Comparison of Fujifilm FinePix HS50EXR and Canon PowerShot SX50 HS. FUJIFILM GFX50s review

22.01.2022 -

What could be more desirable than a full-frame DSLR? Of course, the medium format "mirrorless"! If the main requirement is uncompromising quality still images, then the large sensor size becomes the determining factor for success. We hope that this is a worthy explanation for our (and not only our) interest in medium format systems. Due to certain circumstances, we are not yet able to reach 100-megapixel medium format cameras “for millionaires”, but 50-megapixel cameras, the prices of which are much less traumatic for the psyche, are becoming more affordable, and we are happy to share our impressions about them.

In September last year, we published a mirrorless "first-born" of the legendary Swedish company. Today we are ready to present you a logical continuation: a review of a worthy follower of the “mirrorless hassel”, created by another famous manufacturer from Japan.

While there are no other models in the manufacturer's medium format mirrorless system, we will refer to this camera as "Fujifilm GFX" for brevity.

In the era of film-and-paper (silver halide) photography, the "medium format" category united systems that worked with roll film and made it possible to obtain frames ranging in size from 60 × 45 mm to 60 × 90 mm. Then cameras began, shooting on sheet film or photographic plates. In digital photography, the factor limiting the frame size is the area of the sensor, which cannot be made very large due to the critically increasing high cost of production. Therefore, in digital medium format systems, the frame sizes are much more modest. For the sake of simplicity, a medium format image sensor in the digital world can be considered an image sensor that is larger than a classic full-frame (36 × 24 mm).

The Fujifilm GFX 50S was announced almost three months after the world's first medium format mirrorless camera (Hasselblad X1D-50c) was released, and although it uses almost the same sensor (despite minimal differences in the pixel count), the differences are in equipment and capabilities from the "first-born" Hasselblad she has very significant.

Specifications

Full name	Fujifilm GFX 50S
Announcement date	September 19, 2016
Type	medium format mirrorless camera
Frame	magnesium alloy
Sealing	moisture and dust resistant (with Fujinon GF WR lenses)
Bayonet	Fujifilm G
Compatible optics	Fujinon GF lenses
Sensor	51.4 MP CMOS (CMOS), Bayer color array, 8256×6192 pixels
Frame size	medium format, 43.8×32.9 mm
crop factor	0.79 (for cameras with sensor sizes 36x24mm)
Pixel Pitch	5.3 µm
Dynamic Range	14EV
File formats	A photo: JPEG (Exif 2.3), RAW (14-bit RAF), RAW+JPEG Video: MOV (MPEG-4 AVC / H.264 with audio in Linear PCM (48 kHz stereo))
Frame sizes in pixels	L:(4:3) 8256×6192, (3:2) 8256×5504, (16:9) 8256×4640, (1:1) 6192×6192, (65:24) 8256×3048, (5:4) 7744×6192, (7:6) 7232×6192 S:(4:3) 4000×3000, (3:2) 4000×2664, (16:9) 4000×2248, (1:1) 2992×2992, (65:24) 4000×1480, (5:4) 3744×3000, (7:6) 3504×3000
Video recording modes	Full HD(1920×1080) 29.97 / 25 / 24 / 23.98p; 36 Mbps HD(1280×720) 29.97 / 25 / 24 / 23.98p; 18 Mbps
Equivalent photosensitivity	A photo: ISO 100-12800, Extended ISO 50-102400 Video: ISO 200-6400
mechanical shutter	curtain-slit, in the focal plane
Shutter speed range	mechanical shutter: 60 min. - 1/4000s (4 - 1/16000s in P mode) electronic shutter: 60 min. - 1/16000 s (4 - 1/16000 s in P mode)
X-sync speed	1/125 s
metering	256-zone TTL: multi-segment, spot, average weighted, center weighted
Shooting modes	P (Program AE); A (aperture-priority AE); S (shutter-priority AE); M (manual exposure setting)
Continuous Shooting Speed	3.0 fps (compressed RAW: 13 frames, uncompressed RAW: 8 frames) 1.8 fps (uncompressed RAW: 8 frames)
exposure compensation	A photo: ±5 EV in steps of ⅓ EV Video: ±2EV
bracketing	by exposure: 2, 3, 5, 7, 9 frames in steps of ⅓, ⅔, 1, 1⅓, 1⅔, 2, 2⅓, 2⅔, 3 EV; by types of simulated film: 3 frames/3 views; dynamic range: 100%, 200%, 300%; by equivalent ISO: ⅓, ⅔, 1 EV; white balance: ±1, ±2, ±3
Autofocus	TTL, contrast detection, 117 zones (spot, continuous, manual)
white balance	auto, custom, manual color temperature (K); Presets: Sunlight, Shade, Fluorescent (Daylight, Warm White, Cool White), Incandescent, Underwater
Self-timer	2, 10 s
Viewfinder	0.5″ color OLED, ≈3.69 million dots; frame coverage 100%; offset 23 mm (from the rear end of the camera eyepiece); diopter adjustment from −4 to +2; magnification 0.85× (with 50mm lens equivalent focal length at infinity focus)
Screen	TFT 3.2″, 24-bit, 2.36M dots, flip-up, swivel, touchscreen, 100% frame coverage
Film Simulation	15 modes: Provia (Standard), Velvia (Vivid), Astia (Soft), Classic Chrome, Pro Neg.Hi, Pro Neg.Std, Black&White, Black&White+Ye Filter, Black&White+R Filter, Black&White+Gfilter, Sepia, Acros , Acros+Ye Filter, Acros+R Filter, Acros+G Filter
Special effects	Toy Camera, Miniature, Active Colors, High-key, Low-key, Dynamic Tone, Soft Focus, Mono Color (Red, Orange, Yellow, Green, Blue, Purple)
Interfaces	hot shoe, USB 3.0, mic-in, headphone-out, remote release jack, 15V power jack (for AC-15V), sync cable coaxial jack
Wireless connection	WiFi (IEEE 802.11 b/g/n)
Source of power	lithium-ion battery NP-T123; 400 frames (with GF 63mm F2.8 R WR lens in auto economy mode) or 145 minutes of Full HD video
Ready time	0.4 s
Operating temperature range	-10 to +40 °C at 10%—80% humidity
Dimensions	148×94×91 mm
Weight with viewfinder, battery and memory card	920 g

Based on the results of the study of the specifications, we have a strong impression that the Fujifilm GFX compares favorably not only with a carefully thought-out design, but also with rich functionality traditional for the manufacturer.

Design and construction

The general plan of the camera structure inherits the principles typical for the top models of the Fujifilm X family (of course, adjusted for the medium format). An exception is made for the viewfinder, which can be removed and mounted on the camera as needed.


The brushed metal bayonet mount dominates the front. Below (at 7 o'clock) is the lens release button, above it is the self-timer indicator, the main control wheel and the main button (shutter release) with the power off lever. To the right of the bayonet flange is the sync cable connector.	Behind the main design element is, of course, the display. Above it are the wheels for setting the ISO (left) and shutter speed (right). Here, in a vertical row, there are: an exposure memory button, a micro-joystick for setting the focus area, a five-way selector with a central menu button and function buttons.

Above the main element is a removable viewfinder with a hot shoe. To the left of it is the ISO value dial and the focus mode switch (manual, continuous, single-frame), and to the right is the shutter speed selector, buttons for viewing and deleting images, selecting the shooting mode (Drive), and an additional display.	There is a standard tripod thread on the bottom of the camera, as well as a contact pad for the battery pack (it is purchased separately).


The detachable viewfinder is equipped with a massive eyecup and a diopter adjustment wheel. On both sides, at its base, there are latches, by clicking on which, you can release the mount and remove the device from the “hot shoe” of the camera. In the presence of a special adapter, this allows you to fix the viewfinder at an angle to the horizontal plane, which is very useful for macro photography. This adapter is not included in the package and must be purchased separately.

On the right side surface there are hatches for access to wire interface connectors and to the battery compartment.	On the left of the camera, all the space is occupied by the cover of the compartment with slots for memory cards.

The right compartment contains USB 3.0 and Micro-HDMI connectors, connectors for connecting a 15 V power adapter and a wired shutter control.	The left compartment hides the 3.5mm audio jacks: microphone input (top) and headphone output (bottom).

The battery is installed in the lower compartment on the left. The lid of this compartment is equipped with a latch. Inside the compartment, the battery is equipped with another blocking device (orange "hook", it is visible in the photo on the right).

Sensor

The image sensor of the Fujifilm GFX camera (43.8 × 32.9 mm) is a classic CMOS (CMOS) without additional technological tricks. Its area is 67% larger than the sensors of full-format cameras, and this is the main advantage of medium format photography in general and our ward in particular.

With close readings of the “megapixel counter” that a full-format 36 × 24 mm matrix produces, the size of the light-receiving cell of the Fujifilm GFX sensor is noticeably larger, since the sensor itself is larger. The manufacturer's declared dynamic range (DR) is higher than that of top-end digital SLR cameras.

	Canon 1D X Mark II	fujifilm GFX 50S	Hasselblad H6D-100c	Nikon D5	Sony A7RIII
Resolution, Mp	20	50	100	21	42
Frame format, mm	36×24	43.8×32.9	53.4×40	36×24	36×24
Frame size, pixels	5472×3648	8256×6192	11600×8700	5588×3712	7952×5304
Pixel pitch, µm	4,3 (8,5)	5,3	4,6	6,4	4,4
Dynamic range at ISO 100, EV	13.3¹	14²	15²	12.3¹	14.7²

We calculated the pixel pitch by dividing the sensor width (in µm) by the number of horizontal pixels. Strictly speaking, this should not be done, since, for example, in the Canon 1D X Mark II, each pixel is represented by a pair of LEDs (Dual Pixel CMOS technology). In addition, in practice, the values of the latitude of the dynamic range are more interesting.

Display

Despite the fact that the on-screen unit of the camera is very much "advanced" to the photographer, the display and the way it is attached, which provides high mobility, deserve all praise.

It is possible that Fujifilm GFX was created not only for studio work, but also for reporting purposes - in any case, this is precisely what its display emphasizes, which can be oriented in any position convenient for photographing. The screen can be tilted down (for shooting overhead) or horizontally (imitating the shaft of medium format SLR cameras and shooting "from the stomach" or from an even lower point - near the ground), as well as tilted down and to the right, making it possible to photograph literally from the corner. In this regard, the design of the device acquires special advantages over other medium and full-format professional systems, the display of which is completely devoid of mobility or is very limited in this mobility.

Control

The Fujifilm GFX is no more difficult to operate than the manufacturer's now textbook mirrorless devices with APS-C sensors. The developers remained true to tradition and, without changing anything fundamentally, they definitely improved something.

