Good news! You just won a contest. The prize is the exclusive use of any Fuji GFX camera and any three lenses of your choice, for five years. You have to turn the equipment in at the end of that time.
Which body will you take?
As sweet as the 100S looks, I'd have to go for the GFX 50R. Something about the layout of that camera promises the kind of simplicity and directness that I've craved. And as much time as I've spent thinking about it, I just don't know why I would ever need the extra ~49 MP of the 100 cameras.
I really need to read some reviews of the GFX 50R to see if that simplicity is real or just an illusion. Oh yeah, wait, I was going to request one for review.
If all my wishes come true, someday my entire camera arsenal will consist of a GFX, the latest iPhone, and a 35mm film camera. (Regarding the latter, I'm not going to say which one because I don't want to risk making it more popular than it is!)
But I reserve the option to keep other film cameras around as showpieces. (I like cameras. Does it bum out anyone else that they hardly ever show cameras on "Antiques Roadshow"? They'll show photographs every now and then, but they obviously don't have a "Camera Table" or any experts on hand. What are we, chopped liver? You'd think that if they have not only a toy person and a plate person and pottery person but a doll person, they could at least have one camera guy. What's that Ben said the other day? About "camera gearhead and amateur photographer" being "pretty invisible culturally"? There are certainly camera collectors out there in the world. And newsworthy collectibles. And interesting and compelling stories. Maybe it's just that collectible cameras just aren't sold in antiques shops, but are the province of specialist dealers.)
The GFX 100S seems like a camera of contradictions to me. It's bleeding edge! But it's also niche. It's remarkably cheap! But also extremely expensive. It's innovative and forward-looking! And tailored to a contracting marketplace. It's a clean-slate new system! But it doesn't have any legacy lenses available. It's small! But it's big. And so forth.
It seems like there are three good reasons to get a GFX 100S, only the first two of which are commonly acknowledged: 1.) If you make prints larger than five feet wide. 2.) If you want the freedom to crop down to even just a quarter of the image area. 3.) If the camera really appeals to you and you can picture yourself using it with great pleasure and getting a lot of joy out of owning and using it.
Point 3 doesn't seem difficult to me, but then I'm a big dreamer.
Because let's face it, all cameras are a combination "I need it" and "I want it" in some proportion or another. This one looks to be pressing the "I want it" button pretty hard. Just sayin'.
Mike
Book o' This Week:
André Kertész, On Reading, the lovingly crafted reprint of the lyrical 1971 classic by an early master of the small camera. (Would make an excellent Valentine, for a person who reads.) The above link will take you to Amazon. As an Amazon Associate I earn from qualifying purchases.
Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Herman Krieger: "Here's an 'Old Camera' table for you, with the expert on hand."
Stephen Scharf: "I'd take the GFX 50R. In fact, I was just looking for used ones on Fred Miranda today (and there aren't any, FWIW). I have a photographer buddy who has produced some beautiful photos with his GFX 50R. The depth and resolution of the tonal range and the fineness of gradation of contrast with both the 50S and 50R is exemplary. Especially on black-and-white photos. The large pixel area on the 50-megapixel sensor GFX cameras don't hurt, in that respect."
Ronny A Nilsen: "100 is not enough. ;-) "
Mike replies: Thank you! I meant to include that link somehow.
Frank: "For a hobbyist, reason 3 is the only reason to purchase camera gear. The other two are really extension of number 3—e.g. you want to make five-foot prints or want the freedom to crop. As a hobbyist, this is always a want, and never a need.
"Years ago I went on one of those Pop Photo photo treks—brought along a lower level canon SLR and maybe one out of my three lenses was an L lens. Of course most of the others in the group had professional-level gear. But during that weekend, I saw that some of my photos stacked up well, and the ones that didn't were my fault, not the equipment's. One of my main takeaways from that weekend was that an amateur's camera kit was not a reflection of his/her skill as a photographer, but a function of his/her income, budget, and buying priorities. For a hobbyist, that is all there is to it—to get equipment we love, can afford, and fulfills our desire to make the photographs we want to make."
