REVIEW: Fujifilm GFX 50s II With GF 35-70mm

The medium format camera landscape is ripe with fantastic options, and for quite some time, Fujifilm has had a lot of winners in this space. The brand's medium format range is well-known for its great build quality, as well as superbly sharp images. There's no wonder why they've earned themselves a very loyal audience and passionate fanbase. Lately, Fujifilm has continued to double down on the medium format market.

Their latest entry and addition to the family line-up is the GFX 50s II, a (relatively) more affordable, entry-level alternative amongst pricey digital medium format mirrorless cameras. The goal is simple - bring the world of high-resolution photography to a much wider and broader audience, especially for those who're likely new to this segment, or are finally making the jump and are upgrading from their current set-up.

PLEASE NOTE: ThIS CAMERA WAS ORIGINALLY LOANED TO ME BY FUJI. HOWEVER, I LIKED IT THAT MUCH, I PURCHASED MY OWN VERSION SHORTLY AFTER.

Video Source - Dustin Abbott via YouTube

It's an even more compelling package when you pair the Fujifilm GFX 50s II with the brand's GF 35-70mm lens. Featuring an impressive 51.4MP sensor, as I've experienced thus far with my time using the GFX 50s II, it manages unparalleled image quality and sharpness, capturing every minor detail with an impressive level of fidelity and resolution. From a technical standpoint, it's nearly perfect in every single way.

Moreover, the GFX 50s II's sharp and crisp images are equally easy and great to work with in post. So, for those spending a lot of time in the editing suite, they're a treat to spend time on. For those who value the finest image quality above all else, the Fujifilm GFX 50s II and its accompanying GF 35-70mm lens may be the perfect camera for you, Although, it does warrant a significant investment (more on that later).

What's Unique With The Fujifilm GFX 50s II (And GF 35-70mm Lens)?

So then, what's interesting with the Fujifilm GFX 50s II that should get you hooked? Well, for starters, the sensor is a noteworthy highlight - a massive 51.4MP medium format sensor, whose size is larger than full-frame. In short, it allows you to capture more light and detail from a shot, translating to those impressive pics that I got out of the GFX 50s II during my time with it. Yet, it doesn't compromise on weight.

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You will be able to see more sample images in my upcoming blog post from japan :)

Rather, the GFX 50s II (and paired with the GF 35-70mm lens) is wrapped up in a compact and lightweight design, despite being a medium format camera. It's relatively portable, which is great news for those such as myself, who are constantly on the move from one shoot to the next. Additionally, the build quality here is a major plus as well, which not only feels great in the hand, but it has a weather-resistant rating, too.

Another boon for taking shots in low-light conditions, the GFX 50s II has in-body image stabilisation, and it helps quite a bit with reducing camera shake. It's made more practical and versatile when you take the GF 35-70mm lens into account. As an F4.5-5.6 retractable zoom lens, it's flexible enough that it can be suitable for a wide range of photography styles and mediums, such as landscape or studio photography.

On that note, it's worth mentioning once more just how awesome the image quality is. Not only are those pictures already pretty great straight out of the camera, but the dynamic range is just as excellent. This is one of the reasons that editing shots that came out of it are so easy and fun to play with, given that you could brighten dark images or highlight additional details without adding too much noise or visual clipping.

Are There Any Considerations That You Need To Take Into Account?

The Fujifilm GFX 50s II isn't perfect though, and there are certain quirks and oddities that you need to take into account before getting one. The first factor you need to be wary of is the downgrade in its viewfinder when compared to the older GFX 50s. The updated 'II' model has a lower magnification, but it's still rather competitive when you look at the current selection of rivals. Then, we have to talk about the autofocus.

It's arguably one of the biggest flaws and it's no doubt the Achilles Heel of the otherwise terrific GFX 50s II, despite how pleasant it was to shoot with. While it now features an up-to-date processor and it's certainly speedier than the outgoing model, it's still not as good as its bigger brother, the GFX 100s. In general, the autofocus system in the GFX 50s II is quite slow, and the eye tracking and face detection are fairly poor.

Compared to other medium format options, the gfx 50S ii IS A FEATHERWEIGHT!

With that being said, unless your subject happens to be looking directly at you, and for a good amount of time, the eye and face detection is not very reliable. It's even worse when your subject moves about a lot, and the autofocus also does a bad job of re-focusing back on the subject. It's subpar enough that most of you might find it better to simply turn this feature off and rely more on manually focusing on a subject.