The selector wheels for ISO values (left) and shutter speeds (right) are equipped with locking buttons located in the center. This allows you to rely on the fact that the parameters will not change due to accidental rotation of the wheel. The sub-display (right) lets you see all basic settings, including shutter speed, aperture, ISO, white balance, shooting mode, exposure compensation, and the degree of software dynamic range expansion.

The backlight of the display can be changed using the button located to the left of it: when pressed, instead of a “negative” image, we will see a “positive” (not white on black, but vice versa). This, of course, is a trifle, but a very pleasant trifle.

The Drive button above the shutter speed selector allows you to quickly access the choice of “film advance” mode: single frame, exposure bracketing series, film types, ISO, continuous shooting, movie shooting, etc.

To the left of the eyecup of the viewfinder is a lever for switching focus modes: single-frame, continuous, manual. You can get used to its location quite quickly, although it is difficult to work with such a control without looking up from the eyecup. But the obviously "amateur" buttons for viewing captured frames and erasing unnecessary material (to the right of the viewfinder eyepiece) turned out to be not very successful: they are located perpendicular to the axis of view, and it is inconvenient to use them.

The organization of the menu (as always with Fujifilm) is quite logical and clear; it's easy to figure it out. The grouping of functions by tabs is quite obvious, the necessary functions and their values are found without much difficulty. The menu options are covered in detail in the camera's user manual, and below we give only the appearance of most of its positions.

Image quality

Image quality: file size

Image quality: RAW and JPEG

Image quality: compression

Film simulation

Film simulation: Velvia (bright)

Film modeling: Astia (weak)

Film Modeling: Classic Chrome

Film Modeling: Pro Negative Hi

Film Simulation: Pro Negative Standard

Film Modeling: Acros

Film simulation: monochrome

Film simulation: sepia

Film Simulation: Grainy Effect

Film modeling: color chrome

Image quality: dynamic range

Image quality: white balance

Image quality

Image quality: tone of lights

Image Quality: Shadow Tone

Image quality: color

Image quality: sharpness

Image Quality: Noise Reduction

Image quality: Long exposure noise reduction

Image Quality: Model Light Optimization

Image quality: color space

Image quality

AF/MF setting

AF/MF setting: focus mode

AF/MF setting: keep AF mode

AF/MF setting: Quick AF

AF/MF setting: number of AF points

AF/MF setting

AF/MF Setup: MF Assist

AF/MF Adjustment: Emphasizing the Focus Area

AF/MF setting: Forced AF

AF/MF setting: Depth of field scale

AF/MF Setting: AF or Shutter Priority

AF/MF setting: touch screen mode

Shooting Setting: Timer

Shooting Setup: Exposure Bracketing

Shooting Setup: Film Simulation Bracketing

Shooting Setting: Metering Mode

Shooting setting: shutter type

Shooting Setup: Auto ISO

Shooting setup: wireless

Flash setting

Flash Setting: Modes

Flash Adjustment: Red-Eye Removal

Flash setting: TTL block modes

Video settings

Video settings: shooting modes

Video settings: AF mode for video

Video settings: information display when output via HDMI

General settings

General Settings: Format Media

General settings: setting the date and time

General settings: change time zone

General settings: language

General settings: "my menu"

General Settings: Battery Status

General Settings: Sounds

General settings

General Settings: Power Management

General Settings: Frame Counter

General Settings: Wireless

General settings: Wi-Fi

General Settings: Geotagging

General settings: Instax printer

General settings: PC connection modes

General settings: MAC address

Fujifilm GF optics

The Fujifilm GFX 50S has six lenses to date, including one with a zoom (and fixed maximum aperture) and one (macro) with built-in optical image stabilization:

Fujifilm GF 23mm f/4 R LM WR
Fujifilm GF 45mm f/2.8R WR
Fujifilm GF 32-64mm f/4 R LM WR
Fujifilm GF 63mm f/2.8R WR

All of them have 9-blade diaphragms, the lamellas of which have a correctly calculated “rounding” for a more delicate background blur pattern. All lenses are protected from dust and moisture (marking WR - Weather Resistant). The aperture rings can be moved to the "C" (command) position, in which aperture is controlled electronically, using the main (front) wheel of the camera. This provides a special convenience when reporting.

We had the opportunity to evaluate the most interesting optical instruments from the currently available set under working conditions. We present them below in alphabetical order.

Fujifilm GF 110mm f/2 R LM WR

A classic portrait lens with an equivalent focal length of just under 90mm and an exceptionally fast aperture by medium format standards. Autofocus is fast enough and not too noisy during operation. In any case, dealing with such an impressive mass of glass inside the tube, one could expect a more “lazy” drive response.

The optical scheme (manufacturer's diagram) is represented by 14 elements, combined into 6 groups. Four lenses are made of extra-low dispersion (ED) glass.

MTF Charts

MTF curves are close to ideal at 10 lines/mm, retain significant appeal at 20 lines/mm, and degrade slightly at 40 lines/mm. With this in mind, the Fujifilm GF 110mm f/2 R LM WR promises very high image quality.

In the arsenal of the Hasselblad X1D 50c main competitor, the closest analogue is the Hasselblad XCD 90mm f/3.2 lens. In our opinion, the equivalent focal length of 71 mm does not, by and large, make it a portrait tool, but places it closer to the equivalent "fifty dollars", which, by the way, does not yet exist for the mirrorless medium format "Hassel".

Fujifilm GF 120mm f/4 Macro R LM OIS WR

Macro lens with 95mm equivalent focal length. Provides a maximum magnification of 1:2, equipped with built-in optical image stabilization.

The optical scheme (manufacturer's diagram) is represented by 14 elements combined into 9 groups. Three lenses are made of extra-low dispersion (ED) glass.

MTF Charts, or frequency-contrast response (manufacturer's data). Vertical axis - contrast; the horizontal axis is the distance from the center of the image. Solid blue lines are for sagittal structures (S), dotted red lines are for meridional structures (M).

The MTF curves look fantastic. Only at 40 lines/mm is there a noticeable deviation from the perfect ideal.

Autofocus, frankly, is not quiet and not lightning fast, but it can be accelerated by selecting the “reduced” ranges of 0.45-0.9 m or from 0.9 m to ∞. The uniqueness of the lens lies in optical stabilization.

The direct competitor is the Hasselblad XCD 120mm f/3.5 Macro. It has about the same dimensions and weight, is ⅓ EV faster, but, like all XCD lenses, lacks optical stabilization.

Fujifilm GF 23mm f/4 R LM WR

An ultra-wide angle lens with an 18mm equivalent focal length that is unrivaled in mirrorless medium format. It is a desirable tool for "landscape painters" and reporters.

The optical scheme (manufacturer's diagram) is represented by 15 elements combined into 12 groups. Two lenses are aspherical (Aspherical), one element is made of improved glass with extra-low dispersion (Super ED), three more are made of extra-low dispersion glass (ED).

The MTF curves are very attractive at 10 and 20 lines/mm, but give out a little when playing 40 lines.

Autofocus works quickly and confidently without making any noise. The only "but" can be considered the size of the lens with the lens hood on - this is a rather large unit, although not the heaviest in the system's arsenal.

Fujifilm GF 63mm f/2.8R WR

Standard 50mm fixed focal length lens in full frame equivalent.

The optical scheme (manufacturer's diagram) is represented by 10 elements combined into 8 groups. One of them is made of extra-low dispersion (ED) glass.

At 10 and 20 lines/mm the curves are very attractive, but at 40 lines/mm the picture is already deteriorating.

By medium format standards, the lens is compact and not heavy. Autofocus works quickly and confidently without making much noise.

Competitors

Of the digital medium format cameras on the market, three systems have the same sensors: the Pentax 645Z SLR and the mirrorless Fujifilm GFX 50S and Hasselblad X1D 50c.

	Fujifilm GFX 50S	Hasselblad X1D50c	Pentax 645Z
Announcement date	January 19, 2017	June 22, 2016	April 15, 2014
Sensor	CMOS (CMOS) 51.1 MP 1 (8256×6192)	CMOS (CMOS) 51.3 MP 2 (8272×6200)	CMOS (CMOS) 51.1 MP (8256×6192)
Sensor size, mm	43.8×32.9	43.8×32.9	43.8×32.8
Minimum shutter speed, s	mechanical shutter - 1/4000; electronic - 1/16000	1/2000	1/4000
Silent shooting mode	there is	No	No
Minimum X-Sync Shutter Speed	1/125 s	1/2000 s	1/125 s
Continuous shooting speed, frames / s	3	2,3	3
Equivalent sensitivity range	ISO 100 - 12800 (extension to 102400)	ISO 100 - 25600	ISO 100 - 204800
autofocus	contrast, 117 zones	contrast, 35 zones	contrast and phase, 27 zones
exposure compensation	±5 EV in ⅓ EV steps	±2 EV in ⅓ EV steps	±5 EV in steps of ⅓ EV or ½ EV
Exposure bracketing	±5 EV (2, 3, 5, 7 frames)	No	±5 EV (2, 3, 5 frames)
Photo recording format	RAW RAF 14bit, TIFF 8 bit JPEG	RAW 3FR 14bit, TIFF 8 bit JPEG	RAW 14bit, TIFF 8 bit JPEG
Maximum Video Recording Format	1920×1080 30 fps	1920×1080 25fps	1920×1080 30 fps
Time-lapse shooting	there is	No	there is
Image stabilization	No	No	No
Protection against dust and moisture	there is	there is	there is
Memory cards	two slots SD/SDXC UHS-I/UHS-II	two slots SD/SDXC UHS-I	two slots SD/SDXC UHS-I
Display	3.2″ touch, tilt and swivel, 2.36 million pixels	3.0″ touch, fixed, 0.92 million pixels	3.2″ touchscreen, flip-down, 1.04 million pixels
Viewfinder	electronic, 3.69 MP, coverage 100%	electronic, 2.36 MP, coverage 100%	optic, coverage 98%
Connectors and interfaces	USB 3.0, HDMI, WiFi, audio (input and output), "hot shoe" remote control connector power connector, sync connector	USB 3.0, HDMI, WiFi, audio (input and output), "hot shoe"	USB 3.0, HDMI, microphone input, "hot shoe" remote control connector power connector, sync connector
Battery life (snapshots)	400	there is no data	650
Dimensions, mm	148×94×91	150×98×71	156×117×123
Weight, g	920	725	1550
Price 3	$6499	$8995 4	$6997 5

1 8256×6192 = 51 121 152 pixels
2 8272×6200 = 51 286 400 pixels
3 in the days of preparing the material Hasselblad X1D 50c in Russia was sold only complete with a lens. To make the prices comparable, they are given in dollars according to the photo stores bhphotovideo.com and adorama.com
4 on the days of delivery of the material, the discount on bhphotovideo.com was $2500 (); on adorama.com — $1000 ()
5 on the days of submission of the material, the discount on bhphotovideo.com and adorama.com was $1500 ()

Mirror competitor Pentax 645Z is, of course, the heaviest and bulkiest. We put it in the comparison table only because it uses a sensor of the same size and resolution as the other two cameras. Considering this "middle-aged" model in comparison with two mirrorless systems is not very correct.

