GFX medium format cameras shook up the world of digital photography five years ago, basically
dominating that market overnight. The OG GFX50S was quite modern and well performing camera,
for a medium format, leaving behind guys like Hasselblad and Phase One which cost like a f***ing car
and were the choice of only the few privileged and well-paid people. And they just kept going on
and on... The latest offerings of GFX cameras cannot be beaten so far and Fujifilm did a
great job at improving everything at once: the size, the ergonomics, the sensor, the features, etc.
So before the Fuji X Summit kicks in at the end of May, I wanna talk about what next GFX camera
should be like and why I see no reason for it not to happen, unlike some disbelievers think...
Hello there, it's Aperture Value with another episode talking, or rather fantasizing, about the
next GFX camera from Fuji. Now a little disclaimer: this is my channel, my video and my opinion, so if
you don't like what you're hearing, you're welcome to present your own point of view in the comments
down below, but stay polite and don't sh** on people for no reason; don't make me get into Camille Vasquez mode.
I'm sure there's lots of confrontation on the medium format topic since it's getting more
and more attention recently. Personally, I've shot medium format film camera before, I got the Mamiya RB67
while visiting Japan a while ago. As for digital, I had a heavy Sony kit at the time. It
was the moment when I started to realize that big and heavy gear isn't for me and long story short -
I got into Fuji X system. As a result of trying different cameras I ended up getting a Fuji X-Pro3
which I still own and love. I'm perfectly fine with my kit, but just like other photographers GFX
keeps bugging my mind, so why is that so? Well, talking about myself, there are a few reasons.
Some of them I've already covered partially in other episodes. For instance, I talked before
about the prospects of high megapixel cameras; I don't need 50 or 100 megapixels of resolution, but
that cropping flexibility enables you to use less lenses, which is another way to make your
kit lighter. So in these terms, while having three or four primes with X-Pro3, I could easily just
use one lens on a medium format. You got my idea, right? I've also made recently a video about the
history behind 3:2 aspect ratio of digital sensors, and besides talking history
I also point out that I could benefit a lot from a 4:3 aspect ratio. This is also a huge benefit of
GFX over a 3:2 X-mount system, at least to me. And of course, like many others, I'm also intrigued by
the "medium format" look, especially considering my style of photography. Talking about it, many of you
on YouTube and Instagram also recommended me to try medium format for the type of work I do.
But this is just my stand on medium format, it might be the same for others, but I'm pretty sure that
for now the majority of people targeted by Fuji with GFX are the full-frame shooters from other
systems. The cameras so far are designed in a more conventional way, unlike more retro styled APS-C
line, specs and video features are the priorities as well as the size and price, which are comparable
to some top full-frame offerings. Not to mention all the ad campaigns featuring the benefits of GFX
over full frame. While the initial GFX50S and 50R were a good first step, these cameras weren't that
convincing. On the other hand, the GFX100 and 100S seem to grab the attention of many, impressing with
the IBIS, resolution, video capabilities, size and weight, and what's more important - price. Full frame
tries to keep up by topping the resolution up to 50 and 60 megapixels, many even argue that there
is not that much difference between a high-res full frame and the GFX. Yeah, right, that's not
what you were saying about full frame and APS-C all these years... but anyway, despite that, more and more
people get into GFX system, especially when 50S and 50R on used market are a steal, and Fuji's medium
format lenses now cover most focal lengths at the price of full frame. And that is big, because unlike
Fuji's offerings, Hasselblad lenses for instance are expensive as f***. That's partly my reasoning
for not going for their X1D or 907X cameras. But even Fuji has a problem with lenses and that,
unfortunately, cannot be simply solved over time, because you can't just overcome physics. After
all, it's not another Fast & Furious movie... The problem I'm referring to is the size of the lens.
