Photography News | Issue 44 | absolutephoto.com
Camera test 43
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Performance: exposure latitude
+4EV
+3EV
+2EV
+1EV
0EV
-1EV
-2EV
-3EV
Original image
The -4EV and -3EV shots do show a gain in noise, but not to any significant degree and was easily correctable in software – with Lightroom’s luminance noise reduction set to 25 did the trick. Overall, the GFX 50’s Raws did well with exposure latitude, especially with underexposure and seeing shots underexposed by -4EV where the on-screen is almost completely black recovering well to looking normal was impressive. JPEG exposure latitude, as you would expect, is more restricted, to +1EV over and -2EV under.
A variety of sunlit scenes was shot using the GFX 50S set to its autobracketing mode giving nine frames at 1EV intervals. The correct exposure as set by the camera’s aperture-priority mode in multi- segment metering. Here, with this set the base exposure was 1/300sec at f/7.1 and ISO 200. Raw processing was done in Lightroom with the incorrect exposures adjusted to give the ‘correct’ exposure. The+4EVshotwasnotrecoverable with blown highlights and detail loss, but the +3EV shot fared better
particularly in the shadowswhile the highlights were still lacking in detail. By the time we get to the +2EV shot we’re at the point where the image is almost fully recoverable to be directly comparable to the correctly exposed shot in the shadows and the highlights. The only downside was a colour shift in the sky but that correctable in editing. The +1EV shot looked the same as the correct shot once the exposure was corrected. Underexposed Raws can be recovered very well with even the -4EV looking tonally the same as the correctly exposed file.
Images The GFX 50S showed itself to be very capable when it came to Raw exposure latitude with abused shots recovering well. If you have the misfortune to overexpose by 4EV, then you are stuck and you need to get your metering technique sorted, but otherwise all good from this test.
-4EV
Shoot different formats
4:3
5:4
the chosen format is saved. As I said, format options is not a new feature but its implementation here is good and I liked being able to compose in square or 6x7 format with the image masked appropriately on the monitor and in the EVF but safe in the knowledge that I had the backstop of full-size Raws should I change my mind. Images Multi-format flexibility is offered by the 50S. Shoot Raw and you always get the full-format file so cropping can be done in editing.
65:24
One attribute Fujifilm was keen to promote when it announced its GFX medium-format system was its film heritage and how in the past the company has produced cameras in formats including 6x4.5cm, 6x7cm and 6x9cm as well as panoramic. Hence when the GFX 50S was announced its ability to crop in- camera to popular formats and still
give large file sizes was prominent. Of course, in-camera cropping is widely available and it is true that the file sizes remain sizeable. So, for example, if you want to go square for classic portraits, shooting 1:1 results in 38MB files measuring 6192x6192pixels, or you can do panoramas resulting in an image measuring 8256x3048 pixels and 25MB.
It is worth clarifying that if you shoot a different ratio in Raw you still get the whole file so there is no memory saving and you can change your mind later. Your format choice does carry through to Lightroom and Adobe Camera Raw – click on the crop tool and you will see the whole image masked with the selected format. With JPEGs, only
1:1
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