The Fujifilm GFX 50S is larger and heavier than the Hasselblad X1D-50c, but this is due to natural reasons: the Hassel has a fixed display, a non-removable viewfinder, and controls are just a minimum minimorum, and to such an extent that this laconism makes the camera look more like an inexpensive one. mass system. However, conciseness is conciseness, and it is very difficult to forgive, for example, the lack of shooting with bracketing. In addition, the Hasselblad X1D-50c clearly demonstrates several critical shortcomings: a very long turn-on, depressingly long shutter lags, which puts an end to its use in a report. At the same time, the central Hassel shutter, which is traditionally located inside the lenses, makes it possible to synchronize operation with flashes in the entire shutter speed range up to 1/2000 s. However, in other situations, such a speed limit can significantly limit the capabilities of the photographer, and then the heroine of our review will break far ahead with her 1/16000 s.

Another thing is also important: when working in reportage quality, the Fujifilm GFX 50S can be switched to a completely silent mode of operation, when neither focus confirmation nor the electronic shutter make sounds. The creators of the mirrorless Hassel promised to implement such an opportunity, but at the time of preparing our review of this camera last year, it had not yet appeared. In addition, using only an electronic shutter eliminates Hasselblad's main advantage - synchronization with pulsed light at shutter speeds up to 1/2000 s - since this requires a central mechanical aperture-type shutter.

The set of optics is the most numerous at Pentax and the most modest at Hasselblad. Fujifilm offers arguably the most elaborate set of lenses ever, with some truly unique tools (we'll come back to that below).

In general, the Fujifilm GFX 50S looks much more attractive than the competitors in our table. Perhaps it is our today's heroine that should be considered a system of choice.

Laboratory tests

We investigated the properties of the Fujifilm GFX 50S camera sensor by analyzing test bench images with the noise filter turned off in bright and dark scenes. Below are gray scale shots to assess the tolerance of rising ISO values.

ISO	bright scene	dark scene
400
800
1600
3200
6400
12800
25600

It can be concluded that noise remains acceptable in both light and dark scenes up to ISO 3200. You can get a clearer picture of this from the graph below.

Up to ISO 3200, noise almost does not cause a significant drop in resolution, and the sensor manages to reproduce more than 80% of the information, although the resolution starts from not the highest rates. Nevertheless, one can note the good accuracy of the curves and their relative smoothness, which indicates the high quality of the sensor and good in-camera processing. Below is a resolution comparison of the Fujifilm GFX 50S with the Hasselblad X1D-50c. Perhaps it can be assumed that their sensors are indeed the same, and the difference in resolution is made by optics. With ISO 12800, the resolution difference can also be explained by different noise reduction algorithms at such extreme values.

The Fujifilm GFX 50S's autofocus isn't very accurate, but it's relatively fast. However, according to the total score Hasselblad X1D is exactly at the same level.

Contrast (Hybrid) AF	Fujifilm GFX 50S	Hasselblad X1D	Canon EOS 1D X Mark II	Fujifilm X-Pro2	Sony RX-100 IV	Canon EOS 7D Mark II
Accuracy	8,7	9,4	9,8	9,3	7,4	9,2
Speed	1,8	1,0	1,8	2,5	3,4	1,6

Fujifilm GF 23mm f/4 R LM WR

The lens allows you to get an average resolution of up to 85% in the center of the frame and about 80% at the edges. Even at F22, the resolution does not drop below 60%. Here one involuntarily recalls that Hasselblad lenses are able to work out the sensor by 90%. However, the difference is not that big.

Fujifilm GF 63mm f/2.8R WR

The lens allows you to count on almost 90 percent resolution at full aperture. With aperture up to F8, the sharpness does not change and is about 88%, although in the center it is noticeably higher than at the periphery of the frame, where its value does not rise above 80%. With a further decrease in the relative aperture, the resolution begins to decrease (up to 79% at F16) and drops to 65% at F22.

frame center	Frame edge

frame center	Frame edge

Fujifilm GF 110mm f/2 R LM WR

The lens demonstrates the lowest performance of all tested. Basically, the resolution is kept at 80%, climbing a little higher only in the interval F2.8-F4. But the resolution in the center of the frame and on the edge is almost the same.

frame center	Frame edge

There are no visible chromatic aberrations or distortion.

frame center	Frame edge

Fujifilm GF 120mm f/4 Macro R LM OIS WR

The lens is perhaps the most perfect of those tested. It produces a resolution of almost 90% (recall the noise test again: after all, the sensor is capable of delivering 90%, so the differences with the Hasselblad system are due only to the difference in optics). At the same time, the edge of the frame practically does not lag behind the center and drops below 80% only after F16.

Fujifilm GF 120mm f/4 Macro R LM OIS WR, as you can see from the name, is equipped with an image stabilizer. The manufacturer claims an efficiency of 5 stops, which seems a little fantastic and suggests that at a shutter speed of 1 second, you can safely shoot handheld without noticeable blur. Perhaps, with a certain skill, this is possible, and our test, designed for the average user, confirms the effectiveness of almost 5 steps, which in itself is a very worthy result.

Laboratory testing allows us to conclude that all the lenses we studied are undoubtedly good, since a relatively stable resolution of more than 80% is a good result. Somewhat confusing is the fact that, based on the comparison of the properties of Fujifilm GF lenses with the Hasselblad XCD line in the laboratory, it turns out that the latter wins. But on the other hand, Fujifilm optical instruments fully justify the cost of the system as a whole: it is significantly more affordable, more diverse and has unique advantages in the form of aperture and built-in stabilization.

Practical photography

The Fujifilm GFX 50S feels good in the hand and is well balanced when working with short and not too heavy lenses. Some complications arise when operating the camera in conjunction with large 100- and 120-mm optical instruments. However, full-length professional "DSLRs" with lenses of 70-300 mm and 100-400 mm are not more convenient.

Starting "field shooting", we traditionally set the parameters so that they are most suitable for a variety of shooting tasks:

aperture priority mode,
center-weighted exposure metering,
single frame auto focus,
center focus area
automatic white balance (ABB),
automatic setting of equivalent light sensitivity.

Recorded footage was saved using 64 GB SanDisk SDXC UHS-I Extreme Pro memory cards with write speeds up to 90 MB/s. RAW (Fujifilm RAF) images were converted to JPEG using Adobe Camera RAW version 10.1. Sharpening and saturation, changing contrast and brightness, removing noise by us not applied. In rare cases, lights and shadows were slightly weakened.

General impressions

After turning on the power, the camera “comes to life” almost instantly and is immediately ready for use. After pressing the shutter button, the mechanical shutter operates with a barely perceptible delay. The sound of the mechanical shutter is quite weak, which does not cause problems in public places. And if you use only the electronic shutter, then no delay occurs and no sound is born at all: in this mode, you can activate completely silent shooting, which is indispensable for reportage work.

Autofocus works reliably in good lighting conditions. In the twilight or when aiming at very bright objects, the automaton with contrast detection experiences some difficulties. In such cases, you have to either shift the focus point or switch to manual mode.

When working with "native" lenses, the Fujifilm GFX 50S camera is protected from moisture and dust penetration. In addition, the manufacturer guarantees the frost resistance of the system at ambient temperatures down to −10 °C. We were able to shoot outdoors at -16 °C for 3.5 hours, and from time to time during the shooting session we changed lenses. All this time the system continued to work properly. For the Russian winter, this is very important.

In a studio

The traditional model for using non-reporting professional systems is, of course, studio shooting. Actually, it does not require either a high aperture ratio of optics (the difficulty of achieving it is one of the disadvantages of medium format optics), or a high “rate of fire” and autonomy of the camera, or “portability” of high ISOs. In the studio, everything is decided by the light, which, by definition, is not part of the package.


Fujifilm GF 110mm f/2 R LM WR; f/8; 1/125 s; ISO 100	Fujifilm GF 120mm f/4 Macro R LM OIS WR; f/5.6; 1/125 s; ISO 100

The excellent quality of the resulting image is immediately visible. We also note that a significant supply of details in highlights and shadows makes it possible to correct images during post-processing in a very wide range.

As always when working with a medium format, it should be taken into account that the depth of field in the scene is significantly smaller compared to full-frame systems. This requires an additional aperture of 1.5-2 stops to achieve a similar result.

reproductions

We decided to make several reproductions of the paintings, and, moreover, in conditions that are very limited in terms of the organization of filming. According to the rules of the Ministry of Culture, in force in museums in Russia, shooting with a tripod (not to mention additional light) requires a special permit and, as a rule, an additional fee. Therefore, we combined the incompatible: reporting from museums and reproductions of paintings. In other words, everything presented below was shot handheld, without a tripod or stop, at minimum aperture or even at full aperture of the lenses. White balance is automatic. Here and below, abbreviations in captions should be understood as follows: State Tretyakov Gallery (Moscow); State Russian Museum - State Russian Museum (St. Petersburg); Pushkin State Museum of Fine Arts (Moscow).


V. A. Serov. Mika Morozov. 1901. GTG. Fujifilm GF 63mm f/2.8R WR; f/3.2; 1/60s; ISO 500	A. A. Arkhipov. Away. 1915. Timing.

Mademoiselle Riviere. lady with lyre (portrait of Josephine Budaevskaya). 1806. Pushkin Museum. Fujifilm GF 63mm f/2.8R WR; f/3.2; 1/60s; ISO 800	A. A. Ivanov. Apollo, Hyacinth and Cypress, practicing singing. 1834. GTG. Fujifilm GF 63mm f/2.8R WR; f/3.2; 1/60s; ISO 640

Color rendition is correct; in post-processing, it practically did not require intervention. Colors are juicy, lively, saturated. Halftones are smooth, their gradations are rich. The detailing is excellent: not only craquelures are distinguishable, but also the smallest picturesque details on the canvases. At ISO 500 the picture is very good. Up to ISO 800, the results are quite satisfactory. Note that in the photographs presented, the superiority of the medium format is quite obvious.

Plein air

Outdoor landscape photography is a genre where digital medium format simply has no equal. In such conditions, it is easy to put everything at the service of the main thing: the achievement of the best result. Indeed, outdoor photography is not limited by the lack of light.


