FujiFilm GFX-50S With GF 63mm f/2.8 WR- English

07 Jan

FujiFilm GFX-50S With GF 63mm f/2.8 WR

A medium format differs in several parameters from the full frame body. And in the article, I will compare only between them, because there is no possibility at all to talk about the various APS-C sensors, because the distance to the medium format is too large. Although this is a medium-sized body, which is known to be bulky and large bodies, and therefore always heavy, here is a body no larger than any full frame camera, and even thinner than it, and certainly not as heavy as I thought it would be. In fact, the body is easier in hand than professional full frame body. In addition, the company claims that the body is resistant to moisture, dust and even light rain, and can work even at temperatures of minus ten degrees. Unfortunately, I got to work with this body in the summer and could not check it durability. But it can be very interesting and probably fun for testing. 

I'll start with a few words about the proportions of the sensor, and the calculation we make. When it comes to medium format, we work with lenses of different focal length, and these focal lengths are designed to be parallel to full frame's focal lengths. So, the lens I worked with here is the equivalent of the 50mm lens of the full frame body. The aperture is also calculated differently and requires a different approach. Aperture f/2.8 in the medium format is as close to or reduced to f/1.4 in the full frame. There are two reasons for this. The first is that the amount of light entering the sensor is greater (the sensor itself is larger) and the equivalent of the amount of light entering through the aperture f/1.4.  The second reason is that the more pixels there is the depth of field the smaller. For those of you who ask themselves "what?" How did he reach that conclusion? This is due to a physical reason and I will explain simply:
What produces the depth of field is not only the lens, but also the field depth is proportional to the focal distance divided by the aperture, which is affected by the amount of pixels. For example, in a camera with zero pixels everything will be focused! Something you can see in the Camera Obscura where the depth of field is infinite (there is a problem of sharpness but not depth of field.) So, a large amount of pixels produces a more shallow depth of field.
And I'll give another example of the experiment you can do alone at home: take three bodies (lend from friends) and a 50mm lens, and shoot a ruler on the table at a 45% angle. Close the shutter to reduce aperture f/8. Of course, on the tripod the photograph will be the same!
Now put the lens on three different cameras (I'll give an example of a Nikon but you can do the exercise on a canon while it's on the full frame body!) At first the Nikon body (D700) body with 12 megapixels then the body (D610) with 24 megapixels then on a body (D810) with 36 megapixels. You will see that the depth of field at 700 is deeper than 810. Even though the size of the sensor is the same! And how could that be? Well the reason is the amount of mega pixel. Do not believe me? Try for yourself…..
To summarize the lens from 63 mm f/2.8, it becomes a 50 mm f/1.4 lens

***A final word before the review It is important to clarify that the images have not undergone image processing but I chose in the camera for the desired film (we will discuss later) and only converted from a RAW file to a JPG file only.

Another difference is in the ISO. The amount of pixels so large makes it possible to work at a higher ISO, but with less noise than usual, so I felt very comfortable working at a higher ISO of 6400 and still get quiet pictures from noises. The quiet image despite the high ISO is due to the huge sensor and the amount of pixels, And also thanks to the processor that seems to do excellent work cleaning noise, while keeping the small details. In order to test this, I took a night without moon and electricity poles. Because the electric cables running between the columns are thin in the picture, so you can see whether the small details remain or that they have slipped and disappeared

FujiFilm GFX-50S with 63mm f/2.8 WR @f/4.5 @1.5" @ISO-6400


FujiFilm GFX-50S with 63mm f/2.8 WR @f/4.5 @1.5" @ISO-2000

Another problem that produces noise in photography is long exposure. Anyone who deals with long exposures has two problems. The first is distortion of sharpness, and the second is that the longer the exposure, the greater the noise. Even if you shoot at a low ISO. The reason is that pixels (which are photoelectric cells) absorb more and more photons and the camera's processor at some point gets "excess information" that eventually becomes noisy. But not in this camera. Thanks to the amount of pixels, there is even more subtle noise in long exposures

FujiFilm GFX-50S with 63mm f/2.8 WR @f/11 @120" @ISO-200

In addition, when shooting at night even if it is at low ISO the dynamic range decreases. But in the Fuji GFX the dynamic range remains big. Look at the next picture. The dynamic range is kept amazing. The manufacturer talks about 14 stoops and all of them seems to have been saved in the picture. The night is completely black despite the place that was filled with light and the long exposure, and at the same time the artificial lighting, the whiteness it created. There is no color and only one piece of information lost in this problematic lighting. Or at least problematic for full frame cameras

