Interview
controlled studio environments and fine art applications, but David has spent much of his career using this style of camera in the challenging conditions he faces for his documentary work. Recently, he’s been pushing the limits of what’s possible with GFX System cameras, incorporating them into remote trigger systems like the ones mentioned earlier and even experimenting with building them into fully autonomous camera traps. “It’s been quite a process to do that with these cameras,” notes David. “We need them to sit in standby mode for a considerable amount of time. We’re using high-output D-Tap batteries and dummy batteries within the body, which allows us to get eight or ten hours.” With more established set-ups existing for other types of cameras, it begs the question of why David goes to all the extra effort. “These cameras give you a very different perspective,” he asserts. “I’ve always thought that about medium format photography. You can draw a square in the sky, and whatever falls within in it – that’s exactly what you’re seeing. That’s very much how I like to document the work I do.” Although longer telephoto lenses and teleconverters are available for GFX System users looking to photograph faraway subjects, the results sought by David require a more creative approach. “I’m not as keen on longer lenses as they isolate subjects and give no context as to where the story is taking place,” he explains. “It’s been quite intriguing to see that a lot of these landscapes are not necessarily what we associate with the Kingdom of Saudi Arabia. It’s not all deserts and camels – you have incredible mountain ranges and lush wadis that are very much like the landscapes I work in in Africa. I think it’s important to incorporate these landscapes into the imagery.” A different perspective Medium format cameras and shorter lenses that require David to get closer to his subjects are key to his imaging style. He previously achieved this full, detailed perspective with an analogue system, but has spent the last few years using mirrorless GFX bodies. “I’m not saying you couldn’t do it on 35mm,” he muses. “You definitely could – but my choice has always been to work on 6:7 medium format. I can set up the GFX System to give me that framing through the “A LOT OF THESE LANDSCAPES ARE NOT WHAT WE ASSOCIATE WITH SAUDI ARABIA... I THINK IT’S IMPORTANT TO INCORPORATE THEM INTO THE IMAGE”
12 FUJIFILM Focus Magazine
September/October 2026
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