Fuji GFX 100 Field Test

This medium-format camera of many "world's firsts" is expensive, but delivers great quality and performance

by Jeremy Gray | Posted 07/29/2019

Fujifilm GF 32-64mm f/4 lens at 64mm (51mm equiv.), f/8, 1/950s, ISO 320. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

In 2017, Fujifilm launched their brand-new mirrorless medium-format GFX camera system with the GFX 50S camera. With a launch price of $6,500 USD, the camera was expensive, but it was also a good value for a medium-format camera system. Since then, I have spent a lot of time using the GFX 50S camera and have come to appreciate its numerous strengths while sometimes being more frustrated with its shortcomings. The GFX 50S delivers fantastic image quality and a pleasant overall user experience, but its autofocus performance has been a key area of weakness.

Doubling down on the excellent image quality is the new GFX 100. As its name conveys, the camera incorporates a 102-megapixel image sensor, which not only doubles the megapixel count of the GFX 50S (and GFX 50R) camera, but the sensor also comes equipped with a new hybrid phase-detect autofocus system. The 100-plus megapixel sensor and its 3.76 million phase-detect autofocus pixels are far from the only new features in the GFX 100. It is also the world's first mirrorless medium-format camera to include in-body image stabilization and 4K/30p video.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/8, 1/800s, ISO 250. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

These new features have resulted in an increase in price to $10,000 USD. This is a lot of money for a camera, but on the other hand, you get a lot of performance for the money. Plus, compared to traditional digital medium format camera systems, the GFX 100 is quite affordable. Let's take a closer look to see how the 102-megapixel sensor performs, evaluate the overhauled autofocus system and learn more about the exciting new GFX 100.

Key Features and Specs

• Medium-format mirrorless camera
• 102-megapixel backside-illuminated CMOS image sensor
• Native ISO range of 100-12,800
• 16-bit raw files
• 3.76 million phase-detect autofocus pixels covering nearly the entire image area
• Improved autofocus performance and speed
• Five-axis in-body image stabilization
• Weather-sealed camera body
• Integrated vertical grip
• 5.76-million dot OLED electronic viewfinder
• Tilting touchscreen display
• 4K/30p video recording and Eterna Film Simulation

Camera Body & Handling: An interesting new design results in good usability

The GFX 100 incorporates a significantly different and more streamlined design than the GFX 50S. For starters, gone is the unsightly and intrusive battery compartment bulge behind the display on the GFX 50S. Also, unlike either of the GFX 50 cameras, the GFX 100 has an integrated vertical grip. One of the impacts of this inclusion is that the camera can hold a pair of batteries, effectively doubling its battery life. Further, it allows for mirrored controls when shooting vertically-oriented images. You will also quickly notice that the GFX 100 opts for a two-tone black and gray design, rather than the solid black coloring of the GFX 50 models. Personally, I'm not a fan of the two-tone look, but I'm sure some people will be and, ultimately, it doesn't matter very much.

The GFX 100 has a much different overall styling when compared to either the GFX 50S or GFX 50R, including a new two-tone finish and an integrated vertical grip.

What does matter significantly is the overall control layout and feel of the GFX 100. The front grip feels nice. It's a decent size, it has a good gripped surface and is a fairly deep shape. The integrated vertical grip, however, does not feel nearly as nice. It isn't covered with a grippy surface at all, which is an odd design choice in terms of usability and comfort, and it is much smaller/thinner than the optional vertical grip which I use with my GFX 50S. With that said, the mirrored controls for the vertical grip are nice and work well.

Another big change is that the GFX 100 ditches the dedicated ISO and shutter speed dials which are found on the top of the GFX 50S camera. Instead, the top display is larger than the one found on the GFX 50S and the extra screen real estate allows for what Fujifilm calls "virtual dials." Basically, by pressing a button next to the display, you can view dual shutter speed and ISO dials on the top display. When used in conjunction with the command dials, you can quickly adjust the settings with instant visual feedback. I don't prefer this approach versus having physical dials, but it's a fine compromise. It may be a big ask, but I do wish that given the relative prominence of the top display, that it incorporated touchscreen such that you could easily adjust any shooting setting via the display.

While the GFX 100 lacks some of the dedicated top dials of the GFX 50S, it does offer a larger top display, which can be used to show virtual shutter speed and ISO dials, a live histogram or an array of shooting settings. In this product image, we see the lattermost display setting.

