Canon 250D vs Fujifilm GFX 50S
The Canon EOS 250D (called Canon SL3 in some regions) and the Fujifilm GFX 50S are two digital cameras that were officially introduced, respectively, in April 2019 and September 2016. The 250D is a DSLR, while the GFX 50S is a mirrorless interchangeable lens camera. The cameras are based on an APS-C (250D) and a medium format (GFX 50S) sensor. The Canon has a resolution of 24 megapixels, whereas the Fujifilm provides 51.1 MP.
Below is an overview of the main specs of the two cameras as a starting point for the comparison.
|Canon 250D||Fujifilm GFX 50S|
|Digital single lens reflex||Mirrorless system camera|
|Canon EF mount lenses||Fujifilm G mount lenses|
|24 MP, APS-C Sensor||51.1 MP, Medium Format Sensor|
|4K/25p Video||1080/30p Video|
|ISO 100-25600 (100-51200)||ISO 100-12800 (50-102400)|
|Optical viewfinder||Viewfinder optional|
|3.0" LCD, 1040k dots||3.2" LCD, 2360k dots|
|Swivel touchscreen||Fully flexible touchscreen|
|5 shutter flaps per second||3 shutter flaps per second|
|Not weather sealed||Weathersealed body|
|1070 shots per battery charge||400 shots per battery charge|
|122 x 93 x 70 mm, 449 g||148 x 94 x 91 mm, 740 g|
Going beyond this snapshot of core features and characteristics, what are the differences between the Canon EOS 250D and the Fujifilm GFX 50S? Which one should you buy? Read on to find out how these two cameras compare with respect to their body size, their imaging sensors, their shooting features, their input-output connections, and their reception by expert reviewers.
An illustration of the physical size and weight of the Canon 250D and the Fujifilm GFX 50S is provided in the side-by-side display below. The two cameras are presented according to their relative size. Three consecutive views from the front, the top, and the rear side are shown. All size dimensions are rounded to the nearest millimeter.
The 250D can be obtained in two different colors (black, white), while the GFX 50S is only available in black.
If the front view area (width x height) of the cameras is taken as an aggregate measure of their size, the Fujifilm GFX 50S is notably larger (23 percent) than the Canon 250D. Moreover, the GFX 50S is substantially heavier (65 percent) than the 250D. It is noteworthy in this context that the GFX 50S is splash and dust-proof, while the 250D does not feature any corresponding weather-sealing.
The above size and weight comparisons are to some extent incomplete since they do not consider the interchangeable lenses that both of these cameras require. Hence, you might want to study and compare the specifications of available lenses in order to get the full picture of the size and weight of the two camera systems.
The table below summarizes the key physical specs of the two cameras alongside a broader set of comparators. If you would like to visualize and compare a different camera combination, just use the right or left arrows in the table to switch to the respective camera. Alternatively, you can also navigate to the CAM-parator app and make your selection from the full list of cameras there.
|Canon 250D»||4.8 in||3.7 in||2.8 in||15.8 oz||1070||n||Apr 2019||599||Canon 250D|
|Fujifilm GFX 50S«||5.8 in||3.7 in||3.6 in||26.1 oz||400||Y||Sep 2016||6,499||Fujifilm GFX 50S|
|Canon RP« »||5.2 in||3.3 in||2.8 in||17.1 oz||250||n||Feb 2019||1,299||Canon RP|
|Canon 2000D« »||5.1 in||4.0 in||3.1 in||16.8 oz||500||n||Feb 2018||449||Canon 2000D|
|Canon 4000D« »||5.1 in||4.0 in||3.0 in||15.4 oz||500||n||Feb 2018||399||Canon 4000D|
|Canon M50« »||4.6 in||3.5 in||2.3 in||13.8 oz||235||n||Feb 2018||779||Canon M50|
|Canon SX70« »||5.0 in||3.6 in||4.6 in||21.4 oz||325||n||Sep 2018||549||Canon SX70|
|Canon 77D« »||5.2 in||3.9 in||3.0 in||19.0 oz||600||n||Feb 2017||899||Canon 77D|
|Canon 200D« »||4.8 in||3.7 in||2.8 in||16.0 oz||650||n||Jun 2017||549||-||Canon 200D|
|Canon 800D« »||5.2 in||3.9 in||3.0 in||18.8 oz||600||n||Feb 2017||749||Canon 800D|
|Canon 760D« »||5.2 in||4.0 in||3.1 in||19.9 oz||440||n||Feb 2015||649||-||Canon 760D|
