Fujifilm's GFX Range
The passage point for medium arrangement has been disastrously high for such a long time. With Hasselblad and Phase One going about as the unfaltering guards of a camera type that has been appealing for quite a long time, and a long-standing staple of experts. With the ascent in intensity of DSLRs, both full casing and littler, the subsequent piece of the pie for medium arrangement has dwindled, decreasing these expensive units to rentals, enormous studios, and apparently some kind of timeshare.
All things considered, more trick them. While these organizations turn their nose at the basic man, Fujifilm seem to need to restore the condition of play of medium cameras to where they used to be: in the hands of ordinary experts. The GFX arrangement has done precisely that. With the GFX 50R coming in at under $4,000 and the new lead GFX 100 sliding barely under the $10,000 mark, both are sufficiently sensible to be justified by picture takers with even the most secure tote strings.
I compose this from a shot train to Sendai from Tokyo, paid for by Fujifilm, to visit their industrial facility. The main reason I'm in Japan at all is for Fujifilm, paid for by Fujifilm. While this could call my objectivity in to address, I would as a rule only recurrent that any organization I work with gets the notice before we begin that I will be totally genuine about anything they show me, regardless of whether it's significantly negative. For this situation, I believe I don't have to incline toward my ethics and respectability; the specs of their cameras represent themselves.
Amid this outing I have been shooting with a GFX 50R, and I've had time with — but restricted — the GFX 100, and it has genuinely shaken my Sony resolve, who thus shook my Canon resolve. Brand reliability is dead, I know. I was once blamed for an inclination towards Canon. This was supplanted with allegations — even all around as of late — of my inclination towards Sony. When I've composed all I need to state on Fujifilm in the coming weeks, I speculate I'll be considered predisposition towards Fuji. My predisposition is so flexible and free it's as though I don't have one.
The primary thing to make reference to is the thing that all picture takers either salivate over openly, or prevent the presence from securing: the medium configuration "look". It's excellent and on the off chance that you pair these bodies with a focal point like the 110mm f/2, you bokeh fans will need to pause for a moment to pull it together. The look isn't held for the wide-open shooting either. Despite the fact that the genuine charm for me is the picture quality and size. The beneath picture is a speedy snap out of a twofold glass window in a high rise, on a dim day, handheld. Simply take a gander at the 100% yields:
Indeed, even the GFX 50R catches crude records so flexible that you can, in every way that really matters, shoot wide-point and harvest later. The question and answer session for the GFX 100 played to this advantage very much to be sure, with model pictures from the camera being uncovered to quieted gratefulness, just for Fujifilm to then uncover it's a 100% harvest and zoom out to demonstrate the full casing. The reactions were less quieted.
So the inquiry raised for me is, "do I change to medium configuration?" Or all the more critically, who should? All things considered, even with the new GFX 100, medium organization isn't without its drawbacks. Initially, they require biceps and perseverance, or a tripod, for shoots over 60 minutes. Fuji have done well to diminish the size and weight essentially when contrasted with other medium arrangement bodies, however the GFX 100 with its default 2 batteries held in a stock and unremovable battery hold, 2 SD cards, and even the lightest focal point they offer (the destined to be discharged 50mm), you're taking a gander at 3000g. In the event that, similar to me, you are originating from mirrorless, that is a stun to the framework (read: my noodle arms). The GFX 50 is likewise cursed monstrous.
I may imagine I'm work over style, yet I can't preclude the draw from securing the feel of Leicas and the vast majority of Fuji's littler range. The GFX 50 is a huge plastic, 80s themed block. The GFX 100 has made enormous strides on the style front, and I do very like it, yet it's not beautiful. Think about the Hasselblad 500CM; that is the thing that I need from styling! Both of these reactions are resolvable through a Magic Mike style wellness routine and a stern word with yourself about vanity. Different boundaries are less versatile.
Medium arrangement is still just suitable to certain picture takers, contingent upon classification. For picture, business, item, studio, scene, and all the numerous classes in the middle of, you'll advantage. In any case, in the event that you shoot sports, natural life, or anything that requires a long focal point, it'll be a test to make work.
The Fuji dispatch occasion for the GFX 100 distinguished a considerable lot of their objective market, with representation demos put on for picture takers, and special recordings of pictures shot from a helicopter, flaunting the camera's phenomenal in-body adjustment. (As an aside, I tried the GFX 100's IBIS as far as possible and was shooting at nightfall, hand-held, at 1/8 and getting tack sharp pictures.)
Then, they wandered somewhat out of their wheelhouse. They referenced natural life photography and how solid the GFX 100 will be for it. I talked with a brilliant picture taker named Peter Delaney who concurred, yet his work is particular. In case you're hoping to kill the shots from range, you'll need to trim intensely. The longest focal point on offer is 250mm (about 197.5mm nearly on a full edge body) which essentially won't cut it. Indeed, even with the 1.4x teleconverter, which parts conclusions at any rate, you're just taking a gander at 350mm, 276.5mm full edge identical. Along these lines, it's conceivable, yet in case you're on safari, I speculate you'll be eaten.
