Fujifilm GFX 50S vs Sony A7 III
The Fujifilm GFX 50S and the Sony Alpha A7 III are two digital cameras that were announced, respectively, in September 2016 and February 2018. Both the GFX 50S and the A7 III are mirrorless interchangeable lens cameras that are based on a medium format (GFX 50S) and a full frame (A7 III) sensor. The Fujifilm has a resolution of 51.1 megapixels, whereas the Sony provides 24 MP.
Below is an overview of the main specs of the two cameras as a starting point for the comparison.
|Fujifilm GFX 50S||Sony A7 III|
|Mirrorless system camera||Mirrorless system camera|
|Fujifilm G mount lenses||Sony E mount lenses|
|51.1 MP, Medium Format Sensor||24 MP, Full Frame Sensor|
|1080/30p Video||4K/30p Video|
|ISO 100-12800 (50-102400)||ISO 100-51200 (50-204800)|
|Viewfinder optional||Electronic viewfinder (2359k dots)|
|3.2" LCD, 2360k dots||3.0" LCD, 922k dots|
|Fully flexible touchscreen||Tilting touchscreen|
|3 shutter flaps per second||10 shutter flaps per second|
|Lens stabilization only||In-body stabilization|
|Weathersealed body||Weathersealed body|
|400 shots per battery charge||610 shots per battery charge|
|148 x 94 x 91 mm, 740 g||127 x 96 x 74 mm, 650 g|
Going beyond this snapshot of core features and characteristics, what are the differences between the Fujifilm GFX 50S and the Sony Alpha A7 III? 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.
The physical size and weight of the Fujifilm GFX 50S and the Sony A7 III are illustrated 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.
If the front view area (width x height) of the cameras is taken as an aggregate measure of their size, the Sony A7 III is notably smaller (12 percent) than the Fujifilm GFX 50S. Moreover, the A7 III is markedly lighter (12 percent) than the GFX 50S. In this context, it is worth noting that both cameras are splash and dust-proof and can, hence, be used in inclement weather conditions or harsh environments.
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.
Concerning battery life, the GFX 50S gets 400 shots out of its NP-T125 battery, while the A7 III can take 610 images on a single charge of its NP-FZ100 power pack. The power pack in the A7 III can be charged via the USB port, which can be very convenient when travelling.
The adjacent table lists the principal physical characteristics of the two cameras alongside a wider set of alternatives. In case you want to display and compare another camera duo, just click on the right or left arrow next to the camera that you would like to inspect. Alternatively, you can also use the CAM-parator to select your camera combination among a larger number of options.
|Fujifilm GFX 50S»||5.8 in||3.7 in||3.6 in||26.1 oz||400||Y||Sep 2016||6,499||Fujifilm GFX 50S|
|Sony A7 III«||5.0 in||3.8 in||2.9 in||22.9 oz||610||Y||Feb 2018||1,999||Sony A7 III|
|Canon 6D Mark II« »||5.7 in||4.4 in||3.0 in||27.0 oz||1200||Y||Jun 2017||1,999||Canon 6D Mark II|
|Canon 1D X Mark II« »||6.2 in||6.6 in||3.3 in||54.0 oz||1210||Y||Feb 2016||5,999||Canon 1D X Mark II|
|Canon 5D Mark IV« »||5.9 in||4.6 in||3.0 in||31.4 oz||900||Y||Aug 2016||3,499||Canon 5D Mark IV|
|Canon 80D« »||5.5 in||4.1 in||3.1 in||25.8 oz||960||Y||Feb 2016||1,199||Canon 80D|
|Fujifilm GFX 50R« »||6.3 in||3.8 in||2.6 in||27.3 oz||400||Y||Sep 2018||4,499||Fujifilm GFX 50R|
|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|
|Nikon D7500« »||5.4 in||4.1 in||2.9 in||25.4 oz||950||Y||Apr 2017||1,299||Nikon D7500|
|Sony A9 II« »||5.1 in||3.8 in||3.0 in||23.9 oz||690||Y||Oct 2019||4,499||Sony A9 II|
|Sony A9« »||5.0 in||3.8 in||2.5 in||23.7 oz||650||Y||Apr 2017||4,499||Sony A9|
|Sony A7 II« »||5.0 in||3.8 in||2.4 in||21.1 oz||350||Y||Nov 2014||1,999||Sony A7 II|
|Sony A7« »||5.0 in||3.7 in||1.9 in||16.7 oz||340||Y||Oct 2013||1,699||Sony A7|
|Note: Measurements and pricing do not include easily detachable parts, such as interchangeable lenses or optional viewfinders.|
Any camera decision will naturally be influenced heavily by the price. The retail prices at the time of the camera’s release place the model in the market relative to other models in the producer’s line-up and the competition. The A7 III was launched at a markedly lower price (by 69 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 imaging sensor is at the core of digital cameras and its size is one of the main determining factors 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 Fujifilm GFX 50S features a medium format sensor and the Sony A7 III a full frame sensor. The sensor area in the A7 III is 42 percent smaller. As a result of these sensor size differences, the cameras have a format factor of, respectively, 0.79 and 1.0. The sensor in the GFX 50S has a native 4:3 aspect ratio, while the one in the A7 III offers a 3:2 aspect.
