Fuji GFX50s Camera Sunrises and Sunsets

I have to admit my Sony a7r2 has been abandoned in the gear closet.  Why would I do this in favor of the relatively massive Fuji GFX50s and lenses?  Image quality.  Details, tones and colors.  Mostly how all this adds up to spectacular sunrise and sunset captures.  The GFX50s has been thrilling me with how it captures one of my favorite subjects:  Landscape sunrises and sunsets.

These images really take me Back There and what the Fuji does with colors, details and tones in Velvia setting is simply beautiful to me.

Some recent samples:

California Coast With Fuji GFX50s

We needed some time out of town and Cannon Beach didn’t seem far enough away so we headed to Big Sur and Carmel, California.  I was really looking forward to getting some time with the Fuji GFX50s medium format camera and various lenses along the coast for some hopefully dramatic shots.  To quote Fstoppers:

The best camera isn’t the one with you, it’s your best camera, so make sure that’s the one with you.

So that’s why my A7R2 is in the closet at the moment and I can’t seem to be separated from my GFX50s…

Lens lineup for this trip was as  follows:
Fuji GF 23mm (18mm in 35mm terms)
Contax Zeiss 100-300mm
Contax Zeiss 50mm f1.4
Canon 16-35mm f4

Also brought a fistfull of ND and polarizer filters for the lenses and my Gitzo 0540 tripod.  And my Kipon AF adapter to make the non-native lenses play nice.

In retrospect, I used the 50mm and the 23mm the most.  I really like the rendering and colors of these lenses, and their compact size.  I could have done without the Canon 16-35/4 and might eventually replace it with the Fuji GF 32-64 lens.

Now to some photos from the trip:

Purple Echium Blooms Along the Beach in Carmel - Zeiss 50/1.4 on Fuji GFX50s

Purple Echium Blooms Along the Beach in Carmel – Zeiss 50/1.4 on Fuji GFX50s

The Lone Cyprus Along the 17 Mile Drive in Pebble Beach - GF 23mm lens on Fuji GFX50s

The Lone Cyprus Along the 17 Mile Drive in Pebble Beach – GF 23mm lens on Fuji GFX50s

Bixby Bridge and Highway 1 in Big Sur California - Zeiss 100-300mm on Fuji GFX50s

Bixby Bridge and Highway 1 in Big Sur California – Zeiss 100-300mm on Fuji GFX50s

Big Sur Wave Motion At Point Lobos - Zeiss 100-300mm on Fuji GFX50s

Big Sur Wave Motion At Point Lobos – Zeiss 100-300mm on Fuji GFX50s

Surf Drama and Wildflowers at Point Lobos - Fuji GF23mm on Fuji GFX50s

Surf Drama and Wildflowers at Point Lobos – Fuji GF23mm on Fuji GFX50s

Black and White Cyprus Grove at Point Lobos - Fuji GF23mm on Fuji GFX50s

Black and White Cyprus Grove at Point Lobos – Fuji GF23mm on Fuji GFX50s

Garrapata Coastal Dusk Scene - Fuji GF23mm on Fuji GFX50s

Garrapata Coastal Dusk Scene – Fuji GF23mm on Fuji GFX50s

Calla Lily Soft Light Bokeh - Zeiss 50mm 1.4 on Fuji GFX50s

Calla Lily Soft Light Bokeh – Zeiss 50mm 1.4 on Fuji GFX50s

Flowers Montage Soft Light Bokeh - Zeiss 50mm 1.4 on Fuji GFX50s

Flowers Montage Soft Light Bokeh – Zeiss 50mm 1.4 on Fuji GFX50s

Fuji GFX50s Medium Format Travels to Namibia: Images of Sossusvlei

Part 2  Off to Namibia from Cape Town.

After landing in Windhoek, I set off on a one week self-drive safari around the country.  I love capturing far off landscapes, but also expected to find exotic animals up close.  For this I brought two Canon lenses:  70-200mm 2.8 ii and an old school classic, the 200mm f.1.8 prime.  For more length, I also included a 2X ii converter.