On the Luzhnetsky bridge. Moscow river. Fujifilm GF 23mm f/4 R LM WR; f/11; 1/280s; ISO 100	Novo-Spassky Cathedral in the evening. Mozhaisk. Fujifilm GF 23mm f/4 R LM WR; f/8; 1/90 c; ISO 100 (exposure compensation +1.7 EV)

The Goncharovs' estate in Yaropolets. Volokolamsky district, Moscow region Fujifilm GF 23mm f/4 R LM WR; f/8; 1/350s; ISO 100 (exposure compensation +1.7 EV)	construction geometry. Gardeners. Moscow. Fujifilm GF 23mm f/4 R LM WR; f/8; 1/640s; ISO 100

Fence of the Old Kremlin. Volokolamsk, Moscow region Fujifilm GF 23mm f/4 R LM WR; f/8; 1/240s; ISO 100 (exposure compensation +1.7 EV)	Gallery of the Engineering Corps.GTG. Fujifilm GF 23mm f/4 R LM WR; f/9; 1/60s; ISO 160

Frozen pond near the Joseph-Volotsky Monastery. Teryaevo. Volokolamsky district, Moscow region Fujifilm GF 23mm f/4 R LM WR; f/8; 1/480s; ISO 100 (exposure compensation +1.7 EV)	Above Soymonovsky passage. Parapet of the fence of the Cathedral of Christ the Savior. Moscow. Fujifilm GF 23mm f/4 R LM WR; f/8; 1/340s; ISO 100

Let's give the camera its due and for the wide DD, and for the excellent colors, and for the high degree of detail in the above pictures. We are not able to anticipate the desires of everyone, but according to the authors, this is exactly what you can (and should) strive for.

Expobracketing

If the 14-stop EV declared by the manufacturer is not enough, then thanks to the implemented automatic exposure bracketing (exposure bracketing), you can easily add another 2-3 EV steps. The three shots below were taken in automatic mode using a Fujifilm GF 23mm f/4 R LM WR lens at its aperture to f/8 and ISO 100: medium with normal exposure (according to the automaton), left underexposed, right overexposed.

After "developing" in Adobe Camera RAW, we "stitched" these three images to obtain an image in a wide DD (HDR, High Dynamic Range) using the HDRsoft Photomatix Pro v.6.0.1 application. Here is the result:

The resulting picture shows that the tonal transitions are aligned due to the “raising” of the shadows (push shadows) and the “lowering” of the lights (pull highlights). In general, of course, the look of the picture has become more natural to the taste of the observer. However, nothing favorable happened with light tonal accents in the plot center of the image. As conceived by the photographer, this picture needs just high contrast, and not its smoothing. Nevertheless, we have shown the technical possibility of expanding DD.

Interior

Shooting handheld (without a tripod) indoors with competing medium format systems sometimes becomes difficult, and the reason for this is the relatively low aperture ratio of compatible optics. But fortunately, the Fujifilm GFX 50S camera has a set of fast lenses, the most successful of which outperform competitors in this regard by one or more steps. In addition to this, Fujifilm GF optical instruments have excellent sharpness even wide open, and therefore the only factor that can limit their use in rooms is the shallow depth of field that is typical for medium format in general.


Hall of Ancient Egyptian Art.Pushkin Museum. Fujifilm GF 23mm f/4 R LM WR; f/4; 1/8 c; ISO 1600	Hall of Mesopotamian Art.Pushkin Museum. Fujifilm GF 23mm f/4 R LM WR; f/5.6; 1/4 c; ISO 400

Hall of Ancient Greek Art. Pushkin Museum. Fujifilm GF 63mm f/2.8R WR; f/4; 1/30s; ISO 800	On the front stairs.GTG. Fujifilm GF 63mm f/2.8R WR; f/2.8; 1/60s; ISO 400

Note that we did not have the opportunity to really "get used" to our heroine, so most of the shots in this review are the result of instant improvisation. However, even with this approach, we are quite satisfied with the results obtained.

Reportage

Indeed, why not? For a leisurely "everyday" reporting, that is, shooting slowly developing scenes, the camera is quite suitable. We have already noted the advantages of the camera that increase its value when reporting: a moving touch screen, a silent shooting mode when using an electronic shutter, when the camera does not make any sounds at all. These circumstances prompt us to test the Fujifilm GFX 50S in reportage.

Here are the scenes shot with the Fujifilm GF 63mm f/2.8 R WR lens at its maximum aperture. We used single-shot autofocus with reframing between individual shots, leaving continuous AF for video.

Excursion through the halls of Russian art of the XIX - early XX centuries. The State Tretyakov Gallery is hosted by the artistic art critic-encyclopedist Natalia Rybkina.


1/60s; ISO 500	1/60s; ISO 320

1/60s; ISO 500	1/60s; ISO 640

The Fujifilm GFX 50S does an excellent job with its duties even when shooting scenes with noticeably “nimble” dynamics (we mean the gestures and facial expressions of the heroes of the photo). Autofocus works out scenes quite confidently, and the photographer himself becomes the main guarantee of success: he needs to choose the focus point correctly and in a timely manner. By the way, the camera behaves quite correctly even when selecting the AF point by “poking” on the screen, that is, using the touchscreen (see the first and second pictures).

And here are three more reportage photos taken at different times and in different lighting conditions.

In the left and right shots, we can see the effects of the reduction in depth of field on a medium format camera compared to a full-format "film" shot (36x24mm) even at high apertures: f/11 in the "Friends Under the Bridge" photo certainly provided excellent sharpening of the silhouettes the main characters and other details of the foreground, but everything that is located in the background, in the distance (almost at infinity), has lost its sharpness. Such an omission does not harm the idea of this particular shot too much, since it only additionally emphasizes the subject center of the frame, but the situation itself emphasizes that when assessing the depth of field in medium format photography, the traditional approach should be changed. After all, habitual reflexes fail here, and circumstances require the development of other, new skills.

The shot on the right, where the focus was made in the background (on the figures of utility workers), clearly lost due to the limited depth of field of the macro lens, even when apertured down to f / 8: the mother and child in the foreground are blurred. And here such a defect is already fundamentally negative. We present this not in order to reveal non-existent shortcomings of the camera (they do not consist in these features), but to illustrate the specifics of shooting with a medium format camera.

Nevertheless, we conclude that the Fujifilm GFX 50S quite suitable for shooting a reportage with a relatively low dynamics of scenes, but to get an excellent result, it requires the acquisition of a new experience, which is markedly different from what the photographer has based on working with full-frame systems.

Video

We did not seriously try to analyze the video capabilities of our heroine in this material (there is another section and other specialists on the resource for this). Below are just a few illustrations of how the Fujifilm GFX 50S can shoot video at its highest resolution (far from the highest in modern times, to be honest).

Here are two video clips, kindly provided by Peter Pokrovsky.

It is, of course, difficult to say anything definite, interesting, noticeable. But let's not doubt: from the presented samples it is clear that the Fujifilm GFX 50S operates video in the Full HD standard quite confidently.

Fujifilm GFX 50S vs Hasselblad X1D 50c

From the very beginning of this material, we are gradually preparing the reader for a direct collision of two families of medium format “mirrorless” cameras. By the way, in our opinion, in such a comparison, there is a special meaning: how else can you find out for yourself which camera is better to make friends with?

It's time to show how our today's heroine works in comparison with the first-born of the mirrorless medium format world from Hasselblad. In order to present the facts (images) in a useful way for comparison, we took pictures of the same objects in the same places and from approximately the same angles that we used during the Hasselblad X1D-50c field test. The shooting was carried out in the halls of the Pushkin State Museum of Fine Arts. Of course, there are no “one-on-one” coincidences and cannot be, and the reason for this is, firstly, the inability to use both cameras next to each other, secondly, significant differences in the focal lengths and aperture ratio of the optics we used, and, finally, thirdly, the different seasons and the nature of the lighting when photographing then and now. Nevertheless, we propose to evaluate our results.

Fujifilm GFX 50S	Hasselblad X1D-50c

Fujifilm GF 63mm f/2.8 R WR at f/2.8; 1/60s; ISO 2000	Hasselblad XCD 90mm F3.2 at f/3.2; 1/50 c; ISO 2000

	Hasselblad XCD 90mm F3.2 at f/3.2; 1/50 c; ISO 1200

Fujifilm GF 63mm f/2.8 R WR at f/2.8; 1/60s; ISO 6400	Hasselblad XCD 90mm F3.2 at f/3.2; 1/90 c; ISO 6400

Fujifilm GF 63mm f/2.8 R WR at f/2.8; 1/60s; ISO 1250	Hasselblad XCD 90mm F3.2 at f/3.2; 1/160s; ISO 1600

Fujifilm GF 63mm f/2.8 R WR at f/2.8; 1/60s; ISO 2500	Hasselblad XCD 90mm F3.2 at f/3.2; 1/160s; ISO 6400

At a cursory glance, it is noticeable that the white balance in the pairs of photos given for comparison often does not match; it is difficult to adequately assess the sharpness due to the shift in focus points, and the nature of the transfer of halftone gradations suffers due to differences in lighting and exposure parameters. Nevertheless, it seems to us that it is not possible to objectively identify a significant difference in how the sensors of both cameras work. If we exclude corrections for focal length, aperture value, focus point shift, then the pictures will turn out to be almost the same. As a matter of fact, based on the nature, size and resolution of the sensors, one should not expect otherwise. So let's highlight: Fujifilm GFX 50S almost does not differ in image quality from Hasselblad X1D-50s, and all possible variations can be attributed to the difference in optics and electronics

The Fujifilm GFX 50S is well-designed, with a number of acquisitions that make it capable of not only solving previously unattainable tasks (for example, as a reportage camera), but also satisfying the discerning taste of those who are used to getting the best from the world of digital systems.

Notable shortcomings of the system are the traditional, due to the very nature of the medium format: not too high for professional reporting "agility" and focusing accuracy, low burst shooting speed.

Here are photos taken with Fujifilm GFX 50S in Petr Pokrovsky's professional albums:
and Mikhail Rybakov:

In conclusion, we suggest watching our video review of the Fujifilm GFX 50S camera:

Ours can also be viewed on iXBT.Video

Thanks to Fujifilm for the camera and optics provided for testing

We continue our comparison test of medium format cameras: Mirrorless Fujifilm GFX 50S and SLR Pentax 645Z. In our first test, with subject shooting, they performed the same way. This time we will test them on a model shoot and, like last time, in identical conditions.

