Unveiling the Fujifilm GFX100RF: Stunning Imagery from a Surprisingly Compact Camera!

Fujifilm has seen remarkable achievements in recent years with its X100 series of fixed-lens APS-C cameras and has been leading the medium-format sector with its GFX lineup. Hence, it is not unexpected that the company has chosen to merge the two. The Fujifilm GFX100RF features a 102MP medium-format sensor accompanied by a fixed 28mm equivalent lens, housed in a rangefinder-style body that closely resembles the well-liked Fujifilm X100VI. This combination seems to set it up as one of Fujifilm’s top offerings.

Fujifilm GFX100RF Overview:

• $4899 / £4699
• 102MP CMOS sensor, 44 x 33mm
• Fixed 35mm f/4 lens
• ISO range of 100-12,800 (standard)
• Continuous shooting at up to 6 fps
• 0.84x, 5.76m-dot electronic viewfinder
• 3.15inch, 2.1m-dot tilting touchscreen

One of the most notable features of the GFX100RF is its surprisingly compact size for a camera with a large 44 x 33mm sensor. While it may not be easily pocketable, it fits comfortably in a small bag and isn’t much larger than the X100VI, even with a sensor that has nearly four times the surface area. Compared to its main rival, the full-frame Leica Q3, it occupies a similar footprint. Though its price tag of $4899 / £4699 is substantial, it’s significantly lower than the Q3.

This camera is undoubtedly targeted at serious photographers, rather than the general market, as it offers a unique combination of outstanding image quality and portability. The 28mm-equivalent lens is ideal for genres like landscape, architecture, or travel. So, how effectively does it fulfill this purpose, and why might someone consider purchasing it?

Fujifilm GFX100RF: Features

The GFX100RF incorporates the same 102MP GFX CMOS II sensor and X Processor 5 as its flagship counterpart, the GFX100 II. This setup provides a sensitivity range of ISO 100-12,800, with extended options reaching ISO 40-102,400. Users can achieve continuous shooting at 6 fps with a buffer for 40 raw images, and the in-lens leaf shutter offers speeds ranging from 60 minutes to 1/4000sec. The electronic shutter allows for even faster speeds up to 1/16000sec.

However, the trade-off for its compact design is its lens. The 35mm lens offers a 28mm equivalent field of view but is limited to a maximum aperture of f/4, and it lacks image stabilization, either in-lens or in-body. To capture sharp images when shooting hand-held, users may need to increase the ISO more than with other models (I’ll explain this more thoroughly later). Fujifilm rightly claims that a larger aperture or the addition of stabilization would increase the camera’s size significantly.

In comparison, the Leica Q3 boasts a much quicker 28mm f/1.7 lens, while the X100VI features a 35mm equivalent lens with an f/2 aperture. Both of these alternatives also have stabilization built in.

The camera has subject detection autofocus, which can identify people, animals, and vehicles. As is typical for Fujifilm, human face/eye recognition operates separately from other detection options, which may seem illogical on their other models, but is arguably less relevant here, as this camera is not exactly geared towards wildlife or motorsport photography.

The GFX100RF comes equipped with Fujifilm’s extensive Film Simulation color modes, offering no fewer than 20 profiles. These provide numerous options for personalizing the output. Many new cameras emphasize creative color controls, but Fujifilm’s Film Simulations are widely praised, offering a fantastic variety of appealing choices.

Primarily designed for still photography, the Fujifilm GFX100RF also supports video recording in DCI 4K resolution at 30fps, or FullHD up to 60fps. It features a built-in 3.5mm microphone socket, compatible with an electronic remote release, and includes a headphone jack. While electronic stabilization is available when recording, it comes with a 1.3x crop, which results in a 37mm equivalent angle of view.

There’s no dedicated record button; video functions as a drive mode. Most owners of the GFX100RF are likely to overlook the video capabilities entirely.

For smartphone connectivity, the camera includes built-in Bluetooth and Wi-Fi, accessible via Fujifilm’s XApp. This facilitates a quick remote shutter release, comprehensive remote control, and easy image transfer to your phone for sharing.

Key Features:

• Switchable ND filter: The lens contains a built-in switchable 4-stop neutral density filter, activated by pulling the front lever to the right and holding it in place for a few seconds.
• Power: Utilizing Fujifilm’s familiar NP-W235 battery allows for an impressive 820 shots per charge, with USB-C for charging.
• Storage: It features dual UHS-II SD card slots and can record video to an external SSD.
• Connectors: The body has a 3.5mm mic/remote release socket, headphone port, USB-C, and micro-HDMI connections.
• New controls: There’s a dedicated dial for aspect ratio and a lever for digital zoom, which can’t be repurposed for other functions.
• Kit contents: Included accessories feature a metal lens cap, filter adapter, 49mm protective filter, square lens hood, and a quality rope strap.