|Fujifilm GFX 50R« »||6.3 in||3.8 in||2.6 in||27.3 oz||400||Y||Sep 2018||4,499||Fujifilm GFX 50R|
|Fujifilm X-T100« »||4.8 in||3.3 in||1.9 in||15.8 oz||430||n||May 2018||599||Fujifilm X-T100|
|Hasselblad X1D II« »||5.8 in||3.8 in||2.8 in||27.0 oz||..||Y||Jun 2019||5,750||Hasselblad X1D II|
|Hasselblad X1D« »||5.9 in||3.9 in||2.8 in||25.6 oz||..||Y||Jun 2016||8,995||-||Hasselblad X1D|
|Leica M10« »||5.5 in||3.1 in||1.5 in||23.3 oz||210||Y||Jan 2017||6,595||Leica M10|
|Leica SL« »||5.8 in||4.1 in||1.5 in||29.9 oz||400||Y||Oct 2015||7,450||Leica SL|
|Note: Measurements and pricing do not include easily detachable parts, such as interchangeable lenses or optional viewfinders.|
Any camera decision will obviously take relative prices into account. The manufacturer’s suggested retail prices give an idea on the placement of the camera in the maker’s lineup and the broader market. The 250D was launched at a markedly lower price (by 91 percent) than the GFX 50S, which puts it into a different market segment. Usually, retail prices stay at first close to the launch price, but after several months, discounts become available. Later in the product cycle and, in particular, when the replacement model is about to appear, further discounting and stock clearance sales often push the camera price considerably down.
The size of the imaging sensor is a crucial determinant of image quality. A large sensor will generally have larger individual pixels that offer better low-light sensitivity, provide wider dynamic range, and have richer color-depth than smaller pixels in a sensor of the same technological generation. Moreover, a large sensor camera will give the photographer more control over depth-of-field in the image and, thus, the ability to better isolate a subject from the background. On the downside, larger sensors tend to be more expensive and lead to bigger and heavier cameras and lenses.
Of the two cameras under consideration, the Canon 250D features an APS-C sensor and the Fujifilm GFX 50S a medium format sensor. The sensor area in the GFX 50S is 337 percent bigger. As a result of these sensor size differences, the cameras have a format factor of, respectively, 1.6 and 0.79. The sensor in the 250D has a native 3:2 aspect ratio, while the one in the GFX 50S offers a 4:3 aspect.
Technology-wise, both cameras are equipped with CMOS (Complementary Metal–Oxide–Semiconductor) sensors.
With 51.1MP, the GFX 50S offers a higher resolution than the 250D (24MP), but the GFX 50S nevertheless has larger individual pixels (pixel pitch of 5.33μm versus 3.72μm for the 250D) due to its larger sensor. However, the 250D is a much more recent model (by 2 years and 6 months) than the GFX 50S, and its sensor will have benefitted from technological advances during this time that enhance the light gathering capacity of its pixel-units. Coming back to sensor resolution, it should be mentioned that the GFX 50S has no anti-alias filter installed, so that it can capture all the detail its sensor resolves.
The resolution advantage of the Fujifilm GFX 50S implies greater flexibility for cropping images or the possibility to print larger pictures. The maximum print size of the GFX 50S for good quality output (200 dots per inch) amounts to 41.3 x 31 inch or 104.9 x 78.6 cm, for very good quality (250 dpi) 33 x 24.8 inch or 83.9 x 62.9 cm, and for excellent quality (300 dpi) 27.5 x 20.6 inch or 69.9 x 52.4 cm. The corresponding values for the Canon 250D are 30 x 20 inch or 76.2 x 50.8 cm for good quality, 24 x 16 inch or 61 x 40.6 cm for very good quality, and 20 x 13.3 inch or 50.8 x 33.9 cm for excellent quality prints.
The 250D has on-sensor phase detect pixels, which results in fast and reliable autofocus acquisition even during live view operation.
The Canon EOS 250D has a native sensitivity range from ISO 100 to ISO 25600, which can be extended to ISO 100-51200. The corresponding ISO settings for the Fujifilm GFX 50S are ISO 100 to ISO 12800, with the possibility to increase the ISO range to 50-102400.