We will try to shoot in such a way as to appreciate the large dynamic range of medium format. Again we use two lenses with the same focal lengths, 125mm.
We expose the light, the so-called T-shaped scheme: on top, above the head of the model, we place a strip, we use the same strip as a backlight source.

Let's put a black background

This concludes the testing of our Fujifilm GFX 50S and Pentax 645Z cameras. We tested them on subject and model shootings in the studio. In my opinion, the cameras are equal in terms of the quality of the output picture. Both have excellent dynamic range, great shadows and highlights, amazing contrast and sharpness. The matrices in the cameras are the same, only the processors and image processing algorithms are different.

Of course, there are also differences. Pentax 645Z - I liked the picture in the viewfinder more when shooting model shooting. Fujifilm GFX 50S - mirrorless with an electronic viewfinder and when the model is rotated, when the shadow falls, for example, on the cheek, I don’t see this shadow, because there are various “improvers” in this viewfinder that highlight this shadow, but I need to see a reliable picture .
The weight of the cameras turned out to be almost identical, because due to the greater power consumption of the Fujifilm GFX 50S, we used it complete with a battery grip.
I have tested the cameras in a studio environment and since this is a professional shoot, I always want the highest possible quality result already during the shooting, without post-processing. Both cameras meet my requirements to perfection, for which many thanks to the developers of both companies.
It is worth noting that the Pentax 645Z autofocus is slower, the Fujifilm GFX 50S is faster.
With the Pentax 645Z, you can use optics from film cameras, since the mount has remained the same.
For the Fujifilm GFX 50S camera, only 3 lenses have been released so far, but the company assures that the line will expand. But, most importantly, the GFX 50S has a short working distance and through various adapter adapters you can put any medium format optics on the camera, including those from Pentax. And this is a very significant plus.

Medium format cameras in the era of "film maturity" were by no means rare and exotic, being both a working tool for professional photographers and amateur devices. Even in the USSR, several, in modern terms, budget models were produced, for example, "Amateur". However, it is 35mm full-frame cameras that have become ubiquitous.

With the advent of the digital age, technological limitations in the production of matrices have given rise to the dominance of the so-called. "cropped" models, and the crop factor turned out to be very diverse, from 1.5 for APS-C to double-digit numbers in smartphone cameras. Nevertheless, literally a couple of decades later, progress made it possible to achieve acceptable cost indicators, first for full-frame, and then for medium format matrices.

However, digital medium format cameras have not become (and, apparently, never will become) a mass, amateur, commodity like their film ancestors. The reason lies in the fact that a modern digital camera, even with an inch matrix, allows you to get excellent picture quality, sufficient for printing on "non-exhibition" formats, not to mention the most popular screen viewing.

However, the demand for medium format has remained and it is growing with the advent of new cameras. In September 2016 (Cologne, Germany), Fujifilm once again stirred up the photography community with the introduction of the GFX medium format system. In the spring of 2017, the camera and three lenses for it appeared on the Ukrainian market. Unlike other products of the company, Fujifilm GFX 50s is sold through an exclusive dealer, Paparazzi, which operates both online and in a traditional store format in Kyiv and Odessa.

At the start of sales, the 50s camera itself is offered (201,140 UAH), three interchangeable lenses, a vertical battery grip and a turntable for an interchangeable electronic viewfinder.

The FUJINON GF63mm F2.8 R WR (UAH 46,640) provides an angle of view equivalent to a 50mm focal length on a full-frame camera. It is very compact (by medium format standards) and does not come with optical image stabilization.

The zoom of the FUJINON GF32-64mm F4 R LM WR (UAH 67,050) is quite impressive, especially with the lens hood. Its equivalent on a full frame is 25-50 mm, there is no stabilization. Since the geometric distortion of the lens depends on its focal length, 32-64 in the wide-angle position gives a better (by this indicator) picture than its full-frame (and even more so cropped) competitors.

FUJINON GF120mm F4 R LM OIS WR Macro (UAH 78,710) is able to work in two fields - they make both portraits and macro shots. Yes, and in landscapes, he is good, the main thing is to find a plot suitable for the equivalent of 90 mm. So far, this is the only lens with optical stabilization.

Two more lenses have been announced, the FUJINON GF110mm F2 R LM WR (fast equivalent to 87mm) and the FUJINON GF23mm F4 R LM WR, 18mm equivalent at full frame.

The company claims that all optics are developed with a margin of resolution, a 100 megapixel sensor is named as a bar.

Both the commercially available and announced lenses are protected from dust and moisture and are guaranteed to work in minus 10 degrees Celsius.

Is it a lot or a little? By the standards of diversity for full-frame and crop lenses, it is definitely not enough. From the point of view of real use - at least enough to start. One more nuance should not be discounted. Fujifilm GFX 50s is a short throw mirrorless system. This means that almost any lens from medium format and even large format technology will fit on it without problems through simple adapters. Since the GFX 50s has an in-camera shutter, there are no additional requirements for the lens.

Design and ergonomics

Compare Fujifilm GFX 50s with medium format SLR cameras is not worth it, because it has a significant technological advantage - the absence of a mirror. This made it possible to design a compact and lightweight body. Its main competitor, the Hasselblad X1D, is even smaller, but when it comes to usability, the minimum size is not always a positive factor.

The GFX 50s bears the letter X in its name for a reason. Engineers and designers have tried to transfer to the medium format all the best that is in the Fujifilm X-series cameras. Aperture can be set manually on the lens, sensitivity and shutter speed - on the camera itself. Perfect? When shooting in manual mode - yes, but in priority or auto something is missing. Exposure compensation dial. In the GFX 50s, this is done by simultaneously pressing the button under the index finger and turning the wheel on the rear panel.

The GFX's hardware-focused parameter control system is much more convenient than the Hasselblad X1D's touch-sensitive rear LCD. To be honest, the brainchild of the legendary Swedish brand looks more like an expensive digital camera, although this, of course, does not apply to the quality of the picture. The 50s also has a touch-sensitive rear screen, the main use case for many is to directly indicate the AF point by touching the picture when working from a tripod.

The swivel plate for the detachable electronic viewfinder for the GFX 50s deserves special praise. It allows you to raise the eyepiece at an angle of up to 90 relative to the optical axis and rotate it at an angle of up to 45 in the horizontal (relative to the top panel of the camera) plane. However, this pleasure is not cheap and it is sold separately.

Functionality

A sensor with a sensitive area of 43.8 x 32.9 mm digitizes a frame of 8256 × 6192 pixels. RAW 14 bit. The standard sensitivity range is ISO 100-12800, expandable to 50 and 25600-102400. Unlike the X-series cameras, it uses a Bayer rather than a proprietary mosaic of filters. For JPEG generation, proven Fujifilm classic film simulation profiles are available.

The shutter is mechanical and electronic. Since there is no mirror, the operation is not accompanied by noticeable shaking of the case. To minimize camera movement, engineers added a combined mode with an electronic first curtain.

The autofocus system of the GFX 50s is contrast. And she's good. Forget what you knew about the contrast method five and even more so ten years ago. As with the X-series cameras, the GFX 50s can select a point (from a 9x13, 117-dot matrix, or a 17x25, 425-dot matrix, with its size adjustment, 6 values), a zone in the frame, or a tracking mode. Autofocus points cover almost the entire area of the frame, leaving only a thin frame at its borders “empty”. Either the joystick on the rear panel or touching the picture on the LCD screen helps you choose the one you need. Face detection works with the ability to specify the priority on the right or left eye of the model. In manual mode, there is highlighting of sharp edges of objects, which is very useful when using lenses from other systems.

The GFX 50s has a detachable electronic viewfinder. The quality of the picture in it deserves the most flattering assessment. The 3.69 million pixel panel gives excellent detail, while the optical system provides a magnification of 0.85x. However, with the current firmware version, "transients" are observed at the time of autofocus.

Picture quality

To assess the merits and identify the shortcomings, a device from the "selling" series and three lenses were provided.

First - formal pictures, a test still life in the studio. JPEG from the camera and RAW can be downloaded from this link. ISO 12800, the latest "standard" value, can be used, for example, when shooting a starry sky and in art projects, especially monochrome ones. Noise, of course, is, but the gradations in the shadows remain distinguishable.

Additionally, shots were taken with underexposure up to -5EV and overexposure +3EV at ISO 100 and 1600. The study of RAW files showed that the camera does not like overexposure more than +1EV, it is very difficult to restore details in highlights. But extracting information from the shadows is a real task, even -5EV at ISO 1600. Of course, this is an extreme scenario, of little use in the studio, but quite real for landscape shooting. 14 bit RAW handles large file sizes. Dynamic range allows you to significantly edit the image, for example, emphasizing the nuances of shades.

The detail is impressive. Lenses draw a very sharp picture, so much so that girls need to pay special attention to the quality of makeup before shooting.

The original versions of the pictures from the gallery (JPEG from the camera and RAW) are also available at the link indicated earlier.

* * *

The camera is excellent, but one question remains: is it worth paying more (than full-frame cameras with the same sensor resolution)? To some extent it is rhetorical. And the answer doesn't just depend on the budget. If you leave out the discussion of relationships with customers / agencies and a feeling of deep satisfaction with yourself, the pixel dimensions of the frame and the dynamic range remain.

Canon at Photokina 2016 showed a working prototype of a 100-megapixel full-frame camera. It was not possible to evaluate the dynamic range of its sensor, but understanding the physics of the light digitization process suggests that the 24x36 mm format has already reached the technological ceiling and it is not worth expecting significant progress in the foreseeable future. Increasing the size of the sensor makes it possible to make the light-receiving cell larger, and therefore more efficient and to obtain a better signal-to-noise ratio.

But on the stand, the lack of optical resolution of the lens was striking. The laws of optics, chemistry and economics are inexorable: they have not yet been able to make affordable, reasonable in size / weight and high enough quality for a resolution of 100 megapixels at full frame. And it seems that they will not be able to in the same foreseeable future. Again, the sensor size advantage plays a very important role: medium format lenses are easier to make.

Fujifilm GFX 50s is a complete working tool for both the studio photographer and those who shoot on location. However, its main advantage lies in the perspective of the system. This is what we saw with Fujifilm's X-series. The X-Pro 1 was good, and those who bet on this system did not lose out. The X-Pro 2 and X-T2 entered a market that already had lenses that could unlock their potential. I would like to believe that with GFX it will turn out at least as good. Today, the 50s has real competition in the full-frame segment, especially given the price sensitivity of domestic photographers. But with the advent of the following models, the gap will become too noticeable for such questions to remain relevant.