Another major omission in Fujifilm's GFX 50s II is the lacklustre video recording feature. Unlike its big brother, the GFX 100s, the GFX 50s II doesn't come with 4K video recording. In fact, the best it could do is 1080p at 30fps. Although, credit where credit is due, it's really good 1080p footage, at least. But then again, many of its competitors in this price point could easily manage 4K recording, so that's worth bearing in mind.

Rounding Up The Pros With The Fujifilm GFX 50s II

To keep it brief, I've thoroughly enjoyed my time shooting with the Fujifilm GFX 50s II and the included GF 35-70mm lens, and here's a TL;DR round-up of the best things about it:

• Superb & Sharp Image Quality - Once again, the Fujifilm GFX 50s II produces incredibly sharp images, with excellent dynamic range, as well. A lot of credit also goes out to the accompanying GF 35-70mm lens, and together, there's a lot of detail and highlights captured that's unrivalled by a lot of other cameras in its cost spectrum. In some areas, it's even better than certain full-frame cameras out there. With its great dynamic range and reliable in-body image stabilisation, it really helps you to get the best out of every shot.

• Robust Build Quality - In the hand, the Fujifilm GFX 50s II feels solid and confidence-inspiring. It's a regular reminder that you're handling something special, yet it's pretty ergonomic, too. Most of its many switches and buttons could be reconfigured and modified depending on what you think is most important and what could be easiest and most accessible to get at. In addition, the plethora of menu options and easy-to-reach dials are comfortable to use for those long shoots, and there's even a display on the top of the body, where you can quickly check your shutter speed or aperture settings. Plus, the rear screen has a good amount of tilt, which is great for portrait photography.

• Great User Experience - As I highlighted earlier, the intuitiveness and ease of use of the GFX 50s II is one of the best in the market, and it makes it a joy to handle during a busy shoot. The two command dials can be customised to additional or alternative functions, if you need to. Even its autofocus joystick is easier to use with precision and accuracy. The physical buttons on the back can be re-mapped, and the touchscreen can further be configured to have quicker and easier access to additional menus and options.

• Post-Processing Chops - Built-in, there's already a wide selection of various simulation modes as well as its other processing options. You can certainly have quite a lot of fun with these, and it also helps to add a bit more charm to your shots. Nevertheless, given how stunning the image quality and dynamic range are, you get a lot of flexibility while working on your photos in post. Editing additional highlights or pulling in more details from your images are much more pleasant to work with.

Some Downsides That You Need To Look Out For

While it's a darn near-perfect camera for my use case personally, there are certain aspects about the GFX 50s II that you definitely need to be wary of before splurging for one, such as:

• High Cost Of Entry - Yes, when compared to other medium format cameras, Fujifilm's GFX 50s II is a great value for money and arguably a fantastic bargain for what it offers in return. However, it's still a fact that the whole package is still pretty expensive, especially for those who are content with their current setups. Moreover, the GF 35-70mm lens can be a hefty investment for beginners or hobbyists, not to mention the cost of the camera itself. Although, for £3,000+ here in the UK - which will vary a bit depending on where you're shopping and whether or not you could get it for a discount - it's cheaper when you get the lens as bundled in with the camera, rather than getting it separately.

• Limited Range Of Lenses - The accompanying GF 35-70mm lens that I was using is of pretty great quality. However, I can't help but notice the range of lenses that Fujifilm offers for the GFX 50s II is pretty limited, and nowhere near the wide selection of lenses that you might see with competing brands, such as Canon or Sony. This wasn't an issue for me, but for photographers who often swap out lenses and shoot images within varying conditions or unique situations, this is something you absolutely need to think about.

• Lack Of Video Recording - Just like how I detailed earlier, video recording functionality on the GFX 50s II is seemingly an afterthought, or at least, it wasn't intentionally considered seriously for it, in the first place. It lacks the advanced video features that are found in other brands or even its bigger brother, the GFX 100s. Meanwhile, the GFX 50s II can only manage 1080p recording at 30fps, albeit the footage that came out of it was not too bad. If you do need 4K recording and those missing features, you'll need to cough up the extra cash for the GFX 100s, if you're sticking to the Fujifilm ecosystem.

• Autofocus And Face/Eye Detection - When seeing just how impressive autofocus and face/eye detection are in other cameras, and how rapidly the tech is evolving around it, Fujifilm's execution with the GFX 50s II does not really hit the mark. The autofocus is quite slow, and the face/eye detection is nowhere near as reliable or as dependable as the AF systems used by its competitors. And when in C-AF, you don't even get any eye detection! The unreliable and oft random way in which the autofocus works may often demand that your subject remains still and looks directly at you.

So, Is The Fujifilm GFX 50s II And GF 35-70mm Lens A Good Purchase?