The display's larger size does have some nice bonuses, however, including the ability to show a real-time histogram while you are shooting. You can also view a fuller breakdown of your shooting settings than you could on the GFX 50, and this can all be customized in the camera's menus. Overall, the display is clear and effective, even if I prefer physical dials.

Looking at other aspects of the camera's control layout, there are a variety of interesting changes to note. Like the GFX 50R, the GFX 100 ditches the four-way directional buttons which were found on the GFX 50S. I really liked the four-way directional buttons because I was able to assign different functions to them, such as direct access to Film Simulations, the self-timer and more. Fujifilm has worked around this by allowing you to assign four functions to different directional swipes (left/right/up/down) on the touchscreen. A great button layout change is that the GFX 100's playback button is on the right side of the camera, so you can easily reach it with your right hand to review images as you are shooting. In fact, all essential controls are within reach of your right hand while shooting.

The back of the GFX 100 is dramatically different when compared to the GFX 50S and most of the changes are for the better. A big change also comes in the form of a new, higher-resolution and more responsive electronic viewfinder, which is excellent.

The GFX 100 features a new electronic viewfinder, which is a very welcome change as the GFX 50's EVF had some issues with artifacts, sluggishness and an overall unnatural-feeling user experience. The new EVF has 5.76 million dots and 0.86x magnification and is very sharp. It also doesn't display the same shimmering appearance that plagued the GFX 50S and 50R's EVFs. It's a massive improvement overall. Further, the new EVF, which is detachable, is compatible with the existing tilt adapter.

The rear display tilts in three directions, upward, downward and about 45 degrees to the side. This triaxial touchscreen is the same as the one found on the GFX 50S. It's plenty sharp, responsive and works reasonably well in bright lighting conditions. Below the touchscreen is a new customizable sub display. With default settings, the rear sub display shows shooting mode, aperture, shutter speed and ISO on its top row and exposure compensation, film simulation and white balance along the bottom.

Overall, the GFX 100 is a well-designed camera. In many ways, it feels better to use than the GFX 50S and is certainly sleeker and more streamlined.

Overall, the weather-sealed magnesium alloy body is well-designed and feels good to use. Some of the design changes are not impressive to me as a GFX 50S user, such as the lack of dedicated dials on the top of the camera, but most changes are improvements. While the vertical grip is not as comfortable as the optional one for the GFX 50S, it does allow the GFX 100 to be thinner and lighter overall. The new electronic viewfinder is a big improvement, as is the control layout on the back of the camera. It's not a perfect camera body, but overall, it's a better design than the GFX 50S.

Image Quality: 102MP of excellent medium-format image quality

The Fuji GFX 100 incorporates a 102-megapixel backside-illuminated CMOS image sensor. This is a big step up from the 51-megapixel sensor found in the GFX 50S and 50R cameras not only in terms of megapixel count, but also with respect to the overall sensor design. The CMOS sensor in the GFX 50 cameras was not backside-illuminated and was very similar in tech to the quite aged sensor found in the Pentax 645Z medium-format camera.

Fujifilm GF 250mm f/4 lens, 250mm (198mm equiv.), f/4, 1/320s, ISO 250. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 250mm f/4 lens, 250mm (198mm equiv.), f/4, 1/320s, ISO 250. 100 percent crop of the above image. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

The "medium-format camera" waters are a bit murky, as there are basically two dominating sensor sizes in the market. There's a smaller sensor, which is what the GFX and Hasselblad X1D camera systems utilize, and then larger medium-format sensors like what is found in cameras such as the Phase One IQ4 digital back series. Specifically, the GFX 100's sensor is 43.8 x 32.9 millimeters in size, which is about 1.7 times the area of a full-frame image sensor, but quite a bit smaller than the 54 x 40mm sensor found in the more expensive Phase One system.

While the size gap between the Fuji GFX and Phase One systems has not been closed with the GFX 100, the new Fuji camera does close the image fidelity gap some by offering 16-bit raw image capture, something that its 50S/R siblings are unable to do.

Despite upping the megapixel count, the GFX 100 offers the same native ISO range as the GFX 50 cameras: 100-12,800. The camera's ISO range can be extended down to ISO 50 and expanded upward to ISO 102,400.

