rotating viewfinder is unlikely. With 0.82x image magnification and a record-breaking resolution of nearly 3.7 million subpixels, many won't want to use anything else. However, it would have been much nicer if the viewfinder could extend back a little more, because we found ourselves slamming our nose into the display every time. This process not only seemed a little comical to us, but it also constantly left spots on the screen.

Expensive add-ons

Optional and with a price of about 40,000 rubles, the rather expensive corner adapter EVF-TL1 is included in the list of almost mandatory equipment. The VG-GFX1 vertical handle with space for an additional battery does too. Probably, due to the large volumes of data and high resolution screens, one charge is enough to trigger the camera from 280 to 560 times - this is a rather mediocre level.

At the same time, the burst shooting parameters look somewhat weak: three frames per second, as well as 8 uncompressed and, accordingly, 13 compressed RAW images can only cause a condescending smile for sports photographers. At the same time, the Fujifilm GFX 50S sends photos in JPEG format to SD cards without restrictions on session duration, but provided that at least one of the slots contains a fast UHS-II card.

When it comes to video shooting, the Fujifilm GFX 50S does just the bare essentials. Recording in Full-HD resolution at 30 frames per second will only meet the minimum requirements of videographers. However, the left side houses the microphone and headphone jacks. The micro-USB 3.0 port, connectors for the power cable and remote shutter release, as well as the X-sync contact are also located under the cover. What else would I like to say about the flash: the fact that a DSLM camera has to do without a flip-up flash is quite bearable. At the same time, the proposed synchronization time of 1/125 second could be shorter.

But if you look past these small shortcomings in video capabilities and speed, the Fujifilm GFX 50S has proven itself to be an exquisite camera for all professionals who place the highest value on the best image quality with first-class control and ease of use.

Alternative: Sony Alpha 7R II Body

The matrix is ​​smaller, the body is more compact: but the image quality is at the same high level as that of the GFX 50S. Whoever can refuse eight megapixels, in the form of the model we propose, receives a strong alternative to the wonderful medium format camera from Fujifilm.

Fujifilm GFX 50S test results

Fujifilm GFX 50S Specifications and Test Results

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Hello, friends!

In September 2016, I wrote about . At that time, the camera was not yet on sale and I only got it now.

My review today will be much more in-depth than all other photographic equipment reviewers that are on the network. Not “over the top” about all the functions, but in detail about some areas of real application for commercial filming and for advanced amateurs who will stop at nothing in search of the perfect picture.

Appearance

The camera inspires respect with its appearance. The lines are all strict, reminiscent of a medium format camera from the 80s. The lens hood also does not have petals or other “flirts” with the user.

The top LCD screen is quite interesting. It glows blue (the screen is made using electronic ink technology and works even when turned off without consuming energy), and there are white numbers on it (when you press the backlight button, it turns white with dark numbers). For some reason I like this better than screens too Canon / Nikon(like an old electronic watch) :) You can display a lot of information on the screen and most of this information is customizable. Those. Now it’s not the manufacturer who commands what to output there, but the user (hurray!).

On the left side you see the sensitivity (ISO) wheel. 100-12800 or you can put it on a car. On the right side is the shutter speed wheel, and is mounted directly on the lens, like the one I tested earlier (flagship FUJI for APS-C format, crop 1.5 from 36×24 mm).

The dials for setting shutter speed, aperture and correction are located in the same way as many other cameras. One on the front side under the index finger, and the other on the back under the thumb. This has been tested for many decades and is convenient (for Fujifilm GFX 50S This is an alternative way of managing. The main one is to control the sensitivity, shutter speed and aperture wheel on the lens).

On the bottom side of the camera there are contacts for attaching the battery grip. I didn’t have it in the kit, so I won’t tell you anything about it.
Most medium format cameras now have a large surface for stable mounting on a tripod. Those. Ideally it should be set to .

But you can clearly see how grippy the camera is. Moreover, in addition to a large grip on the front, it also has an excellent reverse grip on the other side.

Also pay attention to the main LCD screen of the camera. It is touch sensitive, tilts and is protected by tempered glass. Its size is decent and it conveys colors well.

If we remove the lens, we will see the sensor coveted by many.

