Fujifilm GFX 50R
GFX 50R has plenty to offer stills photographers, whether you shoot JPEGs, RAF.RAW files or both, particularly for photographers who shoot on location.
And with the GF 32-64mm f/4 R LM WR lens, it can even be used for street photography.
Fujifilm’s GFX 50R follows the GFX 50S (which was unveiled in January 2017) and shares many of the previous model’s components. The 43.8 x 32.9 mm, 51.4-megapixel CMOS medium-format sensor is common to both cameras and it lacks a low-pass filter in front of the sensor to ensure the maximum potential sharpness. The chip’s wide tonal range and extended sensitivity promise first-class imaging performance. The image processor is also common to both models.
Angled view of the Fujifilm GFX 50R with the Fujinon GF 45mm f/2.8 R WR lens. (Source: Fujifilm.)
The 50R is distinguished from the 50S by its body styling and the fact that the EVF is built in rather than added as an accessory. It’s also somewhat cheaper. The SLR-like body styling of the 50S has become a rangefinder design in the 50R, and the new camera is more rectangular in shape as well as 50 grams lighter and only 46 mm thick at its narrowest point.
This illustration shows the different body shapes of the GFX 50R (top) and the GFX 50S (below). (Source: Fujifilm.)
Despite those changes, the 50R is still a rather large camera and it’s designed primarily for professional users. While it has plenty of excellent features and capabilities, has a few limitations that limit its value to some users, especially those who need to shoot movie clips. Like the 50S, the 50R’s highest movie quality is 1080p/30fps, whereas most multi-media users will expect at least 4K capabilities – and preferably C4K.
We received the review camera with three lenses: the Fujinon GF 32-64mm f/4 R LM WR zoom and the Fujinon GF 45mm f/2.8 R WR and Fujinon GF 110mm f/2 R LM WR prime lenses. All three lenses are reviewed separately.
Who’s it For?
As mentioned, the GFX 50R is targeted at professional stills photographers and its price tag (AU$7099 for the body alone) will place it out of reach of all but very well-heeled photo enthusiasts. Its nearest competitor is the Hasselblad XID 50c, which has the same-sized sensor and is slightly smaller and lighter – but is significantly more expensive.
The main differences between the two Fujifilm GFX models and the Hasselblad XID 50c are laid out in the table below.
43.8 x 32.9mm FSI CMOS
|Focal length multiplier||
8256 x 6192 pixels
|8272 x 6200 pixels|
|Max. average file size||
JPEG (SF): 31.5MB; uncompressed RAW: 121MB; compressed RAW: 63MB
|RAW: 106MB; 8-bit TIFF: 154MB|
ISO 100-12800 with expansions to ISO 50, ISO 25600, 51200, 102400
2 x SD (UHS-II)
|2 x SD|
Focal plane with electronic first curtain sync
|Max frame rate||
25 Large/Fine JPEGs, 13 compressed RAW or 8 uncompressed RAW
|79 uncompressed 14-bit RAW images|
117-point contrast detection
|35-point contrast detection|
On-sensor metering (256-zone)
Tilting, 3.2-inch, 2,360,000 dots
|Fixed, 3-inch, 920,000 dots|
|Viewfinder||Built-in, 3,690,000 dots, 0.77x magnification||Detachable 3.690,000 dots
|Built-in, 2.360,000 dots|
|Communications / Interfaces||Wi-Fi, Bluetooth / USB 3.1 Type-C, HDMI (Type D), 2.5 mm jack for Remote, Microphone, DC IN 15V
|Wi-Fi / USB 3.0, HDMI (Type D), 3.5mm jacks for microphone, headphone, 2.5 mm jack for Remote, DC IN 15V||Wi-Fi / USB 3.0 (5 Gbit/s) Type-C, Mini HDMI, Audio In/Out, GPS|
|Dimensions (wxhxd)||160.7 x 96.5 x 66.4 mm||147.5 x 94.2 x 91.4 mm||150 x 98 x 71mm|
|Weight (inc. battery)||775g||825g||725 grams|
|RRP (body only)||$7099||$9999||$13,999|
Aside from its significantly lower price tag, the main advantage of the 50R over the 50S is that its EVF is built into the camera body. It has the same eyepoint as the finder on the 50S but its angle of view is two degrees less and it offers slightly lower magnification (0.77x vs 0.85x).