Sharpness & colors

If you are interested in purchasing the GFX 100, the prevailing motivation for your interest is likely image quality. The GFX 100 produces incredible images with fantastic sharpness. The medium-format sensor – which lacks an optical low pass filter – produces very detailed images and is able to capture small, fine details in complex scenes with ease, particularly at or near base ISO.

Take for example the image below, which is a focus-stack of numerous images captured at f/8 with a 100 ISO. You can easily pick out very fine details in the moss, bark and rocks. And thanks to the 102-megapixel image, which is 11,648 x 8,736 pixels, making a very large print is no problem whatsoever. In fact, a 300 ppi resolution print at original size is 38.8 inches x 29.1 inches.

Fujifilm GF 32-64mm f/4 lens at 35mm (28mm equiv.), f/8, 9s, ISO 100. This is a focus stack comprised of six separate images shot with the above settings. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for one of the original RAW files.

Fujifilm GF 32-64mm f/4 lens at 35mm (28mm equiv.), f/8, 9s, ISO 100. 100 percent crop from the above image. This is a focus stack comprised of six separate images shot with the above settings. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for one of the original RAW files.

Fujifilm GF 32-64mm f/4 lens at 35mm (28mm equiv.), f/8, 9s, ISO 100. 100 percent crop from the above image. This is a focus stack comprised of six separate images shot with the above settings. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for one of the original RAW files.

 

Fujifilm GF 250mm f/4 lens, 250mm (198mm equiv.), f/5.6, 1/250s, ISO 800. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 250mm f/4 lens, 250mm (198mm equiv.), f/5.6, 1/250s, ISO 800. 100 percent crop from the above image. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 32-64mm f/4 lens at 64mm (51mm equiv.), f/8, 1/30s, ISO 100. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 32-64mm f/4 lens at 64mm (51mm equiv.), f/8, 1/30s, ISO 100. 100 percent crop of the above image. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 32-64mm f/4 lens at 55mm (43mm equiv.), f/8, 1/125s, ISO 100. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 32-64mm f/4 lens at 55mm (43mm equiv.), f/8, 1/125s, ISO 100. 100 percent crop of the above image. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

The primary takeaway is that when shooting at low ISOs, the GFX 100 produces very sharp images. Having used the GFX 50S as my primary landscape camera since it released, I can confidently say that the resolution step up to the GFX 100 is noticeable. The move to 16-bit files also results in what I consider to be improved tonal transitions and color rendition, however, this difference is more subtle. Speaking of color, the GFX 100 does a very good job here, producing images with quite accurate colors.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/250s, ISO 1000. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 250mm f/4 lens, 250mm (198mm equiv.), f/4, 1/250s, ISO 500. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/640s, ISO 2500. Click for the full-size image. Click here for the RAW file.

High ISO

At high ISOs, the GFX 100 is not quite as impressive, but within the context of it being a 102-megapixel image sensor, the high ISO performance is certainly still very good. Images can quickly get pretty noisy. There are a couple of caveats here though. One, the quality of the noise is pretty good. What I mean by this is that the grain is quite fine, consistent and not riddled with ugly color and chroma noise. Two, by downsizing the image to a smaller (but still large) size, you can create a cleaner-looking print, even at high ISOs.

Fujifilm GF 32-64mm f/4 lens at 32mm (25mm equiv.), f/4, 20s, ISO 6400. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/160s, ISO 6400. Original image, underexposed at ISO 6400. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/160s, ISO 6400. Modified image with +2 EV exposure. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/160s, ISO 6400. 100 percent crop from above modified image with +2 EV exposure. Click for the full-size image. Click here for the RAW file. Despite being shot at ISO 6400 and then processed for an additional two stops of exposure, this image retained acceptable fidelity despite the visible noise and the decrease in fine detail.

If you are spending $10,000 for the GFX 100, it's unlikely you are intending to shoot very often at high ISO settings. However, I am impressed by the camera's performance in low light and would confidently use it up to ISO 1600 and perhaps even as high as ISO 6400 in some situations.

Raw file flexibility

Like the GFX 50S/R cameras before it, the GFX 100 truly shines when you process its raw files. Support for the GFX's raw files have never been better, including reliably good support in Adobe Camera Raw and more recent support in Capture One software. While the camera produces strong JPEG image files, you can extract even more detail and produce images with expanded dynamic range when you process a raw file. I was able to do a considerable amount of finessing with the GFX 100's raw files without introducing unwanted noise, banding or other types of file degradation.

