Designations used in the names of Fujifilm lenses. Review of Lens for FUJIFILM X-Series Cameras Obsolete Lens Abbreviations

FUJINON Cinema Lenses

Friends, today I would like to tell you about FUJINON lenses. The topic is quite relevant, because now, with the advent and distribution of new FUJIFILM cameras, very often I began to hear questions about the optics with which these cameras are equipped. All these questions are about the same, they sound like this: "FUJINON optics? .. Yes? .. I've never heard of this. Is it generally good?" You can, of course, answer briefly: "Yes, good." But people are interested in details! Therefore, the idea of this post was born - to briefly tell about the achievements of the FUJINON division, which develops and manufactures lenses for all FUJIFILM cameras. However, this division is engaged not only in lenses, it has many other areas in its asset, one way or another related to the development and production of optical systems. Judge for yourself.

Reader modules in DVD players, optics in medical devices, projectors

FUJINON Specialized Optical Development Modules
All this may seem like a trifle, or something not directly related to lenses, but in fact this is a serious market, the most complex developments and high-tech production.

Binoculars

Range of rugged binoculars
A very large area of FUJINON's activity is the creation of binoculars of various sizes, of any complexity in design and for a very different purpose.

Binoculars FUJINON
By the way, in Russia and the CIS countries FUJINON is the only company that supplies the largest and most expensive astrobinoculars, which are also used in the navy. If you type in Google the word "astrobinoculars" and go to Wikipedia, then, including just such FUJINON binoculars, the theme "Astro binoculars" is illustrated:

Astronomical binoculars FUJINON 25x150

Optics for CCTV and security systems

Optical modules for surveillance systems
The introduction of FUJINON lenses to the global market coincided with the beginning of the era of color television broadcasting in Japan. Prior to that, FUJINON has been manufacturing cameras and binoculars for about 20 years, since its foundation in 1944, accumulating vast experience in the development of optical technologies. In 1967, FUJINON launched the first four CCTV lens models on the market. Thanks to their excellent quality and excellent optical performance, they immediately attracted the attention of specialists.
In the mid-eighties, there was a clear trend in the market to move from tube cameras to CCD cameras, which had significant advantages. FUJINON is the first company among optical manufacturers to develop lenses for camcorders with CCD-matrices in 1986, and also began producing zoom lenses with a magnification of 44 times. These FUJINON lenses have a high reputation among professionals and are in strong demand in the market. In the same year, FUJINON received the main award in the annual Emmy Award for outstanding achievements in the development of optics. There are 3 Emmy Awards in FUJINON history.

Emmy Award
In 1993, to meet the market demand for lightweight and compact lenses, FUJINON developed Aspheric Technology, which significantly reduced weight, reduced the number of lenses and significantly improved the quality of optics. Nowadays it is difficult to even imagine the production of modern lenses without this technology for calculating and manufacturing aspherical lenses.
In 2002, FUJINON set another record for the production of varifocal lenses for CCTV with the first f / 0.95 lens!

Optical module for surveillance systems with aperture f / 0.95
In 2003, FUJINON developed the world's first Day / Night class varifocal lenses with a minimum focal length of 2.7 mm. In 2004, she launched a Day / Night class lens with a focal length of up to 50 mm. In the same year, FUJINON developed a 60x zoom lens. This lens is still the only one in its class and has not yet been mastered by any of the competitors.
Today FUJINON offers a wide range of CCTV lenses to meet all the requirements of distributors, system integrators, installers and end users.

Photo modules of top smartphones

Top smartphones
The topic of high-quality PV modules is now at the cutting edge of technology and is in constant demand among manufacturers of mobile equipment. In this segment, FUJINON also has a very strong position - the company produces more than 50% of optics for top models of mobile phones.

Smartphone photomodule

Optics for spacecraft

Japanese satellite in orbit
FUJINON lenses have been orbiting the moon for a year aboard a Japanese satellite launched in September 2007. Thanks to these special lenses, high-quality images of the lunar surface were obtained. They will help scientists understand the origin and development of this natural satellite of the Earth. Designed to withstand the rigors of space travel, FUJINON lenses have also been used in many other Japanese Earth observation spacecraft.

Say "sy-s-s-s-yr"!
More than 50% of the market for optics used on spacecraft is also produced by FUJINON. Look up, maybe the satellite is filming you with the FUJINON lens right now!

Cinema

ARRI Cinema Camera with FUJINON Zoom Lens
FUJIFILM optics are widely used in cinema. Moreover, in cinema optics FUJINON specializes in the production of zoom lenses - lenses with a variable focal length. Traditionally, they are technologically the most difficult to design and manufacture.

FUJINON Cinema Lenses
For example, world renowned screenwriter, director and producer of blockbusters and documentaries James Cameron was nominated for a Lifetime Achievement Award for his love of diving and sea exploration, which has led to a number of ocean-themed memorabilia. Many of these films, such as Ghosts of the Abyss: Titanic (2003), Expedition Bismarck (2002) and the epic Titanic (1997), tell about tragic events on the high seas and fearless expeditions to the bottom of the ocean in special bathyscaphes. ...

James Cameron at work
James Cameron has used a variety of FUJINON lenses to shoot many of his paintings, including major 3D projects such as Avatar, Ghosts of the Abyss: Titanic and Aliens from the Abyss.

Filming moment of the film "Avatar"
Actually, not only Cameron uses FUJINON optics in filming. These lenses also filmed, for example, such famous films as "Star Wars", "The Girl with the Dragon Tattoo", "Journey to the Center of the Earth" and many others.