Although Fuji successfully shrank the size of the camera, lenses are different, and there's not
much use of a small camera if the lenses are twice bigger and heavier than the body itself. There are
exceptions for GFX though, the 50mm prime and 35-70 zoom are quite portable, but in medium
format terms. They aren't exactly small; smaller than GF lenses, but still big. On the bright side,
I think it can be dealt with and this is where Fuji can shine and I'll tell you why. You see, back
in film days Fuji made it all; and although they made 35mm cameras, their medium format
was the one that made the name. They even had the super niche 6x8 studio monster and the 6x17
panoramic beast. That devotion to niche is carried out by Fuji until these days. They are the ones who
helped Hasselblad to create and produce X-Pan cameras, but that's different story. Today, we'll
need to focus on their 645 cameras. Fuji was the daddy of rangefinder style medium format cameras,
they made 6x45s, 6x7s, 6x8s, 6x9s with both fixed and interchangeable lenses,
zooms and primes, and these cameras were great. In fact, film shooters still love all this rangefinder
medium format film cameras, not only Fujis, but also Mamiyas, Bronicas, Makinas. One of the later
ones made by Fuji was a GA645Zi introduced in '98. This was the one behind the inspiration
for the thumbnail of the video. It has a fixed zoom lens and a vertical frame. Keep this design in mind
and let's move on. There is an article on FUJILOVE magazine website that discusses whether it is time
for X shooters to move to GFX. Unlike full frame shooters, our story is different. After trying out
different GFX cameras and praising the evolution of medium format by Fuji, author compares them to
the old Fujifilm rangefinders and his APS-C cameras. He concludes that GFX is not there yet to switch
from APS-C... BUT. That article happened two years ago and many things changed. While GFX100 and 100S
are already doing a great job at fulfilling initial task of winning over full frame shooters,
it's time I think to use that tech to make a GFX to win over Fujifilm X photographers; photographers
for which X100 and X-Pro cameras are made for, the niche that got so many in love with Fuji. And that
medium format rangefinder heritage can help make such a GFX camera that, in my opinion, should come
next. I mean, a GFX version of the GA645 is the thing to go for! By making a fixed lens GFX we
would automatically solve the big ass lens problem. That's the benefit I've talked about before:
fixed lens can be made much smaller and optically superior. Just look at what Fuji has done with a
fixed X100V lens: it's so much smaller and better than a corresponding prime lens. And looking at all
the 645 film cameras, making the same charm work on GFX will be no problem for Fuji. In addition,
there are already mentioned before compact 50 and 35-70, so they can be re-engineered to be fixed.
I even have a slight hope that they released a 35-70 just so it can earn a good reputation
before making it fixed in a new GFX body, but who knows? Retro styling is definitely something to
consider. Now I don't know whether it will have a hybrid viewfinder or a vertical sensor positioning,
but that would be dope, right? What I'm sure of is that the smaller battery and 100 megapixel sensor
with IBIS from 100S absolutely have to make their way into this new camera. With 100 megapixels on
board I would easily go with a fixed prime, even though I would prefer that 24-50 equivalent
zoom. And if it has to be a bit slower - it's fine, since the IBIS can compensate for that; according
to reviews with 100S you can go as low as 1/6s, with a medium format!.. Damn!.. And all of it
wouldn't be too heavy thanks to that fixed lens. We would have a rather small package, I can imagine it
being about the size of my Fuji Instax Wide, which is okay with me. Looking at the old 50R it was like
700g and now the top tier 100S is 900g, so under a kilo won't be a problem, maybe even
lighter than that. All of it incorporated in one GFX body - that's what should come next from Fuji.
PSAM dials, top LCDs and flip screens are nothing but drifting away from what company philosophy
presented all those years. People have been waiting for the 50R successor forever now, so why not treat
us, original Fuji lovers, with a real Fuji spirited GFX? My understanding is that medium format market
is secured now by previous models and seems like Fuji got a good profit out of them, so why
not Fuji, why not? Some may say that such a camera just won't happen, there's no market for it, it's
too niche to make a fixed lens medium format, but hey - that was the story of many other Fuji cameras,
film and digital. And, for a second, let's not forget the early mockups of first GFX cameras,
remember those? There was a rather curious one with a very controversial screen, you find that familiar?
Like I said, they probably decided to go with a more conventional design first, but
if they went as far as mock-up, the intentions for the design were serious, who knows, maybe they kept
the best one for later? This is Fujifilm at it's core - offer something truly interesting, unique
and different, and I really hope for that! Now I know there are tons of different ideas about GFX
and specifically next 50RII or 100R, whatever they would call it, so share your thoughts and ideas in
the comments down below, but remember, yeah? Politely and without name calling, anyway I know you, haters...
Hit the like and subscribe, if you liked this episode or even
get me a coffee in the link down below or in the end of this clip. Until next time,
sit tight and wait for the X Summit... and G.A.S. relapse.