Fujifilm GF 32-64mm f/4 lens at 32mm (25mm equiv.), f/4, 15s, ISO 4000. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

When it comes to dynamic range, we can look at the great charts from Photons to Photos to evaluate the GFX 100. Compared to the GFX 50S/R, the GFX 100 offers equal or better performance across the board, with the largest performance gains for the GFX 100 coming between ISO 800 and 1600, where the gain is about a full stop. At base ISO, the GFX 100 offers about 12.2 EV of dynamic range versus 11.9 EV with the GFX 50S. For reference, the full-frame Nikon D850 offers 11.6 EV of dynamic range at its base ISO of 64 and the 151-megapixel Phase One IQ4 150MP medium-format digital back delivers 13.1 EV at its base ISO. This shows that the GFX 100 is closer in terms of dynamic range to high-resolution full-frame cameras than it is to large medium-format cameras such as the IQ4 150MP.

Fujifilm GF 32-64mm f/4 lens at 44mm (35mm equiv.), f/8, 1/5s, ISO 100. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 32-64mm f/4 lens at 44mm (35mm equiv.), f/8, 1/5s, ISO 100. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 32-64mm f/4 lens at 44mm (35mm equiv.), f/8, 1/5s, ISO 100. 100 percent crop of the above image. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file. Despite an increase in the shadow detail, the image remains very clean.

Overall, the GFX 100 offers good dynamic range and very flexible raw files, even when recovering lost details in shadows and highlights. I found it easy to create the final images that I wanted, even when the lighting conditions were unfavorable.

Overall

The Fuji GFX 100 delivers excellent image quality across the board. Its resolving capabilities are very good, for starters, and the camera's ability to produce smooth tonal transitions, pleasing colors and good quality at high ISO settings are also very impressive.

Shooting Experience

While the improved image quality with the GFX 100 is nice, perhaps an even bigger difference between the GFX 100 and the GFX 50S/R cameras comes when considering the overall shooting experience. In terms of autofocus, performance and ease of use, the GFX 100 is improved, particularly with respect to autofocus. Simply put, it is a significant evolution for the GFX system.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/800s, ISO 500. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Autofocus

The GFX 50S's autofocus performance was something of a mixed bag. It had pretty good autofocus coverage across the sensor, especially considering the large size of the sensor, but the camera's contrast-detect focusing system offered lackluster speeds in most situations. The overall shooting experience ended up feeling quite sluggish due to the camera's mediocre autofocus performance. The GFX 100, on the other hand, performs much better.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/1000s, ISO 1250. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/1000s, ISO 1250. 100 percent crop of the above image. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file. Despite the objects obscuring the subject, the GFX 100 quickly locked onto the deer's face.

Not only does the GFX 100 offer even better autofocus coverage, covering nearly the entire image area, but it features a new phase-detect hybrid autofocus system, which includes 3.76 million phase-detect autofocus pixels. The autofocus system is more accurate than the one found in the GFX 50S/R cameras and proved noticeably faster in every situation in which I used the GFX 100.

A particular area in which autofocus is much improved is when shooting low-contrast subjects and working in low light. Whereas the GFX 50 cameras often hunted in these situations, the GFX 100 proved much more capable of not only acquiring focus, but locking on, even when a subject was moving.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/640s, ISO 200. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/640s, ISO 200. 100 percent crop of the above image. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file. The GFX 100's autofocus accuracy proved to be very good, especially in situations where absolute precision was required.

With that said, to say that the GFX 100's autofocus performance is on-par with a high-end full-frame mirrorless camera would be a slight stretch. It's a big improvement over the lower-megapixel GFX cameras, yes, but it is still not a fast-paced action camera.

Performance

Despite its high megapixel count, the GFX is a pretty nimble camera. It can shoot at 5 frames per second, which is faster than the GFX 50 cameras, but it can only do so for a short period of time. During my own testing with a Lexar 2,000x UHS-II SD card, which has 300 MB/s speeds, I was able to capture about 14 raw images before the buffer filled. Buffer clearing took a bit less than 20 seconds with uncompressed raw files and just over 10 seconds with compressed raw files. It's also worth noting that while the GFX 100 can capture 16-bit raw files, but when shooting continuously, the bit depth drops to 14-bit. For more detailed testing results, check out our lab tests.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/1000s, ISO 640. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

The main takeaway then is that X-Processor 4-powered GFX 100 can shoot faster than the GFX 50 cameras but is limited quite a bit by its buffer depths. With that said, the viewfinder performance when shooting continuously is not bad, although the blackout is still problematic, and the camera's overall performance is generally good. Menus are snappy, playback is pretty quick, and the camera is plenty fast when powering on. The GFX 50 occasionally felt slow when going through standard operating procedures, but the GFX 100 feels more responsive during normal use.

