Fujifilm GFX 50S Mark II
The GFX 50S II is an excellent addition to Fujifilm’s medium format line-up and a welcome evolution of the 50-megapixel category. It also carries the lowest RRP on release of any medium format camera sold in Australia, which is noteworthy in itself.
For stills photographers, choosing this camera will likely be a no-brainer; it provides pretty much all of the features a photographer could want in a body that handles very nicely indeed. Less so for videographers, who would be better served by a camera with a smaller sensor (50-megapixels is overkill for video) and professional-level 4K (or better) video capabilities.
The long-anticipated Fujifilm GFX 50S Mark II camera was announced just after midnight (AEST) this morning and is scheduled for release from late September. The GFX 50S Mark II is the fifth model in Fujifilm’s medium format system and the third with 51-megapixel effective resolution. However, physically (and in some respects, internally) it’s a different beast from either of its predecessors, not least because it has a built-in EVF, rather than a detachable finder like the GFX 50S or a rangefinder like the GFS 50R. Other differences are outlined below.
Angled view of the new GFX 50S Mark II with the new GF 35-70mm f/4.5-5.6 WR kit lens. (Source: Fujifilm.)
We didn’t get the chance to run our usual tests on a production sample of the original GFX 50S – or on the Fujinon GF 63mm f/2.8 R WR lens, which was released at the same time. However, as experience has taught us equipment submitted for ‘First Look’ testing is rarely supplied a second time and but since discovering raw files from the 50S Mark II could be opened in Adobe Camera Raw we’ve decided to run the tests on the pre-release camera with that lens – and also on the Fujinon GF 23mm f/4 R LM WR lens, which we received at the same time.
Readers should bear this in mind when assessing our results. In addition, as we only had the equipment for a week and video is limited to Full HD/30p, we decided not to bother with video in order to devote our time and attention to stills shooting.
We believe the GFX 50S II will be welcomed by many photographers. Here, at last, is a medium format rival for the pro-level ‘full frame’ DSLR and mirrorless cameras. Smaller in size and lighter in weight than the current pro DSLRs, the GFX 50S II is also much lower in price.
While we haven’t yet obtained detailed specifications for the Canon EOS R3 or Nikon Z9 mirrorless cameras, which are due to be released later this year, we can provide comparisons with existing DSLR models from both companies, to show how competitive the medium format GFX 50S II really is.
|Dimensions||Weight with battery & card(s)||RRP (body only)||Sensor size|
|Canon EOS-1D X III||158 x 167.6 x 82.6 mm||1440 grams||AU$10,999||35.9 x 23.9 mm|
|Nikon D6||160 x 163 x 92 mm||1450 grams||AU$9999||35.9 x 23.9 mm|
|Fujifilm GFX 50S II||150 x 104.2 x 87.2 mm||900 grams||AU$6499||43.8 x 32.9 mm|
The new camera enters the market at an RRP of AU$6499 for the camera body or AU$7299 for the camera plus GF 35-70mm f/4.5-5.6 WR kit lens, which should please photographers who were looking for a more affordable medium format camera. This follows the lead set by the GFX 100S and is significantly less than the original GFX 50S, which had a body price of AU$9999 when it was first released. It’s also less than the GFX 50R which, when we reviewed it in January 2019 had an RRP of AU$7099 for the body alone.
The magnesium alloy body of the GFX 50S II is quite different from its predecessor but almost identical to that of the GFX 100S, which we reviewed in March 2021. Its physical dimensions, weight, adjustable main monitor and top panel sub-monitor are the same; so is the built-in EVF. Both cameras use the same NP-W235 battery; both have dual SD card slots and both weigh 900 grams with battery and cards installed.
The main differences between them are sensor-related. The GFX 100S has a 102-megapixel sensor and supports 4K video recording, while the GFX 50S II has an effective resolution of 51.4 megapixels and is restricted to Full HD video at up to 30 fps. The new camera also has a conventional sensor chip, not BSI (back-side illuminated) like the chip in the 100S.
Built-in, 5-axis sensor-shift stabilisation (inherited from the GFX 100S) is a key factor distinguishing the Mark II model from the original GFX 50S or the GFX 50R that followed it. While it’s not new to Fujifilm’s medium format cameras, the IBIS unit in the GFX 50S II manages half a stop more than the one in the GFX 100S, with 6.5 stops claimed, suggesting further refining of the system.
