And in fact, they even showed us during the X summit in September 2021 mock-ups of that lens. We can clearly see it’s a GF30mmF4 TS.
But here is the thing.
We have been informed, that Fujifilm does not plan to release one, but two tilt shift lenses for the GFX system in 2023.
If Fujifilm does not change plans, one of them will surely be the Fujinon GF30mmF4 TS.
As for the second one, you might remember how back in 2019 Fujifilm officially asked you guys which tilt lenses you want to get for your GFX. For your convenience, you can see the survey again down below.
Out of the four options Fujifilm gave us, most of you wanted the widest one, the Fujinon GF 21mm F4 Tilt Shift.
The second spot went to the one lens Fujifilm will make for sure, the Fujinon GF30mmF4 TS (unless they change their mind).
A smaller number of the GFX community desired a Tilt Macro option.
Since my source mentioned a second “tilt shift” and not “tilt macro” lens, all those who voted for the Fujinon GF21mm F4 TS can be quite hopeful now.
But I don’t have details on the second lens. It could be also something totally different. I will see if I can find out more for you guys and will eventually let you know here on FujiRumors.
We published an article, where we reason about the future for the GFX series. A future, to say it once again clearly here, I have no idea about due to the lack of rumors, which tends to make me believe that nothing GFX camera related is coming in the foreseeable future.
And yet, this won’t stop a rumor site from having fun making speculations, or should it? I just need to make sure that you guys get a clear indication from my side that this is a speculation, not a rumor.
So what’s the speculation?
For the reasons we explained in this article, we look at the following cameras:
Fujifilm GFX100S/R with 102 MP stacked BSI sensor
Fujifilm GFX150S/R (or GFX160S) with 158 MP non-stacked BSI sensor
Fujifilm GFX100S/R MKII (same sensor of the current GFX100S but with new processor)
And the pattern is, that the sensor used on the X series, later on finds its way also on the GFX series.
The only difference? The sensor used in the GFX series comes from the same silicon wafer of the one used for the X series, it is just cut out 4 times bigger (and of course with different CFA array on top, meaning a Bayer vs an X-Trans one).
That’s a well known fact for FR-readers, but in case you are still hesitant about it, just read what Fujifilm Nordic told in March 2022, confirming that X and GFX share the same technology also in terms of sensor and processor. Hence, looking at the X series will give indications also on the future of the GFX series.
Assuming that Fujifilm will continue to share the same sensor platform on the X and GFX system, and considering the statements made by Fujifilm Nordic, people believe that Fujifilm will soon launch new GFX cameras using the sensor technology of the X-H2 cameras.
And if I’d sum up the most “rumored” options for the future of GFX, I’d nail it down to three cameras that people think could come in a not so distant future::
Fujifilm GFX100S with 102 MP stacked BSI sensor
Fujifilm GFX150S (or GFX160S) with 158 MP non-stacked BSI sensor
Fujifilm GFX100S MKII (same sensor of current GFX100S but with new processor)
So I can confidently say: every system has its Pros and Cons and every system, from M43 to MF, can be used for professional use, of course with some cameras being better suited for certain uses than others.
So if somebody tells you that you absolutely need a system with a 70% larger sensor than full frame (the GFX system) to really stand out with the quality of your images, then you better don’t trust that person.
And yet, as we said, every system has its Pros and Cons, and the advantage of the GFX system is undeniably that it offers the best image quality you can get for a more than reasonable price.
And it sounds like the combination of advantages the GFX system offers was perfect for Jason Eng, who, in a talk with Evelyn from TCSTV explains his move to the GFX system.
Here is a quick summary:
Jason’s assistant Aiden was looking to buy into a new system. He looked at Sony, Nikon and Canon and almost pulled the trigger on the Canon
Jason suggested him to try the GFX50SII which costs about the same what Aiden was about to spend for the Canon
Aiden put his hands on the GFX50S and it had “these magical files“
then they also shot the GFX100 side by side with Sony A1 and Canon R5
even by just comparing the images on the laptop sized screen, they noticed the detail in shadows and the way that the camera handled gradation from highlight to shadow was just… “I could not unsee it, it tortured me until I inevitably bought the system“
he bought the GFX100 with a classic pro body with integrated grip and fully usable autofocus
he often shoots vertical, so having the integrated grip is important
he was and still is a Sony shooter, enjoying a smaller and lighter body
then Fujifilm offered the GFX100S with its smaller and lighter body and it reached a larger target audience than what the GFX100 could do
both options, GFX100 and GFX100S, are great
he often shoots tethered and loves that the film simulation he uses goes right into Capture One
as a long time Sony user for 10 years, color was always hard. The standard was Canon
when Fuji released their APS-C mirrorless cameras he loved the colors, but he could not commit to a smaller sensor than FF
but now they have exceeded his expectations and gone larger than full frame
skin tones are great, reds are beautiful, rich and deep
he uses also legacy glass adapted to the GFX system
Fujifilm offering GFX cameras from $4,000 to $6,000 is a game changer for medium format
color and shadow tonality range, you can’t unsee it once you see it side by side