Overall

With its good control layout, much-improved autofocus performance and strong all-around imaging performance, I have never been more easily able to use a medium-format camera in a wide variety of situations. Whether you are working slowly with a tripod or walking around with the GFX 100, it's very simple to use the camera and capture highly-detailed images.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/400s, ISO 500. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Video

The GFX 50S and 50R cameras were almost exclusively designed around still photography. The GFX 100, on the other hand, incorporates video features and performance much more in line with modern cameras. It may not be a true hybrid camera, but it comes remarkably close for a medium-format camera.

Fujifilm GFX 100 4K Video #1 4096 x 2160 video at 29.97 fps, 1/60s, f/8, ISO 400. Shot with GF 250mm lens with 1.4x TC. Download Original (927 MB .MOV File)

The GFX 100 can record 4K video, in both DCI 4K and 4K UHD resolutions, at up to 30 frames per second. While some mirrorless cameras can do 4K/60p, the GFX 100's offerings are basically in line with most modern full-frame cameras. Further, it can record log (F-Log Rec 2020), externally record 4:2:2 10-bit uncompressed via HDMI and record in H.265 codec.

Fujifilm GFX 100 4K Video #2 3840 x 2160 video at 23.98 fps, 1/60s, f/4, ISO 6400. Shot with GF 32-64mm f/4 lens. Download Original (927 MB .MOV File)

 

Fujifilm GFX 100 4K Video #3 3840 x 2160 video at 23.98 fps, 1/60s, f/4, ISO 6400. Shot with GF 32-64mm f/4 lens. Download Original (779 MB .MOV File)

 

Fujifilm GFX 100 1080p60 Video 1920 x 1080 video at 59.94 fps, 1/60s, f/4, ISO 6400. Shot with GF 32-64mm f/4 lens. Download Original (314 MB .MOV File)

With respect to performance, the GFX 100 not only offers good 4K video quality, even in low light, but its autofocus performance is so much better. Autofocus during video is fast and the camera does a great job of not making unnecessary minor adjustments after it has locked on, something that the contrast-detect autofocus system in the GFX 50 cameras struggled with significantly. In the autofocus test video below, you can see that the camera not only adjusts focus pretty quickly, but it does so with a good level of smoothness. You can even adjust the tracking adjustment speeds if you'd like, but the video below was recorded with default autofocus settings.

Fujifilm GFX 100 4K Video #4 4096 x 2160 video at 24 fps, 1/120s, f/4, ISO 250. Shot with GF 250mm lens. Download Original (1.64 GB .MOV File)

The GFX 100 has a somewhat different ISO range when recording video than it does when shooting still images, going from ISO 200 to 25,600. At low ISO settings, the video quality is very nice, with good colors, tones and detail. As you increase the ISO, quality remains quite good, although the noise can become a bit distracting. It's also worth noting that the GFX 100 incorporates the cinema-oriented Eterna Film Simulation that Fuji introduced with the Fujifilm X-H1 APS-C camera.

Overall, the GFX 100 not only delivers significantly better video quality and performance than the GFX 50S/R, but it also offers video features that compare favorably with what a number of full-frame mirrorless cameras offer, which is particularly impressive given that the GFX 100 is the first medium-format mirrorless camera to offer 4K recording.

In the Field

In the field, the GFX 100 performs very well overall. Compared to the GFX 50S/R, it offers numerous improvements. The increase in image quality aside, the GFX 100 is a more well-rounded, versatile and flexible camera. A big reason for this is the new autofocus system, which is considerably faster and more responsive.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/1000s, ISO 3200. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

The improved electronic viewfinder also helps the shooting experience feel more fluid. The bump in resolution is nice, but the overall performance of the EVF is really the key. Issues with shining edges and artifacts are gone, the frame rate is more stable, and the refresh rate is better. With that said, the blackout time when shooting is still a bit too long for my taste, especially when trying to shoot quickly.

