Canon TS-E on Fuji GFX 100s II with Viltrox Pro Adapter

[gebseng]

Hey everyone,

I'm using my Canon TS-E 24mm and 17mm Shift lenses on my Fuji GFX 100s II with the Viltrox Pro Adapter (v1, I think).

This works great, since I only need aperture control and EXIF, no autofocus.

There's only one annoying detail: I like to use Focus Check (MENU → G AF/MF SETTING → FOCUS CHECK), this makes the magnified (zoomed in) view pop up whenever I rotate the focus ring on manual lenses. This works great, e.g., with my Fuji 30mm TS Shift lens. But with the Canon TS-Es, as soon as this function is activated, the magnification view ALWAYS pops up, even if I don't touch the focus ring.

Have you experienced this problem? Do you know if it's the same with other electronic EF-GFX adapters?

 

[Ddbowdoin]

Unfortunately my experiment with the Viltrox V2 (EF to E) on my A7RV did not work. I had aperture control like 30% of the time. It kept losing connection. Glad to know it works on the GFX version.

 

[gebseng]

Thanks for the info.

 

[diggles]

Hey everyone,

I'm using my Canon TS-E 24mm and 17mm Shift lenses on my Fuji GFX 100s II with the Viltrox Pro Adapter (v1, I think).

This works great, since I only need aperture control and EXIF, no autofocus.

There's only one annoying detail: I like to use Focus Check (MENU → G AF/MF SETTING → FOCUS CHECK), this makes the magnified (zoomed in) view pop up whenever I rotate the focus ring on manual lenses. This works great, e.g., with my Fuji 30mm TS Shift lens. But with the Canon TS-Es, as soon as this function is activated, the magnification view ALWAYS pops up, even if I don't touch the focus ring.

Have you experienced this problem? Do you know if it's the same with other electronic EF-GFX adapters?

I also found this feature to be very useful with the GFX100 II, though I encountered the same issue with adapted lenses.

As a workaround, I configured the rear command dial to trigger the magnified focus assist when pressed. I have actually found that I prefer this workflow.

 

[gebseng]

I also found this feature to be very useful with the GFX100 II, though I encountered the same issue with adapted lenses.

As a workaround, I configured the rear command dial to trigger the magnified focus assist when pressed. I have actually found that I prefer this workflow.

Thanks! Which adapter brand are you using?

 

[diggles]

Recently I switched back to FF and am currently using the Sony for architectural work. What I was using with the Fuji is The Fringer EF-GFX Pro. The lenses I used were the 17 tse, 24 tse ii, and 50 tse. The adapter was bulletproof. I really liked that it has an aperture ring built into the adapter.

 

[Paul Spinnler]

Recently I switched back to FF and am currently using the Sony for architectural work. What I was using with the Fuji is The Fringer EF-GFX Pro. The lenses I used were the 17 tse, 24 tse ii, and 50 tse. The adapter was bulletproof. I really liked that it has an aperture ring built into the adapter.

Why did you switch and which lenses do you use now?

 

[diggles]

Why did you switch and which lenses do you use now?

I still think GFX is a very capable system. The move was simply a practical business decision based on the mix of architectural, industrial, and portrait work I’m doing.

For higher-volume industrial and portrait assignments where I may generate a few hundred images in a day, the GFX files add noticeable weight in storage and long-term archive management. After stepping back and looking at what clients are actually requesting, I realized I didn’t need that overhead.

The 30mm TS is an excellent lens, but it doesn’t cover all the focal lengths I regularly use. The alternatives are correcting zooms in post (not my preference) or adapting Canon/Nikon/Laowa tilt-shifts. Those lenses deliver professional results — I used them — but on GFX they’re covering more than the 35mm format they were engineered for.

The GFX kit is also physically larger, and consolidating my kit into a single working bag matters for the type of location work I do. On the software side, while I like Capture One for tethering, I prefer Adobe Camera Raw for processing. C1 is required to fully utilize the 30mm TS profile corrections.

In the past five years, only once has resolution been raised as a hiring factor — and even then, the request was within the 4000–6000px range. Looking at actual deliverables, streamlining made sense.

For architecture I’m using a Sony A7R V. It provides more than enough resolution for my deliverables, gives me a mechanical shutter for flash interiors, integrates cleanly with the Pico, and works well with Canon TS-E lenses designed for full-frame coverage.

On the Pico I’m using:
– Canon 17 TS-E
– Canon 24 TS-E II (also in crop mode for ~35mm equivalent)
– Mamiya G 50 L (custom mounted)

The 24 handles roughly 80–90% of a typical shoot.

This is purely about client workflow. For personal work I still use the CFV100C on the Pico with Schneider and Rodenstock lenses, and occasionally for architectural exteriors as well.

It wasn’t about one system being better — just aligning tools with how I’m working right now.

 

[Paul Spinnler]

Thanks for the deep dive -
I assume you use the pico variants of the TSE glass?

 

[diggles]

No, I’m not using the Arca 24 or 50.

Another forum member mentioned that RAF made him a Canon TS-E to M39 adapter, which is what I’m using. The shift mechanism has to be removed for the adapter to mount properly, and the aperture is preset beforehand. You don’t have the same on-the-fly aperture control as with the Arca lenses, but in my case that isn’t a limitation, as I’ve always worked at f/11 for architecture.