No review yet

I've said very little about the GFX 50S since purchasing it—which may surprise some of you, given my growing excitement over the last few months. This is partly due to time (or lack thereof) but mostly it's an issue with understanding how and why and when. I could certainly have written a review by now but I'm not a technical reviewer, I have little interest in specs. Before I write about a camera I need to internalize its use, understand how it fits in my universe. I'm still searching and exploring with the GFX.

It's not displacing the X-series; that I know. And I feel very privileged to have the luxury of using two such impressive systems side by side. But if anything, the GFX highlights the strength of the X-series—I see both as perfectly complimentary. This was my hope and it's confirmed. The key for me is identifying when the GFX opens new possibilities, beyond higher resolution and larger file size. My friend Bert Stephani just purchased the same kit I did (GFX + 63mm) and we're both going through a transition, asking similar questions.

Of course, technically I can shoot anything with it—it's a camera, stupid. I don't really need to find a dedicated purpose and plenty of people won't: they'll just shoot what they shoot and marvel at the detail in the images. And yes, it IS insane. Beautifully insane. But I didn't buy a bigger camera for the sake of a bigger camera and I didn't buy it for super sharpness... I bought the GFX for visual differenciation. To push boundaries. That's a tall order for both the camera and myself.

I've shot client work I can't share just for now, here's a few random personal images. The review will come. But when it does I'll have a deeper understanding of the changes this system brings. One thing I do know: it's entirely worth the time.

P.S. If you really want to gawk I suggest Jonas Rask's trip to Iceland and his work with both the upcoming 23mm and 110mm lenses. Very impressive stuff.

Shot with the GFX 50S and GF 63mm R WR