The camera body in general is something of a mixed bag. I really like that the camera features a built-in vertical grip, as I shoot in portrait orientation quite often. I also like that the camera is smaller and lighter than a GFX 50S with the optional vertical grip attached. There are also some intelligent additions, such as the rear sub display and improved battery compartment location. With that said, I miss the dedicated shutter speed and ISO dials of the GFX 50S.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/500s, ISO 400. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Returning to image quality, the large 102-megapixel backside-illuminated sensor is superb. It produces very detailed 16-bit raw files across an impressive range of ISO settings. There is a lot of flexibility afforded to you by the sensor, not only in terms of what type of detail you can capture, but also by how pliable the raw files are during post-processing.

The sensor is also stabilized with the camera's new five-axis image stabilization system, which makes the GFX 100 the most hand-holdable medium-format camera available on the market. You can truly walk around with the GFX 100 and shoot it like it's an APS-C or full-frame camera except you return home with medium-format images. While I do often shoot with a tripod, it is far from necessary with the GFX 100 in many cases, and I found myself shooting handheld more than I have with my GFX 50S.

Landscapes with the GFX 100: An excellent camera for landscape photography

When shooting landscape images, much of the appeal of the GFX 100 is due to the camera's image quality. The 16-bit raw files are very detailed, with impressive dynamic range and a ton of flexibility during post-processing. However, the camera is also a reasonable size and weight for a medium-format camera and is weather-sealed, making it a good option for shooting in adverse conditions. Further, the improved autofocus performance is very noticeable when capturing landscape images, particularly in low light conditions. The GFX 100 was able to focus in situations that my GFX 50S never could.

Fujifilm GF 32-64mm f/4 lens at 52mm (41mm equiv.), f/8, 8.5s, ISO 100. This is a focus stack comprised of seven separate images shot with the above settings. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for one of the original RAW files.

While not exclusive to the GFX 100 model, the camera also incorporates numerous useful features and shooting modes which may prove beneficial to landscape photographers. On the body itself, the tilting display is very nice when working on a tripod from a low angle. When looking at available shooting features, the GFX's in-camera focus stacking, which was added to the GFX 50S via a firmware update post-release, is very nice for times when you want to have a lot of depth of field. Further, the various bracketing features, which are available from the dedicated drive mode dial, are useful.

Fujifilm GF 32-64mm f/4 lens at 40mm (31mm equiv.), f/16, 20s, ISO 100. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

If you want to do nightscape photography with the GFX 100, it performs quite well here too. Despite its high megapixel count, the GFX 100 delivers good image quality at high ISOs, such as ISO 6400. The quality of the noise, even at high ISOs, is quite nice and has a fine-grained look to it. If you don't like the noise, an easy way to create a smoother final image is to simply downsize the file, something that is easy to do with 102-megapixel images. I continue to hope Fujifilm releases a fast wide-angle prime lens, as the GF 23mm f/4, while great, is not quite as fast as I'd like for night shooting.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/800s, ISO 640. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

When shooting at night or for times when you simply want to fine-tune focus manually, it's worth pointing out that the GFX 100 lets you zoom in quite a bit on the live view to check focus, which proved useful on numerous occasions. You can do this easily by clicking the rear command dial.

Overall, the GFX 100 is a great landscape camera. I already consider the GFX 50S to be one of the better options for landscapes due to its excellent image quality and nice features, but the GFX 100 improves the image quality while also improving all-around performance.

Fujifilm GF 23mm f/4 lens at 40mm (31mm equiv.), f/8, 20s, ISO 320. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/8, 1/800s, ISO 200. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 32-64mm f/4 lens at 32mm (25mm equiv.), f/8, 1/100s, ISO 400. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Wildlife photography with the GFX 100: A surprisingly solid option

The GFX 50S/R's utility as wildlife cameras were severely hampered by lackluster autofocus performance, particularly with respect to focusing speed. By the time the camera acquired focus, the ideal moment was often gone. Further, the GFX system lacks a really long lens. The GF 250mm with its optional 1.4x teleconverter is a great lens, but not all that long. The GFX 100 addresses both of these issues with varying success.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/125s, ISO 2000. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

Firstly, autofocus performance is much better. I was able to focus on an animal and capture a shot (or burst) before the opportunity was lost. Even in low light and with a moving subject, continuous autofocus performance proved reliable in many cases. Now, the GFX 100 does not match a Sony A7 III, Nikon Z6 or even the Canon EOS R in terms of overall autofocus performance, but it's a heck of a lot closer to those cameras than the GFX 50 cameras are. Further, the GFX 100 also has a nice trick up its sleeve in the form of in-body image stabilization, which not only successfully lets you shoot at slower shutter speeds, but it also does a great job of keeping the viewfinder stable while framing and tracking subjects.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/640s, ISO 5000. This image has been cropped. Click for the full-size image. Click here for the RAW file.