When you remove the lens, it’s already a shock - the bayonet mount is much larger in diameter than that of a regular 35 mm camera. And the sensor is even more impressive, 43.8 mm x 32.9 mm. It seems like it’s not as big as a film one, 6 x 4.5 cm, but when you’re used to a small digital one, this one seems simply gigantic.

FUJIFILM did a great job - it gave impetus to the entire industry of camera manufacturers, transferring them to a larger format. How they resisted... So many years have passed since the appearance of the first 36 x 24 mm camera and there are technologies for gluing sensors that are actively used in digital backs, but they didn’t want to Canon, nor Nikon do medium format. Perhaps because this entails making a line of lenses for this format.
It’s all the more joyful to see that the medium format has appeared. The “psychological” barrier will pass and then we can expect that the remaining players in the market will “budge”.

There are no excess buttons on the back of the camera, which is good (in the dark you still can’t find them or understand what the button is). As well as the presence of a multifunctional joystick (1), with which you can not only move the focus point, but also move the image when viewing the image on the camera’s LCD screen. It is surprising that this year many manufacturers (for example, Sony) we remembered that it would be nice for the camera to have such a joystick. Previously, such a joystick was only available Canon and some FUJI, for example, (the joystick appeared from the X-pro2 model).

Disp/Back(2) is also a very functional and useful button. Back- this is to go to the previous screen, and Disp switch screen modes, the amount of information displayed.

Q(3), button for quick access menu (present on all FUJIFILM X-series cameras). Now it has become fashionable, it is also available on cameras from other manufacturers, so you won’t have to get used to it.

At the top left (4) you see the focus mode switch. In principle, it is conveniently located. Although at first I tried to find it on the lens. And my medium format Mamiya it is located at the front.

Considering that Olympus The focus mode is generally switched on the lens like on a trombone, by shifting the focusing ring, this is done very conveniently and even a person who does not read the instructions can find the button.

The remaining buttons are not labeled because they are programmable. This is a big plus because... you can customize the functions for yourself. This is especially convenient for those who will switch to Fujifilm GFX 50S from another system, this will allow them to make the transition “softer”.

Ring (5) is a multifunctional ring. Those. it is completely different from other digital cameras, where it is usually used to change the shutter speed.
At first I was perplexed when I couldn’t change the shutter speed for them. Then I began to remember that FUJI different ideology of manual exposure mode.

On cameras FUJIFILM“M” mode involves setting the aperture on the lens, sensitivity on the wheel (2) and shutter speed on the control wheel (1). But on this wheel the shutter speeds are set approximately (for precise adjustment you still need to turn the dial (5), so I want to be able to set them digitally. To completely transfer the shutter speed control to the wheel (5), on the wheel (2) you need to set the value C - Command).

Unlike the retro-style shutter speed wheel, which is of limited use ( FUJIFILM I don’t agree with me and I admit that there are users who will appreciate such an engineering solution higher than the classic solution), there is a sensitivity wheel (2), which really allows you to change ISO. Other manufacturers should also introduce this wheel.

Under the number (3) is the most delicious! :) Many contacts point to some interface...

This is for an external electronic viewfinder! In fact, this external viewfinder is a miracle of progress.

First of all, this viewfinder is optional! Those. you can use the camera without it, working on the LCD screen. This is less convenient, but the camera becomes much more compact (for example, my second camera fit into my photo backpack only with the viewfinder removed). Secondly, it’s better to install it anyway and then you can focus from any angle! It rotates around its axis, rises up to an angle of up to 90 degrees and is fixed in several positions! But keep in mind that only the viewfinder itself is standard, and an optional adapter that needs to be purchased separately allows it to rotate.

The camera is powered by a thick battery NP-T125 Li-ion capacity 1230 mAh.

The resource is quite good for a mirrorless camera, I checked. But as with any other mirrorless camera, it’s better to have two or more batteries in reserve for serious events.

Charger Fujifilm GFX 50S looks unusual.

It does not have a cord, and the “plug” is replaceable.

I have seen such chargers, they are convenient if you travel a lot. Then you don’t need to carry an adapter for sockets with you, but just take a special “plug” for the country you are going to.

