Fujifilm GFX 50R Review
Fuji GFX 50R Review
Thanks to Gord Webster from Fujifilm Canada for making the Fujifilm GFX 50R available to me for a camera review. I was able to test it in the days leading up to a four and half month of travel and was wondering if I should have brought it along.
This was my first time with the larger-than-full-frame GFX series and I was excited to see what it was all about.
Fujifilm GFX 50R with GF 110mm f/2 R LM WR
Introduction to Fujifilm GFX and Larger Than-Full-Frame Cameras
So far Fujifilm has stayed clear of the full-frame market and instead, and perhaps boldly so, they introduced the larger than full-frame GFX 50S back in 2016.
I was at Photokina with my friends Emil and Mads when the camera was released but we did not get a chance to try it out at the time. It was kept safe in a glass display. Admire but do not touch.
After returning to Canada I got my hands on the GFX 50S and I was surprised the size and weight did not feel much different than a Canon 5D Mark III, which used to be my main camera.
At this point, I had already migrated from a Canon EOS full-frame system to a Fujifilm X Series kit.
Like many other photographers, I had moments during this process where I missed the pro feel and look of the photos produced by my full-frame setup.
However, portability was more important to me at the time due to our travel plans. I was also happy the cost and weight of the Fujifilm X Series were considerably less.
Hands on with the Fujifilm GFX 50R and GF 45mm f/2.8 R WR
I have now used the Fujifilm X Series professionally for a few years and my clients have not noticed, so why even look at a GFX camera?
What is so special about a larger than full-frame camera? Who needs it? Who doesn’t need it? Why even ask these questions? Here is my take.
What Is So Special?
I have seen reviews and blind test comparisons where it is nearly impossible to guess or deduce which camera was used for a particular photo and the point is, it does not really matter if you shoot APS-C, full-frame, or medium format.
This topic is incredibly deep and with an engineer-like aptitude, you might be able to fully grasp it as you get into different f-stops, different focal lengths, distance to your subject, and exact gear used.
If you would like to know about sensor sizes, check this out on Wikipedia. According to my logic, the sensor area for APS-C is 370 mm2, full-frame 864 mm2, and medium format 1452 mm2. These differences are significant and a larger sensor, in my opinion, will deliver a more lifelike image.
For a portrait, the way the bokeh drops off and wraps around a face can be quite magical. Street scenes come to life in a new way and it becomes easier to distinguish depth of field.
Who Needs the Larger Than Full-Frame Format?
In the hands of a skilled photographer, excellent images can be produced with any camera setup. From a technical standpoint, some photographers will enjoy the extra resolution provided by the 50-megapixel sensor combined with a larger sensor.
Portrait, fashion, and architecture/interior are topics that come to mind. As you will see below I also used the GFX 50R for street photography and still life and I do believe it added a new dimension to the photos.
Who Does Not Need the Larger Than Full-Frame Format?
If you mainly shoot sports or wildlife where tracking and frame rates are essential this is not the camera for you. The operation is too slow and autofocus tracking will not keep up with anything that moves too fast.
Update: February 2021
Depending on your needs, this may have changed with the release of the Fujifilm GFX 100S, which is said to have faster and more reliable autofocus, although it still trails the leading full-frame options in this department.
If you are starting out as a hobby photographer you may not appreciate the subtle differences a larger format makes. The jump to the GFX format is not inexpensive and you may enjoy the APS-C Fujifilm X Series system just as much.
Why Even Ask These Questions?
I ask myself a multitude of questions before plunging into a camera purchase. Do I really need it? What benefits will it add? Can I live without it? My wife is an economics major and used to ask me for a cost-benefit analysis.
We have now been married for 30+ years and when it comes to camera purchases she gave up on me years ago. She accepts my decisions, at times, is irrational.
Handling the Fujifilm GFX 50R
My first hands-on with the Fujifilm GFX 50R was at an introduction event in Vancouver shortly after the camera was released. Patrick Laroque was presenting with Fujifilm Canada and some of his GFX prints were on display.
Patrick showcased impressive and inspiring work and it was great to catch up with him again and fun to try out the GFX 50R with the lenses I was most interested in.
At first, the camera felt strangely large in my hand. Almost nerf-like. It was lighter than I had expected and felt almost as if hollow inside. However, just a few minutes into using it, things started falling into place.