Mike replies: One of my sly little ambitions when I was young was to photograph with only a beginner SLR, a 50mm lens, and Tri-X, and make better prints than most of the guys who fretted interminably about the latest and best equipment and films. Would have been nice, but as it turns out I'm the worst gearhead I know. But there's something very cool about using basic gear and shooting rings around the toffs with all the latest.
Yonatan Katznelson: "Point #3 is what finally pushed me over the Fuji edge on which I had been teetering for years."
I love the paradox of the new monster Fuji. It’s like photography itself - you need a totally black box to capture light. In the old days you took a photo upside down, needed a darkroom to develop your light drawing, and used a negative to make a positive print. So maybe there’s something to this Fuji after all
Posted by: David Comdico | Monday, 01 February 2021 at 04:40 PM
But Mike, the GFX 50R lacks one of your main desired features - IBIS. Maybe later, if another version comes out.
(Monochrome sensor would be nice too!)
I note that the GFX 100S is a wee bit smaller and lighter than the Nikon D700 I'm mainly using at the moment.
Personally I'd most like to try the X-S10 for the five years, and that would be with a Fringer NF-FX (FR-FTX1) adapter that allows (sacrilege warning) many Nikon F-mount lenses to work on the Fuji.
Posted by: Dave Stewart | Monday, 01 February 2021 at 04:48 PM
I have the all of Fujifilm camera(s) that I want, but to play, I'd get the X-Pro3 to see how it works for me contrasted to my X-Pro2. The only reason that I don't own the Pro3 now is the lack of an HDMI out put. I put on slide shows directly from the camera on large HD TVs and you can't do that from the X-Pro3.
I have NO desire for any 100 mp file size. I compose in camera and don't crop beyond aspect ratio to get to standards like 8 X 10 or 5 X 7. The new semi medium format with the 80 f/1.7 would be great if it was still 24 mp (imagine the low noise levels), but my computer would bog down, so I'm staying with dx.
I also have the lenses (9 now) that I desire and use, but again, to play:
50mm f/1 just to explore extreme selective focus on a dx capture.
50-140 f/2.8 for general telephoto stuff, again with high potential to isolate.
16-55 f/2.8 supposedly the best designed and corrected general mid-range zoom for the Fuji system.
Oddly, none of these lenses would be used on the X-Pro3. They would go on my X-T3.
Posted by: Albert Smith | Monday, 01 February 2021 at 05:23 PM
I'd choose the GFX 100S for its combination of cracking resolution and IBIS. Durrr!
I can overlook the lack of a shutter speed dial because in manual mode the top LCD features a circular virtual shutter speed dial. And the lenses of course have apertures located on the lens, where they belong.
Why do you say it has no legacy lenses available? It's mirrorless, so has tonnes of legacy lenses available: any medium-format lenses from Hasselblad V, Pentax 645 and 67, Mamiya 645 and 67, just for starters. Better still, you can buy a shift adapter and utlilise the larger image circle of those lenses. I've found the HB CFE 50mm, Pentax 67 55mm and Pentax 645 35mm to be excellent. Then again, the native GF lenses really are superb and reasonably priced, at least used, and will be all most people want.
Posted by: Rod S. | Monday, 01 February 2021 at 05:36 PM
If all my wishes come true, someday my entire camera arsenal will consist of a GFX, the latest iPhone, and a 35mm film camera.
So, um, what happened to the Wista?
>:-)
Posted by: Christopher May | Monday, 01 February 2021 at 05:48 PM
No halfway measures at Fuji, is there. They didn't bother with 70 mpix or 85 or something, they went from 50 to 100 mpix. Bold. I like how Fuji goes their own way. Were I to start over, I'd buy Fuji APS/C gear.
Posted by: Robert Roaldi | Monday, 01 February 2021 at 05:51 PM
It’s one thing to read about a camera, and another to actually handle it and make pics. I briefly demo-ed the GFX 50R, but instantly disliked the grip and hand feel. And that’s surprising, given that I comfortably hold Leica M bodies. Go figure. I guess there are add-on grip options, but I don’t care for accessories. The files, however, were robust, even though I’m not a huge fan of Fuji color science out-of-camera. A custom profile would likely have helped. I’ve read good things about improved handling and controls on the GFX 100S, but I’ll reserve judgment until real experience. The extra resolution, though, would be wasted on my shooting, editing and print style/size. Could I pick it anyway and trade it on an X1Dii (and trade back before returning to the sponsor)? Best ergonomics of any digital body I’ve tried, full frame or larger, and more than adequate files. Just needs a joystick and IBIS. Can’t have it all. All that said, I’ll take any of these modern cameras as a gift; any inferior pics are user issues.