Fujifilm GFX100RF: Build and Handling

The GFX100RF’s design mirrors that of a refined X100VI – a comparison can be seen in the slideshow below. Its dimensions of 133.5mm width, 90.4mm height, and 76.5mm depth, at a weight of 735g, make it the smallest medium-format digital camera Fujifilm has produced to date. It’s actually smaller than many high-resolution full-frame mirrorless cameras, including the Sony A7R V and Canon EOS R5 Mark II.

Build quality is exceptional, providing a solid feel in hand. The top plate is crafted from a single block of aluminum, and all dials are precision-milled, resulting in a gratifying tactile experience. You can choose between a sleek all-black finish or a stylish two-tone silver and black—personally, I’d opt for the latter.

Although the camera features a minimalistic handgrip, it is designed to fit comfortably in hand, making it easy to carry one-handed while using a wrist strap for added security.

Like the X100VI, the camera is resistant to dust and splashes, but achieving full weather sealing requires attaching the included 49mm adapter and protective filter to the lens, which adds around 15mm to its depth. The design of the adapter is, however, cleverly engineered.

equipped with a bayonet mount for the hefty rectangular metal lens hood. This not only provides extra protection for the front glass but also helps minimize lens flare.

Regarding the control arrangement, it closely resembles that found on the X100VI. On the top plate, there’s a dial for exposure compensation and a combined shutter speed and ISO dial, along with an aperture ring around the lens. The back features a focus-mode switch and a joystick for adjusting the focus area.

The operation is quite straightforward, and I appreciate how this configuration shifts your mindset from traditional film exposure modes to simply determining what settings are needed for each specific shot.

A common critique of this setup is that it can make adjusting shutter speed and especially ISO rather tricky while the camera is positioned at your eye. If this is a concern for you, setting those two dials to their T and C positions allows for adjustments using the rear and front electronic dials instead.

The T position on the shutter dial permits exposure times of up to an hour, which is beneficial when utilizing strong neutral density filters. Meanwhile, the C position on the ISO dial is the only way to access the ISO 40 low setting or sensitivities over ISO 12,800.

Two fresh and somewhat unexpected controls have been added to fully leverage the sensor’s resolution. Firstly, a vertical dial on the back is dedicated to adjusting the aspect ratio. It offers an impressive 9 settings, ranging from a 17:6 wide panoramic to the sensor’s native 4:3, as well as a vertical 3:4 format. Essentially, this mimics the various formats Fujifilm used to have with its medium-format film cameras.

Secondly, a new rocker switch on the front activates digital zoom, providing equivalent settings of 35mm, 50mm, and 63mm. These correspond to full-frame, APS-C, and Four-Thirds crops respectively. Regardless of your chosen aspect ratio and digital zoom combination, the camera captures a full-resolution raw file along with a cropped JPEG.

These controls may seem like odd additions—after all, why invest in a 102MP camera if you aren’t utilizing all those pixels? Personally, I found them enjoyable to use. You won’t end up with tiny files either; even the smallest 17:6 ratio, 63mm-equivalent setting produces 9.7MP images, which can be printed at 17 x 6.3 inches at 300ppi.

That aspect ratio dial exemplifies how having a physical control can transform your photography. It encourages you to compose in various shapes rather than sticking to standard rectangular 4:3 or 3:2 frames. I discovered I was creating many 65:24 panoramas, which I had never attempted before.

Consequently, I gained a newfound appreciation for the iconic Fujifilm TX-1 35mm panoramic rangefinder—also known as the Hasselblad XPan. I hope Fujifilm extends this 65:24 option to their APS-C cameras in the future.

One feature missing from this camera, unlike some of the company’s recent models, is a Film Simulation dial. Although you can assign film modes through the manual focus ring, its non-click function makes this a bit unreliable. I would love the ability to select my Film Simulation using the front electronic control dial—not just for the GFX100RF but also for models like the X100VI and X-T5.

Fujifilm GFX100RF: Viewfinder and screen

The GFX100RF distinguishes itself from the X100VI in terms of the viewfinder. Instead of a hybrid optical/electronic viewfinder, Fujifilm has equipped it with a remarkably large and sharp electronic viewfinder boasting 5.76m-dot resolution and 0.84x magnification. While some photographers may miss the hybrid version, this change better aligns with the camera’s multi-aspect ratio and digital zoom capabilities.

Fujifilm offers three different ways to display the selected crop, which can be easily cycled using a lever on the camera’s front. The most obvious option is to preview the image while blacking out the rest of the screen.

You can also overlay your active crop on the full sensor area, either with white framelines that resemble the X100’s optical finder or by greying out the surrounding image. Each of these options has its advantages, allowing you to focus on composition or keep track of subjects outside your frame.