For the remainder of us, our ears ought to have pricked up. With the dispatch of the GFX 100 and it being marked down before the finish of June this year, the GFX 50R will probably drop considerably further and they are both very amazing.
https://uporotyhfox.blogspot.com/2013/06/blog-post_25.html?showComment=1559132365933#c6818934532761930179
All things considered, more trick them. While these organizations turn their nose at the basic man, Fujifilm seem to need to restore the condition of play of medium cameras to where they used to be: in the hands of ordinary experts. The GFX arrangement has done precisely that. With the GFX 50R coming in at under $4,000 and the new lead GFX 100 sliding barely under the $10,000 mark, both are sufficiently sensible to be justified by picture takers with even the most secure tote strings.
I compose this from a shot train to Sendai from Tokyo, paid for by Fujifilm, to visit their industrial facility. The main reason I'm in Japan at all is for Fujifilm, paid for by Fujifilm. While this could call my objectivity in to address, I would as a rule only recurrent that any organization I work with gets the notice before we begin that I will be totally genuine about anything they show me, regardless of whether it's significantly negative. For this situation, I believe I don't have to incline toward my ethics and respectability; the specs of their cameras represent themselves.
Amid this outing I have been shooting with a GFX 50R, and I've had time with — but restricted — the GFX 100, and it has genuinely shaken my Sony resolve, who thus shook my Canon resolve. Brand reliability is dead, I know. I was once blamed for an inclination towards Canon. This was supplanted with allegations — even all around as of late — of my inclination towards Sony. When I've composed all I need to state on Fujifilm in the coming weeks, I speculate I'll be considered predisposition towards Fuji. My predisposition is so flexible and free it's as though I don't have one.
The primary thing to make reference to is the thing that all picture takers either salivate over openly, or prevent the presence from securing: the medium configuration "look". It's excellent and on the off chance that you pair these bodies with a focal point like the 110mm f/2, you bokeh fans will need to pause for a moment to pull it together. The look isn't held for the wide-open shooting either. Despite the fact that the genuine charm for me is the picture quality and size. The beneath picture is a speedy snap out of a twofold glass window in a high rise, on a dim day, handheld. Simply take a gander at the 100% yields:
Indeed, even the GFX 50R catches crude records so flexible that you can, in every way that really matters, shoot wide-point and harvest later. The question and answer session for the GFX 100 played to this advantage very much to be sure, with model pictures from the camera being uncovered to quieted gratefulness, just for Fujifilm to then uncover it's a 100% harvest and zoom out to demonstrate the full casing. The reactions were less quieted.
So the inquiry raised for me is, "do I change to medium configuration?" Or all the more critically, who should? All things considered, even with the new GFX 100, medium organization isn't without its drawbacks. Initially, they require biceps and perseverance, or a tripod, for shoots over 60 minutes. Fuji have done well to diminish the size and weight essentially when contrasted with other medium arrangement bodies, however the GFX 100 with its default 2 batteries held in a stock and unremovable battery hold, 2 SD cards, and even the lightest focal point they offer (the destined to be discharged 50mm), you're taking a gander at 3000g. In the event that, similar to me, you are originating from mirrorless, that is a stun to the framework (read: my noodle arms). The GFX 50 is likewise cursed monstrous.
I may imagine I'm work over style, yet I can't preclude the draw from securing the feel of Leicas and the vast majority of Fuji's littler range. The GFX 50 is a huge plastic, 80s themed block. The GFX 100 has made enormous strides on the style front, and I do very like it, yet it's not beautiful. Think about the Hasselblad 500CM; that is the thing that I need from styling! Both of these reactions are resolvable through a Magic Mike style wellness routine and a stern word with yourself about vanity. Different boundaries are less versatile.
Medium arrangement is still just suitable to certain picture takers, contingent upon classification. For picture, business, item, studio, scene, and all the numerous classes in the middle of, you'll advantage. In any case, in the event that you shoot sports, natural life, or anything that requires a long focal point, it'll be a test to make work.
The Fuji dispatch occasion for the GFX 100 distinguished a considerable lot of their objective market, with representation demos put on for picture takers, and special recordings of pictures shot from a helicopter, flaunting the camera's phenomenal in-body adjustment. (As an aside, I tried the GFX 100's IBIS as far as possible and was shooting at nightfall, hand-held, at 1/8 and getting tack sharp pictures.)
Then, they wandered somewhat out of their wheelhouse. They referenced natural life photography and how solid the GFX 100 will be for it. I talked with a brilliant picture taker named Peter Delaney who concurred, yet his work is particular. In case you're hoping to kill the shots from range, you'll need to trim intensely. The longest focal point on offer is 250mm (about 197.5mm nearly on a full edge body) which essentially won't cut it. Indeed, even with the 1.4x teleconverter, which parts conclusions at any rate, you're just taking a gander at 350mm, 276.5mm full edge identical. Along these lines, it's conceivable, yet in case you're on safari, I speculate you'll be eaten.
For the remainder of us, our ears ought to have pricked up. With the dispatch of the GFX 100 and it being marked down before the finish of June this year, the GFX 50R will probably drop considerably further and they are both very amazing.
https://uporotyhfox.blogspot.com/2013/06/blog-post_25.html?showComment=1559132365933#c6818934532761930179
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