Use of the latest X Processor 4 image processor means the new camera’s autofocusing system might be a little faster, although the AF system is otherwise unchanged since the original GFX 50S. Also unchanged is the continuous shooting speed, which remains at a maximum of three frames/second. Interestingly, there appear to have been some adjustments to the buffer memory, which now claims to hold ‘unlimited’ JPEGs (up from 25 in the 50S) or 31 compressed RAF.RAW files (up from 13). Readers should note, however, the capacity for losslessly-compressed and uncompressed raw files is unchanged.
Multiple exposures are a new feature in the 50-megapixel series and like the GFX 100S, the GFX 50S II provides Additive, Average, Bright and Dark settings, each with up to nine frames in a sequence. It also features a Pixel-shift multi-shot mode, similar to the one in the GFX100S.
When this mode is activated, the camera records 16 raw files, shifting the sensor in half-pixel increments between frames. The camera must be tripod mounted to keep it steady during this time and the frames have to be combined externally using Fujifilm’s Pixel Shift Combiner software, which is available cost-free for PC and Mac computers. The end result is a single 16,480 x 12,360 pixel image with a resolution of approximately 200 megapixels and a file size in excess of 700MB.
In the past we would have been concerned about the amount of storage space for recording such large image files. Fortunately, the capacities and speeds of the latest SD cards are easily able to handle these files. So is most high-end image editing software and most applications can convert the DNG.RAW files into editable formats.
Focus bracketing has been added to the existing bracketing options, another function ported across from the GFX 100S. Once again, the camera must be tripod-mounted and users can choose between auto and manual modes.
In the manual mode, you must set the number of frames in the sequence, the distance the focus changes between shots and the interval between shots. In the Auto mode, the user sets the interval, focuses on the nearest point in the subject and presses Menu/OK to set the near distance then focuses on the most distant point. Pressing the Disp/Back button sets the limit to the range. The camera will calculate the values and display the number of frames for the sequence.
Regardless of which mode is used, the camera will stop recording frames once the focus is at infinity. The number of frames is displayed on the camera’s monitor as the sequence is recorded. The resulting frames must be combined with a third-party image editor, such as Adobe Photoshop, Affinity Photo or Helicon Focus.
New modes added to the Film Simulations settings include Classic Neg., Nostalgic Neg., Eterna/Cinema and Eterna Bleach bypass – for those who like this kind of JPEG processing. Clarity is also now adjustable in the camera across a range of +/-5 steps. The Auto White Balance function provides three options: Automatic, Ambience and White Priority plus three memories for saving settings in Custom memories. These settings are only applied to JPEGs; not raw files, which are processed in an external software application.
Finally, a USB-C terminal replaces the USB 3.0 port in the original 50S and the camera supports USB charging. The Mark II uses the same battery as the GFX 100S, which is CIPA rated for 455 shots/charge and the new camera includes a Bluetooth 4.2 wireless interface – inherited from the GFX 50R – which allows it to communicate with a smartphone.
Who’s it For?
The new body makes the GFX 50S Mark II even more of a photographer’s camera than either of its 50-megapixel siblings. It’s certainly not for videographers – or those who need gear that can handle both stills and video (in such cases the GFX 100S would be a better choice).
Size-, weight- and handling-wise, the Mark II is smaller and lighter than the top ‘full frame’ pro DSLRs from Canon and Nikon and only a bit bigger than Panasonic’s S1 and S1R cameras. That’s pretty impressive for a camera based on a sensor that is 1.7x larger.
The 50S II includes many useful features; it is comfortable to operate and handles a wide range of subjects with aplomb. While it’s not the ideal ‘go-to’ camera if you need fast burst speeds, its bright, high-res viewfinder and intuitive control layout, coupled with fast response times for storing files and clearing the buffer memory will make it usable for those who need to capture action and are confident (and competent) camera operators.
The release of the GFX 50S II confirms Fujifilm’s commitment to its medium format range, which means we should expect to see more lenses joining the rather limited options currently on offer, hopefully in the near future. There are currently nine prime lenses (ranging from 23mm to 250mm), three well-specified zooms and a 1.3x teleconverter to match with the new camera. Many photographers will watch with interest as the range expands.