FUJINON 3D Lens

Fixed TV camera
Own production facilities and unique developments in the field of optical technologies allow FUJINON by right for more than 40 years FUJINON to be considered one of the world leaders in the production of television optics. During this time, the company has accumulated vast experience in the development of lens manufacturing technologies, optimization of their performance and quality control.

FUJINON Telephoto Lens
FUJINON introduces a new generation of telephoto lenses called "Opto-Mechatronics". This technology allows you to combine the constructive, electronic and optical components of production into a single process. The FUJINON line of TV lenses includes 60 models with a focal length range from 4.5 mm to 2300 mm for telephoto lenses. For example, here is one of these lenses, a unique zoom with 100x magnification:

FUJINON 100x zoom lens attached to Sony HD camera
All FUJINON lenses are highly functional and deliver superior clarity and high resolution images. Thanks to this, it is now quite common to see how cameras from various manufacturers are equipped with FUJINON lenses:

Cameras from different manufacturers with FUJINON lenses
In Russia, FUJINON lenses are used by such TV productions as Channel 1, VGTRK, RenTV, RIA Novosti, Ostankino and many others.

Optics for medium format cameras

Hasselblad Medium Format Digital Camera
FUJINON manufactures optics for today's Pentax and Hasselblad digital medium format cameras.

Medium Format Lenses

Video about FUJINON

A short video about the production and technology of FUJINON (alas, so far only in English):
conclusions
So why was all this said earlier? In addition to the fact that FUJINON is far from a beginner in the creation of optics, it is the largest world production, with its own original developments, with vast experience in creating a wide variety of lenses, with a unique opportunity to develop and produce any optical systems, and as a result, with world leadership in many segments where these systems are used.
That is why the optics that X-series cameras are equipped with are really very good. At the very least, it is at the level of the top lens manufacturers, and in some ways even superior to them.

X-series lenses

What you can get from Fujifilm GFX 50S full frame mirrorless camera. Alexander Khokhlov performed a big test and shared his results.

Introducing the GFX System

2017 is definitely going to be a historic year for medium format cameras. It was in this year that a very narrow and niche segment of photographic equipment, which until a certain time was considered inaccessible to the overwhelming majority of both amateurs and professionals, finally decided to really “go out into the world”.

The emergence of medium format mirrorless cameras is a logical step. Despite the exceptional image quality provided by huge sensors, until recently, the purchase of such a bulky, slow and at the same time insanely expensive equipment remained only a dream, and the segment itself continues to experience a severe crisis.

The legendary Hasselblad brand was the first to break the wall and expand the professional audience in the mid-format family, unveiling its latest X1D system last year. However, no fanfare was sounded after the announcement of the first mirrorless "mid-format", when news of the launch of the new GFX system from Fujifilm followed.

There is nothing to be surprised at - Fujifilm was actively engaged in the production of medium format cameras and even lenses for the same Hasselblads back in the "film" times. The Japanese quickly got down to business, and at the 2016 Photokina exhibition it was already possible to hold a pre-production sample of the GFX 50S camera in their hands.

Fujifilm decided on a rather daring experiment and released the GFX system, completely ignoring the full-frame segment. The controversy about why the company did this continues to this day. Two years ago, Fujifilm spokesman Takashi Ueno stated that Fujifilm's philosophy is primarily about compactness, and APS-C sensors offer the best balance between camera size and image quality.

To unleash the full-frame sensor's potential, Ueno says, you need high-quality lenses whose size and weight (remember Sony's G Master lenses) don't fit into Fujifilm's compact X-series philosophy.

Holding the impressively sized Fujinon GF lenses in front of me at the moment, I dare to assume that Fujifilm is somewhat cunning. With two impressive aces X-Pro2 and X-T2 in the APS-C segment that rival most full-frame cameras in image quality, Fujifilm may simply not have seen the point of getting involved with Sony, Canon and Nikon for a full frame.

Their decision to invest in a segment that many are quick to dub the dying looks much more promising, with no more affordable medium format camera currently on the market. And how interesting the GFX 50S system turned out to be, we will now figure it out.

Interface and ergonomics

Fujifilm's X-Series has always followed classic design, so it should come as no surprise that the GFX 50S has inherited this philosophy in its chassis. Compared to the Hasselblad X1D, the exterior of the camera may seem overly conservative to someone - Fujifilm still focused on the functionality of the system, and its appearance is more a matter of taste.

As befits a modern top-end camera, the GFX 50S body has received protection from dust and moisture, as well as all-weather protection, allowing you to use the camera in temperatures from -10 to +40 degrees Celsius. Compared to its older brothers in the medium format, the camera looks really compact and visually more like a full-frame DSLR camera, albeit slightly fatter. The weight of the camera is also very close to top-end DSLRs - just over 800 grams along with a battery and an electronic viewfinder.

The Fujifilm GFX 50S has an excellent grip thanks to its high body and is quite comfortable for handheld shooting. Special thanks to the engineers for the comfortable thumb-grip on the back of the camera - it adds a lot of comfort to the hand when working. By analogy with the top-end X-series, the GFX can be equipped with the Fujifilm VG-GFX1 battery grip, providing not only additional runtime with a second battery, but also the convenience of shooting with a vertical grip.