There’s only 50 grams of difference in their body weights, which is barely significant when you account for the weight of the lens you’ll add. (All medium format lenses are heavier than their 35mm equivalents.) But the body of the 50S is about 23% larger, which will affect both overall user comfort and the space occupied in your camera bag.
Build and Ergonomics
Usable at temperatures as low as -10°C, like the GFX 50S, the 50R has a magnesium alloy body with extensive dust- and water-resistant sealing. Most of the surface of the camera is clad in a rubber-like material and there’s a relatively shallow moulded grip, although it’s quite comfortable and positions the user’s index finger squarely on the shutter button.
As on the 50S, the main dials (shutter speed, EV compensation) are milled out of aluminium blocks to provide a premium feel. The smaller front and rear command dials may also be made in the same fashion, although that’s not stated.
The front dial has been moved up to surround the shutter button on the 50R where it’s easier to access. The rear dial remains semi-embedded in the top right hand corner of the rear panel, just below the Fn1 button.
Front view of the GFX 50R (top) with no lens fitted. (Source: Fujifilm.)
Another function button (Fn2) is located on the front panel at the top of the grip moulding and a little below the drive button. Its default setting is to cycle through the command dial options but it can be re-programmed to control any of a number of other functions.
The lens release button is in the usual Fujifilm location; low down on the grip-side rim of the lens mount. A flash sync terminal sits in line with the Fn2 button on the opposite side of the lens mount with the AF-assist/self-timer LED sitting above it where the front and top panels meet.
Common to both cameras is the brass lens mount, which is strong, durable and reliable. It has a diameter of 65 mm, a flange back distance of 26.7 mm and minimum back focus distance of 16.7 mm. Twelve electronic contact points are provided for sending and receiving data.
It’s no surprise to see the 50R has no LCD data screen on its top panel because there simply isn’t space for it. Where the 50S had a dedicated ISO dial but no EV compensation dial, the 50R has an EV compensation dial but no ISO dial.
The second dial adjoins the shutter speed dial on the right hand side of the hot-shoe, just behind the shutter button, where it occupies the position taken by the LCD data display on the 50S. ISO adjustment is the default setting for the Fn1 button, which is located towards the back of the panel between the shutter speed and EV compensation dials.
Top views of the GFX 50R (top) and GFX 50S (below) with no lens fitted. (Source: Fujifilm.)
The on/off lever switch is separate from the shutter button and located the right hand side of the top panel, just above the strap loop. The drive button is in much the same place on both cameras and covers bracketing, multiple exposure and movie mode selection as well as single-frame and continuous shooting.
Rear views of the GFX 50R (top) and GFX 50S (below). (Source: Fujifilm.)
The rangefinder styling is reminiscent of the X-E3 camera (https://www.photoreview.com.au/reviews/advanced-compact-cameras/interchangeable-lens/fujifilm-x-e3/) and photographers will welcome the fact that the EVF is built-in instead of being an add-on as in the 50S. Like the X-E3, it’s located in the upper left hand corner of the body, which means you can look through the viewfinder with one eye, while checking the scene with the other.
The monitor screen is the same in both cameras but the 50R’s screen only tilts in two directions, whereas the 50S provides three-way tilting. Arranged in line with the EVF are the EVF/LDC toggle switch (labelled ‘VIEW MODE’), followed by the delete button, focus mode selector and rear command dial, which is rotated and pushed-in to access different functions. The command dial is straddled by the Fn3 and Fn4 buttons. Fn3 is assigned to the exposure lock while Fn 4 handles the focus lock.