My first stop was the Hoodia Lodge, near Sossusvlei and it’s world famous dunes.  I used the safari-included tour of the dune areas for scouting and returning the next morning early for the good light.  A few shots using mostly the 70-200 on the GFX50s:

Lone Tree Against a Massive Dune at Sossusvlei

Lone Tree Against a Massive Dune at Sossusvlei

People Climbing Big Daddy Dune in Sossusvlei Namibia

People Climbing Big Daddy Dune in Sossusvlei Namibia….and a tiny Oryx in the Foreground

Deadvlei Lost Forest in Namibia

Deadvlei Lost Forest in Namibia

The parched nature of the area and the vastness of the dunes were stunning.  105 degree midday temps added to the sense of a vast arid landscape.

Back at the lodge, I put up the drone for an aerial view outside the Sossusvlei park where drones aren’t allowed.  The sunset from above was a burner, and the aerial view added a new perspective of my surroundings.

Sossusvlei Burning Skies Sunset and Dry Riverbed DJI Mavic Pro 2 Drone

Sossusvlei Burning Skies Sunset and Dry Riverbed DJI Mavic Pro 2 Drone

Sossusvlei Sunset Ridge Across a Desert Landscape DJI Mavic Pro 2 Drone

Sossusvlei Sunset Ridge Across a Desert Landscape DJI Mavic Pro 2 Drone

Sossusvlei Sunset Peaks Last Light DJI Mavic Pro 2 Drone

Sossusvlei Sunset Peaks Last Light DJI Mavic Pro 2 Drone

I rested up for the next leg of my journey.   Tomorrow I would be heading to the coast for another part of the Namibian landscape:  Vast dunes against the beach and Atlantic Ocean.

Various Zeiss Prime Lenses Adapted Onto the Fuji GFX50s

..and one very old Canon prime.

How did this happen?  Well my Sony a7r’s second shutter blew apart during a sunrise timelapse and I found myself looking into another camera body. I was going back and forth considering another a7r2 or even the a7r3.  Looking around, I came across the Fuji.  I’ve always wondered about digital medium format for landscape photography.  I rented one for the weekend and set about adapting my various Canon-mount Zeiss lenses to it.  Adapting lenses onto the GFX50s leads one into the myriad of adapters available with their pluses and minuses.

As we know, renting can lead to buying, and within a week I found myself with an almost new GFX50s.  My initial challenges were figuring out the menu system and dialing in manual focus.  Most of the online tutorials seemed to leave out an implied step or two.  Eventually I got there.  I tried adapters from Fotodiox to Viltrox and eventually settled on the Kipon AF adapter.  I meant to try to the Fringer but ordered the wrong size and by then, I was happy with the Kipon.

I adapted on my Zeiss 85 and 28 Otus lenses, my 135mm f2 ZE lens and even my old Contax 50mm f1.4.  The 28 Otus had the most vignetting.  All lenses performed well. I was especially happy with the AF using my almost 30yo Canon 200mm f1.8 lens.  Much snappier and more accurate than the Sigma MC11 or Metabones IV adapters on my Sony a7r2.

A few photos from my first few days with the camera.  Very impressed with the details and tonality.

Smith Tower Blues Fuji GFX50s and Zeiss 85mm Otus lens

Smith Tower Blues Fuji GFX50s and Zeiss 85mm Otus lens

Seattle Sunset Fuji GFX50s and Contax 50mm lens Handheld Shot

Seattle Sunset Fuji GFX50s and Contax 50mm lens Handheld Shot

My Contemplative Cat Fuji GFX50s and Contax 50mm lens Handheld Shot

My Contemplative Cat Fuji GFX50s and Contax 50mm lens Handheld Shot

Second Beach Sunset Fuji GFX50s and Zeiss 28mm Otus lens Handheld Shot

Second Beach Sunset Fuji GFX50s and Zeiss 28mm Otus lens Handheld Shot

Smith Tower Dusk Fuji GFX50s and Canon 200mm f1.8 lens

Smith Tower Dusk Fuji GFX50s and Canon 200mm f1.8 lens