A System Guide to Fujifilm XF and GFX 

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Items on same line indicate model updates. Different lines indicate varying model levels (current models in bold).

Fujifilm was one of the original digital ILC makers, cooperating with Nikon to make a small DSLR-type camera in the 1990’s, then eventually making their own early DSLRs based on Nikon film bodies (S1 Pro, S2 Pro, S3 Pro, S5 Pro) with special Fujifilm-designed sensors, though using Nikon F-mount lenses. 

Fujifilm left the ILC business in the 2007-2008 time period, then returned with APS-C mirrorless cameras instead of DSLRs in 2012. Since 2012, Fujifilm has been been rapidly iterating models in their APS-C mirrorless lineup, which uses Fujifilm XF lenses, and has introduced a medium format mirrorless lineup, which uses Fujifilm GFX lenses.

Fujifilm basically has five tiers of models:

  • The dual-viewfinder X-Pro models, which feature both optical and EVF viewfinder options (via an ingenious design controlled by a mechanical switch). 
  • The DSLR-like X-T and X-H models, typically with a big, bright, fast EVF. This seems to be where most of Fujifilm’s design activity begins for all models now, as focus and other systems seem to originate in this tier and then get spread to the other models.
  • The X-E models, which are a more rangefinder style camera, but with a built-in EVF.
  • A range of lower-priced rangefinder-style cameras that rely on the rear LCD to compose: the X-A models.
  • A medium format line seemingly based on the X-T and X-E models, but with a larger sensor and mount.

The first two lines are very “retro” and DSLR-like in control design, the A/M line are more modern compact-camera style in controls. The X-E line is somewhere in between, though closer to the retro designs than compact. As noted above, the medium format GFX models take after the X-T3 (DSLR-style) and X-E3 (rangefinder style), only bigger due to the bigger sensor used.

The original Fujifilm mirrorless models were all 16mp using Fujifilm’s special X-Trans sensor filtration on a Sony-made APS-C Exmor sensor (crop factor of 1.5x). All current crop sensor models are now 24mp or 26mp, and most are APS-C with X-Trans. The X-Trans sensor filtration is a little controversial. Fujifilm originally claimed it was moire-free (it isn’t). Because it isn’t the very symmetrical Bayer filtration, raw converters seem to have a little more trouble keeping low level artifacts from creeping in, especially fine detail that has colors slanted towards red or blue. The medium format GFX is Bayer-based, not X-Trans. The low-end X-A and X-T100 models are also Bayer-based.

Fujifilm’s ISO choices tend to be overstated for actual light levels. Similar Sony-based sensors tend to produce the same exposure at nearly twice the ISO level as Fujifilm, so be careful of comparing “ISO 3200 with ISO 3200” across brands. 

Personally, the X-H1 model is the clear flagship of the Fujifilm crop sensor lineup, and the most traditional of all their cameras. It’s my choice of Fujifilm X models at the moment, though many will also like the X-T3. The XT-3 and X-T30 are a close second and distant third, respectively. If you’re looking for a low-cost bargain, the X-T100 should be looked at.

In terms of lenses, Fujifilm was highly active the first two years, with five lenses in 2012 and six in 2013. We got four lenses in 2014, six again in 2015, but only two in 2016. At this point, Fujifilm has a strong basic lens set, with the following choices:

  • Primes: 14mm f/2.8, 16mm f/1.4, 16mm f/2.8, 18mm f/2, 23mm f/1.4, 23mm f/2, 27mm f/2.8, 35mm f/1.4, 35mm f/2, 56mm f/1.2, 60mm f/2.4 macro, 80mm f/2.8 macro, 90mm f/2, 200mm f/2
  • Zooms: 8-16mm f/2.8, 10-24mm f/4, 15-45mm f/3.5-5.6, 16-50mm f/3.5-5.6, 16-55mm f/2.8, 18-55mm f/2.8-4, 18-135mm f/3.5-5.6, 50-140mm f/2.8, 50-230mm f/4.5-6.7, 55-200mm f/3.5-4.8, 100-400mm f/4.5-5.6

In the above list, my favorite—and I believe best—Fujifilm lenses are in bold. That’s not to say the others are bad lenses, but each of the non-bolded lenses have something about them I find a little less satisfying than the others. The 60mm f/2.4 macro, for instance, is very sharp, but focuses much more slowly than most of the others. 

For medium format Fujifilm has six primes (23mm f/4, 45mm f/2.8, 63mm f/2.8, 110mm f/2, 120mm f/4, and 250mm f/4) and two zooms (32-64mm f/4, and 100-200mm f/5.6). 

If Fujifilm has a weakness in lenses, it tends to be in the zooms. The variable aperture zooms, in particular, are the weakest optically of the Fujifilm X lens set. Both prime lens sets are very strong overall, and the crop sensor version gives you 21mm, 24mm, 28mm, 35mm, 52mm, 84mm, 90mm, 135mm, and 300mm options; a solid wide to telephoto choice. 

 The crop factor for XF is 1.55x, for the GXF it is 0.79x (compared to the old 35mm film full frame).

This brings up a point that Fujifilm made: Canon, Nikon, Pentax, and Sony all have multiple sensor formats. Most of those are APS and full frame. APS and full frame are about a stop apart in performance, all else equal. Fujifilm regarded that as not enough differential. That’s why the GFX is a small medium format, basically two stops removed from the crop sensor XF system in performance, all else equal.

More information about the Fujifilm system:

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