Since 2007, DXO Mark has published sensor performance measurements that have been derived using a consistent methodology. This service determines an overall sensor rating, as well as sub-scores for low-light sensitivity ("DXO Sports"), dynamic range ("DXO Landscape"), and color depth ("DXO Portrait"). The following table provides an overview of the physical sensor characteristics, as well as the sensor quality measurements for a selection of comparators.
|Canon 250D»||APS-C||24.0||6000||4000||4K/25p||-||-||-||-||Canon 250D|
|Fujifilm GFX 50S«||Medium Format||51.1||8256||6192||1080/30p||-||-||-||-||Fujifilm GFX 50S|
|Canon RP« »||Full Frame||26.2||6240||4160||4K/30p||-||-||-||-||Canon RP|
|Canon 2000D« »||APS-C||24.0||6000||4000||1080/30p||22.6||11.9||1009||71||Canon 2000D|
|Canon 4000D« »||APS-C||17.9||5184||3456||1080/30p||21.9||11.4||695||63||Canon 4000D|
|Canon M50« »||APS-C||24.0||6000||4000||4K/24p||-||-||-||-||Canon M50|
|Canon SX70« »||1/2.3||20.2||5184||3888||4K/30p||-||-||-||-||Canon SX70|
|Canon 77D« »||APS-C||24.0||6000||4000||1080/60p||23.6||13.3||971||78||Canon 77D|
|Canon 200D« »||APS-C||24.0||6000||4000||1080/60p||23.6||13.4||1041||79||Canon 200D|
|Canon 800D« »||APS-C||24.0||6000||4000||1080/60p||-||-||-||-||Canon 800D|
|Canon 760D« »||APS-C||24.0||6000||4000||1080/30p||22.6||12.0||915||70||Canon 760D|
|Fujifilm GFX 50R« »||Medium Format||51.1||8256||6192||1080/30p||-||-||-||-||Fujifilm GFX 50R|
|Fujifilm X-T100« »||APS-C||24.0||6000||4000||4K/15p||-||-||-||-||Fujifilm X-T100|
|Hasselblad X1D II« »||Medium Format||51.3||8272||6200||-||-||-||-||-||Hasselblad X1D II|
|Hasselblad X1D« »||Medium Format||51.3||8272||6200||1080/25p||26.2||14.8||4489||102||Hasselblad X1D|
|Leica M10« »||Full Frame||23.8||5952||3992||-||24.4||13.2||2133||86||Leica M10|
|Leica SL« »||Full Frame||24.0||6000||4000||4K/30p||25.0||13.4||1821||88||Leica SL|
Many modern cameras cannot only take still pictures, but also record videos. The two cameras under consideration both have sensors whose read-out speed is fast enough to capture moving pictures, but the 250D provides a higher video resolution than the GFX 50S. It can shoot video footage at 4K/25p, while the Fujifilm is limited to 1080/30p.
Apart from body and sensor, cameras can and do differ across a range of features. For example, the 250D has an optical viewfinder, which can be very useful when shooting in bright sunlight. In contrast, the GFX 50S relies on live view and the rear LCD for framing. That said, the GFX 50S can be equipped with an optional viewfinder – the EVF-TL1. The table below summarizes some of the other core capabilities of the Canon 250D and Fujifilm GFX 50S in connection with corresponding information for a sample of similar cameras.
