On July 9, Fujifilm announced the FUJINON GF19-35mmT3.5 PZ OIS WR on its global news page (the US press release had gone out a day earlier, on July 8, via Businesswire). It is the second cinema power zoom in the GF line after the GF32-90mmT3.5, with a native G Mount. Let’s clear one thing up right away, because some headlines out there are muddying the waters: this is not a new camera body. It is a lens, built to pair with the GFX ETERNA 55 cinema camera. For the finer specs we also leaned on the coverage from CineD.

The wide end the GF system was missing

One number matters here: 19-35mm on the GF format, which translates to a 15-28mm full-frame equivalent. That is the widest angle of view ever offered in the GF format, and for a system whose first zoom started at 32mm it fills exactly the gap left for tight interiors, establishing shots and landscapes. The aperture holds a constant T3.5 across the entire range, so no exposure ramping while you zoom.

  • Optical design: 23 elements in 15 groups, including 4 ED and 3 aspherical elements; a 13-blade iris (as reported by CineD).
  • Stabilization and sealing: built-in OIS and WR weather-resistant construction.
  • Controls: internal servos for focus, iris and zoom; a focus ring with 200° of rotation; standard 0.8M cine gears.
  • Size: 222 mm long, roughly 2.1 kg.

Same footprint as the 32-90: the detail that pays off on set

The external dimensions are identical to the GF32-90mm: matte box, follow focus and the rest of your accessories move from one lens to the other without re-rigging anything. Anyone who has lost half an hour re-seating a matte box after a lens swap knows what that is worth. Two zooms covering 19-90mm in the same footprint are, in practice, a complete two-lens kit for documentary and commercial work.

One caveat on the power zoom: motorized control from the camera body works on the GFX ETERNA 55; on the GFX100 II the zoom is barrel-only for now, with support for other GFX bodies planned through future firmware updates.

What it means for productions in Italy and Abruzzo

Large format is no longer a niche: between the Sony BURANO and the Blackmagic URSA Cine 12K, the market has been pushing toward big sensors and dedicated glass for years. With the ETERNA 55, Fujifilm is playing the medium-format card, and this 19-35mm is the clearest sign it means business: without a native wide zoom, the system was only half built.

The US price is $5,499.95. In our view, the math is straightforward for an Italian production: this is specialized glass tied to a camera ecosystem that is still young. Buying makes sense only if you have already committed to the ETERNA 55; for everyone else, targeted per-project rental remains the sensible route — exactly the way an ARRI ALEXA Mini gets picked up for a film and returned at wrap.

For crews shooting around here — documentaries in hilltop villages, commercials, high-altitude work in the Apennines — a 15-28mm equivalent with OIS and weather sealing is exactly the right kind of glass: cramped historic interiors, windy exteriors, the camera often on the shoulder or on lightweight rigs. In the field, built-in stabilization on a large format camera is one of those things you come to appreciate on day three of the shoot, not on the spec sheet.

Price and availability

The FUJINON GF19-35mmT3.5 PZ OIS WR ships on July 23, 2026, at $5,499.95 in the US; European pricing has not been announced yet. We are keeping an eye on it: if the ETERNA system gains traction in Italy too, this is the kind of lens that belongs in a rental fleet. In the meantime, you will find cameras, lenses, lighting and support gear in our equipment catalog, ready to head out on your next shoot.