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Monday, 01 February 2021


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

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.

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.

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.

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?


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.

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.

GFX100s (I'll take the extra 50 mp, what the heck, plus IBIS); GF 30 mm, 50 mm, and 80 mm. Please.

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?

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...

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

"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!

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?).

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]

#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.

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