![]() But while heads turn, eyes widen, and colleagues fight over who gets to take the camera out for a shoot, personally I’m in need of a little convincing. So, finally, here comes the GFX 50S: Fujifilm ergonomics and colors, but with all the advantages offered by larger sensors. That made a lot of sense especially when you consider Fujifilm’s heritage in medium format film cameras, and its experience making medium-format lenses for other brands. ![]() In a rather compact, lightweight mirrorless form-factor at that. But Fujifilm went one better – they skipped the arguably saturated full-frame market and went straight to medium format. That left many of us wondering when Fujifilm would step up to full-frame (35mm). 'Fujifilm skipped the arguably saturated full-frame market and went straight to medium format.' And if you’ve kept up with our recent technical articles, you’ll know that the amount of total light you’ve captured is arguably the largest determinant of image quality. Ultimately, though, the image quality of Fujifilm’s best cameras was limited by their APS-C sized sensors, which simply cannot capture as much light as similar silicon in larger sizes. Meanwhile, the X-Trans color filter array (CFA) offers a number of advantages compared to traditional Bayer CFAs, showing decreased false color and a slight noise advantage due to a (relatively) greater proportion of green pixels. It’s hard not to – they offer excellent ergonomics with a level of direct control that photographers itch for, and Fujifilm’s color science renders images that harken back to the days of film, while retaining all the advantages of digital. To take the GFX 50S specifically (since it's more likely to represent an affordable option for DSLR shooters), we love Fujifilm cameras. ![]() The recent announcements of Fujifilm’s GFX 50S and Hasselblad's X1D have turned a lot of heads, and for good reason.
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