The Joy of X – GFX

Fujifilm GFX with Vertical grip
Fujifilm GFX

I don’t really do excitement over cameras, they are just there to do a job. I don’t really go in for camera porn, unboxing videos or any such nonsense, frankly it bores me.

Also before I go any further I will say that I do work very closely with Fujifilm, but that doesn’t mean I just spout the PR line and be a puppet. My view here is my own, unbiased and an honest review of using a camera that I was loaned for a few days.

By now you will have all heard of the Fujifilm GFX, a 50 megapixel mirrorless medium format camera. I’m sure you’ll have seen the images of stunning quality by Wayne Johns and Damien Lovegrove plus many others.

You will have also noticed that most of these images are studio based, with excellent lighting.

I don’t do flash, I don’t really do people if I can help it, I do landscape, usually in the rain.

Also you should note I am not a pixel peeper or super techie geek, I go purely on feel and print quality. The camera has to be a subconscious extension of me, I don’t want to have to think about, feel or experience it in anyway. It can’t get in the way.

The warning from Fujifilm was “Don’t drop it or drown it!” . I smashed my X-Pro2 during testing, so they were understandably nervous of my reputation.

Given the short amount of time I was able to have to the GFX I literally set off straight to one of my favourite locations in Romney Marsh in Kent.

The Fujifilm GFX50S dangerously close to getting wet!

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My first impression was that it was lighter and smaller than I had initially expected. The user interface is very much like every Fujifilm X-series camera.

You can add an angled viewfinder and an extra battery grip, if you so desire.

In reality I wouldn’t use the battery grip or the angled finder that both come as extras, the screen is massive, bright and very clear  – plus it is touch sensitive which you can turn off. The screen also articulates in the same was as the X-T2.

In fact if you gave the X-T2 a course of steroids, you get the GFX50s. Without the battery grip it weighs the same  – give or take a little bit – as the X-T2 with its battery grip.

The viewfinder that comes supplied can be removed from the hot shoe to give an even smaller profile.

The styling is nice, although in my opinion it’s not as pretty as the rest of the Fujifilm range, and some would argue that the other mirrorless medium format camera by Hasselblad is somewhat prettier, which is fair.

However the GFX has been designed to a tool, to be used and not to be put behind glass and fawned over.  In the hand it feels like a Mamiya 7, which was for me the perfect medium format camera.

Speaking of hands, all the knobs, dials and buttons fall easily to the fingertips, making it quick to use and the adjustments are positive. Yes there are locks on the shutterspeed and ISO dials to stop moving them by mistake.

The layout of the GFX is simple and intuituve
The layout is very similar to the X-T2 making adjustments to your exposure is simple and easy.

Finally Fujifilm have given us a low ISO – the GFX goes down to 100 and stretches easily up to 12800, with more if you need it.

Now the exciting bit – the shutter speeds go all the way from 1/4000 – 60 minutes, oh happy day, I worship at the feet of Mr Fujifilm and his team. Total bliss for someone like me who uses long exposure as an excuse for sitting in the sunshine!

It also has dual card slots, takes the regular RR90 cable release and shoots video too. You access the battery compartment from the side which means you don’t have to remove it from your tripod if the battery suddenly dies.

The batteries are bigger and specifically for the GFX, Fujifilm claim you’ll get 400 shots but in terms of real shooting I got two full days using long exposures before the battery died. My unscientific test included lots of reviewing images and leaving the screen on even while walking around Venice leading a workshop!

How does it fare in the rain? Well I left it outside in the rain – sorry Fujifilm – but someone had to!

The GFX was given a little shelter at the start of the rain storm but I felt it needed to get wet in the end!

After a gentle introduction to weather (I allowed it to shelter under my Blunt Umbrella) I retired to shelter leaving the camera outside for half an hour – it worked, with no sign of leaks in the card slot, battery compartment or the cover that hides the USB sockets. All good.

The lenses I was able to use – the 32-64 zoom and the 120mm macro – were both excellent, razor sharp and both fast to focus. Frustratingly the macro doesn’t do 1:1, but there are ways around that.

The lenses also take filters in the normal way, my Lee 100mm system was perfect and no cut off was evident  – although I wouldn’t expect on the 32-64 anyway.

Talking of filters, because the shutter speeds go all the way down to 60 minutes, when you attach the Big or Super stopper you can still see the image on screen which means long exposure photography just got a whole lot easier for a number of people who struggle to work out the exposure time.

I also enjoyed being able to switch aspect ratios through from a proper panoramic 6×17 to a more common 16×9, 4×3, 3×2, 1×1. The film simulations are there too for those who want the Velvia or Acros experience while shooting superfine jpegs.

Shooting at night is something I really enjoy, the GFX handled sulking around in the dark without breaking a sweat. The two images below one made at 30 seconds the other for 8 minutes have zero noise evident in the shadows, I do shoot to the right to get as much information in the shadows as possible. There is nothing muddy about the way the shadows are rendered.

In fact the quality of the prints I have made has stunned me, the detail and crispness of the images has to be seen to believed.

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The 32-64 lens is very versatile with excellent detail and sharpness across the entire focal range.
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Eight minutes exposure, zero noise in the shadows and the detail recorded it staggering.