A nice bonus will be the ability to charge the battery without removing it from the battery pack, but you will have to buy a separate charger for this. In general, the design of both the camera itself and the vertical grip allows for frequent use of a tripod, so the battery compartments in them are located so that you can easily replace the battery without removing the camera from the tripod.

Battery life is limited to 400 shots, which makes Fujifilm's battery much more durable than the X1D's 200-photo ceiling.

Hidden inside the Fujifilm GFX 50S camera is a huge 51.4-megapixel CMOS sensor measuring 43.8 x 32.9 mm, allowing you to capture images with an impressive resolution of 8256 x 6192 pixels. This sensor is 1.7x larger than a 35mm full-frame sensor and 3.7x larger than the APS-C sensors used in Fujifilm's X-series cameras.

Unlike the X-Trans sensors, which are equipped with younger brothers in the X series, the GFX 50S sensor uses a traditional “Bayer” scheme. Interestingly, Fujifilm may not be limited to a 50-megapixel sensor, since the camera body can easily accommodate a larger 100-megapixel sensor, and it is possible that the GFX line of cameras can be expanded.

If you are already familiar with the X-series from Fujifilm, especially the X-T2, then the interface and controls will not surprise you. Of the visible changes, the absence of the shooting mode selection ring draws attention - its contents have now migrated to the Drive button.

The shutter speed and ISO dials are still there and now, like the X-T2, they have a dedicated stopper button - an incredibly practical innovation that was lacking in the previous generation of Fujifilm X cameras.

On the right, the upper panel of the camera is decorated with a small LCD display, which displays the photographer all information about the exposure settings, as well as the white balance, focus type, image type (RAW or JPEG) and the film simulator filter.

In order to accommodate the display, I had to sacrifice the exposure compensation dial - now it is done using a small button located next to the shutter release button. Ergonomically, this is very inconvenient, since the camera body is quite massive and you can reach a tiny button with your finger and it turns out to be a difficult task, especially when you need to quickly adjust the parameter.

However, the camera allows 10 buttons to be reprogrammed to be more convenient - another nice feature inherited from the X-series. Don't like the exposure button? Transfer it to the back of the camera in just a couple of clicks.

The rear panel of the Fujifilm GFX 50S also has a lot in common with the X-T2 camera: the already classic Fujifilm four-position Menu / Ok selector, Disp / Back buttons and the Q quick menu.

The buttons for viewing and deleting images have migrated to the prominent "hump" of the camera, which is also a rather controversial ergonomic solution - they are not very inconvenient to operate. But the screen at GFX turned out to be just excellent. The 3.2-inch LCD display has an impressive 2.36 million dots (the Hasselblad X1D only has 920k) and features an up, down and side tilt function.

The Swedes also have touch screen control, but only Fujifilm currently boasts the ability to focus on the display, and here the X1D definitely loses to its competitor. Images, as in many smartphones, can be scrolled and enlarged using your fingers.

Fujifilm's top-of-the-line X-Series electronic viewfinders are among the best in their class, and the GFX 50S is no exception. It features a 0.5-inch viewfinder with a whopping 3.69 million-dot resolution - far more than its closest competitor, the X1D.

You can read what is an electronic viewfinder.

At the same time, the Hasselblad camera suffered from terrible viewfinder lags when panning a frame, but in the case of Fujifilm, this problem does not exist in principle, which in terms of quality is very close to the viewfinder installed in the Leica SL.

The viewfinder of the GFX 50S can be removed for shooting to slightly lighten the camera's weight. It has its own hot shoe, so you can operate flash units with or without a viewfinder attached.

In addition, you can purchase a swivel adapter that allows you to tilt the viewfinder to almost any angle and will be useful, for example, when you often use low shooting points. Unfortunately, this adapter was not included in our package, so it was not possible to test the practicality of this function.

Fujifilm GFX 50S is equipped with two SD card slots supporting UHS-II SDXC. Considering the large size of both RAW and JPEG files in good resolution, the presence of two card slots is a very thoughtful decision.

The GFX 50S delivers a continuous frame rate of three frames per second for 13 JPEGs or 8 compressed RAW files if you use a UHS-II SDXC card and electronic shutter, making it one of the fastest medium format cameras on the market. If you prefer to use a mechanical shutter, the speed drops to 1.8fps for unlimited JPEGs or eight RAW files.

We are testing a camera with two lenses - FUJIFILM GF 120mm F4 R LM OIS WR Macro and FUJIFILM GF 32-64mm F4 R LM WR. These are two impressively sized lenses, especially the 120mm macro fix, which, together with the hood, makes the GFX look like Sharik's photographic gun from Prostokvashino.

Both lenses are extremely ergonomic when bundled with the camera, especially the GF 32-64mm zoom, while the giant GF 120mm pecks forward a bit when shooting handheld. Since both lenses are large enough, this increases the risk of accidentally resetting the aperture value, which is set using the traditional lens ring.

But unlike XF lenses, the GF lens diaphragm rings now have a C (Command) marker, when you attach it, you move the aperture control to the function dial on the camera body. A similar innovation also affected exposure control, which can also be transferred to full control using a function disk. As befits top-end Fujifilm optics, both lenses are autofocus and have all-weather protection, and the macro fix is equipped with an image stabilizer - a nice addition, given the lack of internal stabilization in the camera itself and not too high aperture of the lenses.

Currently, the optics park includes three lenses. Besides the aforementioned ones, the GF 63mm F 2.8 R WR prime is available for purchase, but Fujifilm plans to release three more lenses by the end of the year. All of them will also be fixed focal lengths - GF 110mm f / 2 R LM WR, GF 23mm f / 4 R LM WR and GF 45mm f / 2.8 R LM WR.