Site score

Pros: picture suitable for printing on large formats in a wide range of sensitivity, excellent (with the exception of a few points) camera ergonomics, prospects for the development of the system

Minuses: a small park of branded optics at the start, synchronization with studio flashes only at relatively slow shutter speeds, a similar sensor resolution is available on full-frame cameras with a much lower price

Conclusion: A great option for those who want to shoot on a medium format camera and are ready to either wait for the expansion of the lens fleet, or use available optics through adapters, including those from the secondary market

Specifications

	8256x6192
Interchangeable lens	+ (Fujifilm G Mount)
Focal length, 35mm equivalent	depends on the lens
Maximum aperture	depends on the lens
optical zoom	depends on the lens
Min. focusing distance, m (normal mode)	depends on the lens
Min. focusing distance, m (macro mode)	depends on the lens
ISO sensitivity	auto, 100-12800 (expandable to 102400)
Minimum shutter speed, sec	1/8000
Manual focus	depends on the lens
digital zoom	there is no data
white balance	auto, 7 presets, manual
Continuous shooting, frames / sec.	3
Exposure compensation, EV	+/-5, 1/3
metering	center metering, matrix, spot, center-weighted
Built-in flash modes	-
File types	RAW+TIFF
Max. frame size; fps (fps)	1920x1080 (30fps)
Video Format	MPEG-4, H.264
Viewfinder	electronic
LCD screen (diagonal in inches; number of pixels)	3.2", 2360000 touch
Touch screen	+
Screen (swivel or tilt)	+
Live View (for DSLR and Mirrorless)	+
Image stabilization system	depends on the lens
Autofocus system	contrast
External flash socket	+
Built-in microphone	+
Memory cards	2xSD (SDHC, SDXC)
Built-in memory, MB	-
Interface	USB 3.0, Micro HDMI
Microphone input	+
WiFi	+
HDMI	Micro HDMI
Nutrition	Li-Ion battery
Charger	+
Dimensions, mm	148x94x91
Weight, g	740
Additionally	Wi-Fi, smartphone control
link	https://www.fujifilm.eu/en/produkty/cifrovye-kamery/gfx/model/gfx-50s/specifications-30701
Colour	black
model (marking) of the battery	NP-T125

The Fujifilm GFX 50S impressed us with its superior image quality during our test. A huge 50-megapixel medium-format sensor delivers sharp edges, detail, and low noise levels that have never been surpassed. The luxurious equipment, which includes an extremely clear electronic viewfinder and a touch screen, is very convincing here. Only in matters of speed and battery life does this professional-grade DSLM camera allow itself slight weaknesses.

Advantages

superb image quality
relatively compact and stable body
extremely clear electronic viewfinder
intuitive control
really affordable for a medium format camera

disadvantages

short battery life
Burst shooting is slow and short
video mode with only Full-HD resolution

Price-quality ratio
Good
Place in the overall ranking
7 out of 30

Value for money: 64
Image quality (40%): 100
Equipment and management (35%): 91.4
Performance (10%): 71.6
Video quality (15%): 69

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The Matrix is almost the size of a dance floor

Almost twice as large as a small format matrix. A good 4 times more than the APS-C chip. And - to put an end to some comparisons - it's about 48 times larger than the iPhone 7's sensor area. The Fujifilm GFX 50S medium format sensor looks downright majestic. Expectations from such a huge chip, according to its size, are also not the most modest. And yes, the Fujifilm GFX 50S answers all of them with dignity.

Images look so crisp, detailed and free from noise that we have never seen such quality before. It is clear that such remarkable characteristics entail the appearance of not the most modest price tag. Approximately 420,000 rubles will cost only one "carcass". The most affordable lens for this camera will cost around 1,600 euros (97,400 rubles). And maybe you want to add a spare battery and rechargeable pen to your shopping list? Then get ready to end up paying almost 10,000 euros (608,500 rubles).

But what at first sounds like an unaffordable luxury, in the end turns out to be a very profitable purchase, because a few years ago a camera of similar characteristics would easily cost five times more. Almost three years old Pentax 645Z, the cost of which was approximately 500,000 rubles, was already a kind of price killer. And now you can get a similar camera for almost 80,000 rubles cheaper.

And even less: in addition to the Hasselblad X1D, the GFX 50S is also one of the first medium format mirrorless cameras. The best prerequisites for riding around with incredibly light medium format equipment. Or? Almost, if not for the issue with lenses weighing more than a kilogram, which are clearly not small and not light. And videographers, having learned about the cost, are likely to turn up their noses. But let's talk about everything in order.

Fujifilm GFX 50S: VG-GFX1 handle available as an option for approximately 43,000 rubles)

Hats off to image quality

Exactly 51.2 megapixels equals the resolution of every 4:3 shot taken by the Fujifilm GFX 50S. Thanks to this, any photo can be printed on a canvas the size of a house front. Who might need it? First of all, professional photographers who sell their work to advertising agencies that produce XXL prints. Accordingly, each RAW file is huge: 45 MB with lossless compression and a giant 110 MB in the uncompressed version. Even JPEGs with their 20-30 MB can be classified as heavyweights.

But anyone who looks at Fujifilm GFX 50S shots at least once will be ready to forgive files of any size. Almost 3100 line pairs per frame height provide 50 megapixels at minimum light sensitivity. Thus, our measurements in the test lab showed almost 400 line pairs more than a Canon EOS 5Ds R with identical resolution - here's a record in image resolution! Is this the result of using ordinary Fuji magic in the factory? Or is the secret to using a "non-X-Trans" CMOS sensor? This will remain the secret of the engineers.

But at the latest, with an increase in ISO, the answer to the question of why increasing the sensor area by 70 percent is justified: while Canon already at ISO 1600 shows a significant loss of detail and sharpness, the Fujifilm GFX 50S quality remains almost unchanged. Even at ISO 12800, the highest value in the standard ISO range, the sharpness at the edges of the image is an incredible 2946 line pairs - fantastic!

The level of noise is also impressive: up to ISO 3200, interfering pixels are almost invisible. After this value, however, the noise still becomes noticeable. But since we are talking about monochrome noise, this does not look unpleasant.

In addition, the Fujifilm GFX 50S offers a full range of filters, as the X-T2 already did: Velvia, Prog Neg Hi, Acros and six more film simulations that beautify your shots at the touch of a button. . Those who are not confident in their ability to choose the right filter can subsequently process their RAW files right in the camera.

Fujifilm GFX 50S: Crisp and flip-out 3-inch display supports touch input

New but familiar

Speaking of the X-T2, the handling is also strikingly similar to that of the smaller APS-C model. Whether it's the intuitive organization of the menu system, nine freely programmable function keys, two adjustment wheels for ISO and shutter speed, or an autofocus joystick with which the photographer can conveniently switch between contrast fields: despite the fact that the Fujifilm GFX 50S uses a new system Fuji photographers will feel the handling of the 860-gram, sealed magnesium alloy body feel surprisingly familiar.

On the back, there is a 3.2-inch display with an extremely clear resolution, which has a touch function and can be folded. By touching the screen with your fingers, you can select a focus point, swipe through photos while browsing the gallery and zoom in with a familiar movement, as is usually done on smartphones. Menu navigation does not work. Of course, the main task of the display is to "search" and display the scene being filmed.

And yet, would you like to? Anyone who even once looks into the electronic removable rotary viewfinder is unlikely. With 0.82x image magnification and a record resolution of nearly 3.7M subpixels, many will no longer want to use anything else. However, it would have been much nicer if the viewfinder could move back a little more, because every time we stuck our noses into the display. This process seems to us not only a little comical, but also because of it, there were constantly spots on the screen.

Fujifilm GFX 50S: Backlit monochrome LCD display shows up-to-date information such as memory space remaining

Expensive add-ons

Optional and with a price of about 40,000 rubles, a rather expensive corner adapter EVF-TL1 is included in the list of almost mandatory equipment. Vertical grip VG-GFX1 with space for an additional battery - too. Probably, due to large amounts of data and high resolution screens, one charge is enough to trigger the camera from 280 to 560 times - this is a rather mediocre level.

At the same time, the burst shooting parameters look somewhat weak: three frames per second, as well as 8 uncompressed and, accordingly, 13 compressed RAW shots, can only cause a condescending smile from sports photographers. At the same time, Fujifilm GFX 50S sends photos in JPEG format to SD cards without restrictions on the duration of the session, but on the condition that at least one of the slots contains a fast UHS-II card.

When it comes to shooting video, the Fujifilm GFX 50S is content with just the bare necessities. Recordings in Full-HD resolution at 30 frames per second can only meet the minimum requirements of videographers. However, on the left side are the microphone and headphone jacks. The micro-USB 3.0 port, connectors for the power cable and remote shutter release, as well as the X-sync contact are also under the cover. What else I would like to say about the flash: the fact that a DSLM camera has to do without a pop-up flash is quite possible to survive. At the same time, the proposed synchronization time of 1/125 second could be shorter.

But aside from these small shortcomings in video capability and speed, the Fujifilm GFX 50S has established itself as the go-to camera for all professionals who place the highest value on better image quality with first-class handling and ease of use.

Fujifilm GFX 50S: There are three lenses to choose from at launch - 63mm f/2.8, 120mm f/4 and 32-64mm f/4. The crop factor when converted to a small image format is 0.79

F16, 1/3c, ISO 100; GF 63mm f/2.8

F16, 1/10s, ISO 400; GF 63mm f/2.8

F16, 1/20c, ISO 800; GF 63mm f/2.8

F16, 1/45c, ISO 1600; GF 63mm f/2.8

F16, 1/180s, ISO 6400; GF 63mm f/2.8

F16, 1/320c, ISO 12800; GF 63mm f/2.8

F11, 1/125s, ISO 160; GF 63mm f/2.8

F8, 1/125c, ISO 200; GF 63mm f/2.8

F5.6, 1/125c, ISO 200; GF 120 mm f/4 Macro OIS

Alternative: Sony Alpha 7R II Body

The matrix is smaller, the body is more compact: but the image quality is at the same high level as that of the GFX 50S. Those who can refuse eight megapixels, in the face of our proposed model, get a strong alternative to the wonderful medium format camera from Fujifilm.