Fast forward to my test today and again it did not take me long to get along with the GFX 50R. It undeniably shares DNA with my main camera, the Fujifilm X-Pro2. The most noticeable physical differences are:
The articulating tilting rear screen on the GFX 50R
The AF, C, and M selector is on the back of the camera
The eyepiece/diopter dial feels more durable
The GFX 50R has a dedicated on/off switch on top of the camera instead of by the shutter button
The GFX 50R has a dial around the shutter button. I set it to ISO
Wider strap. Makes a lot of sense for a much bigger camera
Waterfront Station, Vancouver, Fujifilm GFX 50R, GF 45mm f/2.8 R WR @ f/2.8, ISO 100
The Fujifilm GFX 50R feels durable and will no doubt stand the test of time. The size does take some getting used to after shooting with a much smaller camera for so long.
There is no D-Pad on the back but I did not miss it. I often hit these buttons inadvertently on my X-Pro2 and sometimes lock the camera to avoid it.
The compensation dial and shutter speed dial turn easily but not so easily that you bump them inadvertently. I found the grip sufficiently large to give a steady grip with the lenses I used in this review; the GF 45mm f/2.8 R WR, GF 63mm f/2.8 R WR, and GF 110mm f/2 R LM WR.
Gord from Fujifilm helped me out with a few custom settings and I was ready to go.
Size comparison. GFX 50R with GF 45mm f/2.8 R WR to X-Pro2 with XF 23mm f/1.4 R
In Action
The first thing I noticed shooting the Fujifilm GFX 50R was a distinctly different shutter sound. The shutter curtains have to travel a further distance and the whole shutter mechanism is larger due to the larger sensor format compared to APS-C.
It almost sounded like the camera was winding a film. As with most things, you get used to them quickly.
Downtown Vancouver, Fujifilm GFX 50R, GF 63mm f/2.8 R WR @ f/5.6, ISO 100
I started out walking the streets of downtown Vancouver and used the camera almost exactly the way I would use my X-Pro2. I shot aperture priority, used auto ISO, and the exposure compensation dial for manual control. In single-shot mode, the autofocus locks on quickly.
I came upon a BMX biker doing tricks on the main square in front of the Vancouver Art Gallery and this scenario proved to be a challenge for the GFX 50R.
I tried continuous tracking but my keeper rate was not impressive. I did manage to get away with a couple of keepers, one shown below. I was using the GF 110mm f/2 R WR for this.
Update:
In firmware version 2:00, released after my review, Fujifilm now promises improved autofocus performance.
Dig Out Your Tripod
Mount the Fujifilm GFX 50R on a tripod and it is wonderfully easy to operate with the articulating tilting rear screen. All of a sudden it feels much more like a working camera and it is easy to get to all of the controls.
The aperture rings on the GF lenses are nice and wide. The shutter speed is easy to adjust with the tactile dial on top of the camera. And for landscape photography, the 50-megapixel sensor spits out gorgeous files with plenty of detail.
Aspect Ratio
One important factor of the larger sensor is the aspect of ratio 4:3. If you have been used to Fujifilm’s APS-C sensor or a full-frame ratio of 3:2, this may throw you off for a while. It is a matter of taste which of the two you prefer.
I did not think I would like 4:3 but accepted the challenge, tried to see the world in a slightly new way, and now actually appreciate the new perspective.
Capturing a sunset at English Bay in Vancouver. Fujifilm GFX 50R and GF 110mm f/2 R LM WR, tripod mounted using the articulating rear screen to compose the shot.
You can adjust your framing and aspect ratio in the camera to either 3:2, 1:1, 16:9, 5:4, or 7:6 or the wide aspect ratio of 65:24 known from Hasselblad’s X-Pan or Fujifilm’s TX-1. I prefer to do my cropping in post, but for someone who prefers a certain aspect ratio, this is a handy feature.
Sunset at English Bay in Vancouver, Fujifilm GFX 50R, GF 110mm f/2 R LM WR @ f/5.6, ISO 50
Fujifilm GFX 50R Image Quality
It is hard to fault the image quality of the Fujifilm GFX 50R and I never put it under scrutiny, as it just looks great. I shot the camera the way I usually do and did not punish it through high ISO testing.
I mostly shoot in the ISO 100-200 range so please keep this in mind. I did a few indoor, available light photos around the 1600-3200 ISO range and found the result very acceptable with a pleasing look and acceptable noise.