With respect to long lens selection, the GFX lens system is still limited to the 250mm f/4 lens (197.5mm equivalent), and with the 1.4x teleconverter, you have a 350mm f/5.6 lens (276.5mm equivalent) combination. This is not very long but can work for wildlife photography. However, in most cases, you will need to crop. This is an area where the GFX 100 performs much better than the GFX 50 due to its higher pixel count. There is plenty of resolution to allow for much heavier cropping. For example, I cropped the below image to an 8-megapixel image area. While 8 megapixels doesn't sound like much, it's basically a 4K image and is fine for making small prints.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/1000s, ISO 500. Click for the full-size image. Click here for the RAW file.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/1000s, ISO 500. This image has been cropped to 8 megapixels and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

As I discussed earlier, the GFX 100 offers good shooting speeds. While there is the caveat that continuous shooting knocks raw file quality down to 14-bit depth versus 16 bits, that's not a big deal in most cases. Both in my own experience and with our lab testing, the GFX 100 delivered 5 frames per second continuous shooting, successfully meeting its spec. Further, its buffer depths could get up to nearly 50 with JPEG shooting and just over 20 with raw shooting. This is not a lot, and may not work well for something like sports photography, but does work pretty well for wildlife shooting. Further, buffer clearing times aren't bad, which can be important for a continued series of action shots.

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/800s, ISO 640. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/400s, ISO 4000. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/500s, ISO 800. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

 

Fujifilm GF 250mm f/4 lens with GF 1.4x teleconverter, 350mm (277mm equiv.), f/5.6, 1/500s, ISO 400. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.

While the GFX 100 is not an ideal wildlife camera, it does offer numerous features that make it a viable option for photographing wildlife. The improved autofocus and the cropping flexibility of the 102-megapixel sensor make it a much better wildlife camera than either of the GFX 50 cameras.

Fuji GFX 100 Field Test Summary

A significant step up from the GFX 50 cameras, the GFX 100 does nearly everything very well

What I liked:

• The new electronic viewfinder is excellent
• Significantly improved autofocus performance
• Excellent image quality
• A ton of useful features, including image stabilization
• Vastly better video performance and features than the GFX 50 cameras

Fujifilm GF 32-64mm f/4 lens at 32mm (25mm equiv.), f/8, 1.5s, ISO 100. This is a focus stack comprised of nine separate images shot with the above settings. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for one of the original RAW files.

What I didn't like:

• GFX system still has holes in the lens lineup
• Revised body design is not a unanimous improvement
• While performance is good overall, buffer depths are a bit shallow
• Flash sync can be limiting for some photographers
• Although a good value, $10,000 is still a lot of money for a camera body

The Fujifilm GFX 100 is an excellent camera in many respects. The 102-megapixel sensor delivers fantastic image quality across the board. Further, the camera body itself incorporates numerous improvements and nice features, including a very good electronic viewfinder. The primary weaknesses of the GFX 50 cameras, including poor autofocus performance, outdated video features and a lack of image stabilization, have been addressed very well by the GFX 100.

However, the GFX 100 is an expensive camera. Relative to other medium-format options, it is not particularly pricey, and in fact in some ways is a very good deal, but relative to high-resolution full-frame cameras, the GFX 100 is expensive. Whether the camera is right for you is a personal decision, but for those who take the plunge, you will get an amazing image-creating tool. The image quality is very tough to beat, and unlike the GFX 50 cameras, this image quality does not come at the expense of performance and features.

Fujifilm GF 250mm f/4 lens, 250mm (198mm equiv.), f/5.6, 1/500s, ISO 250. This image has been converted and processed to taste in Adobe Camera Raw. Click for the full-size image. Click here for the RAW file.