Fujifilm GFX 50S test results

Specifications and test results Fujifilm GFX 50S

Price-quality ratio	64
Camera type	DSLM
Effective number of pixels	51.1 MP
Maximum photo resolution	8256 x 6192 pixels
Sensor type	CMOS
Sensor dimensions	43.8 x 32.9mm
Cleaning the sensor	Yes
Built-in stabilizer (in camera)	-
Video recording	Yes
Lens mount	Fujifilm G Mount
Lens when evaluating image quality	Fujifilm 2.8/63 GF R WR
Lens when evaluating performance	Fujifilm 2.8/63 GF R WR
Minimum shutter release time	1/16.000 c
Maximum shutter release time	4 c
Viewfinder	electronic
Viewfinder coating	100 %
Viewfinder magnification	0.85x
Display: diagonal	3.2 inches
Display: resolution	2.360.000 subpixels
Display: touchscreen	Yes
Display: Trigger video recording from the touchscreen	-
Display: Rotatable	turning
Display: rotate to selfie mode	-
Second display	Yes
Orientation sensor	Yes
GPS	-
Minimum ISO	ISO 50
Maximum ISO	ISO 102.400
Min. flash sync time	1/125 c
White balance (number of presets)	3 presets
White balance: Kelvin	Yes
Resolution at ISO min	3.081 line pairs
Resolution at ISO 400	3.060 line pairs
Resolution at ISO 800	2.950 line pairs
Resolution at ISO 1600	2.936 line pairs
Resolution at ISO 3200	2.935 line pairs
Resolution at ISO 6400	2.930 line pairs
Detail at ISO min	92,9 %
Detail at ISO 400	92,9 %
Detail at ISO 800	89,6 %
Detail at ISO 1600	90,3 %
Detail at ISO 3200	88,9 %
Detail at ISO 6400	90,1 %
Visual noise at ISO min	0.85 VN (0.9 VN1, 0.4 VN3)
Visual noise at ISO 400	1.13 VN (1.2 VN1, 0.5 VN3)
Visual noise at ISO 800	1.41VN (1.5VN1, 0.6VN3)
Visual noise at ISO 1600	1.68 VN (1.8 VN1, 0.6 VN3)
Visual noise at ISO 3200	1.68 VN (1.8 VN1, 0.6 VN3)
Visual noise at ISO 6400	2.42VN (2.6VN1, 0.8VN3)
Expert Judgment: Noise and Detail at ISO Min	very good
Expert Review: Noise and Detail at ISO 1600	k.A.
Expert Review: Noise and Detail at ISO 3200	very good
Expert Review: Noise and Detail at ISO 6400	very good
Ready time to shoot from off state	1.1s
Shutter release delay time for manual focus	0.13 s
Shutter lag time with autofocus in daylight	-
Shutter release time with autofocus in low light	-
Shutter lag time in Live-View with autofocus in daylight	0.76 s
Burst speed in RAW	3.0 photos/s
Burst length in RAW	13 photos at a time
JPEG Burst Speed	3.0 photos/s
JPEG burst length	-
Battery	NP-T125
Battery cost	140€
Battery: max. photos with flash	280 photos
Battery: max. photos without flash	560 photos
Battery: max. photos in Live-View with flash	540 photos
Battery: max. photos in Live-View without flash	270 photos
Battery: video recording duration	2:33 h:min
Microphone jack	yes, 3.5 mm
Built-in flash	-
Flash control	Yes
Remote shutter release	-
Memory card type	SDXC
WLAN	Yes
NFC	-
Housing material	magnesium alloy
Housing: dust and splash proof	Yes
Dimensions	148 x 94 x 91mm
Weight without lens	825 g

Let's start with a brief introduction and talk about each camera individually, and then move on to talking about the differences between the HS50EXR and SX50 HS models.

FujiFilm FinePix HS50EXR

The HS50EXR was announced on January 7, 2013. The camera belongs to the FinePix S series, which also includes models such as HS30EXR, HS25EXR, SL1000, S8500, etc. The design of the camera matches the style of SLR cameras, in fact, the HS50EXR is even larger than the Nikon D3200. The camera is equipped with a 1/2-inch CMOS EXR architecture sensor with a resolution of 16 MP and a Fujifilm EXR Processor II image processor.

How big is a 1/2 inch sensor, you ask? – This is approximately 6.4 × 4.8 mm, which is slightly larger than the 1 / 2.3 sensor (6.17 × 4.55 mm) that many superzooms are equipped with. The SX50 HS uses a 1/2.3-inch sensor.

Sensor size comparison of HS50EXR (1/2-inch) and SX50HS (1/2.3-inch)

The matrix is equipped with special sensors for determining the phase of autofocus, thanks to which, according to Fujifilm (November 2012), the model has the fastest autofocus in the world (0.05 sec.)

Using hybrid autofocus will help you capture the subject in motion. Superzooms are known to be quite slow, they take too long to focus, which is very annoying. However, as the manufacturers promise, all this does not apply to the fast and accurate HS50 EXR. We will talk more about the matrix later.

HS50EXR can shoot 11fps burst mode at full resolution, but up to a maximum of 5 shots. This means that, despite the high shooting speed, the camera is able to process only 5 frames from a series. Fujifilm also promises us a very fast turning on of the camera, namely, in just 0.5 seconds.

The most interesting part of this camera is the lens. The HS50EXR features a 42x Fujinon lens (41.7 to be exact), 24-1000mm f/2.8-5.6 focal length and image stabilization. This is a good lens with which you can capture both wide angle shots and telephoto shots. The zoom capabilities are amazing. In order to achieve similar results with a DSLR, you would most likely have to use a Sigma 50-500mm f/4.5-6.3 APO DG OS HSM lens and teleconverters. But even with this option, the wide angle would be much less attractive, and when using teleconverters, as you know, the image quality deteriorates. In addition, the superzoom lens is much more compact, which can be seen especially well in the image below.

DSLR with telescopic lens and superzoom HS50EXR

As you can see, getting the same focal length with a SLR camera and interchangeable lenses is almost impossible. If you still decide to enjoy the 1000mm focal length, then you will have to buy a very expensive (I mean, unrealistically expensive) lens and a teleconverter for it.

Another indisputable advantage of the lens is that you can use it during video recording. Fujifilm FinePix HS50EXR Capable of Capturing Full HD 1080p Video at 60fps and stereo sound. The camera also supports 480fps (320×112 pixels), 160fps (320×240 pixels), and 80fps (640x480pixels) high-speed video recording modes. So you sacrifice resolution and in return you get slow motion video. The higher the frame rate, the lower the image resolution.

On the back of the camera is 3-inch vari-angle display with 920k resolution and 0.26-inch electronic viewfinder with the same resolution. The viewfinder certainly helps you feel more connected to your subject and shoot in bright daylight.

The Fujifilm FinePix HS50EXR is packed with features and offers full manual exposure control. If you are an inexperienced photographer, don't worry. Fujifilm is known for its top-notch auto modes, which allow you to fully enjoy all the advantages of the camera.

Operating modes and sensor capabilities:

A high resolution - uses all the pixels on the sensor for optimal resolution and the most detailed frame.

Wide dynamic range - captures two frames at the same time and creates a high dynamic range image that shows more details in the shadows. There is a "Dual Exposure Control" mode in which the camera creates two images with a single click of the shutter, one of them at high sensitivity and the other at low sensitivity.

High sensitivity and low noise - Useful when shooting in low light conditions, when you want to take clear pictures with a minimum amount of noise. In this mode, two adjacent pixels of the same color are read as one pixel.

Other features include:

The lens has a manual zoom ring and a manual focus ring
Can shoot RAW (RAF format) and RAW + JPEG
Stereo microphone for sound recording or video
Continuous autofocus during video recording
backlight lamp
External microphone input Ø2.5mm
Pop-up flash + hot shoe for connecting external flash
HDMI connector
Li-ion battery NP-W126, which lasts for 500 shots
Supplied with charger, USB cable, lens hood and cap, installation disc, user manual and battery
Face recognition
Exciting in-camera photo editing options, scene modes and filters including: Motion Panorama 360. Histogram display, framing guide, silent mode and more.
Compatible with SD / SDHC / SDXC memory cards
tripod connector
Command dial (changes settings such as aperture) and shooting mode dial
A sensor that detects whether you are looking through the viewfinder or not. When using the viewfinder, the display turns off to save power and conserve battery life.

The Fujifilm FinePix HS50 EXR is an amazing super zoom camera with impressive features and specifications.

Canon PowerShot SX50HS

Superzoom Canon PowerShot SX50 HS

(module Yandex direct (7))

The Canon SX50 HS has replaced the SX40 HS. Despite all the shortcomings of the old model - a small display, a tiny viewfinder, etc., it has proven itself well in the market. The same can be said for the SX50 HS, which many photographers associate with "Superior Image Quality". Those who prefer cameras from Canon can be understood. Although, according to the specifications, the Fujiflm HS50EXR is an excellent super zoom, with which you can create clear and bright photos even at maximum zoom.

SX50 HS features a 12.1MP sensor and the latest DIGIC 5 image processor. Canon has established itself as a manufacturer of high quality sensors, and this can not be taken away from him. Externally, the camera looks less impressive than the HS50EXR, but some may consider this an advantage. The SX50 HS is much more compact and lighter.

The focal length of the SX50 HS lens is a fantastic 24-1200mm (35mm equivalent) f/3.4-6.5. The camera optics has image stabilization (lens shift) and 50x optical zoom. In addition to optical, the camera also has a 4x digital zoom. Digital zoom works at the expense of image resolution, that is, in fact, the image is simply cropped. I would not recommend that you use this feature often. It would be much more useful to crop the picture using the software, after shooting, while examining the frame in detail.

Canon's new camera design is very pleasing. The camera looks compact and is very comfortable to use.

On the back of the camera is 2.8" 461k-dot vari-angle display. Compared to the competing model, this resolution seems relatively small. There is information that Canon had to use a small display to maintain a compact size. If this is the reason, then Canon's decision may even be correct. The fact is that when shooting with superzoom, users often use the viewfinder. As for the electronic viewfinder, its resolution is 202 thousand dots. On the other hand, for those photographers who are used to frequently reviewing footage and focusing through the display, such restrictions will not be a joy.

When working with the SX40 HS, many people complained about the low resolution of the display and its relatively small physical size. In general, this does not affect the performance of the camera. The main advantage of this model is the quality of photos, and there were no complaints about it. As you understand, even the best and largest display will not help make photos brighter, clearer and more colorful, and considering the screen as a priority criterion is at least silly.

Canon has improved the speed SX50 HS and now the camera focuses not in 0.38 seconds, but in 0.19. Canon has equipped it with several extremely useful technologies such as Framing Assist Seek and Framing Assist.

Here is a very good video that perfectly demonstrates the capabilities of the new model

Canon PowerShot SX50 HS Capable of Capturing Full HD 1080p Video at 24fps and 720p at 30fps (up to 29.97 minutes).
Knowing the characteristics of cameras is very useful, but it is much more important to know about the advantages of one or another model compared to a competitor. We now move on to a head-to-head comparison of two excellent modern superzooms. We hope this information will help you make the right choice.

