Interview
viewfinder, so it helps me to achieve this creative vision.” With photography more accessible than it has ever been, David’s commitment to this particular aesthetic helps his photos to leap off the screen and hold people’s attention. “If you have the opportunity to produce imagery that’s in some way different to what we’re familiar with on a daily basis, people might take a second look,” he suggests. “With the GFX System, you are able to introduce people to photos they can spend a considerable amount of time looking at.” Working backwards As capable as the GFX System is, it’s fair to say that implementing these bodies into such unusual set-ups isn’t the easiest choice for photographing wildlife. However, finding the easiest way isn’t the mindset with which David approaches his work.
burrow, so you’re only firing the camera when the subject is in the position you want. “One cat came out, saw the camera and was interested in it,” David recalls. “I could see it looking at the camera and realised it would be staring straight down the lens when you look at the frame.” The anticipation of knowing that just one successful image will be so impactful is the reason David insists on pushing the limit of what these cameras are capable of. “They’re sitting in 50°C temperatures with huge batteries attached to them. You can barely pick them up at the end of the day – you could fry an egg on them. It’s a leap of faith, and it’s a good question as to why I want to do it. But I’m solid in my mind that when I look at photos from other cameras we’re using, the results are very different to what we’re getting from the GFX System. I do think the imagery is worth it.”
“It’s been less about finding the equipment we need to work in a particular situation. We know what the limitations are, but we’re working backwards – if we can use this camera in this particular way, it would be our dream image. So how do we make the GFX System do that?” he asks. “We went with one camera quite close to the sand cat burrow, with the FUJINON GF30mmF3.5 R WR on it. And we had a second further away, with the FUJINON GF250mmF4 R LM OIS WR. “You know with the longer lens there’s a possibility you’re not going to get that many frames. But if you get a single frame on that format, on that lens, from that particular angle, you’re going to produce an outstanding image,” David states. “That’s the nice thing about watching the camera from a distance with binoculars. You can actually see the cat come out of the
FUJIFILM Focus Magazine 13
September/October 2026
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