Build and Ergonomics
The physical dimensions, weight, adjustable main monitor and top panel sub-monitor of the new camera are virtually identical to those of the GFX 100S, which we reviewed in March 2021. So is the built-in EVF. Both cameras weigh 900 grams with battery and cards installed.
Front, top and angled back of the GFX 50S II with the GF 35-70mm f/4.5-5.6 WR kit lens fitted. (Source: Fujifilm.)
The two slots for the SD/SDHC/SDXC cards are located beneath a hard lift-up cover in the right hand side panel. Both slots are compatible with UHS-I and UHS-II standards as well as Video Speed Class V90.
There are two compartments on the left hand side panel, both with rubber-like, lift-up lids attached by flexible tags. The top lid covers the 3.5mm microphone and headphone jacks, while the lower one shields the USB-C, HDMI (Type D) and X-sync terminals.
The GFX 50S II uses the same NP-W235 battery as the GFX 100S and also Fujifilm’s X-T4 camera. It slips into a compartment in the base of the grip moulding and is CIPA rated for 455 shots/charge, which is very slightly less than the rating for the GFX100S. As in the GFX 100S, the battery is charged via the USB-C port using a supplied cable and AC adapter.
Sensor and Image Processor
As well as IBIS, upgrading to the relatively new X Processor 4 image processor and the introduction of the Pixel-shift multi-shot function are the main differences between the new camera and the original GFX 50S. Otherwise image size and quality settings are unchanged.
The camera supports three different JPEG settings (Super Fine, Fine, Normal), as well as three RAF.RAW settings (uncompressed, lossless compressed 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 – including for the Pixel Shift Multi-Shot mode.
|Image quality||Image size (pixels)||Approximate file size|
|Uncompressed raw||8256 x 6192||~121MB|
|Lossless compressed raw||~63MB|
|JPEG||8256 x 6192||31.5MB||21.0MB||13.2MB|
|4000 x 3000||14.8MB||9.7MB||6.6MB|
|Pixel Shift Multi-Shot||16480 x 12360||~700MB|
Other aspect ratios are also selectable, including 3:2, 16:9, 1:1, 65:24, 5:4 and 7:6. In each case, they are achieved by cropping the 4:3 frame.
The maximum continuous shooting speed is three frames/second, a relatively slow frame rate when compared with most pro cameras. Like its predecessor, the Mark II provides TIFF file support but only through in-camera raw conversion and only at 8-bit depth. Video is restricted to Full HD 1080p with frame rates of 29.97, 25, 24 and 23.98 fps and a maximum bit rate of 50Mbps. Clips can be recorded for up to 120 minutes.
Playback and Software
Nothing much has changed since the GFX 100S and, as usual, the software must be downloaded from Fujifilm’s support pages. You’ll need Fujifilm’s Pixel Shift Combiner software to open the Pixel Shift Multi-Shot images; it’s available to download free of charge from the link provided.
Because we reviewed a pre-release camera, we didn’t receive a list of applications available for the GFX 50S Mark II but will add the link once it’s available. However, it’s safe to assume most of the applications for previous models will be included, along with plugin software for tethered capture with Photoshop CC and Lightroom for both Windows and MacOS.
The part of Sydney we live in was still in hard COVID-19 lockdown, restricting the area we could take test shots in and forcing us to become a bit more creative. We also had only a week in which to use the camera and the two lenses we hadn’t previously reviewed, which was a further limitation, especially as it rained for two of the days in that week. Fortunately, we were able to carry out our regular Imatest tests – including tests of raw files, which were supported in Adobe Camera Raw, our preferred raw file converter.
Our Imatest testing showed resolution with JPEG files comfortably met expectations for the 50.1-megapixel files with the two lenses we used for our tests and exceeded expectations for RAF.RAW files captured simultaneously. An initial subjective assessment of JPEG files showed they tended to have slightly muted colours with a slight purplish bias.
This colour bias was confirmed by our Imatest tests. Both were relatively minor and both could be due to the camera being a pre-release unit. Both were removed automatically when raw files were converted into TIFF format and easy to correct in the JPEGs. The graph below shows the resolution results for different ISO settings for JPEG and raw files.