For those that prioritise image quality above all else, this Fujifilm GFX 50s II and the GF 35-70mm lens is a pretty outstanding package, overall. Despite a comparatively pocketable form factor, the sharpness, level of detail, and extensive dynamic range are some of the best that you can get with digital, medium-format cameras. In some areas, and thanks to its large sensor, it's even better than pricier full-frame cameras.

Not only is its intuitiveness and ease of use conducive to a great experience while taking your shots, but when you bring all those photos into your preferred editing suite, they're amazing to work with, too. That shouldn't distract you from the GFX 50s II's negatives though, such as the lack of video recording features and the below-average autofocus compared to its many rivals, as well as the face/eye detection system.

It comes Tilly approved!!!

Still, for a premium price tag and point of entry into the medium format world, for those of you who value the very best in photography and maximal image quality, Fujifilm's new GFX 50s II is an option that's very hard to overlook. If you need a camera that can handle video or have more lens options, Canon and Sony are better alternatives. Yet, when it comes to raw and pure image quality, the GFX 50s II holds its own.

Specs And Details

About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.

REVIEW: Fujifilm GSW690III - Big and Wide!

If you're looking for a great medium-format film camera that also happens to shoot in a larger negative, you'll quickly notice how few options there are on the market. It's a niche segment, for sure, and one that is sparsely populated with good examples. Lucky for me, I found this Fujifilm GSW690iii a while back, and on the surface, it seems to meet my needs perfectly. But, how well does it fare through the gauntlet?

Well, despite being born in the 90s (which itself is a derivative of its 1980s predecessors), the GSW690iii still holds up as one of the best cameras that you can buy today. Especially, for a bit of landscape, travel, or studio photography. Fujifilm's GW series of medium-format film cameras had numerous variants. You'll find loads of other formats on the second-hand market, but mine here has a distinct 6x9 negative.

UPDATE - I am currently selling this camera. It’s a fantastic camera but unfortunately, I need to sell some of my camera gear. Please read the listing carefully, link below :)

PLEASE NOTE: I PURCHASED THIS WITH MY OWN MOMEY AND NO PAYMENT OR CONTROL WAS EXCHANGED FOR PUBLISHING THIS UNBIASED REVIEW

Video Source - Crunchy Fingers via YouTube

I bought the GSW690iii as I wanted to find something that had a larger negative size... Most of my other film cameras have a 6x6 format, or the biggest among them would be something like the BRONICA GS-1's 6x7 format. But at the same time, I wanted to retain some degree of flexibility and portability that I'd no doubt lose out if I went with a large-format camera. 6x9 is as big as medium-formats go, it seems.

Granted, there are specialist and rare exceptions like panoramic 6x12 and 6x17 cameras. Though, if your needs don't require large negatives, there are other variants within Fujifilm's family of medium-format film cameras that come with a 6x7 and 6x8 negative, among others. Plus, they'd all come with the same (or somewhat similar) lens that's fitted onto this here GSW690iii. So, why did I pick this one, then?

Worth It To Go With Larger Negatives?

A larger negative, of course, allows you to retain greater detail, with enhanced sharpness, and a lot of depth from your shots. The same can be said of the Fujifilm GSW690iii, especially when you pair its large negatives and the super crisp lens (more on that later). What you end up with are a really good camera (by film standards), particularly for, as I've mentioned earlier, nature and landscape photography.

To be clear, it's not really the sort of camera that you'd want to bring with you for casual shooting. For the most part, the GSW690iii is aimed towards professional use and is likely to spend most of its life inside a studio or on a professional photoshoot. What's worth noting is the "S" in the model name. This denotes that it comes with a slightly wider lens than the GW models, which is paired with a 90mm lens.

Video Source - Garrett Ann via YouTube

The latter should equate to a 40mm in the 35mm standard. Meanwhile, the GSW690iii (not the GW) has a 65mm lens, which is a 28mm equivalent in the 35mm standard. Specifically, like the one that I have here, it's a Fujinon f5.6 fixed wide-angle EBC SW lens. It shoots in a 3:2 aspect ratio, is constructed from 4 components, and has 6 elements. The major downside to the GSW690iii is that it's a fixed lens unit.

Still, despite the inclusion of a fixed lens, this 65mm unit is one of the best film lenses of its era, and still is among the best in the business for medium-format film cameras. As far as the aperture is concerned, it'll go anywhere from f5.6 to f32, with half-stop increments in between. More specifically, you have options for f5.6, f8, f11, f16, f22, and f32. In practice, the GSW690iii's lens is a really good bit of kit to shoot with.