Another function button (Fn5) sits below the Fn4 button, with the Quick menu button below that. An indicator LED is embedded into the camera body just below the Q button to show when data is being recorded and provide focus and slow shutter speed alerts as well as a flash charging indicator and lens or memory error.
As usual, there’s a line of buttons along the right hand side of the monitor screen, starting with the focus lever joystick and followed by the menu/OK button, the playback button and the display/back button. Behind a hard lift-up cover in the right hand side panel are dual slots for SD cards with a Type D HDMI Micro connector above them. Both slots are compatible with UHS-I and UHS-II standards.
The 2.5mm microphone/remote release connector is located on the left hand side panel, just aft of the strap eyelet. Behind it is the knob for the dioptre adjustment control. No headphone connection is provided.
The battery compartment is at the opposite end of the base plate to the grip moulding and it carries the standard latch closure. The battery can be charged while in the camera via an optional AC-15V adapter. Charging takes about two hours.
A lift-up cover on the opposite end of the base plate protects the USB and 15V DC-IN connectors, which enable the camera to be used for tethered shooting and image transfer. A USB 3.1 Type-C connector replaces the USB 3.0 connector on the 50S.
Sensor and Image Processing
The GFX-50R uses the same sensor as the 50S. The 43.8 x 32.9 mm CMOS chip has 1.7x the area of a 35mm frame and sports a normal Bayer filter, rather than the X-Trans filter used in some X-mount cameras. The sensor is paired with the same X Processor Pro chip as used in the 50S and the camera offers the same sensitivity range as the 50S, covering ISO 100-12800 in 1/3 steps with extensions to ISO 50 and ISO 25600, 51200 and 102400 available for stills.
Inexplicably, selecting the electronic shutter, either singly or combined with the mechanical shutter, prevents you from using the extended ISO settings. The range available for movies contracts to ISO 200-6400, which may be related to the restrictions on using the electronic shutter because very high shutter speeds can cause rolling shutter distortions. (This isn’t mentioned in the user manual.)
The camera supports three different JPEG settings (Super Fine, Fine, Normal), as well as two different RAF.RAW settings (uncompressed and compressed). TIFF output (8-bit) is also available via the in-camera RAW development. The table below shows the image sizes available for the default 4:3 aspect ratio.
|Image quality||Image size (pixels)||Approximate file size|
|Uncompressed raw||8256 x 6192||
|JPEG||8256 x 6192||31.5MB||21.0MB||13.2MB|
|4000 x 3000||14.8MB||9.7MB||6.6MB|
Other aspect ratios are also selectable, including 3:2, 16:9, 1:1, 65:24, 5:4 and 7:6 (the same as in the 50S). In each case, they are achieved by cropping the 4:3 frame.
Continuous shooting speeds are slow compared with those offered by the pro DSLR and mirrorless cameras. The maximum speed is 3.0 frames/second but this can depend upon shooting conditions and the type of memory card used.
The capture rate slows to 1.8 fps when shooting with the electronic front curtain shutter setting. According to Fujifilm’s published data, the buffer memory capacity is 25 JPEGs, 13 compressed raw files and 8 uncompressed raw files; not huge by DSLR standards but given the average file sizes (see above), reasonable nonetheless. ‘Endless’ capacity for JPEGs and compressed raw files is available when the lower frame rate of 1.8 fps is selected.
The drive button is used to select the movie mode and recordings can be made in any of the P, A, S or M modes. Frame size and rate are set via the menu, selecting MOVIE SETTING > MOVIE MODE and choosing from the drop-down menu. Users can set which memory card the files will be stored on via the SAVE DATA SET-UP > MOVIE FILE DESTINATION entry in the setup menu.
Video capabilities are the same as for the 50S, with the highest resolution being Full HD 1080p with frame rates of 29.97, 25, 24 and 23.98 fps. You need at least a UHS speed class 1 card to record movies with this camera (UHS II is recommended).