Fujifilm GFX 50S in action

Autofocus

The Fujifilm GFX 50S is just a rocket compared to its Hasselblad rival - the time from turning the power lever to when the camera is ready for shooting takes a split second.

RAW link: https://yadi.sk/d/V7UIgWEv3JVFNq

Medium format cameras have never had fast focusing speeds, and recent experience with the Hasselblad X1D has shown that the situation has improved, but compared to DSLR and mirrorless cameras, it is still far from ideal. The first few minutes with the Fujifilm GFX 50S will convince you that it is currently the fastest focusing medium format camera.

It uses a contrast-detection autofocus system, but lacks phase-detection AF sensors as in the X-T2 and X-Pro2. The GFX 50S focuses on a subject in less than half a second. Low light conditions do not greatly affect the speed and accuracy of autofocus, although it may cause yaw.

64mm, f / 16, 1/125 sec, ISO 125

120mm, f / 14, 1/125 sec, ISO 125

The autofocus of the GFX system is perhaps the richest in settings among all medium format cameras. When shooting, you can choose one of 177 focusing zones, covering almost the entire area of the frame - this number can not boast of any other competitor in the class, including the new product from Hasselblad, which remains far behind with its 35 points and the lack of a tracking mode.

The size of the Fujifilm GFX 50S zone is adjustable in six positions, and the focus points can be controlled either with the convenient joystick on the back of the camera, or with the touch screen. In addition, the camera supports focusing with face and eye detection - just select the appropriate setting in the menu.

If you think the camera is limited to 177 focusing zones, you are wrong. The GFX 50S also allows the use of an extended area with 425 focusing points for shooting moving subjects in Zone and Wide / Tracking modes. In Zone mode, you can select a 3 × 3, 5 × 5, or 7 × 7 zone from the extended area. While focusing in AF-C mode, the camera will continuously track the subject and position it in the center of the area.

Wide / Tracking mode combines Wide mode in which the GFX automatically detects and tracks the focus area in an area of 425 AF points, and Tracking mode (when using AF-C focus mode), which uses the entire area from 425 points for object tracking. This function continuously focuses on a subject that moves up and down, left and right, or away from the camera. For shooting such moving models as children or animals, it is simply an indispensable solution!

Despite its impressive autofocus performance, the GFX 50S (like any other medium format camera) is not a godsend for the reportage photographer. The maximum burst speed of 3 frames per second is only suitable for leisurely street photography, but believe me - for a camera of this class, this is a huge achievement.

Image quality

When it comes to medium format cameras, the first thing that comes to mind is the unprecedented image quality they can provide. To reveal all the advantages of the 50-megapixel GFX 50S sensor, for this test I tried to select the most “brutal” models and textured objects.

I am sure that this will add interest in exploring full frame images with the GFX 50S 100%, because such a camera is simply made for highly detailed shots. In addition, a small backstage video from the studio will allow you to plunge into the behind the scenes of the filming process:

The matrix lacks an anti-aliasing filter, which, although it makes the sensor more sensitive to moiré, at the same time allows you to achieve an excellent level of image detail.

Obviously, when you compare small images of cameras such as the Canon 5DS R, Nikon D810, or Sony A7RII with the GFX 50S, you will hardly see a big difference, but once you print full-size images, the advantages of this medium format camera will immediately become clear.

From experience, I can also say that the detailing of the Fujifilm GFX 50S, in contrast to the above cameras, remains high not only in the center of the frame, but also on the periphery.

100% crop image

The dynamic range is as huge as the sensor on the camera itself. In a RAW file, I was able to pull out the shadow in plus up to 3-4 stops of exposure at the minimum ISO with no noise at all!

In addition to this, the GFX 50S has three dynamic range settings - 100%, 200%, 400%, as well as auto mode. By increasing the dynamic range, you increase the amount of detail in highlights and shadows, but the amount of noise in the image will also increase.

120mm, f / 4, 1/180 sec, ISO 100

The huge wonder sensor of the GFX 50S not only delivers highly detailed images with incredible depth and superb control of detail in highlights and shadows, but also excellent color reproduction. Despite the fact that the camera can only capture 14-bit images, unlike the Hasselblad X1D (which reproduces 16-bit), this does not greatly hinder the camera from taking very beautifully colored photos.

As a portrait photographer, it was especially important for me to see how well the camera works with skins, and here it doesn't disappoint either. Skin color in portraits turns out the way you see it in life - without embellishment and interference with extraneous shades, which would later have to get rid of.

An example of skin tone rendering (screenshot from RAW)

The GFX 50S carries the proprietary color and monochrome film presets familiar to owners of X-series cameras. This fact made me very happy, since I have a particular weakness for great black and white presets since the X-T1. The highly detailed screen of the new product from Fujifilm tends to idealize the image, so I would advise in the menu settings to slightly lower the brightness of the screen so that later you do not have to drag the exposure up in the finished JPEG file.

With three different JPEG settings (Super Fine, Fine and Normal), Fujifilm has broken stereotypes in some way, as digital medium format cameras have so far focused exclusively on RAW files. Hasselblad showed this in the X1D model, in which the JPEG files are cut four times in relation to the original file and play rather a supporting role in the work. The GFX 50S gives you an excellent 25MB JPEG in Super Fine mode, and the RAW file size is already much more serious at about 110MB.