“This 65mm unit is one of the best film lenses of its era, and still is among the best in the business for medium-format film cameras”

One Of The Best Lenses In The Business

Personally, I find that the image sharpness can get a tad soft and lacking crispness at f32, though it's still pretty good, even at such high apertures. Ideally, I've found that there's more sharpness to be had at f8 and higher. The Fujifilm GSW690iii is capable of managing shutter speeds between 1 second to 1/500th of a second. Meanwhile, adjusting the shutter speeds as well as the aperture has to be done on the lens.

You can control the latter two with the dual parallel rings, near the retractable lens hood. On top of that, it comes with a T mode - which is Fujifilm's idea of a Bulb mode. While this works well in practice, using this feature does require a bit of getting used to. For starters, you're asked to turn the shutter ring and set it to something other than T when the exposure times out, such as a timed setting that's the closest to you.

Video Source - SignedJody via YouTube

Once you understand the general quirkiness of it, T mode can be handy for long exposure shots. Or, if you can't grasp how it all works, you'll otherwise need to DIY an even odder solution... Such as using a piece of cardboard, or a thick black cloth to block out light going into the lens. Another variable to contend with is the GSW690iii's use of a rangefinder. As expected, there is a bit of parallax to compensate for.

For those who aren't familiar, 'parallax' is an instance where what you're seeing through the rangefinder isn't really what the lens itself is seeing. Nonetheless, from my use case, the parallax on the GSW690iii is not really that bad - most of what I'm seeing and composing through the rangefinder translates well into the final shot. Although, it's definitely something to be wary of when you're composing a good shot.

Some Old-School Charm, Good And Bad

Whenever you're handling the Fujifilm GSW690iii, it's worth remembering every now and then that it's a pretty old slab of hardware. As such, it's a basic camera to use - for better or worse. For example, it has no metering system, nor does it require a battery. In addition, it gives you full manual control. So, it doesn't really match the point-and-shoot style of a modern digital camera, if that's more your style.

Still, at least it does have a hot shoe for a flash. Another interesting addition is a counter on the bottom of the frame that counts how many shots you've taken. It's sort of like an odometer on your car, but this only counts every 10 shots. So, if you see the counter reading 100, it means that 1,000 shots have been taken. The spring mechanism for this counter is what might explain the GSW690iii's loud shutter noises.

Video Source - K Praslowicz via YouTube

Looking around, there aren't a lot of other buttons or dials when compared to modern DSLRs. In fact, the only other dials that you'd have access to (besides the two shutter buttons; one at the top and the other on the front) would be at the top of the camera. This one's dedicated to film selection... 220 film with 16 exposures (but with no backing paper), 120 film with 8 exposures, or 120 film with 4 exposures.

Naturally, shooting with 220 film is out of the question, as they're basically ‘unobtanium’ these days. But, even with more "commonplace' 120 film, you'd only get (at the very most) 8 exposures from a single roll. Given how costly film is to buy and develop, the GSW690iii isn't really the most economical pick of the bunch. So, it does force you to be very careful when lining up a shot - mess up, and it'll cost you!

The Legend Of The "Texas Leica"

Now, depending on what you want to get out of it, those larger negatives may be worthwhile the added expense. Still, at least you don't have to worry (too much) about breaking your GSW690iii. Ergonomically, it feels really good in the hand, though the build quality is decent at best. This is thanks in no small part to its plasticky frame. So much so, that it almost feels brittle, as if it'll break into pieces if you dropped it.

Yet, hold it for long enough, and the GSW690iii gives off an air of robustness and solidity... Sturdy, and is more than capable of standing the test of time. You do require a bit of muscle to carry this around all day, as it is rather big and bulky. Weighing in at approximately 1,510g for the entire package, the GSW690iii is a heavyweight. There's even a cheeky nickname for the Fujifilm GSW690iii, the "Texas Leica".

Video Source - KEH Camera via YouTube

"Texas", because it's overly big, yet it has that dainty old-school charm of classical "Leica" cameras. That's not to say that getting your hands on one is going to be easy. This is undoubtedly the biggest downside of the GSW690iii - trying to find one. As of writing, they're becoming ever more scarce, particularly if you're trying to find one in good nick. Thus far, demand for them is far outstripping diminishing supply.

Prices alone have doubled over the past few years. I paid around £450 for mine a while back. But, if you'd want one now, you're likely going to have to spend closer to £800 for a well-kept example. Additionally, it could keep getting higher. Nevertheless, it's a premium that might be well-worth spending if you value the GSW690iii's larger-than-usual negative size. Not to mention, the sharp, wide 65mm lens.

Specs And Details

About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.

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