FujiFilm GFX-50S with 63mm f/2.8 WR @f/11 @10" @ISO-160

When shooting at night and certainly at high ISO there is a problem that details in the shadow or in the dark parts are going to be lost. The camera was able to keep small details in the shadow. On the next shot, Notice the rust details and even the small screws that appear very clearly in the picture. And this is even in this light condition. The moon also burned the sky behind the object, which darkened the tower and the use of high ISO and long exposure and still the Fuji GFX-50S transcends every other full frame body in the market.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/6.4 @25" @ISO-1600

The camera has all kinds of Fuji films, from the time I work with films, which is certainly a real pleasure. I enjoyed playing with the different films without a break. I exchanged them nonstop. Although I eventually shot with two of the films I like best, but still the amount of options is amazing. One of the film I loved the most, and it's not surprising who knows my works, it's there black and white film. There are some types of black and white film. The classic film with a green filter was the most fun thing to work with it, and as you can see in the photo taken at the “Heichal Yehuda Synagogue” in Tel Aviv, the camera and lens allowed me to capture every detail of the ceiling, the lamps and every reflection in every bulb. Really amazing.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/6.4 @1/320" @ISO-1600

Viewfinder and rear screen
The rear screen has a very high resolution and it is easy to see the ins and outs of the picture. And that's exactly what I wanted to have on a camera of this magnitude. When you shoot in medium format with such megapixels and sharpness, you would like to see every detail of the picture already in the field, which is possible because of its screen. In addition, you can tilt the screen to different angles, so you can shoot from low or high angles without having to crawl on the floor or stand on a chair. On the back screen, you can see all the parameters of the image, the horizon line plane of the histogram and the photo data according to your choice.
The viewfinder is also large and clear with a very high-resolution screen, which can also be seen in the same technical data. You can choose whether to see only through the eyepiece or through the large screen, or choose to see the big back screen. When you close the eye to the viewfinder, the back screen turns off. And most of the fun (probably for a Nikon user like me) is that the touch screen felt just right.
One of the problems with mirrorless cameras is the large battery consumption because of the viewfinder screen and the back of the camera, and the manufacturer talks about 400 clicks to the battery. But from what I saw on the ground. I've been able to squeeze 1287 clicks that's more than three times the manufacturer's settings. So that another battery is not necessary.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/5.6 @6.5" @ISO-800 @807 Frames

The autofocus mechanism of the camera works wonderfully even in conditions of lack of light. In night shots, I used Autofocus without fear. In cases where it was dark, I worked with the manual focus, which is as easy to use as a regular manual focus on full frame, thanks to the focus of the camera. When the desired object is in focus, you can see a white shadow at the point where there is focus. The white shadow can be replaced by changing the settings to a red or blue shade, which further eases the task of manual focus. I found that the red shadow is the easiest to use

FujiFilm GFX-50S with 63mm f/2.8 WR @f/2.8 @10" @ISO-2000

The Lens
The lens has also been tested for its quality and here are my conclusions about some of the most important parameters:

Ghosts and flare
Although each lens suffers from it, each lens suffers from problems of ghosts & flares in another way. And what's more fun is to check it out, take the camera and shoot straight into the light at an ideal angle and discover flaws. Well, I went out on a full moon night to the field and shot into the moon. But not entirely in front of it, but when it is on the side, which produces a light input at the angle that will certainly generate light reflections between the elements of the lens. And, surprisingly, there was hardly any. The lens dealt with it heroically. There is a small and soft ghost on the right side over the moon and nothing more. This was no doubt a surprise. Although the manufacturer Fuji talks about the fact that these lenses are of very high quality, but it is always good to see what the manufacturer says.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/6.4 @25" @ISO-1600

Even in the picture of the carousel in Tel Aviv port you can see that the lens controls the problem well without any difficulty even when it comes to light that comes from a variety of angles

FujiFilm GFX-50S with 63mm f/2.8 WR @f/11 @10" @ISO-160

As you know Focus is subjective and not objective. I and another person can look at a picture and while I say it's in focus, he'll say no. But this sharpness is a physical figure. The relationship between contrast and resolution, rather than personal opinion
And here I must say that the lens is sharp. I took the skull of a young jackal and photographed it in three different states. The first one with a completely open aperture, where you can easily see a lack of sharpness, and then I made a 50% crop on the image. In the second picture with f/ 26. You can clearly see that all the sharp shots appear well