Shutter and sync speed

120mm, f / 16, 1/160 sec, ISO 125 (crop from frame)

The Fujifilm GFX 50S uses a mechanical focal-plane shutter that allows shutter speeds up to 1/4000 sec. Despite the lack of a built-in ND filter, this shutter speed limit expands the camera's capabilities when shooting outdoors on a bright day. The GFX 50S also features an electronic shutter that extends the shutter speed range up to 1 / 16000s, and despite some limitations of its use (limiting the ISO range and inability to use flash), this greatly adds to the versatility of the camera.

120mm, f / 5.6, 1/80 sec, ISO 100

The use of the focal plane shutter in the GFX 50S limited the sync speed to 1/125 s, and this is almost the only drawback of the camera. The high cost of medium format cameras is not least due to the presence of a central shutter, which allows you to use fast shutter speeds when working with flashes. For example, the Hasselblad X1D, for all its sluggishness, provides synchronization over the entire shutter speed range up to 1/2000 s - an impressive figure even for medium format. A sync speed of 1/125 s will not be a problem for studio photographers, but if there is a need to work in locations with bright sunlight that needs to be interrupted, then this can be difficult. The latest flash sources with high-speed sync support (such as Profoto B2) may partly solve the problem, but it should be understood that in HSS mode you will spend much more flash power, and therefore discharge it faster.

Despite the lack of information about Fujifilm's plans to release central shutter lenses in the GFX system, the company promises at least support for such lenses using special adapters. There is currently only one available, the Fujifilm H mount adapter, which allows the use of multiple SUPER EBC FUJINON HC lenses developed for the still film GX645AF camera. The adapter will allow you to use shutter speeds up to 1/800 s when shooting, but you will have to focus manually - there is, alas, no autofocus support here.

57mm, f / 8, 1/80 sec, ISO 100

Shooting indoors. ISO

The era of low ISO in medium format cameras is finally a thing of the past. Hasselblad already proved this with its X1D model, now it's Fujifilm's turn.

120mm, f / 5.6, 1 / 125s, ISO 800
RAW: https://yadi.sk/d/kZzQQGJN3JVSLC

100% crop

The GFX 50S is able to avoid noise in images up to ISO 3200, while small grain in the frame only begins to appear at ISO 6400.

Image at ISO 6400

With a sensitivity value of 12800, the picture can still be called working, at 25600 conditionally working for publications on online resources or printing in a small format, while ISO values of 51200 and higher are better not to be used when shooting. Despite being slightly more noisy, RAW files also performed well up to ISO 12,800.

Video mode

The Fujifilm GFX 50S camera supports video shooting, but the video mode in this camera can be called rather basic. The camera is capable of recording Full HD (1920 × 1080 pixels) or 720p videos at 29.97, 25, 24, or 23.98 frames per second with the H.264 compression codec.

conclusions

Despite the Hasselblad X1D being the first mirrored medium format mirrorless camera, Fujifilm has revolutionized this previously unavailable professional segment. Years of experience in the field of optical production, as well as the active development of the X series in recent years, have allowed Fujifilm engineers to create not only a forward-looking camera, but the ideal tool for the modern professional photographer.

The GFX 50S turned out to be surprisingly balanced for the first camera of the new line - for the rival Hasselblad, which launched an iconic but completely crude model on the market, in such a situation it is even a shame. The not too modern design of the GFX 50S is more than compensated for by its functionality and an abundance of settings, which the dandy X1D can only envy.

Despite a couple of ergonomic oversights like the location of the exposure compensation button, the GFX, by analogy with its younger brothers from the X-series, has the ability to quickly change the configuration of the keys, which allows the photographer to adapt the camera to himself as much as possible.

Hidden inside the GFX 50S is a true "fiery motor" - a 50-megapixel sensor that provides not only stunning image quality, but also high dynamic range, great picture depth and excellent color reproduction. The camera allows you to take photos without visible noise up to ISO 3200, but in general, the sensitivity values are working up to 12800.

If the X1D is not inferior to the new Fujifilm in image quality, then it is noticeably inferior in speed. The GFX 50S is faster in everything: the camera turns on faster, focuses faster, processes files faster.

The GFX's viewfinder is one of the best in its class, offering much higher resolution than the X1D and free from lag when panning a frame. The camera screen is larger and has better color reproduction, an intuitive touch interface and a pivot function, which adds to the camera's versatility.

And most importantly, with all the advantages, you get the cheapest medium-format entrance ticket - the Pentax 645Z SLR, which was considered to be a budget representative of the class until now, will cost about 80,000 rubles more, not to mention the price tag of the X1D.

At the moment, in the professional photo store Photosale.ru, the Fujifilm GFX 50S camera costs 419,999 rubles.

The new product from Fujifilm lacks speed in continuous shooting, but again everything is learned in comparison - if 3 frames per second is ridiculous for DSLRs and mirrorless cameras, then for medium format this is a real breakthrough. Add to this the ability to use tracking focus, flexible adjustment of autofocus zones, and you will understand that shooting motion for this camera will not be a big problem.

Perhaps the only drawback of the Fujifilm GFX 50S is the not too high ceiling of the sync speed of 1/125 s due to the installation of a focal plane shutter, however, Fujifilm plans to release new adapters that allow using more lenses with a central shutter.