The addition of a Bluetooth low-energy connection to the standard integrated Wi-Fi adds an option for always on connection between the camera and a smart device without excessive drain on battery power. as with Wi-Fi, users must ‘pair’ the camera with the smart device via the PAIRING REGISTRATION function in the setup menu. (Up to seven devices can be paired with the camera.)
Once the connection is established, the Fujifilm Camera Remote app can be used to browse pictures in the camera, select images for downloading and receive images from the camera, upload location data from the camera and control the camera remotely. It can also be used to update camera firmware.
This feature will be handy for professional photographers because it allows them to send them to clients or display them on other devices immediately after they have been captured. The camera allows raw files to be converted into JPEGs in-camera to assist this process, although we think it would be quicker and easier to simply shoot RAW+JPEG and set the JPEG size to the best option for sharing, since the camera will apply the same processing to the raw files.
The 50R also differs from the 50S in providing a USB Type-C (USB3.1 Gen1) connection instead of USB 3.0. The socket is located beneath a lift-up cover on the base of the camera, just below the grip moulding. USB tethered shooting is supported.
Other interface connections are pretty standard and include an HDMI (Type D) socket (just above the memory card compartment) and a 2.5 mm jack that is used for the remote release and microphone (just in front of the dioptre adjustment knob). The DC IN 15V connector sits next to the USB port. There’s no headphone jack.
Playback and Software
The GFX-50R can display a lot of information on the screen to help users monitor camera settings. Most of these settings are duplicated on the EVF screen and the LCD monitor, although only the EVF displays the image stabilisation status. Users can select which screen to view or set up the camera to switch between them automatically with the eye sensor.
Pressing the Display button lets you toggle through five options for the EVF and four for the LCD, covering standard indicators, no indicators, an info display and a dual display with a large full-frame window plus a smaller close-up of the focus area.
Playback options for the LCD monitor screen.
Playback settings are basically the same as for the 50S, although the 50R provides the ability to simultaneously delete raw and JPEG files, a function missing in the 50S. It also offers pairing registration for Wi-Fi (with the ability to delete this setting), along with a Bluetooth ON/OFF setting. Wireless functions supported include smartphone synchronisation and auto image transfer.
Following an agreement with Phase One last year, like other Fujifilm cameras, buyers of the GFX 50R can download a copy of Phase One’s Capture One raw file conversion software for Fujifilm. This means you’re no longer forced to use an inferior raw file processor.
Other software available for downloading free of charge include Fujifilm Camera Remote, MyFinePix Studio, Raw File Converter EX, Fujifilm X Raw Studio, Fujifilm X Acquire, Fujifilm Tether Shooting Plug-ins for Lightroom and Hyper-Utility Software HS-V5. Most of these have limited value.
The size and weight of this camera and its lenses took a bit of getting used to, particularly on hot summer days in Sydney’s high humidity. We also had to make allowances for the very shallow depth of field in shots taken at wide aperture settings, regardless of the lens we used. This is a consequence of the larger image sensor.
The contrast-based was also slower than the super-fast hybrid systems in the cameras we’ve reviewed recently and issues with focusing precisely at wide apertures complicated matters. Once again, allowances had to be made.
Our Imatest tests revealed the 50R to be a very capable performer, with the Fujinon GF 32-64mm f/4 R LM WR zoom lens being the stand-out lens of the trio we tested. The highest resolution with this lens was achieved with the 64mm focal length.
Imatest showed the camera exceeded the expected resolution for JPEGs around the centre of the frame but fell just below expectations towards the periphery. Resolution was well above expectations across the entire frame for uncompressed RAF.RAW files, which were converted into 16-bit TIFF format with Adobe Camera Raw, our preferred file converter.
Resolution remained relatively high from ISO 50 through to ISO 1600 before beginning a slow decline. We wouldn’t recommend using the top two sensitivity settings where image noise (and noise-reduction processing) combined to produce relatively poor image quality. The graph below shows the comparison between JPEG and converted uncompressed RAF.RAW files across the review camera’s ISO range.