The camera is equipped with two high-speed card slots SD UHS-II and this is logical because The files are quite large.
I didn’t notice any “brakes” when recording. I used two speed cards, from Sony and from Sandisc.

Interfaces are hidden under rubberized covers on the left side of the camera.

Important point

Camera Fujifilm GFX 50S and index lenses WR((Water Resistant) are dust and splash proof. That is, it would be a mistake to think that this is only a studio camera. I would even say that the camera is more for travel than for the studio. But we’ll see how it can be used in the studio Below in the article. And I’ll talk about shooting outdoors in the next part of the review.

This is where I finish talking about the appearance and move on to the technical side of the camera.

Specifications

Frame format difference

Camera Fujifilm GFX 50S different from the 36 x 24mm frame format we are used to. The focal lengths indicated on the lenses correspond to the physical characteristics of the lens, and for those who are accustomed to the 35 mm format, it is difficult to understand which narrow format lens the lens corresponds to Fujifilm GFX 50S according to the angle of view and what it will give.

Please note that if the angle of view of the lens is calculated in absolute value, then the relative aperture is given as equivalent. Those. if the lens has a relative aperture of F4, it is calculated in the usual way. If we compare it with a 35mm camera, we will set the same shutter speed at the same aperture. But the depth of field will be different at the same aperture, Fujifilm GFX 50S The depth of field will be less.

Below I provide a lens angle calculator so that you can calculate what a lens of a different format corresponds to.

Using the figure below, you can find a match in angle of view among lenses for 35 mm format, it will be clearer.

From the picture you will see that a 120mm lens for a 43.8 x 32.9mm format, for which we calculated a viewing angle of 25.7°, corresponds to (approximately) a focal length of 90mm on a 36 x 24mm format.

Those. Rough calculations yield tables like this.

Correspondence of lenses in terms of depth of field when converted to a frame of 36 x 24 mm

The lenses marked in green came to me for testing along with the camera. I definitely wanted to try the macro lens from FUJIFILM and compare with a macro lens Canon on a 50 megapixel camera. And the zoom FUJINON GF32-64mmF4 R LM WR needed for landscape and reportage.

In general, the line of lenses looks logical. There is an ultra-wide angle GF23mmF4 R LM WR and universal zoom GF32-64 F4 R LM WR(from wide angle to standard - universal). There is a “fix 35 mm” - GF45mmF2.8 R WR, for those who like to shoot everything with this focal length. Usually this is street photography and landscape. Also “standard fast fifty kopecks” GF63mmF2.8 R WR. "Portraitnik 85/1.4" - GF110mmF2 R LM WR. “Good Makrik 100mm” - GF120mmF4 Macro R LM OIS WR.

What is missing? There is definitely a shortage of telephoto lenses.

As you can see, a telephoto lens and a teleconverter are on the way.

There is also no “universal 24-70 zoom” yet. Everything else is specialized lenses that not everyone needs. Personally, I would be very interested in a lens for this system because... it would be a large format lens (!) with a huge coverage circle and a reasonable cost. Still, the BF lenses used now are most often either from film times, which do not quite meet modern requirements for optics, or super-expensive modern large format lenses that few people have. A FUJIFILM could bring into the photographic world, in addition to an affordable medium format camera, also affordable large format lenses, of which there were plenty in its line of previous years. After all, the company's history is very worthy.

Calculate depth of field for any format

The calculator calculates lenses correctly. Whether he considers the depth of field correctly, I cannot yet judge, I need to check.

Studio work with the Fujifilm GFX 50S camera

I came to my studio, where I do product photography and there are all the conditions. I borrowed a piece of jewelry from the famous master Zhigzhit Bayaskhalanov called “Little Bride” and did a test with pleasure and an element of excitement. I was extremely interested in how a medium format camera would perform in product photography.

This is what the full frame looked like...

I removed the stand and all unnecessary elements in the photo in Photoshop. And also raised local contrast. It was interesting to see what could be squeezed out as much as possible in terms of detail and dynamic range.

And this is a crop of the same frame...

Let's look in macro mode, 100% crop without sharpening and other things.