|Canon 250D»||optical||n||3.0||1040||swivel||Y||1/4000s||5.0||Y||n||Canon 250D|
|Fujifilm GFX 50S«||-||Y||3.2||2360||full-flex||Y||1/4000s||3.0||n||n||Fujifilm GFX 50S|
|Canon RP« »||2360||n||3.0||1040||swivel||Y||1/4000s||5.0||n||n||Canon RP|
|Canon 2000D« »||optical||n||3.0||920||fixed||n||1/4000s||3.0||Y||n||Canon 2000D|
|Canon 4000D« »||optical||n||2.7||230||fixed||n||1/4000s||3.0||Y||n||Canon 4000D|
|Canon M50« »||2360||n||3.0||1040||swivel||Y||1/4000s||10.0||Y||n||Canon M50|
|Canon SX70« »||2360||n||3.0||922||swivel||n||1/2000s||10.0||Y||Y||Canon SX70|
|Canon 77D« »||optical||Y||3.0||1040||swivel||Y||1/4000s||6.0||Y||n||Canon 77D|
|Canon 200D« »||optical||n||3.0||1040||swivel||Y||1/4000s||5.0||Y||n||Canon 200D|
|Canon 800D« »||optical||n||3.0||1040||swivel||Y||1/4000s||6.0||Y||n||Canon 800D|
|Canon 760D« »||optical||Y||3.0||1040||swivel||Y||1/4000s||5.0||Y||n||Canon 760D|
|Fujifilm GFX 50R« »||3690||n||3.2||2360||tilting||Y||1/4000s||3.0||n||n||Fujifilm GFX 50R|
|Fujifilm X-T100« »||2360||n||3.0||1040||full-flex||Y||1/4000s||6.0||Y||n||Fujifilm X-T100|
|Hasselblad X1D II« »||3690||n||3.6||2360||fixed||Y||1/2000s||2.7||n||n||Hasselblad X1D II|
|Hasselblad X1D« »||2360||n||3.0||920||fixed||Y||1/2000s||2.3||n||n||Hasselblad X1D|
|Leica M10« »||optical||n||3.0||1037||fixed||n||1/4000s||5.0||n||n||Leica M10|
|Leica SL« »||4400||Y||3.0||1040||fixed||Y||1/8000s||11.0||n||n||Leica SL|
One difference between the cameras concerns the presence of an on-board flash. The 250D has one, while the GFX 50S does not. While the built-in flash of the 250D is not very powerful, it can at times be useful as a fill-in light.The 250D has an articulated LCD that can be turned to be front-facing. This characteristic will be appreciated by vloggers and photographers who are interested in snapping selfies. In contrast, the GFX 50S does not have a selfie-screen.
The reported shutter speed information refers to the use of the mechanical shutter. Yet, some cameras only have an electronic shutter, while others have an electronic shutter in addition to a mechanical one. In fact, the GFX 50S is one of those camera that have an additional electronic shutter, which makes completely silent shooting possible. However, this mode is less suitable for photographing moving objects (risk of rolling shutter) or shooting under artificial light sources (risk of flickering).
The Canon 250D and the Fujifilm GFX 50S both have an intervalometer built-in. This enables the photographer to capture time lapse sequences, such as flower blooming, a sunset or moon rise, without purchasing an external camera trigger and related software.
Concerning the storage of imaging data, both the 250D and the GFX 50S write their files to SDXC cards. The GFX 50S features dual card slots, which can be very useful in case a memory card fails. In contrast, the 250D only has one slot. The GFX 50S supports UHS-II cards (on both slots), while the 250D can use UHS-I cards.
For some imaging applications, the extent to which a camera can communicate with its environment can be an important aspect in the camera decision process. The table below provides an overview of the connectivity of the Canon EOS 250D and Fujifilm GFX 50S and, in particular, the interfaces the cameras (and selected comparators) provide for accessory control and data transfer.
|Canon 250D»||Y||stereo||mono||Y||-||mini||2.0||Y||-||Y||Canon 250D|
|Fujifilm GFX 50S«||Y||stereo||mono||Y||Y||micro||3.0||Y||-||-||Fujifilm GFX 50S|
|Canon RP« »||Y||stereo||mono||Y||Y||micro||2.0||Y||-||Y||Canon RP|
|Canon 2000D« »||Y||mono||mono||-||-||mini||2.0||Y||Y||-||Canon 2000D|
|Canon 4000D« »||Y||mono||mono||-||-||mini||2.0||Y||Y||-||Canon 4000D|
|Canon M50« »||Y||stereo||mono||Y||-||micro||2.0||Y||Y||Y||Canon M50|
|Canon SX70« »||-||stereo||mono||Y||-||micro||2.0||Y||-||Y||Canon SX70|
|Canon 77D« »||Y||stereo||mono||Y||-||mini||2.0||Y||Y||Y||Canon 77D|
|Canon 200D« »||Y||stereo||mono||Y||-||mini||2.0||Y||Y||Y||Canon 200D|
|Canon 800D« »||Y||stereo||mono||Y||-||mini||2.0||Y||Y||Y||Canon 800D|
|Canon 760D« »||Y||stereo||mono||Y||-||mini||2.0||Y||Y||-||Canon 760D|
|Fujifilm GFX 50R« »||Y||stereo||mono||Y||Y||micro||3.0||Y||-||Y||Fujifilm GFX 50R|
|Fujifilm X-T100« »||Y||stereo||mono||Y||-||micro||2.0||Y||-||Y||Fujifilm X-T100|
|Hasselblad X1D II« »||Y||stereo||mono||Y||Y||-||3.0||Y||-||-||Hasselblad X1D II|
|Hasselblad X1D« »||Y||stereo||mono||Y||Y||mini||3.0||Y||-||-||Hasselblad X1D|
|Leica M10« »||Y||-||-||-||-||-||-||Y||-||-||Leica M10|
|Leica SL« »||Y||stereo||mono||Y||Y||full||3.0||Y||-||-||Leica SL|
It is notable that the GFX 50S has a headphone jack, which makes it possible to attach external headphones and monitor the quality of sound during the recording process. The 250D lacks such a headphone port.