Long exposures at night showed the review camera to be similar to the higher-resolution GFX 100S; probably because both cameras use the same image processor. If anything, the lower-resolution sensor was more noise-resistant, much as one would expect (given its photosites are larger).
Exposures at low and mid-sensitivities were clean and relatively noise-free with a decent amount of highlight and shadow detail. Enlargement of frames showed little or no noise was present up to ISO 6400. Noise began to be noticeable by ISO12800 and shadows had begun to block up.
Colours started to fade out at ISO 25600 and both colours and details had been lost by ISO 51200. Noise was very visible at ISO 102400 where images had become almost totally monochrome. (This setting should be avoided wherever possible.)
The auto white balance control only applies to JPEGs and offers three settings: Auto, White Priority and Ambience Priority. The White Priority setting produced close to neutral colour rendition under fluorescent lighting as well as warm-toned LED lighting but the Auto and Ambience Priority settings delivering slightly ‘warmer’ results. With incandescent lighting, none of the auto settings was able to provide complete colour correction, although the White Priority setting came closest of the three.
There’s no pre-set for LED lighting and 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 barely noticeable under fluorescent lighting. Plenty of in-camera adjustments are available to fine-tune colour balance on the go.
The IBIS system also performed extremely well, enabling us to shoot hand-held with shutter speeds as low as 1/17 second for stills and obtain a high percentage of usable shots. We didn’t bother testing the camera’s video capabilities since it’s primarily a stills camera. Full HD at 30p is of little interest to pro videographers.
Autofocusing is influenced by the lens fitted to the camera and covered in our reviews of the two lenses we tested with the camera. Suffice it to say we had no issues with autofocusing with either lens, although the linear motor in the GF 23mm f/4 R LM WR lens was almost inaudible, whereas focus adjustments with the GF 63mm f/2.8 R WR lens could be heard in quiet situations and may be a source of unwanted noise in video recordings.
The contrast-based AF system was fast enough in all the situations we encountered but probably not as fast as the recent hybrid systems in the latest mirrorless cameras. Continuous shooting speeds may have been slowed by slow focusing with the GF 63mm f/2.8 R WR lens we used for these tests.
Our timing tests were carried out with a 32GB Lexar Professional SDHC II UHS 3 card in one slot and a 64GB Lexar Professional SDHC II UHS 3 card in the other. Both cards are rated at 300MB/second.
The review camera powered up and shut down almost instantaneously. We measured an average capture lag of 0.2 seconds, which was eliminated with pre-focusing. Shot-to shot times averaged 0.6 seconds. It took approximately 1.6 seconds to process each Large/Superfine JPEG file and 1.8 seconds for each RAF.RAW file and also for each RAW+ Superfine JPEG pair.
In the continuous shooting mode using the electronic shutter, the review camera recorded 21 Large/SuperFine JPEG images in 11.5 seconds without slowing. This is very close to two frames/second. With the mechanical shutter, we recorded 22 frames in 7.8 seconds, which is close to the specified three frames/second. In both cases, processing was completed within a second of the last frame recorded.
When shooting uncompressed RAF.RAW frames with the mechanical shutter the camera paused after 8 frames, which were recorded in three seconds. It took 13.2 seconds to process this burst. With losslessly compressed 14-bit RAW files, the camera recorded 14 frames in 5.2 seconds and took 14.3 seconds to process the burst. We also recorded a burst of 38 compressed raw files in 5.1 seconds, which is slightly more than the specified 31 frames. It took 14.6 seconds to process this burst.
To our surprise, when combining compressed raw frames with large/fine JPEGs extended the buffer capacity to 70 frames, which were recorded in 27.1 seconds, which is within specifications. Processing appeared to be on-the-fly for this burst. The camera became a little warm during our continuous shooting tests.
Please Login or Register to access the Conclusion.