I studied the picture for a long time and will give my subjective opinion. Firstly, scale decides everything in this case, and it Canon 1:1, and for a macro lens FUJI- 1:2. Those. picture on Canon we shoot from half the distance (closer to the subject). This moment gives a big head start to the camera + lens combination from Canon.

Otherwise it seemed to me that the photo was from FUJI was much cleaner and less "noise". Those. if not for the scale, then FUJI I would have won, but...

Otherwise, we can say that both cameras provide more than sufficient image quality for any type of product photography. WITH Fujifilm GFX 50S this process will probably be easier because Less file processing will be required. I have not yet seen any mention of problems with the Canon 5DsR on the Internet, but the camera produces some artifacts in the pictures, I call them “red dots”. You have to fight them. There are fewer of them in the new firmware (Canon has not officially confirmed the problem), but they are still there.

Outdoor tests

I climbed onto my favorite balcony from which I can see my “test building”. I use it to check all the lenses.
The tripod is super stable - Gitzo 3 series.

U Fujifilm GFX 50S There is no mirror, so the camera is much less susceptible to shakes - tested in practice. Canon 5DsR you have to launch it with a delayed shutter release or via a radio trigger.
Focusing in both cases is automatic, with checking when switching to manual focus. Both cameras focused very accurately. Actually, the distance is large, and the weather is sunny (contrasting object), so it was not difficult to focus accurately.

Scene 1

The plot looked like this...

In this fragment, I did not see any significant difference in detail. I see that a fragment of the frame with Canon 5DsR more contrast, but this is more due to the profile of the camera than due to its advantages or the lens. In this fragment you need to look at the air conditioner radiator grille, flowers on the balconies and other small elements. The fragment size of the Canon 5DsR is slightly larger because... at Fujifilm GFX 50S The crop size is 0.767 and the angle of view of the lens is the same as that of a 92 mm lens on a narrow format (and Canon’s is 100 mm).

This fragment is more interesting than the previous one because upon very careful examination one can see that Fujifilm GFX 50S the detail is higher, despite the smaller scale of the image. This is noticeable on the wall texture, for example, where Canon this is just “porridge”, but Fujifilm GFX 50S spots of plaster with clear edges. The same thing happens with many other small objects. Canon's ones are larger, but less clear than those of Fujifilm GFX 50S.
Both cameras show significant moire on the blinds.

Plot 2

The first thing I noticed is that the Canon 5DsR at ISO 100 has “noise” in the dark areas of the image. And Fujifilm GFX 50S there are no such “noises”. Second - at Fujifilm GFX 50S much less . Considering the profile built into the file, I suspect that this is his merit.
Thirdly, the pictures differ greatly in color scheme. Canon has a “warm” picture, while Fujifilm GFX 50S in “cold” tones, reminiscent of photographs Sony / Nikon. This is neither bad nor good, just a given. By the way, I highly recommend trying the included color profiles for the camera. I really liked the profile Classic Chrome. Full film impression, beautiful!

Medium format cameras in the era of “film maturity” were by no means rare and exotic, being both a working tool for professional photographers and amateur devices. Even in the USSR, several, in modern terms, budget models were produced, for example, “Amateur”. However, it is 35mm full-frame cameras that have become widespread.

With the advent of the digital era, technological limitations in the production of matrices gave rise to the dominance of the so-called. “cropped” models, and the crop factor turned out to be very diverse, from 1.5 for APS-C to double-digit numbers in smartphone cameras. However, progress literally a couple of decades later made it possible to achieve acceptable cost indicators, first for full-frame and then for medium format matrices.

However, digital medium format cameras have not become (and, apparently, never will become) a mass, amateur product like their film ancestors. The reason lies in the fact that a modern digital camera, even with an inch matrix, allows you to obtain excellent image quality, sufficient for printing on “non-exhibition” formats, not to mention the most popular screen viewing.

However, the demand for medium format remains and it is growing with the advent of new cameras. In September 2016 (Cologne, Germany), Fujifilm once again shook up the photography community with the introduction of the GFX medium format system. In the spring of 2017, the camera and three lenses for it appeared on the Ukrainian market. Unlike other products of the company, Fujifilm GFX 50s is sold through an exclusive dealer, Paparazzi, which operates both online and in a traditional store format in Kyiv and Odessa.