Studio photographers will appreciate that the Fujifilm GFX 50S (unlike the 250D) features a PC Sync socket, so that professional strobe lights can be controlled by the camera.
Both the 250D and the GFX 50S are recent models that are part of the current product line-up. The 250D replaced the earlier Canon 200D, while the GFX 50S does not have a direct predecessor. Further information on the two cameras (e.g. user guides, manuals), as well as related accessories, can be found on the official Canon and Fujifilm websites.
So what is the bottom line? Is there a clear favorite between the Canon 250D and the Fujifilm GFX 50S? Which camera is better? The listing below highlights the relative strengths of the two models.
Advantages of the Canon EOS 250D:
- Better moiré control: Has an anti-alias filter to avoid artificial patterns to appear in images.
- Better video: Provides higher definition movie capture (4K/25p vs 1080/30p).
- Better live-view autofocus: Features on-sensor phase-detection for more confident autofocus.
- Easier framing: Has an optical viewfinder for image composition and settings control.
- More selfie-friendly: Has an articulated screen that can be turned to be front-facing.
- Faster burst: Shoots at higher frequency (5 vs 3 flaps/sec) to capture the decisive moment.
- More compact: Is smaller (122x93mm vs 148x94mm) and thus needs less room in the bag.
- Less heavy: Is lighter (by 291g or 39 percent) and hence easier to carry around.
- Longer lasting: Can take more shots (1070 versus 400) on a single battery charge.
- Easier fill-in: Is equipped with a small onboard flash to brighten deep shadow areas.
- Easier wireless transfer: Supports Bluetooth for image sharing without cables.
- More affordable: Was introduced into a lower priced category (91 percent cheaper at launch).
- More modern: Reflects 2 years and 6 months of technical progress since the GFX 50S launch.
Reasons to prefer the Fujifilm GFX 50S:
- More detail: Has more megapixels (51.1 vs 24MP), which boosts linear resolution by 43%.
- Maximized detail: Lacks an anti-alias filter to exploit the sensor's full resolution potential.
- Better image quality: Features bigger pixels on a larger sensor for higher quality imaging.
- Richer colors: The pixel size advantage translates into images with better, more accurate colors.
- More dynamic range: Larger pixels capture a wider spectrum of light and dark details.
- Better low-light sensitivity: Larger pixels means good image quality even under poor lighting.
- Better sound control: Has a headphone port that enables audio monitoring while recording.
- Easier setting verification: Features a control panel on top to check shooting parameters.
- Larger screen: Has a bigger rear LCD (3.2" vs 3.0") for image review and settings control.
- More detailed LCD: Has a higher resolution rear screen (2360k vs 1040k dots).
- Less disturbing: Has an electronic shutter option for completely silent shooting.
- Better sealing: Is splash and dust sealed for shooting in inclement weather conditions.
- More legacy lens friendly: Can use many non-native lenses via adapters.
- Faster data transfer: Supports a more advanced USB protocol (3.0 vs 2.0).
- Better studio light control: Has a PC Sync socket to connect to professional strobe lights.
- Greater peace of mind: Features a second card slot as a backup in case of memory card failure.
- Faster buffer clearing: Supports a more advanced SD data transfer standard (UHS-II vs UHS-I).
- More heavily discounted: Has been around for much longer (launched in September 2016).