Long exposures at night confirmed our Imatest results. Exposures at settings up to ISO 12800 were relatively clean and noise-free but there was evidence of increasing softening from that point on. By ISO 51200 softening was obvious and the colour changes that would become noticeable at ISO 102400 were detectable.
The auto white balance setting produced neutral colour rendition under fluorescent lighting but failed to completely eliminate the warm colour casts from incandescent and warm-toned LED lighting, although with LED lighting the cast was reduced enough to make subsequent corrections easy. The tungsten and fluorescent pre-sets tended to over-correct with their respective lighting types, although with the daylight fluorescent pre-set the adjustment was slight.
There’s no pre-set for LED lighting but plenty of in-camera adjustability is available to fine-tune colour balance on the go. On location, the camera handled mixed lighting situations well and manual adjustment was rarely needed.
The substantial size and weight of the camera made it possible to use slow shutter speeds for hand-held shooting, even though neither camera body nor lens was stabilised. We could seldom hold the camera steady enough to use shutter speeds of less than 1/10 second with the widest lens apertures due to the very shallow depth of field. The best we managed was 1/4 second at f/5.6, which provided a balance between having enough depth of field and the ability to keep the camera steady.
We had low expectations for movie performance since this camera isn’t really designed for video work. But the resulting Full HD and HD clips were acceptable in quality and soundtracks were decently captured. Shooting with the GF 32-64mm f/4 R LM WR zoom lens enabled the camera to focus reasonably quickly.
Our timing tests were carried out with a 32GB Lexar Professional 2000x SDHC UHS-II memory card in one card slot (assigned to JPEGs) and a 64GB Lexar Professional 2000x SDXC UHS-II card in the other. Both cards have speed ratings of 300MB/s.
The review camera was relatively slow to power up, taking between 1.1 and 1.2 seconds, on average with the GF 32-64mm f/4 R LM WR zoom lens at the 44mm position. Because the camera carries out a sensor cleaning routine when shutting down this took a similar length of time.
We measured an average capture lag of 0.25 seconds, which was reduced to an average of 0.1 seconds with pre-focusing. Shot-to shot times averaged 0.9 seconds. It took approximately 1.2 seconds to process each file, regardless of whether it was a JPEG or RAF.RAW file .
In the high-speed continuous shooting mode, the review camera recorded 50 full-resolution JPEG images in 19.8 seconds without slowing. This works out at a little less than four frames/second, which is slower than specified. Processing appeared to be on-the-fly since the indicator light switched off approximately 1.5 seconds after the final frame was recorded.
We obtained almost the same results when raw file capture was selected with a slight slowing in the frame rate but no evidence of the buffer reaching capacity at 50 frames. Shooting uncompressed RAF.RAW frames with the mechanical shutter filled the buffer at 12 frames, which were recorded in 4.3 seconds. It took 5.9 seconds to process this burst.
Combining uncompressed raw frames with high-resolution JPEGs reduced the buffer capacity to eight frames, which were recorded in 3.2 seconds, a frame rate of 3.9 fps. It took 6.7 seconds to clear the buffer memory. Happily, the 50R lets users adjust camera settings while files are being processed, although you can’t playback the last shots you took until the buffer has cleared.
Battery capacity is quite good for a mirrorless camera, with a CIPA rating of 400 shots/charge with GF 63mmf/2.8 R WR lens when Auto Power Save is engaged. Without Auto Power Save, the capacity falls to 340 shots/charge.