At the time of the start of sales, the 50s camera itself (201,140 UAH), three interchangeable lenses, a vertical battery grip and a rotating platform for an interchangeable electronic viewfinder are offered.

The FUJINON GF63mm F2.8 R WR lens (UAH 46,640) provides an angle of view equivalent to a 50mm focal length on a full-frame camera. It is quite compact (by medium format standards) and is not equipped with an optical stabilizer.

The FUJINON GF32-64mm F4 R LM WR zoom (67,050 UAH) is very impressive, especially with a lens hood. Its equivalent at full frame is 25-50 mm, there is no stabilization. Since the geometric distortion of a lens depends on its focal length, 32-64 in a wide-angle position gives a better (by this indicator) picture than its full-frame (and even more so “cropped”) competitors.

FUJINON GF120mm F4 R LM OIS WR Macro (78,710 UAH) is capable of working in two fields - it takes both portraits and macro photographs. And it’s good in landscapes, the main thing is to find a suitable subject for the 90 mm equivalent. So far this is the only lens with optical stabilization.

Two more lenses have been announced, the FUJINON GF110mm F2 R LM WR (fast equivalent to 87mm) and the FUJINON GF23mm F4 R LM WR, equivalent to 18mm at full frame.

The company states that all optics are developed with a margin of resolution; a 100 megapixel sensor is named as the bar.

Both the lenses that went on sale and those that were announced are protected from dust, moisture and are guaranteed to work in temperatures as low as ten degrees below zero.

Is it a lot or a little? By the standards of diversity, there is definitely little diversity for full-frame and crop lenses. From the point of view of real use - at least enough for a start. One more nuance should not be discounted. Fujifilm GFX 50s is a mirrorless system with a short flange. This means that almost any lens from medium format and even large format equipment will fit on it without any problems through simple adapters. Since the GFX 50s has an in-camera shutter, there are no additional requirements for the lens.

Design and ergonomics

There is no point in comparing the Fujifilm GFX 50s to medium format SLR cameras, since it has a significant technological advantage - the absence of a mirror. This made it possible to design a compact and lightweight body. Its main competitor, the Hasselblad X1D, has an even smaller one, but when it comes to usability, the minimum size is not always a positive factor.

It’s not for nothing that the GFX 50s has the letter X in its name. Engineers and designers have tried to transfer all the best features of Fujifilm X-series cameras into medium format. The aperture can be set manually on the lens, sensitivity and shutter speed can be set manually on the camera itself. Perfect? When shooting in manual mode, yes, but in priority or auto mode, something is missing. Exposure compensation input dial. In the GFX 50s, this is done by simultaneously pressing the button under your index finger and rotating the wheel on the rear panel.

The GFX's hardware-focused parameter control system is much more convenient than the touch-sensitive rear LCD screen of the Hasselblad X1D. To be honest, the brainchild of the legendary Swedish brand looks more like an expensive digital camera, although this, of course, does not apply to the quality of the picture. The 50s also has a touch-sensitive rear screen; the main scenario for its use for many is direct indication of the AF point by touching the picture when working with a tripod.

Particularly commendable is the rotating platform for the detachable EVF on the GFX 50s. It allows you to raise the eyepiece at an angle of up to 90 relative to the optical axis and rotate it at an angle of up to 45 in the horizontal (relative to the top panel of the camera) plane. However, this pleasure is not cheap and is sold separately.

Functionality

A sensor with a sensitive area size of 43.8 x 32.9 mm digitizes a frame of 8256 × 6192 pixels. RAW 14 bit. The standard sensitivity range is ISO 100-12800, expandable to 50 and 25600-102400. Unlike the X series cameras, Bayer's mosaic of filters is used rather than a proprietary mosaic. When generating JPEGs, the proven Fujifilm classic film simulation profiles are available.

The shutter is mechanical and electronic. Since there is no mirror, operation is not accompanied by noticeable shaking of the case. To minimize camera movement, engineers added a combined mode with an electronic first curtain.