If the count of individual advantages (bullet points above) is taken as a guide, the GFX 50S is the clear winner of the contest (18 : 13 points). However, the pertinence of the various camera strengths will differ across photographers, so that you might want to weigh individual camera traits according to their importance for your own imaging needs before making a camera decision. A professional wildlife photographer will view the differences between cameras in a way that diverges from the perspective of a family photog, and a person interested in architecture has distinct needs from a sports shooter. Hence, the decision which camera is best and worth buying is often a very personal one.
How about other alternatives? Do the specifications of the Canon 250D and the Fujifilm GFX 50S place the cameras among the top in their class? Find out in the latest Best DSLR Camera and Best Mirrorless Interchangeable Lens Camera listings whether the two cameras rank among the cream of the crop.
In any case, while the comparison of the spec-sheets of cameras can offer a general idea of their imaging potential, it remains incomplete and does no justice, for example, to the way the 250D or the GFX 50S perform in practice. User reviews that are available, for instance, at amazon can sometimes shed light on these issues, but such feedback is all too often partial, inconsistent, and inaccurate.
This is where reviews by experts come in. The adjacent summary-table relays the overall verdicts of several of the most popular camera review sites (cameralabs, dpreview, ephotozine, imaging-resource, and photographyblog). As can be seen, the professional reviewers agree in many cases on the quality of different cameras, but sometimes their assessments diverge, reinforcing the earlier point that a camera decision is often a very personal choice.
|Canon 250D»||o||79/100||4/5||-||4/5||Apr 2019||599||Canon 250D|
|Fujifilm GFX 50S«||-||85/100||5/5||5/5||4.5/5||Sep 2016||6,499||Fujifilm GFX 50S|
|Canon RP« »||+||-||4.5/5||-||4/5||Feb 2019||1,299||Canon RP|
|Canon 2000D« »||o||-||3.5/5||-||3.5/5||Feb 2018||449||Canon 2000D|
|Canon 4000D« »||o||-||3.5/5||-||3.5/5||Feb 2018||399||Canon 4000D|
|Canon M50« »||+||79/100||-||4/5||3.5/5||Feb 2018||779||Canon M50|
|Canon SX70« »||-||-||3.5/5||-||3.5/5||Sep 2018||549||Canon SX70|
|Canon 77D« »||-||82/100||4.5/5||4.5/5||4/5||Feb 2017||899||Canon 77D|
|Canon 200D« »||+ +||78/100||4.5/5||4.5/5||4.5/5||Jun 2017||549||-||Canon 200D|
|Canon 800D« »||-||80/100||4.5/5||4/5||4/5||Feb 2017||749||Canon 800D|
|Canon 760D« »||+||77/100||4.5/5||4.5/5||4.5/5||Feb 2015||649||-||Canon 760D|
|Fujifilm GFX 50R« »||-||84/100||4.5/5||4.5/5||4.5/5||Sep 2018||4,499||Fujifilm GFX 50R|
|Fujifilm X-T100« »||+||79/100||4/5||-||4.5/5||May 2018||599||Fujifilm X-T100|
|Hasselblad X1D II« »||-||-||-||-||-||Jun 2019||5,750||Hasselblad X1D II|
|Hasselblad X1D« »||o||81/100||-||-||4/5||Jun 2016||8,995||-||Hasselblad X1D|
|Leica M10« »||-||-||4/5||-||4.5/5||Jan 2017||6,595||Leica M10|
|Leica SL« »||-||84/100||4.5/5||4/5||4/5||Oct 2015||7,450||Leica SL|
|Notes: (+ +) highly recommended; (+) recommended; (o) reviewed; (-) not available.|
Care should be taken when interpreting the review scores above, though. The assessments were made in relation to similar cameras of the same technological generation. Hence, a score should always be seen in the context of the camera's market launch date and its price, and comparisons of ratings among very different cameras or across long time periods have little meaning. Also, please note that some of the review sites have changed their methodology and reporting over time.
Other camera comparisons
Did this review help to inform your camera decision process? In case you are interested in seeing how other cameras pair up, just make a corresponding selection in the search boxes below. Alternatively, you can follow any of the listed hyperlinks for comparisons that others found interesting.
