Filling the Frame with the Fujinon GF500mm F5.6 R OIS LM WR. by Dan & Zora Avila
Since the launch of the GFX platform, Fujifilm’s large format cameras have redefined digital image making. Historically, Fujifilm have rejected a classic 35mm, full frame iteration of their camera systems, instead, opting for outstanding APSC platforms that have garnered cult status among street, travel and lifestyle photographers.
When Fujifilm bypassed full frame to instead release the GFX system – a 16bit image-making powerhouse at 1.7 x 35mm format, some pundits questioned, “Who is this camera for?” Medium format had been the domain of specialist commercial and studio photographers with slow functionality, and sub-par autofocus, but outstanding image quality. In the latest generation of the GFX, Fujifilm has delivered the seemingly impossible.
The current large format flagship, the GFX100II, is a refined image and video allrounder, that is equally adept in studio as it is on location in challenging environments. Moreover, the video capacity of the system, thanks to the new processor, internal Prores 4K and 8K recording, with outstanding IBIS and AI powered autofocus, presents a compelling package for hybrid shooters of all flavours, when image quality requirements are paramount.
Fujifilm has been deliberate and measured in the roll out of the much-lauded Fujinon GF mount lenses, applying the knowledge and heritage of decades of premium lens-making, not only from their photographic division, but from their extraordinary large format cinema line-up. Until recently, the GFX camera and lens platform was missing the ideal solution for sport and wildlife photography. The longest lens in the lineup was the GF250mm F4 which, when paired with the outstanding 1.4x teleconverter, produced a 350mm F5.6 lens that while being precise, lacked length. Invariably, we have cropped many wildlife images to achieve the desired composition, relying on the 102MP to digitally zoom.
Enter the Fujinon GF500mm F5.6 R OIS LM WR.
Deciphering the nomenclature:
- 500mm fixed focal length,
- Maximum aperture of F5.6,
- “R” – Aperture Ring,
- “OIS” – in Lens Optical Image Stabilization that works with the GFX IBIS
- “LM” – Lineal motor for fast, precise and silent autofocus,
- “WR” – Weather resistant for outdoor shooting.
When Fujifilm invited us to test this lens in the field, we jumped at the opportunity to subject the GF500mm F5.6 lens to the extreme environment of Antarctica. This lens will likely never be operated in the salubrious conditions of an airconditioned studio. Our Antarctic adventure was a perfect opportunity to evaluate the GF500’s true performance, functionality and reliability.
This lens represents an evolution in the GF-mount lens line up. Noticeable is the large FUJINON logo on the massive lens hood that covers the 95mm glass element with a thread mount for (very large) filters. Confirming its status as a tool for extremes, the GF500 weather resistance is rated to minus 10 degrees Celsius. Most professional lenses are rates to zero degrees Celsius. We have experienced frozen lenses on location in the past, and Antarctica is no joke, with temperatures on this shoot plummeting to minus 27 degrees Celsius. Amidst snow, rain, sea-spray, and strong winds, the lens performed flawlessly – even as we passed through the fishy breath of a giant Blue Whale exhaling. On one zodiac outing in the remote Antarctic Ross Sea, our expedition leader advised that no one attempt to take an image with their smart phones as conditions were so cold, screens have been known to crack. We simply rugged up and shot extraordinary images and video of Emperor penguins and curious Crabeater seals with the camera and lens performing flawlessly.
The 500mm focal length is glorious and when even more reach is required, the lens is compatible with the Fujinon 1.4x teleconverter, providing a combined reach of 700mm, albeit at a stopped down F8. This focal length is a revelation for large format wildlife photography – but we knew it would be, even before testing the lens. Just as important to image quality is the GF500’s resolving ability and autofocus.
AI Auto Focus and 500mm – in the real world.
Combine moving animals, a razor thin depth of field at F5.6 and an unforgivingly-precise sensor, and you have a recipe for many missed shots at 500mm. This is where the GFX100II AI autofocus is essential. We simply engaged subject detection in continuous autofocus and fired away. The lens locked onto the subject’s eyes as we concentrated on ideal compositions. Both in photos and video, the results are outstanding. From fast flying albatross, to black-headed king penguins with almost indistinguishable dark eyes, or lumbering elephant seals in the snow and rain, the fast and accurate subject detection autofocus made this lens a dream to use.
In the end, image quality is everything, and GF500 has a lot to live up to, given the prowess of the Fujinon GF line up. After some 7,000 images and hours of video, we are delighted at the GF500’s resolving power, micro-contrast, distortion-free imagery, colour neutrality, flare control, and beautiful bokeh. The GF500mm is a perfect match for GFX100II for unparalleled accuracy and image quality.
The biggest shock when first using this lens is the size and weight. In stark contrast to typical high performance, full-frame super-telephotos that are cumbersome to transport and use, the GF500 is relatively compact and light at about 1.5kgs. This means that even smaller photographers can shoot hand-held for extended period without fading. It means packing, trekking, flying and shooting are vastly easier when compared the massive telephoto glass that most shooters are used to. Even after a month of using this lens, its lack of heft still surprised us every time we picked it up.
The GF500mm F5.6 lens is poised to become an essential part of the GFX lineup. Its legendary Fujinon technology, ease of use, and exceptional performance make it a compelling reason for wildlife and sports photography professionals and enthusiasts alike to embrace the phenomenal GFX system.