FujiFilm GFX-50S with 63mm f/2.8 WR @f/2.8 @1/250 @ISO-100 @50% crop


FujiFilm GFX-50S with 63mm f/2.8 WR @f/26 @1/250 @ISO-160 @50% crop

Finally, I made a stack of focus, for full depth and sharpness, as you should do with a photo of this kind.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/8 @1/250 @ISO-100 @50% crop

In summary, the lens does a great job. It has everything you need to have a medium format lens with 50 mega pixels or more.

When I asked my child to build a few things in the new LEGO he got on the day of filming, so I could take pictures and show sharpness, I did not think my problem would be dust I could not see. The camera caught every possible speck of dust. It shows how sharp the lens is, and of course the amount of megapixels do a good job. Even after we all looked at the photograph, we were surprised. We still could not see the dirt without the lens.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/7.1 @1/80 @ISO-500


Not all is gold
Like everything, there are always pluses and drawback, and there are a few things I like less about the camera. There are room for two memory cards, but these are SD cards, and I think that in a medium format, I would prefer CF memory cards, probably for those who occasionally do intervals. (And regardless of the type of memory card, if you are really shooting intervals consider that memory cards 256GB are necessary in files of this size).

Another thing I did not like was that Lightroom does not recognize the body model and lens model, and does not automatically fix lens problems. And I would expect the Fuji company to talk to Lightroom, and they would solve the problem, and the sooner the better. So, if you want to work on image processing then sometimes it is better to use Adobe Standard mainly in night photography. In the other shooting modes, one of the profiles defined in the body of the camera can be used. (So why does not the lens?)

And the last thing to pay attention to is the price. This is not about the cheapest body, not even for the professional bodies of full Frame. But it should be remembered that this is not a standard camera but a medium format, and here Fuji did more and manufactured the cheapest medium format on the market, and more with lenses at reasonable prices, also for the cost of full frame lenses, and all this without lowering the quality of the image, and it is the only body of the medium-most resistant to the weather in the market. Of course, the lenses are also durable. It is also important to understand that the medium format is not intended initially for enthusiasts or photographers at the beginning, but mainly for professionals. My medium-sized bodies are suitable for street and travel photographers, landscape photographers looking for the best there is, and studio photographers who are not willing to compromise on quality, and understand that full frame is good, but there is better.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/2.8 @10" @ISO-2000

Medium format body is expensive and not weather resistant. This is a body intended mainly for studio photographers and landscape photographers who are busy printing huge and require high resolutions. Which keeps most of the professional photographers away from the field, and certainly hobbyists who do not approach the medium format. But Fujifilm here seems to have made a great effort to adapt this unique format to a much larger range of professional photographers, and even amateur photographers with enough knowledge will be able to enjoy this unique format for the first time, Also due to the sane price of the body and the lenses. In addition, the durability of the body and the lenses to weather damage gives it additional credit points, allowing photographers who go out to the extreme weather to extract photographic material at the highest level. With a 50-megapixel sensor and a 14-stops dynamic range, image sharpness thanks to the lenses, and even accurate light measurement and white balance that the camera does not seem to be wrong with, adds great advantages to its competitors. And I loved that is a mirrorless body, which lowers the high weight that is always in a medium format. In fact, it is easier than the full frame body that I am so used to working with. After many years of filed photography, I finally found myself carrying a rational weight without breaking my back.

Although there are two minus that I really did not like, Lightroom does not know the body and the lens. But on the other hand, it seems that the lens and body are taking out amazing images as they are and not requiring image processing. Remember that all the pictures in the article came out as they are from the camera. I would be happy even if they replaced the memory card to the CF card, and maybe in the future they will replace it. Although it may be because this is the high price of these cards, and it seems that all the middle format manufacturers are working with the same memory card and this card (SD), so maybe it's my habit and nothing more.

FujiFilm GFX-50S with 63mm f/2.8 WR @f/16 @1/80 @ISO-100


FujiFilm GFX-50S with 63mm f/2.8 WR @f/4 @1/320 @ISO-160


FujiFilm GFX-50S with 63mm f/2.8 WR @f/7.1 @240" @ISO-100

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