Image sensor: 43.8 x 32.9 mm CMOS sensor with Bayer colour array and primary colour filter; 51.4 megapixels effective
Image processor: X-Processor 4
A/D processing: 14-bit RAF.RAW
Body material: Magnesium alloy
Lens mount: Fujifilm G mount
Focal length crop factor: 0.79x
Image formats: Stills: JPEG (DCF 2.0, Exif Ver. 2.32), RAF.RAW (14-bit), 8-bit/16-bit TIFF (in-camera raw conversion only); Movies: MOV (MPEG-4 AVC/H.264) with Linear PCM Stereo sound (24-bit /48KHz sampling)
Image Sizes: Stills – 4:3 aspect: 8256 x 6192, 4000 x 3000; 3:2 aspect: 8256 x 5304, 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 x3048, 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: 30p, 25p, 24p / 50 Mbps, up to approx. 120 min. Long GOP compression
Aspect ratios: 4:3, 3:2, 16:9, 1:1, 65:24, 5:4, 7:6
Image Stabilisation: Image sensor shift with 5-axis compensation; 6.5 stops shake correction (CIPA standard) plus digital stabilisation for movie mode
Dust removal: Ultra Sonic Vibration
Shutter / speed range: Focal plane shutter / mechanical shutter: 4 (P mode) or 30 seconds (A mode) up to 60 minutes to 1/4000 second in S/M mode, Bulb up to 60 minutes; electronic shutter: max. 60 minutes to 1/16000 second in S/M mode; flash sync. at 1/125 second; movie speeds – 1/24 sec. to 1/4000 sec.; flash sy6nch at up to 1/125 sec.
Exposure Compensation: +/- 5EV in 1/3EV steps (+/-2EV for movies)
Exposure bracketing: 2, 3, 5, 7, 9 frames in +/-1/3EV, +/-3EV steps
Other bracketing options: Film Simulation (and 3 types), Dynamic Range (100%, 200%, 400%), ISO sensitivity (+/-1/3EV, +/-2/3EV, +/-1EV), White Balance (+/-1, +/-2, +/-3), Focus bracketing (Auto / Manual)
Multiple exposures: Max 9 frames with Additive, Average, Bright and Dark settings; Pixel-shift multi-shot mode
Self-timer: 2 or 10 seconds delay
Interval timer shooting: Yes with interval, number of shots and starting time selectable
Focus system: TTL Contrast AF with Single Point, Zone, Wide/Tracking modes
Focus modes: Single AF, Continuous AF, Manual
Exposure metering: TTL 256-zone metering with Multi, Average, Centre-weighted and Spot metering patterns
Shooting modes: P, A, S, M
Photography functions: Colour, sharpness, highlight tone, shadow tone, noise reduction, long exposure NR, Lens Modulation Optimiser, pixel mapping, select/edit/save custom setting, store AF mode by orientation, Rapid AF, AF point display, Pre-AF, 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, mount adapter setting, red-eye removal, Movie AF mode, electronic level, multiple exposure
Film Simulation modes: PROVIA / Standard, Velvia / Vivid, ASTIA / Soft, Classic Chrome, Colour Chrome, PRO Neg.Hi, PRO Neg.Std, Classic Neg, Nostalgic Neg, Eterna/Cinema, Eterna Bleach bypass, ACROS, ACROS+Ye Filter, ACROS＋R Filter, ACROS＋G Filter, Black& White, Black& White+Ye Filter, Black& White+R Filter, Black& White+G Filter, Sepia
Grain Effect modes: Strong, Weak, Off
Colour Chrome effect: Strong, Weak, Off
Smooth Skin Effect: Strong, Weak, Off
Dynamic range setting: AUTO, 100%, 200%, 400%
Advanced Filters: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple)
Clarity: +/- 5 steps
Colour space options: sRGB and Adobe RGB
ISO range: Auto (x3, up to ISO 12800 in 1/3EV steps), ISO 100-12800 in 1/3EV steps, extensions to ISO 50, ISO 25600, 51200, 102400 available; ISO 200~6400 for movies
White balance: Automatic scene recognition with Auto / Ambience / White priority, Custom (x3), Colour temperature selection, Presets for Fine, Shade, Fluorescent light (x3), Incandescent, Underwater
Flash: Hot-shoe for external flashgun (TTL flash compatible)
Flash modes: Auto, Standard, Slow Sync., Manual, Off; First/Second Auto FP (HSS) selectable
Sequence shooting: Max. 3 frames/sec.