Posted by: Jeff | Monday, 01 February 2021 at 06:13 PM
GFX100s (I'll take the extra 50 mp, what the heck, plus IBIS); GF 30 mm, 50 mm, and 80 mm. Please.
Posted by: Bear. | Monday, 01 February 2021 at 06:17 PM
What about the 50S? Same guts as the R, more controls, bigger viewfinder, "grippier"... (vaguely reminds me of the Olympus E-1)... It doesn't look as clean and simple as the 50R, but it may well be cleaner and simpler to operate. Is a combo review possible?
Posted by: robert e | Monday, 01 February 2021 at 06:36 PM
That's an easy question for me: GFX 100S, 23mm, 45mm, 110mm. At the moment that's my daydream setup, and one I'm thinking about graduating to in the near(ish) future, from my current XT3. Although my current 90mm/2 is a very tough act to follow; for all the dismissiveness that the public at large has for the 135mm equivalent focal length, that lens is truly outstanding in all respects. And the 14mm/2.8 is also a brilliant lens.
Actually, do I need to move to medium format?
Oh wait, we are not taking about needs here...
Posted by: Alberto Bengoa | Monday, 01 February 2021 at 06:42 PM
My camera collection consists of an iPhone XS and a Canon Elan 7n (the 35mm film version of the 20D). The Toyo 4x5 needs to find a new home very soon.
My firearms arsenal consists of an antique 410 shotgun and a .38 Long revolver. If I can sell the 4x5 I'll use the money to buy a .22 LR target pistol.
In a few short years camera gearheads and amateur photographer will actually age-out, and the photo hobby will disappear. This is happening to Hot Rod cars right now https://jalopnik.com/auto-parts-manufacturer-edelbrock-closes-its-california-1846166010
Posted by: c.d.embrey | Monday, 01 February 2021 at 07:29 PM
"If all my wishes come true, someday my entire camera arsenal will consist of a GFX, the latest iPhone, and a 35mm film camera."
I think that may be a very practical strategy going forward: An iPhone for 90% of day to day photography needs, a GFX for when you need to be really SERIOUS, and a 35mm film camera because nothing truly replaces the look of film. I have been thinking somewhat along these lines myself. In fact, I am sure that shooting with each of these cameras would improve the work done with the other two. I'm tempted, really tempted. 😏 But what 35mm camera would you get? A Contax SLR I am guessing... Better buy it first, and then tell us about it!
Posted by: Peter Wright | Monday, 01 February 2021 at 07:33 PM
GFX50R and 23, 50 and 100-200. 23 to get the widest lens available. 50 to get one compact ‘normal’. 100-200 to get a multipurpose long lens. If your rules allow me to buy an additional lens, on top of the three, I would buy the 50 as it is the cheapest and replace the 100-200 with the 110 macro and the longest lens available (4/250?).
Posted by: Ilkka | Monday, 01 February 2021 at 10:10 PM
Would short it. Ask for most expensive and newest set (use model trained on price data to work out which combination of expensive and new is optimal). Immediately sell. Invest proceeds in collectable film Leica and collectable lens. Use for 5 years. At end of 5 years sell Leica stuff, buy back equivalent GFX gear for whatever is worth then (would guess at least 5000 dollars less than today), hand back. Buy perhaps somewhat cheaper film camera and lenses with profit.
[You've just done an end-around on one of the parameters of the question, which is that I didn't want people to be thinking about the value of the cameras, even the residual value. But okay...it's my question but your answer! --Mike]
Posted by: Zyni Moë | Tuesday, 02 February 2021 at 06:22 AM
#4 is: you simply adore the medium format look.
#5 is: you retouch your shots a lot.
That MF look is the main reason why I got my 645Z. And retouching is an important part of my process and more pixels is incredibly advantageous for editing.
The printing large argument is almost never a factor, in my opinion.
Posted by: Bruce Walker | Thursday, 04 February 2021 at 10:03 PM