First Impressions: Canon EF 35mm f/1.4 on Medium Format Fuji GFX 100S II

Transferring the classic Canon EF 35mm f/1.4 reportage lens into the world of medium format Fuji GFX 100S II is always a bit of an experiment. Formally, Canon optics are designed for a full-frame system, but the large GFX sensor reveals a completely different character of the image for this 35mm lens. In this post, I share my first impressions – what I immediately liked, and what raises questions and requires deeper testing.

Technical point: what are we actually doing?

Canon EF 35mm f/1.4 is a classic wide-angle lens for full-frame cameras with an EF mount: aperture f/1.4, focal length 35 mm, angle of view about 63° diagonally, optical design of 11 elements in 9 groups, 8- or 9-blade diaphragm (depending on the version) and fast USM autofocus.

On the Fuji GFX 100S II through an adapter, the situation changes. The medium format has a larger sensor than the 35mm full frame, so:

• there is no official guarantee that the lens will fully cover the frame area without vignetting;
• the character of the optics – sharpness across the field, aberrations, vignetting – may manifest differently;
• autofocus works through an adapter, so it is not as fast and predictable as on the native Canon body.

But this is precisely the interest: to see how a well-known lens behaves in atypical conditions.

What I liked

1. Image character and "volume"

The first thing that catches the eye is the volume of the image. 35 mm on a full frame is slightly wider than "standard," but on the GFX, due to the peculiarities of coverage and edge work, the image gains additional charm. The perspective remains quite natural, without caricature distortions, but at the same time, there is a feeling of more space in the frame.

The combination of the large GFX 100S II sensor and the 35mm f/1.4 optics provides a very smooth transition from sharpness to blur. The same lens on a full frame often looks more "contrasty" in terms of depth of field, but here the blur is perceived softer, more cinematically.

2. Aperture f/1.4 on 100 megapixels

On paper, it may seem that putting an old (or even updated) 35mm f/1.4 on 100 MP is a challenge to its optical capabilities. But in practice, the impressions are positive: at an open aperture, the center of the frame looks convincingly sharp, and for portraits and reportage, this is more than enough.

As soon as you slightly close the aperture (f/2–f/2.8), the GFX starts to show everything it can squeeze out of this optics. Detailing, microcontrast, skin and fabric texture – all this is rendered very beautifully, with the characteristic "density" of the Canon L-series image.

3. Color and microcontrast

The Canon EF 35mm f/1.4 (especially version II) is known for its pleasant contrast and well-controlled chromatic aberrations thanks to UD glass, aspherical elements, and special coatings. On the GFX, these advantages are also felt: colors are clean, without noticeable "color fringing" around contrasting edges, and contrast does not collapse even in complex backlighting.

In practice, this means that files from the GFX 100S II and Canon 35mm f/1.4 are easy to process in post-production: you can calmly work with shadows and highlights while maintaining the naturalness of colors.

4. Versatility of the focal length

35 mm is a versatile focal length: reportage, street, environmental portrait, travel, even minimalist landscapes. On the GFX, it shifts slightly towards a wider angle but remains very convenient for everyday scenes. If you like working with the space around the subject, this setup opens up many options.

What raises questions

1. Frame coverage and vignetting

The main technical question is full sensor coverage. The EF 35mm f/1.4 is designed for full-frame cameras, while the GFX sensor is larger. This almost certainly means:

• noticeable vignetting at open apertures;
• possible loss of sharpness and contrast at the edges of the frame;
• in certain modes or when fully using the sensor area – even slight mechanical "darkening" of the corners.

In the first tests, vignetting is noticeable, but it has a rather pleasant character – gently drawing the eye to the center. For artistic shooting, this can even be a plus, but for commercial tasks (architecture, product shots, technical frames), this behavior needs to be considered and possibly additionally corrected in the RAW converter.

2. Uniformity of sharpness across the field

On a full frame, the 35mm f/1.4 (especially version II) demonstrates a very high level of sharpness across the entire field of the frame even at open apertures, especially after slight closing. On the GFX, where the rear part of the lens projection is "stretched" over a larger area, the question arises:

• how far from the center does "working" sharpness remain;
• do noticeable aberrations appear closer to the edges;
• how does the image behave when focusing to infinity in landscape scenes.

The first impressions are: for portraits and reportage, where the main subject is usually in the center or slightly shifted, there are no problems. But for frames where uniform detailing in all corners is important, separate tests, focus bracketing, and shooting at different apertures are needed.

3. Autofocus operation through the adapter

Another point that raises questions is the autofocus behavior. The Canon USM motor itself is very fast and quiet, but on the GFX, it works through an adapter that essentially translates the "language" between systems.

In the first shoots, it feels like:

• autofocus does not work as confidently as on native GF lenses;
• sometimes the camera makes micro-adjustments, as if "asking again" if it focused correctly;
• in low light conditions, there is occasionally a slight "hunting" (focus searching).

For static scenes and thoughtful portraits, this is not critical – there is time to refocus or switch to manual mode. But for fast reportage, dynamic scenes, or spontaneous moments, such a setup requires habit and patience.

4. Balance, ergonomics, and practicality

The Canon EF 35mm f/1.4 weighs about 580 g, has a length of about 86 mm, and a diameter of 79 mm. Together with the GFX 100S II body and adapter, it results in a massive but still manageable kit. First impressions on ergonomics:

• the balance is noticeably shifted forward, but holding the camera with one hand is still possible;
• the Canon focus ring is pleasant, with sufficient travel, which contributes to precise manual focusing;
• the depth of field at f/1.4 on 100 MP is so small that it is better to work in a mode of calm, deliberate shooting.

The question that needs answering over time: how convenient is such a hybrid kit for long-term work – all-day shooting, travel, reportage.

For whom does such a setup make sense?

Despite all the questions, the first impressions of the Canon EF 35mm f/1.4 on the Fuji GFX 100S II are rather positive. This solution is clearly not for everyone, but it may be interesting for:

• portrait photographers looking for a more "cinematic" wide portrait with a large sensor and beautiful blur;
• reportage photographers who love 35 mm but want a different image plasticity and resolution reserve;
• creative photographers who consciously play with vignetting, uneven sharpness across the field, and the character of older optics;
• those who already have a Canon EF 35mm f/1.4 and want to make the most of it on a new system without immediately buying several GF primes.

Final first impression

The Canon EF 35mm f/1.4 on the Fuji GFX 100S II is an unconventional but very interesting combination. It pleases with the image character, color, smooth bokeh, and resolution potential that the lens can still show even at 100 MP. At the same time, there are open questions about frame coverage, autofocus behavior, and the feasibility of such a hybrid for fast commercial work.

As a first acquaintance, the experience definitely inspires further experiments: with different apertures, subjects, and lighting conditions. And after a series of real projects, it will become clear whether this experiment will turn into a permanent working tool.