Buffer capacity: ‘Endless’ JPEGs, 31 compressed RAW files, 13 lossless compressed RAW or 8 uncompressed RAW files
Storage Media: Dual slots for SD, SDHC, SDXC cards (compatible with UHS-I / UHS-II / Video Speed Class V90 standards)
Viewfinder: 0.5-inch type OLED EVF with approx. 3,690,000 dots, 100% coverage, approx. 23 mm eyepoint, dioptre adjustment -4 to +2 dpt, 0.77x magnification, built-in eye sensor
LCD monitor: Tilting (90o up, 45o down, 60o to the right) 3.2-inch touch screen LCD with 4:3 aspect ratio, 2,360,000 dots, 100% coverage; 1.80-inch monochrome LCD on top panel; 4:3 aspect ratio, 303 x 230 dots
Touch screen display: Supports double tap, tap, press, drag, pinch in/out, swipe gestures
Playback functions: Switch slot, raw conversion, erase, erase selected frames, crop, resize, protect, rotate, red eye removal, voice memo setting, copy, Photobook assist, multi-frame playback with micro thumbnails, favourites, RGB histogram, highlight alert
Interface terminals: USB Type C (USB 3.2 Gen 1×1), HDMI Micro Type D, 3.5 mm terminals for microphone & headphone, 2.5 mm remote release connector, DC-IN 15V connector
Wi-Fi function: IEEE 802.11b/g/n, Infrastructure mode, WEP / WPA / WPA2 mixed mode; Bluetooth V. 4.2
Power supply: NP-W235 rechargeable Li-ion Battery Pack; CIPA rated for approx. 455 shots/charge
Dimensions (wxhxd): Approx. 150.0 x 104.2 x 87.2 mm (excluding protrusions)
Weight: Approx. 819 grams (body only); 900 grams with battery and card
Distributor: Fujifilm Australia; 1800 226 355
Based on Superfine JPEG files taken with the Fujinon GF 63mm f/2.8 R WR lens.
Based on RAF.RAW files taken simultaneously and converted into 8-bit TIFF format with Adobe Camera Raw.
Auto white balance with incandescent lighting – auto setting.
Auto white balance with incandescent lighting – white priority setting.
Auto white balance with fluorescent lighting – auto setting.
Auto white balance with fluorescent lighting – white priority setting.
Auto white balance with warm-toned LED lighting – auto setting.
Auto white balance with warm-toned LED lighting – white priority setting.
63mm focal length, 30-second exposure at ISO 50, f/3.6.
63mm focal length, 20-second exposure at ISO 100, f/4.
63mm focal length, 8-second exposure at ISO 800, f/5.6.
63mm focal length, 4-second exposure at ISO 6400, f/10.
63mm focal length, 4-second exposure at ISO 12800, f/14.
63mm focal length, 2-second exposure at ISO 25600, f/14.
63mm focal length, 1-second exposure at ISO 51200, f/14.
63mm focal length, 1/2-second exposure at ISO 102400, f/16.
23mm focal length, ISO 200, 1/500 second at f/5.6.
3:2 aspect ratio; 23mm focal length, ISO 400, 1/8 second at f/11.
16:9 aspect ratio; 32mm focal length, ISO 400, 1/18 second at f/11.
1:1 aspect ratio; 32mm focal length, ISO 200, 1/125 second at f/5.6.
65:24 aspect ratio; 32mm focal length, ISO 200, 1/80 second at f/10.
Pixel-shift multi-shot mode; 63mm focal length, ISO 100, 1/6 second at f/8.
Crop from the above image magnified to 100%
Focus stacking based upon 9 frames at auto-selected interval; 63mm focal length, ISO 100, 1/5 second at f/8.
63mm focal length; ISO 200, 1/160 second at f/5.6.
23mm focal length,; ISO 320, 1/50 second at f/6.4.
63mm focal length, ISO 200, 1/85 second at f/9.
Hand-held exposure at 23mm focal length, ISO 200, 1/2 second at f/13.
23mm focal length,; ISO 800, 1/17 second at f/6.4.
23mm focal length,; ISO 25600, 1/100 second at f/11.
RRP: AU$6499; $AU7299 with GF 35-70mm f/4.5-5.6 WR lens
- Build: 9.5
- Features: 9.0
- Ease of use: 9.0
- Autofocusing: 8.9
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0