The GFX 50s has a high-contrast autofocus system. And she's good. Forget what you knew about the contrast method five, let alone ten, years ago. Like the X-series cameras, the GFX 50s allows you to select a point (from a matrix of 9x13, 117 points, or 17x25, 425 points, with adjustable size, 6 values), a zone in the frame, or a tracking mode. Autofocus points cover almost the entire area of ​​the frame, leaving only a thin frame at its borders “empty”. You can select the one you need using either the joystick on the rear panel or by touching the picture on the LCD screen. Face detection works with the ability to indicate priority to the right or left eye of the model. In manual mode, sharp edges of objects are highlighted, which is very useful when using lenses from other systems.

The GFX 50s has a detachable electronic viewfinder. The picture quality in it deserves the most flattering assessment. The 3.69 million pixel panel provides excellent detail, and the optical system provides 0.85x magnification. However, with the current firmware version, “transient processes” are observed during autofocus.

Picture quality

To evaluate the advantages and identify shortcomings, a device from the “sale” series and three lenses were provided.

First - formal pictures, a test still life in the studio. JPEG from camera and RAW can be downloaded from this link. ISO 12800, the last "standard" value, can be used, for example, when shooting starry skies and in art projects, especially monochrome ones. Naturally, there is noise, but gradations in the shadows remain discernible.

Additionally, shooting was done with underexposure up to -5EV and overexposure +3EV at ISO 100 and 1600. Studying the RAW files showed that the camera does not like overexposure more than +1EV, details in the highlights are very difficult to restore. But extracting information from shadows is a real task, even -5EV at ISO 1600. Of course, this is an extreme scenario, of little use for a studio, but quite realistic for landscape photography. 14 bit RAW handles large file sizes. Dynamic range allows you to edit the image to a significant extent, for example, emphasizing the nuances of shades.

The detail is impressive. The lenses paint a very sharp picture, so much so that girls need to pay special attention to the quality of their makeup before shooting.

The original versions of images from the gallery (JPEG from the camera and RAW) are also available at the link provided earlier.

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The camera is excellent, but one question remains: is it worth paying more (than full-frame cameras with similar sensor resolution cost)? To some extent it is rhetorical. And the answer depends not only on the budget. If we leave out the discussion of relationships with clients/agencies and the feeling of deep self-satisfaction, pixel frame sizes and dynamic range remain.

At Photokina 2016, Canon showed a working prototype of a 100-megapixel full-frame camera. It was not possible to assess the dynamic range of its sensor, but an understanding of the physics of the light digitization process suggests that the 24x36 mm format has already reached the technological ceiling and there is no point in expecting significant progress in the foreseeable future. Increasing the size of the sensor makes it possible to make the light-receiving cell larger, and therefore more efficient and to obtain a better signal-to-noise ratio.

But on the stand, the lack of optical resolution of the lens was striking. The laws of optics, chemistry and economics are inexorable: they have not yet been able to make one that is affordable, reasonable in size/weight, and of sufficient quality for a resolution of 100 megapixels on a full frame. And it seems they won’t be able to in the foreseeable future. Again, the advantage in sensor size plays a very important role: lenses for medium format are easier to make.

Fujifilm GFX 50s is a complete working tool for both studio photographers and those who shoot on location. However, its main advantage lies in the perspective of the system. We saw this from Fujifilm with the X series. The X-Pro 1 was good, and those who bet on this system did not go wrong. The X-Pro 2 and X-T2 came to a market that already had lenses that could unlock their potential. I would like to believe that with GFX it will turn out at least as good. Today, the 50s has real competitors from the full-frame segment, especially given the price sensitivity of domestic photographers. But with the advent of future models, the gap will become too noticeable for such questions to remain relevant.

Site evaluation

Pros: image suitable for printing on large formats in a wide sensitivity range, excellent (except for a few points) ergonomics of the camera, prospects for the development of the system

Minuses: a small fleet of branded optics at the start, synchronization with studio flashes only at relatively long shutter speeds, similar sensor resolution is available on full-frame cameras at a significantly lower price

Conclusion: An excellent option for those who want to shoot with a medium format camera and are ready to either wait for an expansion of the lens fleet, or use available optics through adapters, including those from the secondary market

Specifications