With 51.1MP, the GFX 50S offers a higher resolution than the A7 III (24MP), but the GFX 50S has smaller individual pixels (pixel pitch of 5.33μm versus 5.94μm for the A7 III). Moreover, the A7 III is a somewhat more recent model (by 1 year and 5 months) than the GFX 50S, and its sensor might have benefitted from technological advances during this time that further enhance the light gathering capacity of its pixels. 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 Sony A7 III 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 A7 III has on-sensor phase detect pixels, which results in fast and reliable autofocus acquisition even during live view operation.
The Fujifilm GFX 50S has a native sensitivity range from ISO 100 to ISO 12800, which can be extended to ISO 50-102400. The corresponding ISO settings for the Sony Alpha A7 III are ISO 100 to ISO 51200, with the possibility to increase the ISO range to 50-204800.
Consistent information on actual sensor performance is available from DXO Mark for many cameras. This service assesses and scores the color depth ("DXO Portrait"), dynamic range ("DXO Landscape"), and low-light sensitivity ("DXO Sports") of camera sensors, and also publishes an overall camera score. The table below summarizes the physical sensor characteristics and sensor quality findings and compares them across a set of similar cameras.
|Fujifilm GFX 50S||Medium Format||51.1||8256||6192||1080/30p||..||..||..||..||Fujifilm GFX 50S|
|Sony A7 III||Full Frame||24.0||6000||4000||4K/30p||25.0||14.7||3730||96||Sony A7 III|
|Canon 6D Mark II||Full Frame||26.0||6240||4160||1080/60p||24.4||11.9||2862||85||Canon 6D Mark II|
|Canon 1D X Mark II||Full Frame||20.0||5472||3648||4K/60p||24.1||13.5||3207||88||Canon 1D X Mark II|
|Canon 5D Mark IV||Full Frame||30.1||6720||4480||4K/30p||24.8||13.6||2995||91||Canon 5D Mark IV|
|Canon 80D||APS-C||24.0||6000||4000||1080/60p||23.6||13.2||1135||79||Canon 80D|
|Fujifilm GFX 50R||Medium Format||51.1||8256||6192||1080/30p||..||..||..||..||Fujifilm GFX 50R|
|Hasselblad X1D II||Medium Format||51.3||8272||6200||none||..||..||..||..||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||none||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|
|Nikon D7500||APS-C||20.7||5568||3712||4K/30p||24.3||14.0||1483||86||Nikon D7500|
|Sony A9 II||Full Frame||24.0||6000||4000||4K/30p||25.0||14.0||3434||93||Sony A9 II|
|Sony A9||Full Frame||24.0||6000||4000||4K/30p||24.9||13.3||3517||92||Sony A9|
|Sony A7 II||Full Frame||24.0||6000||4000||1080/60p||24.9||13.6||2449||90||Sony A7 II|
|Sony A7||Full Frame||24.0||6000||4000||1080/60p||24.8||14.2||2248||90||Sony A7|
Many modern cameras are not only capable of taking still images, but also of capturing video footage. Both cameras under consideration have a sensor with sufficiently fast read-out times for moving pictures, but the A7 III provides a better video resolution than the GFX 50S. It can shoot movie footage at 4K/30p, while the Fujifilm is limited to 1080/30p.