In GFX, as in any new system, there is still work to be done. But if Hasselblad needs to seriously "finish" its system, then to create the ideal medium format Fujifilm camera it is enough to "sandpaper" a little.

pros

the most affordable digital medium format camera on the market;
very high image quality in RAW and JPEG;
working ISO up to 12800;
convenient programmable interface;
a huge number of settings;
high speed of work;
fast for medium format autofocus with tracking function;
removable viewfinder;
highly detailed touch screen with rotation function;
capacious battery;
two slots for memory cards with support for UHS-II SDXC;
Wi-Fi.

Minuses

inconvenient location of some interface buttons;
sync speed limitation to 1/125 s.

P.S.

We are grateful to Fujifim Russia for the equipment provided for the test.

What lenses do not come for review at times. This time I had the opportunity to shoot with a rare EBC Fujinon.Z 1: 4.5 / 75-150 Fuji Photo Film Co. Lens-Japan, a lens made to last. Originally produced for film cameras with M42 thread, and now for all cameras that can be used with an adapter. ;) Has only 2x zoom and a constant maximum aperture of 1: 4.5.

There is a 'DM' version of the lens (with automatic aperture transmission) for use on Fujica-X cameras.

How to use with modern cameras?

Lenses with mounting thread M42 (M42 X 1 / 45.5), such as the lens from this review, are very easy to use on almost any modern digital camera (both SLR and mirrorless), for this it is enough to choose the right adapter (adapter). The cheapest adapters can be found on aliexpress.com. Adapters (adapters) with a chip provide more convenience during shooting, usually chips are used to confirm focus and / or metering the exposure.

For SLR cameras

CANON: For cameras with a mount, an M42-Canon EOS adapter is needed, such an adapter with a chip can be found without a chip.
NIKON: For cameras, as well as for cameras and with a Nikon F mount, you need an M42-Nikon F adapter, you can buy such an adapter without a lens and a chip, with a lens without a chip, with a chip without a lens, with a lens and a chip. ? ?
PENTAX: For Pentax K-mount cameras you need an M42-Pentax K adapter, you can buy such an adapter.
SONY / MINOLTA: For cameras with Sony / Minolta A mount, you need an M42-Sony A adapter, such an adapter without a chip can be found at this link, with a chip at this link.
OLYMPUS / PANASONIC /: For cameras with a 4/3 mount (not to be confused with Micro 4/3!), You need an M42-4 / 3 adapter, you can buy such an adapter.

For mirrorless cameras

SONY: E-mount cameras from the Sony NEX and Sony Alpha series require an M42-Sony E adapter (aka M42-Sonye Nex), which can be found here. An autofocus adapter is also available for these cameras, which can be found at this link.
OLYMPUS / PANASONIC / KODAK / XIAOMI: For cameras with Micro 4/3 mount (Micro 4: 3) you need an M42-Micro 4/3 adapter, you can find it here.
CANON M: For cameras with a mount, you need an M42-Canon M adapter, you can find it here.
CANON R: For cameras with a mount, an M42-Canon R adapter is needed, it can be found at this link.
NIKON 1: Nikon 1 series cameras require an M42-Nikon 1 adapter, which can be found here.
NIKON Z: For cameras of the series, an adapter M42-Nikon Z is needed, it can be found at this link.
FUJIFILM: X mount cameras need M42-Fuji X adapter, you can find it here.
SAMSUNG: For NX mount cameras, an M42-Samsung NX adapter is required, you can find it here. There are no adapters for the NX mini camera yet.
PENTAX: For Q-mount cameras you need the M42-Pentax Q adapter, you can find it here.
SIGMA / PANASONIC / LEICA: For L-mount cameras you need an M42-Leica L adapter, you can find it here.
LEICA: For cameras with Leica M mount, an M42-L / M adapter is required, you can find it here.

If you have any questions about compatibility and adapters - ask in the comments (comments do not require any registration at all).

View EBC Fujinon.Z 4.5 75-150 Fuji Photo Film Co. Lens Japan with lens hood installed when focusing on MDF

Fujinon-Z 4.5 / 75-150 has a special proprietary multi-coating lens ‘ EBС‘-‘ Electron Beam Coating ’, thanks to which it creates pleasant neutral color reproduction (as far as I can subjectively judge) and good resistance to light sources in the frame. Some Fuji lenses have modified HT-EBC or S-EBC coating. The 'Z' prefix in the Fujinon-Z name simply denotes that it is a 'Zoom' lens. On the net you can find rumors that the ‘EBC’ enlightenment was one of the best in the 70s and 80s.

View EBC Fujinon.Z 4.5 75-150 Fuji Photo Film Co. Lens Japan from behind

The focus and zoom rings are rubberized. On the example from this review, the rubber on the zoom ring slips slightly over the metal base of the latter. Fujinon-Z 4.5 / 75-150 has a built-in telescopic metal hood that adheres well to the lens when extended. The diameter of the front filter is 62 mm.

The lens has a fully internal zoom - nothing moves when the focal length is changed. It is also great that when focusing and when changing the focal length, the rear lens remains stationary. But when focusing, the entire front of the lens rotates and slides forward... The focusing ring rotates 170 degrees, and the MDF is 1.8m. There is a focusing distance scale in meters and feet. It was not difficult for me to focus and shoot with this lens.

The aperture control ring is wider than usual. The aperture consists of only 6 blades and closes down to f / 22. At F / 5.6, the petals form a jagged hole. The lens has a 'blinking' mechanism to work with corresponding cameras. The gallery contains images only at F / 4.5, but I can assure you that the lens is also good at closed apertures.