As is standard with Fujifilm, Film Simulation, white balance, and exposure previews are shown by default. A half-press of the shutter button allows for depth-of-field preview by stopping down the aperture. Pressing the DISP button on the back cycles between a clean display for composition and a comprehensive information overlay that can show electronic levels, gridlines, and a live histogram.

If you prefer a neutral view similar to an optical viewfinder, Fujifilm has added its Natural Live View feature. This is particularly useful when using extreme film simulations like Velvia, which may obscure shadow details in bright conditions. I’ve set this feature to engage by pushing the view mode lever left.

Under the viewfinder is a 3.15in, 2.1m-dot touchscreen with a sleek tilting design. Similar to the X100VI, it can tilt up and down only and lacks a third hinge for portrait-format shooting. However, this does feel like a reasonable trade-off for an elegantly designed camera. In some scenarios, switching to the 3:4 vertical crop can mitigate this limitation—you still get 57MP images.

Fujifilm GFX100RF: Autofocus

In terms of autofocus, Fujifilm has incorporated its latest technology into the GFX100RF. The sensor features phase detection elements, along with a comprehensive range of subject recognition settings. However, the lens design inherently limits autofocus speed.

Similar to the X100 series, the GFX100RF’s lens achieves focus by moving the front optical group back and forth. Consequently, it’s not as fast as internal-focus lenses. Nevertheless, it performs adequately for most situations where a 28mm-equivalent lens is appropriate.

Subject detection options are available for various subjects, including trains, planes, motorcycles, cars, birds, and animals. There’s no Auto mode; thus, selecting the correct setting before capturing is necessary. Personally, I didn’t enable subject detection throughout my review period. It seems more relevant for tracking moving subjects with longer lenses.

I did activate face detection several times by pressing a small button on the top plate. The camera will outline and track faces as they move within the frame. If multiple faces are detected, you can switch between them using the joystick.

However, how face detection operates can vary significantly based on the selected focus mode and area. In single AF mode, it may stop tracking a face if it moves too far from the designated focus point.

Your focus point can be fixed when you partially press the shutter button, which may lead to missing shots if you’re unaware of this feature. It’s advisable to set the AF switch to “A,” allowing the camera to track a face as it moves throughout the frame.

For most situations, I preferred using the standard AF system in single-shot mode. This mode offers a variety of focus point sizes and lets you position the AF point anywhere within the frame. While the GFX100RF may not be the fastest at focusing, its accuracy is impressive, consistently delivering well-focused shots.

Fujifilm GFX100RF: Performance

Overall, the GFX100RF performs excellently. It reacts immediately to physical controls, and the lens’s leaf shutter makes shooting almost silent. My only minor complaint is that swiping through images on the touchscreen can feel a bit sluggish since you need to cover nearly the entire width of the LCD.

Battery life is impressive. While I’m skeptical about Fujifilm’s claim of 820 shots per charge, I can easily manage several hundred without issues. I typically don’t shoot that many in a single day, and although I always carried a spare, I never had to use it.

Although the Fujifilm GFX100RF isn’t a high-speed performer, it can shoot at 6fps for 20 frames or more in raw + JPEG, depending on your image settings. However, there’s a catch similar to the GFX100 II; to have live view between frames, you must lower the speed to just 2 fps. This makes it less suitable for capturing fast-moving subjects.

Additionally, if you accidentally leave it in continuous shooting mode, the nearly silent shutter provides little feedback on what’s being captured. I found myself puzzled at home, discovering multiple identical copies of each shot—an experience I underwent myself.

Fujifilm’s metering and auto white balance maintain their high standards. Occasionally, I adjusted exposure compensation to preserve bright highlights from becoming overexposed. Yet, for the most part, I was perfectly content letting the camera determine the proper exposure. When processing my raw files, I seldom strayed far from the camera’s chosen white balance, occasionally adding a hint of warmth.

It’s impossible to review a Fujifilm camera without praising their Film Simulation modes. They provide beautiful colors across various styles without being overly stylized.

Everyone has their own preferences, but I primarily shot in Astia for color and Acros + Red filter for black and white. I also enjoyed using Velvia for extra vibrancy on dull days, the Pro Neg modes for portraits, Reala Ace, Classic Chrome, and Nostalgic Negative for film-like hues… the list keeps going.

Fujifilm GFX100RF: Image Quality

The GFX100RF is fundamentally about image quality, and it certainly delivers. With its 102MP medium-format sensor and top-tier lens, it produces breathtaking files that surpass any full-frame camera available.

As I observed with the GFX100 II, the sensor is exceptional. Alongside its impressive detail capture, it offers a wide dynamic range at lower ISOs, granting you extensive flexibility in tonal adjustments during raw processing. It also manages noise effectively at high ISO settings, allowing me to shoot comfortably up to ISO 12,800 without special noise reduction.