So does the bigger camera get in the way, was I conscious it was there, did it feel like a brick?

Honestly no, perhaps because I’m used to the way Fujifilm lay out their cameras the step up felt entirely natural. Strangely using the camera I slowed down even more than I usually, the larger screen made the camera seem invisible to me while I was working with it. In fact I had the biggest smile on my face and wanted to take more pictures.

As I have been an evangelist about switching to Fujifilm X-Series because of the lighter weight, it must feel like I’m being a bit contradictory. But I’m not, yes it is heavier than the current Fujifilm range, the lenses certainly are, but when compared with a DSLR the GFX still wins out, because you get a beautiful large file, housed in a relatively light compact body that doesn’t feel like you are holding a brick.

At around £6199 for the body and £2200 for the 32-64 it is going to make your pocket lighter but I have to admit that I have ordered one because for my photography, the size I reproduce my images it is a no brainer, my work is worth the investment.

Below are some images that I shot while testing the Fujifilm GFX50s.

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Shot using the 120mm macro lens

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It’s Christmas,treat yourself, be self indulgent, shoot a photography project and feel the joy.

El Puro in his home La Josefa, Cuba.

As this year draws to a close and new one gets underway it’s a good time to take stock, assess where you’re at and whether you have moved on as a photographer or just sat in your comfort zone.

It’s very easy for all of us to find a formula or genre that works for us and just stick to it, ignoring all other styles of photography and sadly reaching a plateau of creativity.

I find myself struggling for inspiration at times, much the same as any creative person, it’s hard to keep the energy and creativity going all the time. I get stale, bored and tired.

What about you, ask yourself this simple question – Are you still shooting the same subjects in the same way as you did last year, or the year before?

If you answered yes, or maybe – and lets face it we all shoot to our strengths or inside our comfort zone. Then perhaps a little photographic self help is called for?

I don’t do New Year’s resolutions as I normally fail by January 3rd, but I do set goals and challenges for myself. I never say I’m giving up this or that but I challenge myself to try something new. These challenges take the form of projects or workshops in different genres of photography that terrify me.

A project can be invigorating, challenging and frustrating but do it, even if you do just one in the year try it, you will be surprised at how a simple project can open your eyes further in your preferred genre of photography.

If you challenge yourself in any aspect of your life you will get more out of it. By removing the security blanket and stepping outside of your comfort zone magic will happen, maybe not immediately but it will come, it always does. Try it, you won’t like it, it’ll feel like you are wearing your shoes on the wrong feet but you will benefit from it.

Now don’t think I’m talking about a 365, 52 or 12 shots a year project, I personally find those too much, and instead of inspiring me they have a negative effect on me.

I hate shooting people, street or portraits, it’s a confidence thing. So at the beginning of 2016 I vowed to myself that I would shoot a set of portraits to force myself into confronting my fear of talking to strangers and taking their picture.

I’ll freely admit that this idea had a few stalled starts and almost didn’t happen but I did get there in the end.

My project eventually actually came out of joke during a Light and Land workshop in Cuba, a street artist did a portrait of one of our clients, he gave her a few coins for the drawing. Shortly afterwards as a joke I took a picture of her skulking in a by a wall sketching her next victim, I printed the image from my Fujifilm X-T2 via my phone to my little Instax SP-2 printer – it produces an instant print, about the size of a credit card. The huge smile that crossed her face when I gave her the image really touched me and I knew that was how I would shoot my project.

A street artist holds an Instax print of a picture I shot of her working
My first street portrait victim, the image itself wasn’t the best but the inspiration it gave me kickstarted the project at last.

For the next ten days or so I stopped interesting people took their portraits and then gave them prints, they instantly got excited and started showing their friends, the laughter and joy they all shared was incredibly inspiring and gave me the confidence to approach random strangers and shoot in a way I have never done before.

In a strange way it reinforced why I am a photographer, because i get great joy from taking pictures and sharing them with other people. Yes I pontificated over asking people – my Spanish is poor, my self confidence low, I always worry about being annoying or appearing rude. But somehow the anticipation of sharing those tiny photographs helped me overcome the fear.

Whatever project you choose the key is to set a challenge that tests you, however to make it a success set yourself some rules.

Be disciplined about the shoots. Perhaps write yourself a brief and list your ideas for it, imagine that you have to deliver the images to your worst critic – YOU!

If it goes wrong don’t give up, talk to other photographers you know, ask for their help if you are struggling. Also share your thoughts and fears with a friend in your club, perhaps make it a club challenge too, certainly it makes a great talking point.

Don’t worry if others don’t like it or understand your motivation for it, that really doesn’t matter, you don’t even need to share it with the world.

The most important thing to remember is that photography is fun, you should be able to look back admit (with hindsight) that you have enjoyed the challenge and improved as photographer.

Good luck!!

Eduardo crocodile conservationist
Mario drinks salesman
Me sharing images in a bar
A family in Trinidad laugh at their photograph
Davide Onion Farmer
Clara Railway station controller
Jorge shoe shiner
Aluminara cleaner


Carlos barber
Mosi and Brasilia share their instax portrait
El Flack and family
Ernesto former soldier
Iralme greengrocer