Apart from body and sensor, cameras can and do differ across a variety of features. For example, the A7 III has an electronic viewfinder (2359k dots), which can be very helpful 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 Fujifilm GFX 50S and Sony A7 III in connection with corresponding information for a sample of similar cameras.
|Fujifilm GFX 50S||optional||Y||3.2||2360||full-flex||Y||1/4000s||3.0||n||n||Fujifilm GFX 50S|
|Sony A7 III||2359||n||3.0||922||tilting||Y||1/8000s||10.0||n||Y||Sony A7 III|
|Canon 6D Mark II||optical||Y||3.0||1040||swivel||Y||1/4000s||6.5||n||n||Canon 6D Mark II|
|Canon 1D X Mark II||optical||Y||3.2||1620||fixed||Y||1/8000s||16.0||n||n||Canon 1D X Mark II|
|Canon 5D Mark IV||optical||Y||3.2||1620||fixed||Y||1/8000s||7.0||n||n||Canon 5D Mark IV|
|Canon 80D||optical||Y||3.0||1040||swivel||Y||1/8000s||7.0||Y||n||Canon 80D|
|Fujifilm GFX 50R||3690||n||3.2||2360||tilting||Y||1/4000s||3.0||n||n||Fujifilm GFX 50R|
|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|
|Nikon D7500||optical||Y||3.2||922||tilting||Y||1/8000s||8.0||Y||n||Nikon D7500|
|Sony A9 II||3686||n||3.0||1440||tilting||Y||1/8000s||10.0||n||Y||Sony A9 II|
|Sony A9||3686||n||3.0||1440||tilting||Y||1/8000s||20.0||n||Y||Sony A9|
|Sony A7 II||2400||n||3.0||1230||tilting||n||1/8000s||5.0||n||Y||Sony A7 II|
|Sony A7||2400||n||3.0||1230||tilting||n||1/8000s||5.0||n||n||Sony A7|
One feature that is present on the GFX 50S, but is missing on the A7 III is a top-level LCD. While being, of course, smaller than the rear screen, the control panel conveys some of the essential shooting information and can be convenient for quick and easy settings verification.
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, both cameras under consideration feature an 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 Fujifilm GFX 50S and the Sony A7 III 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.
The GFX 50S writes its imaging data to SDXC cards, while the A7 III uses SDXC or Memory Stick PRO Duo cards. Both cameras feature dual card slots, which can be very useful in case a memory card fails. However, while the GFX 50S supports UHS-II cards (Ultra High Speed data transfer of up to 312 MB/s) on both slots, the A7 III supports UHS-II only on its first slot and UHS-I (data transfer speed up to 104 MB/s) on the second one.
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 Fujifilm GFX 50S and Sony Alpha A7 III and, in particular, the interfaces the cameras (and selected comparators) provide for accessory control and data transfer.
|Fujifilm GFX 50S||Y||stereo||mono||Y||Y||micro||3.0||Y||-||-||Fujifilm GFX 50S|
|Sony A7 III||Y||stereo||mono||Y||Y||micro||3.1||Y||Y||Y||Sony A7 III|
|Canon 6D Mark II||Y||stereo||mono||Y||-||mini||2.0||Y||Y||Y||Canon 6D Mark II|
|Canon 1D X Mark II||Y||mono||mono||Y||Y||mini||3.0||-||-||-||Canon 1D X Mark II|
|Canon 5D Mark IV||Y||mono||mono||Y||Y||mini||3.0||Y||Y||-||Canon 5D Mark IV|
|Canon 80D||Y||stereo||mono||Y||Y||mini||2.0||Y||Y||-||Canon 80D|
|Fujifilm GFX 50R||Y||stereo||mono||Y||Y||micro||3.0||Y||-||Y||Fujifilm GFX 50R|
|Hasselblad X1D II||Y||stereo||mono||Y||Y||none||3.0||Y||-||-||Hasselblad X1D II|
|Hasselblad X1D||Y||stereo||mono||Y||Y||mini||3.0||Y||-||-||Hasselblad X1D|
|Leica M10||Y||none||none||-||-||none||none||Y||-||-||Leica M10|
|Leica SL||Y||stereo||mono||Y||Y||full||3.0||Y||-||-||Leica SL|
|Nikon D7500||Y||stereo||mono||Y||Y||mini||2.0||Y||-||Y||Nikon D7500|
|Sony A9 II||Y||stereo||mono||Y||Y||micro||3.1||Y||Y||Y||Sony A9 II|
|Sony A9||Y||stereo||mono||Y||Y||micro||2.0||Y||Y||Y||Sony A9|
|Sony A7 II||Y||stereo||mono||Y||Y||micro||2.0||Y||Y||-||Sony A7 II|
|Sony A7||Y||stereo||mono||Y||Y||micro||2.0||Y||Y||-||Sony A7|
Studio photographers will appreciate that the Fujifilm GFX 50S (unlike the A7 III) features a PC Sync socket, so that professional strobe lights can be controlled by the camera.