The GFX 50R uses a more traditional CMOS Bayer-type sensor as opposed to the X-Trans sensors Fujifilm has used in their high-end APS-C cameras. I was happy with the results and tripod-mounted shots are razor-sharp.
Admittedly it would be nice if the GFX 50R had an image stabilizer so you could leave your tripod at home on more occasions. If you like IBIS you need to move up to either the Fujifilm GFX 100, GFX 100S, or GFX 50S II.
Images in this review were processed in Capture One Express and I have used a number of Fujifilm’s film simulations. The film simulations worked as expected and to my eye did not vary much from what I have been used to with the X-Trans sensors.
Update:
In Firmware version 2:00, released after this review, Fujifilm has now added two additional film simulations, the popular Classic Neg. and Eterna/Cinema.
Downtown Vancouver, Fujifilm GFX 50R, GF 110mm f/2 R LM WR @ f/2, ISO 100
Comparing the GFX 50R to an X-Pro2
I was curious to see if there were any significant differences between shots taken with the same focal length equivalent lenses on both systems.
The photos below are straight out of the camera. The GFX 50R with a GF 45mm f/2.8 R WR and the X-Pro2 with an XF 23mm f/1.4 R, handheld, and the GFX was stopped down one extra stop compared to the X-Pro2 in order to attempt the same look and depth of field. First photo GFX, then X-Pro2, etc.
For these web-size images, I mostly notice the difference in focal length. The GFX 50R at 45mm and X-Pro2 at 23mm. In my opinion, the 45mm has a closer to-normal look without wide-angle distortion whereas the 23mm looks wider, and then cropped.
Conclusion
I was excited to try out the Fujifilm GFX 50R but also concerned that I would like it too much. So much that I would become frustrated with my current gear, based around the X-Pro2 and a smaller sensor. Who wants to end up with a case of gear envy?
It is tricky to come to a conclusive judgment on the GFX 50R as it will depend on your camera budget and your aspirations as a photographer.
Without crunching numbers, a GFX system will set you back a great deal more than an APS-C-based system and you will be adding considerable bulk and weight.
If budget is not an issue the GFX 50R may not even cut it, and you may already be flirting with the idea of a Fujifilm GFX 100S, sporting a 102-megapixel sensor, faster autofocus, IBIS, and a host of other features.
If budget, however, is a concern the X Series will still deliver great results, is lighter, more compact, and has faster autofocus and usually better video specs.
Waterfront Station in Vancouver, Fujifilm GFX 50R, GF 110mm f/2 R LM WR @ f/2, ISO 100
In my opening paragraph I asked the question; Is this the camera I should have brought for my travels?
I am currently on a world trip and travel with just one camera, the Fujifilm X-Pro2, and four primes, XF 14mm f/2.8 R, XF 23mm f/1.4 R, XF 35mm f/1.4 R, and XF 90mm f/2 R LM WR. The thought inevitably crept in as I was testing the GFX 50R in the days leading up to this trip.
Despite the fact that I really like the GFX 50R it was easy to come to a conclusion to delay an eventual purchase decision to a later date.
I quite simply did not have room in my budget for such a drastic change of camera kit, so close to the departure of a major journey. Especially considering the fact a GFX 50R is similar in value to a couple of tickets traveling around the world.
Downtown Vancouver, Fujifilm GFX 50R, GF 63mm f/2.8 R WR @ f/2.8
For a travel kit, the other part of the equation is portability and weight. I am not saying that you cannot travel with a GFX 50R and a few lenses and I would love to have the chance to do so in the future with a GFX 50R or perhaps its successor.
You do, however, need to plan accordingly and have proper ways of carrying your gear and also make sure you have sufficient insurance to cover the eventual loss of an expensive kit. I have a pretty bad track record and have lost a couple of cameras already during our travels so this is a very real concern.
Our son, Mik Byskov, is an actor and we managed to sneak in a five- minute portrait session prior to our Thanksgiving dinner. Fujifilm GFX 50R, GF 100mm f/2 R LM WR @ f/2, ISO 250
I encountered a few situations while reviewing the GFX 50R where I was headed out of the apartment but chose not to bring the camera due to the bulk and weight.
Ideally, you would have a combination of a GFX camera for more demanding situations or where you want the best possible image quality and an X Series camera for when you want to be more candid or cannot be bothered with the bulk and weight.
