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Hands on PN editor Will Cheung gets to grips with the Fujifilm GFX 50S Mark II
I picked up the GFX 50S II and immediately had that déjà vu feeling. Not a surprise, because the GFX 50S II body is identical to the GFX 100S, a camera I got to test earlier this year. In fact, the only physical clue that the GFX 50S II is a different camera is on the left end of the body, where there’s a logo. Normally, pre-launch briefings mean we can’t take the new product into public areas. In this case, the new camera looks the same as one already on sale, so we were allowed out, and we were using final production samples. The briefing took place at Fujifilm’s House of Photography in London’s Covent Garden; I headed for Chinatown with the camera fitted with the GF 35-70mm f/4.5-5.6 WR. You can’t learn that much in 30 minutes, which was the time
Charging in the bag Vanguard’s latest backpacks are stylish, spacious and very practical Vanguard’s Adapt o r backpacks have good capacity and provide high levels of protection, and there is innovation, too, in the form of an internal USB interface that means you can safely charge your camera/phone/tablet on the go. Other key features include improved w aterproofing, reflective patches and thicker padded straps and handles. Four Adapt o r bags are available – the R44, R48, S41 and S46 – with prices starting from £99.99, and are available in black or grey. The R in the bag names tells you it opens from the rear, while the S designation means both s ides open to suit right- and left-handed photographers.
CANDID CAMERA The GFX 50S II is not exactly discreet, but it’s still more than usable as a street camera, especially with its tilting monitor. Shot at 70mm, exposure of 1/110sec at f/5.6 and ISO 400. Raw processed in Lightroom
low-vibration shutter release. It is impressively soft, bearing in mind the larger sensor area. The GFX 50S II does have an in-body image stabiliser with a 6.5EV benefit. I did shots down to 1sec to see how it performed, and I consistently got sharp shots at 0.5sec. The images here are a mix of Raws processed in Lightroom to my taste, and out-of-camera JPEGs, shot with a selection of Film Simulation modes. See the captions for details. After a short time with the camera, I have to say I’m impressed. Not just with the product and how it works, but also the kit lens that made a great companion. Looking at the images on my 32in screen at home showed how sharp and clean the test shots were, even those exposed at ISO 3200 and above. This was hardly a revelation, because I know the sensor very well, but it is still good to see actual results large. I appreciate that medium format is not for everyone, but if working with larger files appeals, then the GFX 50S II holds a huge amount of promise – and I’m looking forward to testing it fully in a future PN .
frame DSLR. The GF 35-70mm lens retracts when not in use, and grows little when extended ready. Its focal length range in 35mm format terms is 28-55mm, perfect as a walkaround lens, although its maximum aperture is modest. There’s no aperture ring, so the f/stop is controlled from the body. Good-sized controls, including the exposure mode dial, input wheels, plus the sizable top-plate LCD info panel and tilting touch monitor meant handling was lovely. Touch the shutter release and the viewing image snapped into focus quickly, accurately and silently. The GFX 50S II has a new contrast detect AF system but no phase detect. Nevertheless, and without doing a side-by-side comparison, my gut was telling me that the new camera’s AF was significantly quicker and more responsive than the original camera. AF speed is helped by selecting the Rapid Focus menu item. This does make a difference to speed, but by how much and whether this mode impacts on battery life, I don’t know. A full push of the shutter release and you are rewarded with a quiet,
I had with the GFX 50S II, but it was certainly enough to get a good impression. I kept it simple: aperture- priority AE, single point autofocus, multi-zone metering and ISO 400. First thing to say is how light and portable the combination is. Yes, it is medium format, but it’s not at all unwieldy and similar to a full-
ATRIPTO CHINATOWN Out-of-camera JPEG in Nostalgia Negative Film Simulation mode shot at 70mm, with an exposure of 1/140sec at f/5.6 with +1EV exposure compensation and ISO 400
vanguardworld.co.uk
SHARPERTHAN A PORCUPINE’S SPINES To test the camera’s IBIS, I shot this scene with the 35-70mm zoom at 43mm using an exposure of 0.4sec at f/11 and ISO 100
Photo pod With schools back in term, the PN team cast their expert eye over the photo opps at the coast – and what kit you need to take pictures you can be proud of. Personal and camera safety are also discussed.
The PN podcasters plan a photo trip to the coast in episode 29
If you have ideas you want to share, or have a tricky dilemma that needs the team to help you sort, please get in touch by email on podcast@ photographynews.co.uk photographynews.co.uk/podcast-library
Will Cheung, Editor
Roger Payne, Editorial Director
Kingsley Singleton, Contributing Editor
8 Photography News | Issue 92
photographynews.co.uk
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