Now, I know I've addressed this subject a year or two ago when I first transitioned to medium format, but with the recent additions to the market and shifts in the pre-owned market, I feel like it's high time to address this more in depth. If you don't already know, Fujifilm recently announced the GFX 100S, a more compact, price-sensitive version of their highly capable GFX 100 released a year ago. With a body that's more reminiscent, in both size and weight, of the GFX 50S, and a price reduction from $9999 USD to a much more wallet friendly $5999 USD, the digital medium format market is really starting to heat up. Fujifilm has begun to seriously address their G-Mount lens lineup, filling up holes in their range for the general market, even beginning to address more niche photography. Obviously $6000 bucks isn't pocket change. It's a price that's solidly in the range of other professional, flagship cameras like the Canon 1DX Mark III, Nikon D6 and Sony a1. It's a steep drop in price from the GFX 100 but it's still a price that means you'd better be serious about your photography and/or have a business that can support that sort of purchase. Now that the 6000 pound elephant in the room has been addressed, let's talk about who should even consider medium format, who shouldn't, and who should file this idea for a later date. If you make it through this next section unscathed, I will then discuss what the GFX may have to offer for the enthusiast/hobbyist photographer. If you're a professional, I have little to offer you. Besides, you should know if your business could benefit from a medium format camera, however, I do have some technical information later that could help you decide if both your workflow and your clientele are able to tolerate your addition of, or switch to, medium format.
As I specified in a previous blog post, it took me a long time to convince myself that this was a necessary accessory. I didn't want to buy it only to use part time because of the high price... the only way it would earn its worth is to make itself a nearly permanent part of my camera.
Right off the bat, I find it to be exceptionally useful for my needs. I prefer using the EVF whenever possible and with the tilt and pan capability, along with the extra length, I can now use the EVF in more positions than ever before. Combined with the magnification, the EVF's display quality is much better than the rear LCD. That's not to say the rear LCD is bad, it's just that the EVF is that much better.
I finally bought it and it’s on its way. At $569, it was a hard sell, as I waited nearly a year before deciding its value overcame the price tag for me.
The Fujifilm EVF-TL1 viewfinder tilt adapter for the GFX 50S and GFX 100 is attached between the removable electronic viewfinder and the camera body, allowing you to tilt the eyepiece up to 90⁰ upward to use the camera in a waist-level/chest-level viewfinder mode or pitched ±45⁰ when in portrait orientation. It gives the EVF far more versatility to be used in awkward positions where you'd normally have to resort to using the 2½-way rear LCD.
As I have alluded to in a burst of recent posts, I am planning to generate a small database of lenses for use on the Fujifilm GFX series. Here's my chance for an introduction to give my rationale and to lay the foundation of this endeavor. I'd like to break this down into three "Y's."
Let's begin with a personal "why": I'm choosing to use Sigma lenses to obtain focal lengths and apertures not currently offered in the GF lens lineup. Fujifilm's lineup is sparse at best, and apertures wider than ƒ/2 aren't represented. It's not that I'm a bokeh whore; it's that I need more light gathering for astrophotography and Fujifilm's widest lens, a 23mm, has a maximum aperture of ƒ/4 and that's just not going to work without a star tracker due to the sensor's 51MP resolution. I'm hoping to print a few of these so what counts for "sharp" on the web doesn't work at 20" print sizes. Other benefits: 35mm lenses are much cheaper, especially used prices, and these lenses mostly have direct focusing units unlike the "fly by wire" systems used on Fujifilm lenses. The GFX system just isn't mature enough to have grown both a complete lens lineup or a diverse used lens market.
Maybe you've heard of Fujifilm's mostly ignored software companion, X Raw Studio. It was released sometime after the X-T2 and advertised to leverage the power of their X-Processor Pro image processing engine, aka onboard CPU, to post process your photos on a desktop or laptop computer. It did this by connecting your X-Pro2, X-T2, X-H1, or X-T3 via USB 3 or USB-C's superspeed bus and would allow you to edit your RAW files on a computer but would leverage the high speed bus and X-Processor Pro's power to process the images. Since it's release, it's sat collecting dust with only minor bug fix updates since, while Fujifilm has established partnerships with brands like PhaseOne's CaptureOne and Skylum Luminar to natively support the X-Trans system. All of this seems to be the result of traditionally poor support from Adobe, the long-standing leader in the industry. But I have a vision.