The lens is equally impressive. Although it opens to only f/4, it performs well even wide open. In fact, in terms of sharpness for in-focus elements, there’s little benefit to using smaller apertures.

While the corners may be marginally sharper at f/5.6 or f/8 upon close inspection, it’s not significant enough to matter during typical shooting. I generally shot at around f/11 for added depth-of-field.

Disabling lens corrections in Adobe Camera Raw reveals noticeable optical characteristics, including strong barrel distortion in uncorrected files and significant vignetting at f/4. This observation is more of an academic note on lens design rather than a critique. Working with this camera and its raw files as intended yields clean, detailed, and well-corrected images.

The combination of an exceptionally sharp lens and a superb sensor ensures that the files are robust enough for various perspective corrections and cropping. This feature makes the GFX100RF a fantastic choice for architectural and cityscape photography.

One piece of feedback is the lack of options for shooting either cropped or reduced-resolution raw files. Even when using compressed raw, each shot results in file sizes around 72MB.

With many cameras today allowing you to opt for smaller files while retaining the advantages of raw processing flexibility, it would be beneficial for Fujifilm to implement similar options.

Low-light Shooting

The biggest debate surrounding the Fujifilm GFX100RF is its performance in low light, especially given its f/4 maximum aperture and absence of image stabilization. This limitation means slower shutter speeds can’t be used hand-held, leading to a quicker ISO increase compared to other cameras. But is this a significant drawback?

The answer significantly depends on the shutter speed required for consistently sharp hand-held images. This need varies for each user and changes depending on how you’re holding the camera—be it through the screen or viewfinder, or angling it differently. There’s no definitive cutoff speed.

In my experience, I found I could achieve sharp hand-held shots with the GFX100RF at surprisingly slow speeds. Initially, I expected I would need at least 1/125sec for acceptable sharpness and set this as my minimum for Auto ISO. However, I frequently captured sharp images at speeds as slow as 1/30sec, and even 1/15sec often yielded good results with a few repeats. I couldn’t, however, achieve usable shots at 1/8sec or slower.

This capability to shoot at lower shutter speeds appears to stem from a combination of the low-vibration leaf shutter and the camera’s lightweight design.

Overall, this ability to shoot at slower-than-anticipated shutter speeds, along with the lens’s sharpness at wide open and the sensor’s clean performance at high ISOs, helped me achieve better low-light results than I had expected.

At the beginning of the evaluation process, I was pleased to capture some beautiful blue-hour city scenes in London, using settings of 1/60sec and f/4, which required an ISO of 8000.

While photographing bluebell woods on a windy, overcast day, I opted for 1/80sec to reduce motion blur and f/8 to enhance depth of field, successfully obtaining a surprisingly detailed image at ISO 12,800.

In some situations, using a tripod is necessary for low-ISO shooting in dim lighting. However, the camera’s lightweight design is a significant advantage here. When I needed to use a tripod, I was able to work with a travel model weighing less than 1kg (the Sirui MT-5C). If you’re considering using filters, you only need small, budget-friendly 49mm ones.

Let me clarify; I definitely prefer having stabilization over not having it. Yet, the lack of stabilization on the GFX100RF shouldn’t be seen as a significant drawback. However, if you frequently shoot in low light or enjoy creative long exposures hand-held, the Leica Q3 would be a more suitable option.

Fujifilm GFX100RF: Our Verdict

The Fujifilm GFX100RF is undoubtedly special as it stands as the world’s first compact medium-format camera with a fixed lens. Yes, it comes with a hefty price tag and some practical constraints, but the image quality is exceptional in an impressively portable design. Unlike typical medium-format cameras, it’s compact enough to carry around effortlessly.

This camera inherits the charm of the X100VI, featuring the same sleek retro design and user-friendly dials. Fujifilm’s impressive Film Simulations deliver stunning colors directly from the camera. The raw image quality is nothing short of breathtaking, especially given the compact size.

The multitude of pixels isn’t just for large prints; I enjoyed the added creativity from the aspect ratio dial. Along with the digital zoom, it allows you to view familiar scenes from new perspectives—one moment capturing a panorama, the next, a square. This capability fosters far more creativity than you might expect from its fixed 28mm lens.

Of course, the relatively narrow aperture and absence of stabilization may limit your shooting options in low light. However, during my time with the camera, this was not much of an issue. Given the excellent high-ISO performance, it doesn’t feel like a significant trade-off. If you prefer to use low ISOs for long-exposure shots, you can easily carry a small, lightweight tripod alongside the camera.

It’s important to note that the Fujifilm GFX100RF isn’t for everyone. It doesn’t replace versatile mirrorless options and is better suited for specific subjects like landscapes and city scenes. For some photographers, it could be the perfect travel companion. Some cameras exist solely to be unique and inspiring, and the GFX100RF accomplishes that beautifully.

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Fujifilm GFX100RF full specifications