Our daughter-in-law patiently let me grab a few candids at our Thanksgiving dinner. Posing here with Meli. Fujifilm GFX 50R, GF 45mm f/2.8 R WR @ f/2.8, ISO 3200
I will not out rule a scenario where a GFX 50R or its successor will be part of my kit at some point, perhaps a preowned copy. I really enjoyed shooting with it and love the files it produces.
By the time I am ready for a GFX, I am hopeful Fujifilm will have sorted out a few issues, which would make me happy - better autofocus, IBIS, and affordability.
Other improvements will eventually trickle down to the next generation of GFX mid-range models such as the GFX 50R or GFX 50S. I do not think we will see a new GFX 50R for a couple of years but the next 50S could be hitting a sweet spot in the lineup. They may even redesign it without the bulky piece on the back of the camera.
Update: January 2021
It is interesting to read the above paragraph after seeing the newly released Fujifilm GFX 100S, $5,999.00. Now it will only be a matter of time before a successor to the 50R, $4.499.00, follows suit with some of the improvements seen in the GFX 100S.
Whether Fuji will aim for a more budget-minded lower-megapixel camera or keep it at 50 megapixels, is anyone’s guess.
Used prices for the GFX 50R are now hovering around $3,000.00 and with the latest firmware updates, this could be an attractive option for aspiring GFX shooters on a budget who want to get started with a medium format system.
I do have a couple of wishes for GF lenses that I want to mention in closing. I was very happy with the image quality from the GF 100mm f/2 R LM WR but found it rather big for a carry-around lens.
I would still want my GFX system to be fairly compact and could perhaps suggest a GF 90mm f/2 and GF 63mm f/2 similar in design to the GF 45mm f/2.8 R WR, which I really enjoyed using.
A potential GF 63mm f/2 would of course not be smaller but should be of a better-built quality and would enable a nice shallow depth of field results at one of my favorite focal lengths.
The GFX 50R conclusion ended up being much longer than anticipated. I hope you enjoyed the review and let me know if you have any questions or comments below.
Pros
Solid build quality
Larger than full-frame 50-megapixel sensor
Image quality
Tactile range finder style layout
Cons
The slow operation, max 3 fps
Autofocus tracking
Does not have IBIS, in-body image stabilization
Update: September 2022
In September of 2022, I purchased a pre-owned Fujifilm GFX 50R. You can read more about this experience here:
Price / Availability
Thank you for reading this review to the end. The GFX 50R has been discontinued but you can probably find one on your local buy-and-sell if you are okay with a used copy.
If you are planning a purchase of a GFX camera and would like to support us, you can do so, at no additional cost, by using the affiliate link below. A small commission goes to us and helps us keep the wheels turning at 5050 Travelog.
Check the current price at B&H Photo
Fujifilm GFX100 II - B&H Photo
Fujifilm GFX100S II - B&H Photo
Fujifilm GFX100S - B&H Photo
Fujifilm GFX50S II - B&H Photo
Thank you for being supportive.
Fujifilm GFX 50R - Sample Images
Sample images in this review were captured in Vancouver in early October. Processed in Capture One Express. Some images are slightly cropped and on some of the images, I have used Fujifilm film simulations, such as Classic Chrome, Velvia, Pro Neg. Hi, and Acros.
Please click to view larger photos.
Fujifilm GFX Reviews
Fujifilm GFX 100 II
Fujifilm GFX 100S
Fujifilm GFX 50S II
Fujifilm GFX 50R
Fujifilm GFX 50R in 2022
Fujifilm GF 20-35mm f/4 R WR
Fujifilm GF 23mm f/4 R LM WR
Fujifilm GF 30mm f/3.5 R WR
Fujifilm GF 32-64mm f/4 R WR
Fujifilm GF 35-70mm f/4.5-5.6 WR
Fujifilm GF 45mm f/2.8 R WR
Fujifilm GF 45-100mm f/4 R LM OIS WR
Fujifilm GF 50mm f/3.5 R LM WR
Fujifilm GF 50mm f/3.5 - Revisited
Fujifilm GF 63mm f/2.8 R WR
Fujifilm GF 80mm f/1.7 R WR
Fujifilm GF 110mm f/2 R LM WR
Fujifilm GF 100-200mm f/5.6 R LM OIS WR
Fujifilm GF 250mm f/4 R LM OIS WR
See all of my reviews at a glance: Camera Reviews - Archives