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Image sensor: 43.8 x 32.9 mm CMOS sensor using a Bayer array with primary colour filter; 51.4 megapixels effective
Image processor: X-Processor Pro
A/D processing: 14-bit
Lens mount: Fujifilm G mount
Focal length crop factor: 0.79x
Image formats: Stills: JPEG (Exif Ver.2.3), RAF.RAW (14-bit), RAW+JPEG, TIFF (8-bit, via raw conversion); Movies: MOV (MPEG-4 AVC / H.264, Audio : Linear PCM / Stereo sound 48KHz sampling)
Image Sizes: Stills – 4:3 aspect: 8256 x 6192, 4000 x 3000; 3:2 aspect: 8256 x 5504, 4000 x 2664; 16:9 aspect: 8256 x 4640, 4000 x 2248; 1:1 aspect: 6192 x 6192, 2992 x 2992; 65:24 aspect: 8256 x 3048, 4000 x 1480; 5:4 aspect: 7744 x 6192, 3744 x 3000; 7:6 aspect: 7232 x 6192, 3504 x 3000; Movies: Full HD (1920 x 1080) at 29.97p / 25p / 24p / 23.98p 36Mbps, HD (1280 x 720) at 29.97p / 25p / 24p / 23.98p 18Mbps (Max clip length approx. 30min.)
Image Stabilisation: Available with OIS type lenses
Dust removal: Ultra Sonic Vibration of sensor
Shutter (speed range): Mechanical focal plane shutter (4-1/4000 second) plus electronic shutter (4-1/16000 second); Bulb & Time up to 60 minutes; flash synch at 1/125 second or slower
Exposure Compensation: +/-5 EV in 1/3EV or 1/2EV steps (+/-2EV for movies)
Exposure bracketing: 2/3/5/7/9 frames across +/- 1/3 EV to +/- 3EV in 1/3EV steps
Other bracketing options: Film Simulation (any 3 types), Dynamic Range, ISO, White Balance, Focus (Interval, Number of shots, 10 step selectable)
Self-timer: 2 or 10 seconds delay
Intervalometer: Yes (Setting : Interval, Number of shots, Starting time)
Focus system: 117-point TTL Contrast AF
Focus modes: Single AF, Continuous AF, MF modes plus Single Point, Zone AF or Wide/Tracking AF frame selection
Exposure metering: TTL 256-zone metering with Multi-zone, Centre-weighted and Spot metering patterns
Shooting modes: P (Program AE), A (Aperture Priority AE, S (Shutter Speed Priority AE), M (Manual Exposure)
Photography functions: Colour, Sharpness, Highlight tone, Shadow tone, Noise reduction, Long exposure NR, Lens Modulation Optimiser, Colour space, Pixel mapping, Select custom setting, Edit/Save custom setting, Store AF mode by orientation, Rapid AF, AF point display, Pre-AF, AF Illuminator, Face/Eye detection AF, AF+MF, Focus peak highlight, Focus check, Interlock spot AE & focus area, Instant AF setting (AF-S/AF-C), Depth-of-field scale, Release/Focus priority, Touch screen mode, Flicker reduction, Mount adapter setting, 35mm Format Mode, Red eye removal, Movie AF mode, RGB Histogram, Highlight alert, Electronic level, Preview depth of field, AE lock, AF lock, AF-ON, Multiple exposure
Film Simulation modes: PROVIA / Standard, Velvia / Vivid, ASTIA / Soft, CLASSIC CHROME, PRO Neg.Hi, PRO Neg.Std, Black&White, Black&White+Ye Filter, Black&White+R Filter, Black&White+Gfilter, Sepia, ACROS, ACROS+Ye Filter, ACROS＋R Filter, ACROS＋G Filter
Other effects: Grain Effect, Colour Chrome effect, Dynamic Range setting
Colour space options: Adobe RGB, sRGB
ISO range: Auto (ISO 100-12800), Manual (ISO 100-12800 in 1/3 steps with extensions to ISO 50, ISO 25600, 51200, 102400)
White balance: Automatic scene recognition / Custom / Colour temperature selection (K) / Preset : Daylight, Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent light (Cool White), Incandescent light, Underwater
Flash: Hot-shoe for external flashguns (dedicated TTL Flash compatible)
Flash modes: TTL (Auto, Standard, Slow Sync.), Manual, Off; 1st/2nd curtain sync.