The first thing to talk about is the most famous types of bayonet mounts:

Fujifilm X Is the current, modern, fully electronic Fujifilm lens mount format for cameras with APS-C sensor. As of October 2013, there are five cameras that use this mount format: X-Pro1, X-E2, X-E1, X-M1, and X-A1. Fujifilm X lenses have a flange distance (distance between the mount and the film / sensor surface) of 17.7 mm. The format is quite new, but, nevertheless, at the moment more than 10 lenses are equipped with it, and several more are planned for release in the near future. Lenses that use this format are also called Fujinon.
Fujica X- old, mechanical fasteners used in the era of film cameras. They did not replace the previous M42 screw mount and were used with STX-1 cameras and other Fujifilm 35mm SLR cameras. Fujica X bayonet mount lenses are also called X-Fujinon and X-Fujinar. Although the format is outdated, there are plenty of old X-Fujinon lenses to be found at bargain prices on sites like EBay. Fujica-X optics have a minimum focal length of 43.5mm.

It is important to remember that both Fujifilm X and Fujica X lenses often have the same name and can be easily confused. At the same time, all current Fujinon mirrorless lenses are fully electronic and autofocus.

Abbreviations depending on lens class and technology used.

XC- XC is one of two classes of current Fujinon Fujifilm lenses for mirrorless digital cameras. Fujinon XC lenses are usually cheaper and simpler than their counterparts from the XF series and are mostly made of plastic (with a metal mount). According to Fujifilm developers, XC-series lenses are designed "compact and everyday". Both existing lenses of the XC type do not have aperture rings, but at the same time they are light, compact and affordable, which is their great advantage.
XF- these lenses usually have a metal mount and a wide aperture. For example, the Fujinon XF 18-55mm R LM OIS zoom lens has an f / 2.8-4 aperture range, far superior to the competition. Besides, such optics are quite expensive. Fujifilm strives to use all of its best technology in these lenses to obtain the best possible image quality. Most are equipped with ED lenses and aspherical elements to minimize chromatic aberration, as well as an aperture ring. This ring is absent in the XF 27mm f / 2.8 lens, as in this case the compact size of the lens was a priority.
R- this index means that the given Fujifilm X optics have a diaphragm adjustment ring. It does not work directly with the diaphragm, but through the electronic component. Turning the ring does not physically open the hole wider, but instead adjusts the camera to obtain an identical image. The aperture can be changed in 1/3 stop increments.
LM- The linear motor is used to move the lens elements during autofocus and manual focus in Fujinon X optics. It is not a Canon USM or Nikon SWM ring ultrasonic motor, but it also provides quiet operation and good speed. Lenses that do not have an LM motor use a conventional DC motor for autofocus.
OIS- Fujifilm optical image stabilization is an alternative to Nikon VR and Canon IS systems. It is designed to move some optics to resist shake and shake, and provide more accurate results with slow shutter speeds. Fujifilm claims that the stabilizer guarantees an improvement of approximately 4 to 4.5 stops, which is on par with the competition. The first stabilized lens is the Fujinon XF 18-55mmf / 2.8-4 R LM OIS. OIS technology uses the same linear motor that is used for autofocus.
EBC- Electron Beam Coating is used to minimize glare and ghosting by increasing light transmittance. The more light enters through the lens glass onto the sensor surface, the less reflections in the frame. The contrast also increases. The EBC coating is similar to the multilayer coating used by other manufacturers. Fujifilm lenses using EBC coatings will be labeled EBC or Super EBC, which means an improved version of the EBC. Fujifilm's broadcast lenses use an HT-EBC coating.
ALG- All-Group Focusing means that all optical elements are moved during focusing. This maximizes optical performance over the entire focusing range.

Specialized abbreviations.

Current Fujinon X lenses have only one dedicated model. Hopefully, as the lens line expands, the number of specialized models will also increase.

Macro- Fujinon macro lenses, like any macro lens on the market, are designed for good magnification with a short minimum focal length. As of October 2013, there is only one Fujinon macro lens for the Fujifilm X mount - the Fujinon XF 60mm f / 2.4 R LM. Unlike most modern macro lenses, the XF 60mmf / 2.4 R LM has a modest 1: 2 magnification. So Fujifilm's "macro" optics should be treated more leniently than other manufacturers' macro-optics (Canon and Nikon macro lenses usually have 1: 1 magnification).

Obsolete lens abbreviations.

Obsolete manual focus lenses may have identical abbreviations such as EBU. There are also older Fujinon X macro lenses. But apart from that, there is a separate terminology for old Fujinon lenses. Here is a short list of these abbreviations:

F- the letter F in the name means that this is a Fisheye lens.
SW- The letters SW in the name indicate this is a super wide angle lens.
W- the letter W means that this is a wide-angle lens.
Z- the letter Z means this is a zoom lens.
T- the letter T means that this is a telephoto lens.
DM- lens with automatic iris adjustment. These lenses can be used in shutter priority, aperture priority and manual exposure modes. Lenses without the DM designation can only operate in aperture priority or manual mode.

Example.

Let's look at an example of what a new lens is. Fujinon XF 23mm f / 1.4 R.