Both the GFX 50S and the A7 III are recent models that are part of the current product line-up. The A7 III replaced the earlier Sony A7 II, 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 Fujifilm and Sony websites.
So what is the bottom line? Which of the two cameras – the Fujifilm GFX 50S or the Sony A7 III – has the upper hand? Is one clearly better than the other? Below is a summary of the relative strengths of each of the two contestants.
Advantages of the Fujifilm GFX 50S:
- More detail: Offers more megapixels (51.1 vs 24MP) with a 43% higher linear resolution.
- Maximized detail: Lacks an anti-alias filter to exploit the sensor's full resolution potential.
- Easier setting verification: Features an LCD display on top to control 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 922k dots).
- More flexible LCD: Has a full-flex screen for odd-angle shots in portrait or landscape orientation.
- Better studio light control: Has a PC Sync socket to connect to professional strobe lights.
- More heavily discounted: Has been on the market for longer (launched in September 2016).
Reasons to prefer the Sony Alpha A7 III:
- Better moiré control: Has an anti-alias filter to avoid artificial patterns to appear in images.
- Better video: Provides higher definition movie capture (4K/30p vs 1080/30p).
- Better live-view autofocus: Features on-sensor phase-detection for more confident autofocus.
- Easier framing: Has an electronic viewfinder for image composition and settings control.
- Faster shutter: Has higher mechanical shutter speed (1/8000s vs 1/4000s) to freeze action.
- Faster burst: Shoots at higher frequency (10 vs 3 flaps/sec) to capture the decisive moment.
- More compact: Is smaller (127x96mm vs 148x94mm) and will fit more readily into a bag.
- Less heavy: Has a lower weight (by 90g or 12 percent) and is thus easier to take along.
- Longer lasting: Gets more shots (610 versus 400) out of a single battery charge.
- Easier travel charging: Can be conveniently charged via its USB port.
- Sharper images: Has stabilization technology built-in to reduce the impact of hand-shake.
- Easier device pairing: Supports NFC for fast wireless image transfer over short distances.
- Easier wireless transfer: Supports Bluetooth for image sharing without cables.
- More affordable: Was introduced into a lower priced category (69 percent cheaper at launch).
- More modern: Was introduced somewhat (1 year and 5 months) more recently.
If the count of individual advantages (bullet points above) is taken as a guide, the A7 III is the clear winner of the contest (14 : 8 points). However, the relative importance of the various individual camera aspects will vary according to personal preferences and needs, so that you might like to apply corresponding weights to the particular features before making a decision on a new camera. A professional sports photographer will view the differences between cameras in a way that diverges from the perspective of a street photog, and a person interested in family portraits has distinct needs from a landscape 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 Fujifilm GFX 50S and the Sony A7 III place the cameras among the top in their class? Find out in the latest Best Mirrorless Interchangeable Lens Camera listing whether the two cameras rank among the cream of the crop.
In any case, while the comparison of technical specifications can provide a useful overview of the capabilities of different cameras, it remains partial and cannot reveal, for example, the shooting experience and imaging performance when actually working with the GFX 50S or the A7 III. User reviews, such as those found at amazon, can sometimes inform about these issues, but such feedback is often incomplete, inconsistent, and biased.
This is why expert reviews are important. The following table reports the overall ratings of the cameras as published by some of the major 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.
The above review scores should be interpreted with care, though. The ratings were established in reference to similarly priced cameras that were available in the market at the time of the review. 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. There is also a set of direct links to comparison reviews that other users of the CAM-parator app explored.