- Canon 250D vs Olympus E-330
- Canon G3 X vs Fujifilm GFX 50S
- Canon G9 X vs Fujifilm GFX 50S
- Fujifilm GFX 50S vs Leica Q Typ 116
- Fujifilm GFX 50S vs Leica X Typ 113
- Fujifilm GFX 50S vs Nikon D100
- Fujifilm GFX 50S vs Nikon D5500
- Fujifilm GFX 50S vs Panasonic GF7
- Fujifilm GFX 50S vs Panasonic GH4
- Fujifilm GFX 50S vs Panasonic LX100
- Fujifilm GFX 50S vs Panasonic ZS100
- Fujifilm GFX 50S vs Pentax KP
Specifications: Canon 250D vs Fujifilm GFX 50S
Below is a side-by-side comparison of the specs of the two cameras to facilitate a quick review of their differences and common features.
|Camera Model||Canon 250D||Fujifilm GFX 50S|
|Camera Type||Digital single lens reflex||Mirrorless system camera|
|Camera Lens||Canon EF mount lenses||Fujifilm G mount lenses|
|Launch Date||April 2019||September 2016|
|Launch Price||USD 599||USD 6499|
|Sensor Specs||Canon 250D||Fujifilm GFX 50S|
|Sensor Format||APS-C Sensor||Medium Format Sensor|
|Sensor Size||22.3 x 14.9 mm||44.0 x 33.0 mm|
|Sensor Area||332.27 mm2||1452 mm2|
|Sensor Diagonal||26.8 mm||55 mm|
|Sensor Resolution||24 Megapixels||51.1 Megapixels|
|Image Resolution||6000 x 4000 pixels||8256 x 6192 pixels|
|Pixel Pitch||3.72 μm||5.33 μm|
|Pixel Density||7.22 MP/cm2||3.52 MP/cm2|
|Moiré control||Anti-Alias filter||no AA filter|
|Movie Capability||4K/25p Video||1080/30p Video|
|ISO Setting||100-25600 ISO||100-12800 ISO|
|ISO Boost||100-51200 ISO||50-102400 ISO|
|Image Processor||DIGIC 8||X Processor Pro|
|Screen Specs||Canon 250D||Fujifilm GFX 50S|
|Viewfinder Type||Optical viewfinder||Viewfinder optional|
|Viewfinder Field of View||95%|
|Top-Level Screen||no Top Display||Control Panel|
|LCD Framing||Live View||Live View|
|Rear LCD Size||3.0 inch||3.2 inch|
|LCD Resolution||1040k dots||2360k dots|
|LCD Attachment||Swivel screen||Fully flexible screen|
|Shooting Specs||Canon 250D||Fujifilm GFX 50S|
|Autofocus System||Phase-detect AF||Contrast-detect AF|
|Manual Focusing Aid||No Peaking Feature||Focus Peaking|
|Max Shutter Speed (mechanical)||1/4000/s||1/4000/s|
|Continuous Shooting||5 shutter flaps/s||3 shutter flaps/s|
|Electronic Shutter||no E-Shutter||up to 1/16000s|
|Time-Lapse Photography||Intervalometer built-in||Intervalometer built-in|
|Fill Flash||Build-in Flash||no On-Board Flash|
|Storage Medium||SDXC cards||SDXC cards|
|Second Storage Option||Single card slot||Dual card slots|
|UHS card support||UHS-I||Dual UHS-II|
|Connectivity Specs||Canon 250D||Fujifilm GFX 50S|
|Studio Flash||no PC Sync||PC Sync socket|
|USB Connector||USB 2.0||USB 3.0|
|HDMI Port||mini HDMI||micro HDMI|
|Microphone Port||External MIC port||External MIC port|
|Headphone Socket||no Headphone port||Headphone port|
|Wifi Support||Wifi built-in||Wifi built-in|
|Bluetooth Support||Bluetooth built-in||no Bluetooth|
|Body Specs||Canon 250D||Fujifilm GFX 50S|
|Environmental Sealing||Not weather sealed||Weathersealed body|
|Battery Life (CIPA)||1070 shots per charge||400 shots per charge|
122 x 93 x 70 mm
(4.8 x 3.7 x 2.8 in)
148 x 94 x 91 mm
(5.8 x 3.7 x 3.6 in)
|Camera Weight||449 g (15.8 oz)||740 g (26.1 oz)|
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