Weight - 235 grams
Front thread diameter - 58 mm

Ultra wide-angle lens without noticeable flaws
+ compactness and low weight
+ high sharpness of the image throughout the frame directly from the open aperture

A somewhat mushy image in the out-of-focus area

FUJINON XF16mm F1.4 R WR

24mm 35mm equivalent. High-aperture wide-angle lens with 13 optical elements in the design, 2 of which are aspherical and 2 are low-dispersion. This lens also has a sliding focusing ring. And just like 14 / 2.8, its presence raises questions for me: I can still understand such a solution on a macro lens, but here it seems strange to me. It's good at least that it has a tight move and does not switch arbitrary. In contrast, by the way, from the diaphragm control ring, which rotates here very freely and because of this, the settings have to be monitored all the time so as not to accidentally knock them down. This lens is dust and water resistant. Separately, I am glad that the minimum focusing distance is only 15 cm, which allows you to shoot close objects. For most analogs, the minimum focusing distance is usually in the range of 25-30 cm.

In general, it is quite difficult to get noticeable background blur on wide-angle lenses, but not in this case! Due to the high aperture ratio, background blur at 16 / 1.4 is quite easy to achieve. Not only that, thanks to the 9-blade aperture, the bokeh of the lens is very beautiful. Perhaps even to my taste, it is one of the nicest wide-angle lenses I've ever seen.

A high aperture not only helps to blur the background, it is also useful in low light conditions. Small vignetting at open apertures and almost complete absence of chromatic aberrations are also great help. Well, here it is also worth adding the almost complete absence of geometric distortions. The perfect wide-angle lens!

The disadvantages include only the relatively large dimensions and weight. “Relatively”, because, for example, full-frame analogs weigh as much as 1.5-2 times more! But we are talking about a compact mirrorless system, and here the relatively large dimensions and weight are not always appropriate, especially with the younger models of the X-series cameras.

Weight - 375 grams
Front thread diameter - 67 mm

High aperture
+ great lens design
+ fast autofocus
+ good backlit work
+ dust and moisture protection
+ close minimum focusing distance

Easy stroke of the diaphragm control ring

FUJINON XF18mm F2 R

Good old wide-angle pancake with an equivalent focal length of 27mm! My 18/2 lens is over 5 years old and still works great! The undoubted advantages include its small size, low weight and stylish appearance, especially if you use it together with a metal hood. Another plus is the small minimum focusing distance, only 18 cm. The lens is focused on sharpness very quickly, the autofocus drive works almost silently.

The picture as a whole is airy and very pleasant. In the zone of blur without any special revelations, the picture as a whole can be described with the word “soft”, which makes this pancake captivating at once. Plus - high aperture and compact dimensions, which I have already mentioned above.

The disadvantages of the lens are geometry distortions. On an open aperture, the image at the edges loses in detail and vignetting is visible. True, even with a slight aperture, the picture is sharp throughout the entire field of the frame. Also, the lens can easily catch chromatic aberration and side flares, especially if you shoot without a hood. You can also blame the fact that with an open aperture, a not very contrasting and slightly soft picture is obtained, which, however, some consider even an advantage.

In general, the lens turned out to be contradictory, but thus very lively. As they say - with a soul.

More pictures taken with this lens.

Weight - 116 grams
Front thread diameter - 52 mm

Soul picture
+ compact dimensions and low weight
+ fast and near-silent autofocus
+ stylish hood included

Subtle geometry distortion
- vignetting is present at open aperture
- chromatic aberration
- lightweight software on open aperture
- catches side flares

FUJINON XF23mm F1.4 R

Equivalent focal length - 34.5 mm, almost classic 35 mm! And this, perhaps, says it all. Metal, solid, with a sliding focusing ring like 14 / 2.8 and 16 / 1.4, it looks just gorgeous! The advantages of the design include internal focusing - when focusing on sharpness, the dimensions of the lens do not change. The autofocus itself works very quickly, but not silently, apparently because of the large dimensions of the lenses.

The picture is just great! I cannot give another definition. Based on the results of the work, I can safely say that this is the best autofocus 35mm lens of all that I have ever seen and held in my hands! Only excellent epithets! The image is sharp straight from the open aperture, no distortion or noticeable vignetting. High contrast. The drawing is clear, the bokeh is very beautiful, in my opinion.

A little this barrel of honey is diluted, perhaps, chromatic aberrations, which can be caught in backlighting. But, firstly, they are far from always visible, and secondly, should this lens have at least one drawback?! ..

More pictures taken with this lens.

Weight - 300 grams
Front thread diameter - 62 mm

Lovely drawing
+ sharpness starting right from the open aperture
+ high image contrast

Sometimes chromatic aberrations come out

FUJINON XF27mm F2.8

Available in two colors. A relatively inexpensive pancake with an equivalent focal length of 40.5 mm, a sort of classic all-rounder. This is the only FUJINON fix that does not have a diaphragm setting ring. But it is the most compact and looks great with the younger X-series cameras. With it, by the way, you can put them in the pockets of your jacket, for example. Despite the position of the “junior” in the lineup, the lens is made of very high quality, it is just as pleasant to hold it in your hands as other fixes from this review.

The advantages include fast and almost silent autofocus operation. The picture is free of distortions and aberrations, the frame is contrasting and sharp, starting right from the open aperture, vignetting is minimal. In the out-of-focus area, everything is quite soft, the picture is generally very pleasant.

On the downside, I would include the lack of a diaphragm control ring. Honestly, it would be better if the lens did not have a focusing ring! It is completely unnecessary here, as I think. But the aperture control ring is a very useful thing and it is somehow strange to see the XF-series fix without it. Well, the f / 2.8 aperture also seems to be insufficient. The rest is a wonderful pancake!