Fujifilm GFX 50S

The Fujifilm GFX 50S is a mirrorless medium format camera released in 2016. Its 51MP sensor puts resolution first, and that is the main appeal of the medium format class.

That combination suits photographers who work deliberately: landscape, still life, fine art and studio portraiture. Anyone shooting fast action or moving video work should look elsewhere, because the camera's pace and feature set are built around slow, careful frames.

Owning it involves some commitment. At 920g before lenses, and with a battery rated for around 400 shots, it rewards planning over spontaneity. In return you get a large sensor and a lens system, Fujifilm G, designed around it.

The heart of this camera is a 51MP medium format CMOS sensor. Files carry enough detail for large prints and generous cropping, which is the main reason to choose this format. The ISO range runs from 100 to 12800, covering bright outdoor work and indoor light.

Autofocus offers 425 points, giving you plenty of placements for focusing. It pairs with the 3.69M-dot electronic viewfinder, so what you see in the finder reflects the sensor's output before you press the shutter.

Shooting pace is the main constraint. At 3 fps, this is a camera for considered portraits and static scenes, not sport or wildlife. The 1/4000s maximum shutter speed can also restrict wide apertures in strong daylight.

There is no in-body stabilisation, so slower handheld shutter speeds carry a real risk of blur. A tripod, steady technique or faster shutter settings are the practical answers. Fujifilm G lenses are built for this mount and its sensor format.

The GFX 50S does not record video. There is no movie mode at all, so resolution and frame rate never come into play. It is a stills camera, and anyone with hybrid stills-and-video plans will need a second body.

There is one motion-adjacent option: a built-in timelapse function. It captures still frames at set intervals, which you can later assemble into a sequence using separate software. It is a stills workflow, but it opens the door to long-term projects like construction progress or shifting weather.

A long interval series can generate a large number of files, and the two card slots add storage room for an extended shoot. Assembly happens outside the camera, so factor in time at a computer for any timelapse project.

Framing happens through the electronic viewfinder or the 3.2-inch TFT LCD. The screen offers 2.36M dots and touch input, so reviewing images and adjusting settings on the rear panel is comfortable. It does not flip or rotate, so waist-level and overhead angles are harder to judge.

The body is weather sealed, which helps when working outdoors in dust or damp conditions. There is no built-in flash, but external flash units are supported, so studio and location lighting setups are straightforward.

Wi-Fi and Bluetooth are built in, giving the camera wireless connectivity. Live view is also available for composing on the screen rather than through the finder. The camera does, however, lack built-in GPS.

Storage is a strong point. Two card slots accept SD, SDHC and SDXC media with UHS-II support, so you can run fast cards and carry plenty of capacity. Two slots also let you fit more media in the camera at once.

The battery is rated at 400 shots, though the conditions behind that figure are not specified, so treat it as a guide rather than a promise. For longer shoots, carrying a spare NP-T125 is a sensible plan.

There is no USB charging, so topping up the battery requires a mains charger and time out of the camera. For travel or location work, charging spares in advance is the practical routine.