Wildlife Photography Meets Medium Format: The GF 500mm f5.6

The Legacy of Long Glass

Medium format telephoto lenses have long existed in a realm of curiosity and legend. Their history reads like a collection of rare artifacts, each with its own extraordinary tale. Carl Zeiss crafted their remarkable Superachromats for Hasselblad V mount – engineering marvels that could focus infrared and visible light on the same plane. Pentax ventured into this territory with their colossal 800mm f4 for the Pentax 67 system, while Mamiya offered a more practical 300mm f2.8 for their 645 system.

But perhaps no lens better exemplifies the historical challenges of medium format telephotos than the mythical Zeiss 1700mm f4. Weighing over 500 pounds, this behemoth was essentially a 16-inch diameter refracting telescope, complete with servo-controlled pointing and focusing systems. Only two were ever made, standing as monuments to both the possibilities and practical limitations of medium format telephoto design.

The Autofocus Evolution

The path to practical autofocus telephotos in medium format has been a long one. Pentax led the charge with their 645 series, introducing several autofocus options between 1997 and 2001. However, these early attempts faced significant limitations. The focus points, borrowed from APS-C sensors, were almost comically concentrated in the center of the medium format frame – workable for static subjects but impractical for tracking movement.

The true breakthrough had to wait for two crucial developments: mirrorless cameras with on-sensor focusing and the advent of phase detection in medium format. The 100 MP sensor marked this turning point, finally offering the speed and precision needed for serious telephoto work.

Enter the Fujinon GF 500mm f5.6

The Fujinon GF 500mm f5.6 R LM OIS WR changes what’s possible with medium format telephotos. Fujifilm has created something remarkable – a lens that matches the size of its full-frame counterparts while delivering medium format quality.

Technical Mastery

• 21 elements in 14 groups
• Seven exotic elements (five ED and two Super ED)
• Compact 246.5mm length
• Weighs just 1,375 grams
• Weather resistant construction
• Built-in optical image stabilization

Market Context and Competition

The market for compact 500mm f5.6 lenses has expanded significantly, with options now available for every major mount except Canon. The Sigma offers its version for Sony E and L-mount, while Nikon’s offering works excellently on the FTZ adapter. Nikon’s closest native Z-mount options are a 400mm f4.5 and a 600mm f6.3, both maintaining the compact design philosophy.

Having extensively tested both the Fujinon and Nikkor 500mm lenses, I can attest that both are tack-sharp and remarkably manageable for mobile wildlife photography. The Fujinon edges ahead in bokeh rendering, avoiding the occasional oddities that can appear in the Nikkor’s Phase Fresnel design. Both Fujifilm and Sigma achieved their compact designs through extensive use of ED glass rather than Fresnel elements, with the added benefit of native mirrorless mounting.

Performance and Image Quality

The Fujinon GF 500mm f5.6 holds its own in elite telephoto company. At $4000 in 2024, it delivers exactly what you’d expect: exceptional sharpness, beautiful rendering, and notably better bokeh than typical for an f5.6 lens – a benefit of both its focal length and the larger sensor. Distortion, often a concern at this price point, is essentially nonexistent.

The Medium Format Advantage

Perhaps most surprisingly, this lens carries no medium format penalty – it’s neither larger nor significantly more expensive than its full-frame competitors. While the effective focal length (roughly equivalent to a 400mm f4.5) is shorter due to the larger sensor, the GFX 100MP sensor matches the pixel density of Sony’s 62MP full-frame sensor. This means:

• A 24x36mm crop yields the same resolution as an A7RV
• Square 62MP images are easily achieved
• 16:9 aspect ratios maintain exceptional resolution
• Vertical crops from horizontal shots can produce 50MP 3:2 images (22x33mm)
• Full sensor use provides maximum creative flexibility

Practical Applications in Wildlife Photography

During field testing, the lens proved exceptionally capable across various wildlife scenarios:

Birds in Flight

The lens’s relatively light weight makes tracking flying birds manageable, especially when paired with the latest GFX bodies. The autofocus, while not as blazing fast as specialized wildlife cameras, proves more than capable when technique and timing align.

Marine Wildlife

The lens excels in capturing marine subjects, from the geometric patterns of orca whales to the expressive faces of harbor seals. The medium format sensor’s superior dynamic range proves particularly valuable in challenging lighting conditions often encountered in marine environments.

Static Wildlife

For more contemplative wildlife work, such as photographing perched birds or resting sea lions, the lens truly shines. The medium format sensor combined with the 500mm focal length creates a unique aesthetic that sets images apart from typical wildlife photography.

Optimal Performance Notes

While the lens will function on any GFX body, it performs best with 100 MP sensors, particularly the GFX 100 II or 100S II. This is primarily due to autofocus capabilities:

• 50 MP bodies: Limited by contrast detection only
• Original GFX 100 and 100S: On-sensor phase detection but without subject-specific tracking
• GFX 100 II and SII: Advanced tracking and modern AF capabilities

A Different Approach to Wildlife Photography

While it won’t match the rapid-fire capabilities of a Nikon Z8, the GFX system offers a distinct photographic experience. The unique aspect ratio options, resolution, and overall rendering encourage a more deliberate, contemplative approach to wildlife photography. This isn’t a limitation but rather an invitation to explore a different creative style – one that wasn’t possible with medium format until now.

Future Development Needs

For Fujifilm to fully realize the potential of the GFX system for telephoto work, several developments seem crucial:

Hardware Priorities

• A stacked sensor body with enhanced AF capabilities, potentially utilizing dual X-Processor 5 units
• CFexpress support (already implemented in GFX 100II and XH2S) for handling high-speed shooting

Lens Roadmap Suggestions

• An 800mm option for the medium format sensor
• A reimagined medium telephoto to replace the current 250mm f4, which suffers from significant size penalties compared to full-frame equivalents
• A modern 100-300mm range zoom or prime utilizing contemporary lens design
• A potential 200-600mm zoom option

Who Should Consider This Lens?

Two distinct photographer profiles emerge:

The Practical Enthusiast

For photographers already invested in the GFX system who occasionally need telephoto reach, this lens offers a practical solution without requiring a separate system for wildlife work.

The Deliberate Artist

For those who specifically want to approach wildlife photography with medium format’s unique aesthetic and technical advantages. While it may not offer the machine-gun capability of specialized wildlife setups, it enables a more contemplative approach to telephoto subjects.

Final Thoughts

The Fujinon GF 500mm f5.6 R LM OIS WR represents more than just a new lens – it’s a proof of concept that medium format telephoto photography can be practical, portable, and powerful. While it may not replace specialized wildlife rigs, it opens new creative possibilities for photographers willing to work within its strengths.

After several weeks with the lens, I found it intriguing enough to add to my personal GFX kit, despite creating a significant gap between my 64mm and 500mm focal lengths. The lens challenges conventional thinking about medium format limitations and opens new creative possibilities for both wildlife and landscape photographers.

This lens marks the beginning of a new chapter in medium format photography, proving that the format’s legendary image quality can extend into realms previously considered impractical. For the right photographer, it offers a unique combination of reach, resolution, and rendering that simply isn’t available in any other system. Highly Recommended.

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