- Canon 1300D vs Sony A7 III
- Canon 1D X Mark III vs Sony A7 III
- Canon 5D Mark III vs Fujifilm GFX 50S
- Canon 850D vs Sony A7 III
- Canon M6 Mark II vs Fujifilm GFX 50S
- Fujifilm GFX 50S vs Nikon D4S
- Fujifilm GFX 50S vs Olympus E-PL8
- Fujifilm GFX 50S vs Pentax KP
- Fujifilm GFX 50S vs Sony A77 II
- Fujifilm GFX 50S vs Sony HX400V
- Fujifilm GFX 50S vs Sony NEX-C3
- Nikon D60 vs Sony A7 III
Specifications: Fujifilm GFX 50S vs Sony A7 III
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||Fujifilm GFX 50S||Sony A7 III|
|Camera Type||Mirrorless system camera||Mirrorless system camera|
|Camera Lens||Fujifilm G mount lenses||Sony E mount lenses|
|Launch Date||September 2016||February 2018|
|Launch Price||USD 6499||USD 1999|
|Sensor Specs||Fujifilm GFX 50S||Sony A7 III|
|Sensor Format||Medium Format Sensor||Full Frame Sensor|
|Sensor Size||44.0 x 33.0 mm||35.6 x 23.8 mm|
|Sensor Area||1452 mm2||847.28 mm2|
|Sensor Diagonal||55 mm||42.8 mm|
|Sensor Resolution||51.1 Megapixels||24 Megapixels|
|Image Resolution||8256 x 6192 pixels||6000 x 4000 pixels|
|Pixel Pitch||5.33 μm||5.94 μm|
|Pixel Density||3.52 MP/cm2||2.83 MP/cm2|
|Moiré control||no AA filter||Anti-Alias filter|
|Movie Capability||1080/30p Video||4K/30p Video|
|ISO Setting||100-12800 ISO||100-51200 ISO|
|ISO Boost||50-102400 ISO||50-204800 ISO|
|Image Processor||X Processor Pro||BIONZ X|
|DXO Sensor Quality (score)||..||96|
|DXO Color Depth (bits)||..||25.0|
|DXO Dynamic Range (EV)||..||14.7|
|DXO Low Light (ISO)||..||3730|
|Screen Specs||Fujifilm GFX 50S||Sony A7 III|
|Viewfinder Type||Viewfinder optional||Electronic viewfinder|
|Viewfinder Field of View||100%|
|Viewfinder Resolution||2359k dots|
|Top-Level Screen||Control Panel||no Top Display|
|LCD Framing||Live View||Live View|
|Rear LCD Size||3.2 inch||3.0 inch|
|LCD Resolution||2360k dots||922k dots|
|LCD Attachment||Fully flexible screen||Tilting screen|
|Shooting Specs||Fujifilm GFX 50S||Sony A7 III|
|Focus System||Contrast-detect AF||On-Sensor Phase-detect|
|Manual Focusing Aid||Focus Peaking||Focus Peaking|
|Max Shutter Speed (mechanical)||1/4000/s||1/8000/s|
|Continuous Shooting||3 shutter flaps/s||10 shutter flaps/s|
|Electronic Shutter||up to 1/16000s||YES|
|Time-Lapse Photography||Intervalometer built-in||Intervalometer built-in|
|Image Stabilization||Lens stabilization only||In-body stabilization|
|Fill Flash||no On-Board Flash||no On-Board Flash|
|Storage Medium||SDXC cards||MS or SDXC cards|
|Second Storage Option||Dual card slots||Dual card slots|
|UHS card support||Dual UHS-II||Single UHS-II|
|Connectivity Specs||Fujifilm GFX 50S||Sony A7 III|
|Studio Flash||PC Sync socket||no PC Sync|
|USB Connector||USB 3.0||USB 3.1|
|HDMI Port||micro HDMI||micro HDMI|
|Microphone Port||External MIC port||External MIC port|
|Headphone Socket||Headphone port||Headphone port|
|Wifi Support||Wifi built-in||Wifi built-in|
|Near-Field Communication||no NFC||NFC built-in|
|Bluetooth Support||no Bluetooth||Bluetooth built-in|
|Body Specs||Fujifilm GFX 50S||Sony A7 III|
|Environmental Sealing||Weathersealed body||Weathersealed body|
|Battery Life (CIPA)||400 shots per charge||610 shots per charge|
|In-Camera Charging||no USB charging||USB charging|
148 x 94 x 91 mm
(5.8 x 3.7 x 3.6 in)
127 x 96 x 74 mm
(5.0 x 3.8 x 2.9 in)
|Camera Weight||740 g (26.1 oz)||650 g (22.9 oz)|
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