Fujifilm’s rangefinder-style medium-format mirrorless camera offers addictively high image quality in surprisingly portable package, as Andy Westlake finds out
Fujifilm GFX 50R: Image quality
With the same 51.4MP medium-format sensor and X-Processor Pro on board as previously used in the GFX 50S, unsurprisingly we see much the same image quality in our tests. Fine detail is rendered with stunning crispness and clarity, which is accentuated in the camera’s low-ISO JPEG files by strong, fine-radius sharpening.
Colour output is as attractive as usual from Fujifilm, with the various film simulation modes providing a good range of options. Yet this stunning quality is achieved using a conventional Bayer sensor, which makes me wonder why Fujifilm is so wedded to the more complex X-Trans sensor for its premium APS-C models.
Fujifilm GFX 50R: Resolution
At ISO 100, the GFX 50R records a massive 6,000 lines per picture height when measured against our test chart, which is about as much as its 51.4MP sensor could possibly achieve (note that its slightly taller 4:3 aspect ratio gives it a slight advantage over 3:2 full-frame models in this test). Resolution drops slowly as the sensitivity is raised, and even at ISO 1600 we still measure a hugely impressive 5600 l/ph. At higher settings noise has an increasingly deleterious effect, but 4800 l/ph at ISO 12,800 is still a strong showing. At the top ISO 102,400 setting, though, this drops to 4000 l/ph.
In the 100% crops above, multiple the number below the lines by 400 to calculate the resolution in lines per picture height. These tests were shot using the GF 63mm F2.8 R WR at its sharpest aperture of f/5.6.
Fujifilm GFX 50R: ISO and noise
At low ISO settings the GFX 50R gives absolutely stunning images, with a no visible noise and remarkable delineation of the finest low-contrast detail. This quality persists up to ISO 800, and it’s only really at ISO 3200 that we see any obvious degradation when examining images close-up onscreen. By ISO 12,800 quality is suffering badly from noise, although the camera’s own processing does a better job of maintaining colour than the Adobe Camera Raw-converted samples we’re looking at here. Beyond this, however, things go downhill fast, with colours fading and serious problems with noise. ISO 25,600 might sometimes be usable at a pinch, but I’d steer well clear of the top two extended settings.