Comparison Fuji HS50EXR and Canon Sx50HS

The comparison table contains all the information of interest to amateur photographers about each model. First, look at the images showing the difference in size and design of the two cameras (from camerasize.com), and then move on to the table data.
Comparison between Canon SX50 HS and Fujifilm HS50EXR cameras (via camerasize.com)

	Fujifilm HS50EXR	Canon SX50HS	Notes
Date of announcement	January 7, 2013	September 17, 2012	Fuji newer camera
Sensor	16.0MP 1/2"(6.4x4.8mm) CMOS with backlight	12.1MP 1/2.3"(6.17x4.55mm) BSI-CMOS backlit
	Fuji has a larger sensor. The firm uses various technologies to improve image quality in high dynamic range and low light situations.
ISO	100 - 3200 (expanded to ISO 6400 at full resolution, and up to ISO 12800 at lower resolution)	ISO 80-6400	The SX50 HS has the best ISO capabilities, however, Fuji allows you to extend the range to 12800 ISO, but the result will be a lower image resolution.
CPU	EXR Processor II	Digital 5	Both cameras use new generation processors. New EXR II processor much faster than HS30EXR
exposition	Multizone/ Spot	Estimated / Center-weighted
Lens	Fujinon 24-1000mm f/2.8-5.6 41.7x optical zoom lens with Image Stabilization + Manual Focus. Macro: 0 cm	Canon 24-1200mm f/3.4-5.6 50x Optical Zoom Lens with Image Stabilization + Manual Focus. Macro (super macro mode): 1.0cm	Fuji focuses from a shorter distance
	Both use very high quality optics. Both have the same 24mm wide angle lenses. The SX50 HS has a larger zoom range. Fujifilm, on the other hand, has a brighter lens, which should result in better image quality in low light conditions. Canon uses a more advanced image stabilization engine that allows the camera to choose between six image stabilization methods
LCD	3" resolution swivel display 920k points	2.8" resolution swivel display 461k points	The screen can be easily used to take self-portraits.

Viewfinder	0.26-inch, 920K dots, 100% visibility	202k dots, 100% overview	Fuji has a much better viewfinder.
Excerpt	30 - 1/4000 sec	15 - 1/2000 sec	Fuji's exposure capabilities are amazing. With this speed, you can easily shoot fast moving objects
Burst shooting	11 fps (max. 5 fps) up to 16 fps at partial resolution	2.2 fps (in P mode) up to 13 fps during high-speed shooting (max. 10 fps)
	Continuous shooting of both cameras is impressive. Canon is capable of shooting up to 13 frames per second if you don't mind the low frame resolution. At the same time, Fuji can increase the speed to 16fps. At full resolution, Canon will shoot 2.2 frames per second, although Fuji will be able to capture 11 frames. Due to the limited buffer of the HS50 EXR, you can only capture 5 shots in a burst.
Video recording	H.264 (MOV) 1080, 60fps 640x480@80fps 320x240@160fps 320x112, 480fps autofocus stereo sound	H.264 (MOV) 1080 24fps 720 @ 30fps 620x480@120fps 320x240@240fps continuous autofocus stereo sound
	Fuji lacks the much-loved, cinematic frame rate of 24fps. I am glad that both cameras make it possible to shoot in automatic mode with autofocus phase detection.
autofocus	Contrast autofocus with phase detection time: 0.05 sec Shutter lag: 0.5s	Contrast autofocus time: 0.19 sec Shutter lag: 0.25 sec
	Fujifilm has the advantage of using hybrid autofocus and the ability to switch between modes depending on the shooting conditions. Both cameras have very fast autofocus.
Battery life (CIPA)	500 shots	315 frames	Fujifilm has much better battery life. I was very impressed with this battery so they say at least.
Dimensions	134.9 x 101.3 x 145.9 mm / 5.3 x 4.0 x 5.7 inches	4.82 x 3.44 x 4.15 inches / 122.5 x 87.3 x 105.5mm	Canon is much more compact
The weight	808G / 28.5oz. (Including battery and memory card)	21.0 oz. / 595g (with battery and memory card)	Canon weight much less
panoramic shooting	Motion Panorama mode (360°, 180° and 120°). also known as "Sweep Panorama"	There is software to combine multiple frames into a panorama	Fuji's panorama capabilities are much better
AF illuminator	There is	There is
pop-up flash	Yes (8m) + hot shoe	Yes (5.5 m) + hot shoe
RAW format	There is (RAW/RAW+JPEG)	There is (RAW/RAW+JPEG)	Both cameras can shoot in Raw format.
Full manual exposure control	There is	There is

(module Yandex direct (9))

As you can see, the cameras, in general, have different technical features. In the next section, we will discuss in detail the quality of images taken with both cameras.

Advantages of FujiFilm HS50EXR:

big matrix
Higher resolution (may be a disadvantage, in some cases)
Higher maximum ISO sensitivity (but at reduced resolution)
Unique sensor design that allows the camera to use pixels in three different ways (HDR, etc.)
Bright wide-angle lens and shorter minimum focusing distance
Large screen with good resolution
The best performance for aging
High speed continuous shooting (with continuous autofocus)
The electronic viewfinder is better than the competition
Hybrid AF with phase detection and video AF
Long battery life
Intuitive and easy way to shoot panoramic images
Dedicated buttons for exposure compensation and continuous shooting
Quality zoom ring and good manual focus
The best autofocus speed.

The list of features and benefits of the HS50EXR does not end there.

Benefits of the Canon SX50HS:

Resolution (smaller display resolution may be an advantage in some cases)
Larger zoom range
Impressive Image Stabilization mechanism with Intelligent IS,
24p video recording capability, 480p high frame rate slow motion video
Slow shutter lag
Much more compact body
Less weight
Cheaper model (about $50 - $90 less, as of April 22, 2013 on Amazon)
Very fast work

Now you know the main differences between the SX50 HS and HS50EXR. Canon SX50 HS is about $50 - $90 less than Fujifilm. Fujifilm certainly has the best numbers overall, but we can't deny Canon's strengths either. The strengths of this camera include its small size. Yes, superzoom won't fit in your pocket anyway, but many would prefer Canon for its compact size. If the size of the camera doesn't bother you, then you may find that the Fuji is more comfortable to use. It is a pleasure to hold this camera in your hands.

When the Canon SX50 first appeared, it had no equal. Since then, many new models have been introduced to the market, and today, the SX50 HS is not the only viable option. The Canon PowerShot SX50 HS has a longer focal length, but the difference isn't as dramatic as you might think. Most importantly, the camera can capture high-quality photos even when the lens is telescopic.

This brings us to talking about image quality and high ISO performance. So now it's time to compare the quality of photos and videos taken with the SX50 HS and HS50 EXR.

Image quality and ISO sensitivity performance

Image quality is probably the most important aspect of every superzoom. The SX40 HS once showed amazing image quality capabilities thanks to its high ISO performance. There is a common stereotype that super zooms produce poor quality photos, especially when the subject is zoomed in too close. This is due to the complex arrangement of lenses in the optical system. With many cameras of this type, you simply cannot get clear and colorful photos. However, none of this applies to the SX50 HS.

Let's summarize the quality of photos taken with each of the cameras:

Canon SX50 HS allow you to get sharper images at a lower ISO.
Up to ISO 400, both cameras deliver impressive results. Photos are not grainy and clear.
Quality deteriorates at ISO 800. The SX50 HS still performs well, and the Fuji shots are grainier. This can be explained by the fact that Canon's superzoom sensor has a much lower resolution, and this is known to affect the noise level in the photo.
ISO 1600 is still usable on Canon, but the HS50EXR's images are already too grainy. I would not recommend using a sensitivity value greater than ISO 800 with a Fuji camera.
Photos taken at ISO 3200 sensitivity values. I would recommend using ISO 3200 only in the most urgent cases, since the image quality drops very much. If in the future you plan to reduce the resolution of the frame, or just post it on the network, then it's okay, but if this is a professional job, then such a picture is no good.
Fujifilm HS50EXR photos do have visible artifacts even at the lowest ISO settings, which cannot be said of the SX50HS
Fujifilm is capable of creating stunning, vibrant and colorful photos (JPEG)

Canon SX50 HS, in many ways, has undeniable advantages over Fujifilm. If you're really picky when it comes to high ISO image quality, then the Canon SX50 HS is the best option for you. The quality of the images created with the SX50 turned out to be an order of magnitude higher.

So, as you can see, Canon lacks a lot of the features that Fujifilm has, but when it comes to image quality, the SX50 HS delivers the best results. This is one of the reasons why many people prefer Canon Ultrazoom. Photo quality is the main indicator of camera performance. There are other cameras out there that can produce decent images, but none can match this with the Canon SX50 HS yet.

Canon SX50 test video

Conclusion

It's time to sum up our informative conversation. The good news is that both cameras have great technical and functional capabilities. In terms of features, few can compare to the Fujifilm FinePix HS50EXR in this regard. Many original and interesting features can make Fuji preferable to Canon. For some, the large viewfinder and LCD, bright lens and long battery life can make the HS50EXR superior, and understandably so. On the other hand, it is also wrong to keep silent about the advantages of Canon. This camera is more compact and lighter, although it lacks some interesting features. If the size and resolution of the electronic viewfinder and display are not important to you, then feel free to buy the SX50HS and you will not regret it. The image quality is very impressive, and this is the most important thing.

Comparison of Fujifilm FinePix HS50EXR and Canon PowerShot SX50 HS. FUJIFILM GFX50s review

Specifications

Design and construction

Sensor

Display

Control

Menu

Fujifilm GF optics

Fujifilm GF 110mm f/2 R LM WR

Fujifilm GF 120mm f/4 Macro R LM OIS WR

Fujifilm GF 23mm f/4 R LM WR

Fujifilm GF 63mm f/2.8R WR

Competitors

Laboratory tests

Fujifilm GF 23mm f/4 R LM WR

Fujifilm GF 63mm f/2.8R WR

Fujifilm GF 110mm f/2 R LM WR

Fujifilm GF 120mm f/4 Macro R LM OIS WR

Practical photography

General impressions

In a studio

reproductions

Plein air

Expobracketing

Interior

Reportage

Video

Fujifilm GFX 50S vs Hasselblad X1D 50c

Design and ergonomics

Functionality

Picture quality

* * *

Specifications

Advantages

disadvantages

The Matrix is ​​almost the size of a dance floor

Hats off to image quality

New but familiar

Expensive add-ons

Alternative: Sony Alpha 7R II Body

Fujifilm GFX 50S test results

Specifications and test results Fujifilm GFX 50S

FujiFilm FinePix HS50EXR

Canon PowerShot SX50HS

Comparison Fuji HS50EXR and Canon Sx50HS

Image quality and ISO sensitivity performance

Conclusion

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The Matrix is almost the size of a dance floor