Flash exposure adjustment:
Sequence shooting: Max. 3 frames/sec. (when using the electronic front curtain shutter)
Buffer capacity: JPEGs to card capacity; 8 uncompressed raw frames, 13 compressed raw frames
Storage Media: Dual slots for SD, SDHC, SDXC cards (Compatible with UHS-I and UHS-II standards)
Viewfinder: 0.5 inch colour OLED with 3,690,000 dots, 100% frame coverage, approx. 23mm eyepoint, -4 to +2 dpt adjustment, 0.77x magnification, built-in eye sensor
LCD monitor: Tilting (2 directions) 3.2 inch 4:3 aspect ratio touch-screen colour LCD with 2,360,000 dots, 100% frame coverage
Playback functions: Switch slot, RAW conversion, Erase, Erase selected frames, Simultaneous delete (Raw Slot1/JPG Slot2), Crop, Resize, Protect, Image rotate, Red eye removal, Voice memo setting, Copy, Photobook assist, Multi-frame playback (with micro thumbnail), Favourites, RGB histogram, Highlight alert
Interface terminals: USB Type-C (USB3.1 Gen1), HDMI (Type D), 2.5 mm jack for Remote Release, Microphone, DC IN 15V Connecter
Wi-Fi function: IEEE 802.11b / g / n (standard wireless protocol) with WEP / WPA / WPA2 mixed mode encryption plus Bluetooth low energy
Power supply: NP-T125 Li-ion battery; CIPA rated for approx. 400 shots/charge with GF 63mmf/2.8 R WR lens
Dimensions (wxhxd): 160.7 x 96.5 x 66.4 mm
Weight: Approx. 775 grams with battery and card
Accessories included: Li-ion battery NP-T125, Battery charger BC-T125, Plug adapter,
Body cap, Strap clip, Protective cover, Clip attaching tool, Shoulder strap, Cable protector, Hot shoe cover, Sync terminal cover, Owner’s manual
Distributor: Fujifilm Australia; 1800 226 355; www.fujifilm.com.au
For JPEG files.
For RAF.RAW files processed with Adobe Camera Raw.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
30-second exposure at ISO 50, 64mm focal length, f/4.
20-second exposure at ISO 100, 64mm focal length, f/4.
15-second exposure at ISO 1600, 64mm focal length, f/5.
10-second exposure at ISO 6400, 64mm focal length, f/7.1.
8-second exposure at ISO 12800, 64mm focal length, f/8.
5-second exposure at ISO 25600, 64mm focal length, f/9.
2.5-second exposure at ISO 51200, 64mm focal length, f/11.
1-second exposure at ISO 102400, 64mm focal length, f/11.
64mm focal length, ISO 800, 1/25 second at f/5.
Indoor close-up: 32mm focal length, ISO 125, 1/4 second at f/5.6.
64mm focal length, ISO 1600, 1/60 second at f/5.6.
64mm focal length, ISO 1250, 1/30 second at f/9.
32mm focal length, ISO 100, 1/170 second at f/5.6.
64mm focal length, ISO 100, 1/400 second at f/4.
Crop from the above image enlarged to 100%.
64mm focal length, ISO 100, 1/34 second at f/8.
Still frame from 1920 x 1080 video clip recorded at 30p.
Still frame from 1920 x 1080 video clip recorded at 25p.
Still frame from 1920 x 1080 video clip recorded at 24p.
Still frame from 1280 x 720 video clip recorded at 30p.
Still frame from 1280 x 720 video clip recorded at 25p.
Still frame from 1280 x 720 video clip recorded at 24p.
RRP: AU$7099; US$4999 (body only)
- Build: 9.0
- Handling: 8.9
- Ease of use: 8.9
- Autofocusing: 8.5
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.2
- Video quality: 8.0