This camera is Fujifilm’s large format size camera, designed for studio, landscape, architecture and any other form of photography to be printed in large format.
On top of the camera:
Large 5.76million dot EVF
Drive mode dial
Three modes on the top dial: Still, Multi and Movie Modes.
Top Settings LCD – Back-illuminated and graphical. Easy to use at night.
On the back:
A large LCD flip screen. Very well illuminated so that it can be seen well in bright daylight sun.
Bottom Settings LCD Screen to see your settings so you can see your settings if the camera is mounted upon a tripod.
Has one small joystick to let you navigate through the menu.
A feature that the camera is missing is a 4-way joystick that many cameras have, which some photographers may take some getting used to.
Has a touch screen for navigation.
Inbuilt battery grip house two batteries with a total of 800 shots.
It has a secondary shutter button so you can use the camera in portrait mode.
There is access to a second joystick to navigate through your focus points and your quick menu so you can change your white balance and any other settings.
There is no rubberized grip when using it in the portrait mode, so it isn’t as comfortable to hold and may slip out of your hands if your hands are sweaty.
Quite large – comparable to a Canon 5D Mk IV but feels quite lightweight because of its magnesium alloy construction.
Fully weather sealed and gives operating temperatures from -10 degrees to 40 degrees celsius.
On the left side of the camera, there are two SD slots and a remote port.
The right-hand side has all your video recording inputs and outputs including a 3.5-millimeter audio jack and a 3.5-millimeter headphone jack.
Below that is a USB-C port for tethering and an HDMI port for output and a 15-volt direct power supply.
Inside the camera
Large Format 102MP sensor backed up with an X processor
ISO range from 100 to 12,800 or an expandable range of 50 to 102, 400.
Shoot continuously up to 5fps
3.76million dot face detection autofocus system which gives you autofocusing capabilities as low a -3EV
4k DCI up to 30fps or full HD up to 60fps
Films with a 10-bit color depth
If recording to an external device via HDMI, you can get a 10-bit 422 color depth.
Shoots in F-log giving you a nice flat color profile to later color grade in post.
If filming handheld, the GFX100 has 5-axis in-body image stabilization which is not in the other GFX models. This is also beneficial if shooting with longer telephoto lenses or for general handheld photography.
It has wifi and Bluetooth, allowing you to connect straight to your smartphone or smart device to use it as a camera remote or to transfer your photos across to your smart device.
Because it is lightweight, the Fujifilm GFX100 doesn’t feel like you are holding a large-format camera.
The speed of the autofocus is ridiculously fast – identical to the XT3, if not slightly slower.
The continuous autofocus works really well.
It feels like you are shooting with a standard mirrorless camera or digital SLR because the focus is accurate and lightning quick.
Voice memo feature allows you to record a voice memo when you take a picture, and you can download that to your computer when downloading the photos. This is a great reference point for how you took the photo, where, settings etc.
Andrew predominately uses Panasonic and Nikon cameras and found the transition to be quite easy.
Navigating through the menu system feels familiar and easy. Similar to the XT3 and the XT30.
If you are a passionate Fuji user, you will notice some things missing from the GFX100.
There no shutter speed dial, exposure compensation dial or ISO dial.
For exposure compensation, there is a button you can access and press or you can program any function button. It’s the same with your ISO as well.
To change your shutter, you have to roll your dial to change that.
The sample images were shot using the Fujifilm GFX100 with the 110mm and 45mm lenses.
The images out of the GFX100 are superb. The detail out of the 102MP sensor is full of color, depth, and detail.
The dynamic range on the camera is amazing, and Andrew was able to recover blown-out highlights and shadows without losing detail.
The crop value on the photos is excellent. It handled all cropping and post-processing well.
All images were edited in Lightroom and not Capture One, which may or may not give better results.
In video mode, Andrew found that the GF prime lenses weren’t the best lenses to use in manual focus due to its focus by wire construction. However, they were told that there are a range of senior lenses to come in the future that should improve that experience.
The continuous autofocus in video mode is great. One thing to note, however, the IBIS does blip out when panning a bit rough, so keep the camera steady.
The image quality and actual video result and flexibility are amazing. All the footage was shot on the Eterna Film Simulation Mode, which gives more room to work within post.
They wished it could shoot in 4k in 50fps or give more flexibility in slow motion; however, as far as large-format goes, it is incredible.
The Fujifilm GFX100 could be a viable option for cinema users down the track.
The GFX100 is super-impressive in both photo and video mode. It won’t be for everyone because it is quite expensive at $10,000 USD. (They have a cheaper alternative in the Fujifilm GFX50S at $5000 USD with a 51.4MP sensor.)
However, in comparison to other large-format cameras, the Fujifilm GFX100 is well-priced, particularly for the autofocus features, the sensor size, and the potential for it to be a game-changer for cinema users in the future.
It would suit people shooting advertising, cinema or an enthusiast wanting to get large format landscapes without paying for a medium format camera.
Would you like to own this camera? I know I would! Share with me in the comments below.
– the dPS Managing Editor, lives in Wollongong, Australia and has worked as a photographer, filmmaker, and designer in her business, Exposure Arts and Media, for 15 years. Her background extends to Digital Content Management, and Editorial Design. In her spare time, she composes music as Dreamgirl and the Motorist. Since the age of 12, she knew she would be a photographer – the other stuff came as a surprise!
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