Fujifilm GFX100RF review

What is the GFX100RF and who should buy it?

By the time you read this you should have already heard about the GFX100RF, and if you haven’t, where have you been? The GFX100RF is Fujifilm’s latest fixed-lens premium compact camera.

Now, when we say premium, we really mean premium – at the time of writing it costs a whopping £4,699 – but then again, this isn’t just any compact. It joins the GFX range of cameras which means it’s medium format and ultra-high resolution. It’s also very good looking.

So, who is the GFX100RF for? Well, it’s a photographer’s camera, so, while it does offer admirable video capabilities, it’s stills shooters who will really love it. Its closest Fujifilm comparable is the APS-C format X100VI, sharing the same rangefinder styling and external dials that lend themselves beautifully to a screen-free shooting experience.

As you can imagine, at that price point, this camera is not going to attract first-timers (unless they are very wealthy). However, that doesn’t mean a beginner wouldn’t be able to use it – or indeed enjoy it.

The release of the GFX100RF certainly looks like a swipe at the Leica market with its 28mm equivalent focal length and rangefinder styling. I mean, the Leica Q3 offers the same focal length, but with a lower resolution and smaller sensor for £5,500, so you’d be silly not to consider this new Fujifilm as an alternative.

The question is, should Leica be worried? Let’s find out.

GFX100RF body and handling

At a glance, you’d be forgiven for thinking the GFX100RF was an X100VI. The styling is almost identical, with an aluminium top and bottom plate, textured imitation leather middle section and fixed prime lens.

Button layout is also the same, with shutter speed, ISO and exposure compensation dials on the top plate; aperture ring on the lens; and EVF toggle on the front. Those with a keen eye may notice some new additions in the form of an aspect ratio dial and a digital teleconverter toggle, but we’ll come to those later.

The most obvious difference when you compare the two cameras is the GFX100RF’s additional height, giving it a squarer look. But when you consider that the sensor inside the GFX100RF is 1.7 times the size of that in the X100VI, Fujifilm have done a great job of keeping the size down.

Dimensions are 133.5×90.4×76.5mm (WxHxD), which is very respectable for a medium format camera and the weight is an impressive 735g.

Overall, this thing feels very good in hand. The top plate is machined from a single block of aluminium, which creates lovely sharp, precise edges and a solidity that oozes quality. This is complemented by the dials themselves, which enjoy chunkier knurling that feels more responsive in hand and indeed sends the message that this camera means business.

There is also a slightly larger grip on this camera compared to the X100VI, allowing an increased comfort that easily offsets the additional weight.

All in all a great experience on the body and handling front, but if I was pushed to find a negative, it would be the ‘fancy’ rope strap that comes in the box. The ends that meet the camera are very chunky and as such tended to get right in the way when I tried to operate the shutter with my right hand. Just a small thing that’s easily rectified with a new strap, but it had become somewhat of an annoyance by the end of my experience.

What’s new on the GFX100RF?

Aside from the 35mm f/4 lens (which we will cover below), there are two headline new features on the GFX100RF.

Aspect ratio dial

The first is an aspect ratio dial. This dial sits on the back edge of the top plate and allows you to switch between a total of nine aspect ratios. Many of these hark back to Fuji cameras of old, combining with the company’s Film Simulations to add to that analogue experience.

In addition to the standard 4:3, these are 3:4, 1:1, 5:4, 7:6, 3:2, 16:9, 17:6, and 65:24. When selected, the live view is cropped appropriately, allowing you to ensure your composition is right in-camera.

Like the Film Simulations, these aspect ratios are applied to the JPEG files in-camera as the image is processed, with no recovery available.

If you shoot RAW, the crop will be automatically applied when the file is opened in Lightroom or Photoshop, but the rest of the frame will still be recoverable if you want to re-compose in post (note that I have not tested any other editing programmes).

Digital teleconverter toggle

The second new addition is the inclusion of a digital teleconverter toggle on the front of the camera, just below the command dial.

This makes the most of the camera’s huge resolution to allow you to zoom in to 45mm, 63mm and 80mm (full frame equivalents of 36mm, 50mm and 63mm, respectively).

What’s more, the EVF toggle on the front of the camera changes the view to grey out the cropped area, allowing you to compose correctly, while still seeing the full extent of the frame.

Genuinely useful or just gimmicks?

When I first heard about these features it was hard for me not to dismiss them as gimmicks. As a RAW shooter and a big fan of prime-lens photography, I didn’t really see the point.

However, after using the camera in earnest for a day or so, it was remarkable how much I used both features.

When you accept them as nothing more than composition aids, you begin to understand their benefit. Seeing that final image in camera, exactly how it will look as a finished piece adds a wonderful extra excitement to pressing the shutter.

As such, I have to say I stand corrected.

GFX100RF sensor and processor

At the heart of the GFX100RF is the GFX 102MP CMOS II sensor – the same one featured in the GFX100S II. It measures 43.8×32.9mm, which is 55mm from corner to corner diagonally. This is combined with the X-Processor 5 – Fujifilm’s latest and most advanced chip.

This combination of readout speed and processing time gives the GFX100RF decent continuous shooting capabilities of 6fps with the mechanical shutter. It also offers a standard ISO range of 80-12800, extendable to ISO 40-102400.

Fujifilm says the new pixel structure and microlens layout on this sensor improves dynamic range, noise and sharpness and there are no complaints from me on that front. The sensor handled bright, sunny conditions well, with excellent detail reproduction and lovely falloff.

GFX100RF autofocus

A big advantage of the new X-Processor 5 chip is that it brings with it the advanced autofocus that can be found in the flagship GFX interchangeable lens models.

That means the GFX100RF has AI-assisted subject recognition that can detect all manner of animals and vehicles, along with improved tracking.

My hit rate on moving targets was excellent. There was the occasional misstep in certain situations which led to a blurry subject, but while frustrating, this was in the significant minimum.

On the whole, performance was great and made for an enjoyable experience when shooting out on the street.

GFX100RF lens

The GFX100RF features a newly developed 35mm fixed prime lens with a full-frame equivalent focal length of 28mm. The maximum aperture is f/4 and the lens is constructed of ten elements in eight groups.

The aforementioned autofocus is driven smoothly and quietly by a DC motor. Like the X100VI, it uses an external focus mechanism, which means weather sealing is only achievable with an added filter kit. Unlike the X100VI, however, this weather sealing kit is included in the box, which is a welcome addition (especially at that price).

Minimum focus distance of the GFX100RF is 20cm, which, when combined with the high-resolution sensor results in decent on-the-go macro capabilities.

Another big draw with this lens is its leaf shutter, which is not only near silent, but also able to sync flash right up to its fastest speed of 1/4000 sec.

One thing we all know is that Fujifilm makes good glass, and that reputation continues here. No controlled lab tests were conducted, but as far as I could see, this lens delivers all the quality you would expect from the GFX system.

It is wonderfully sharp across the frame, complementing the 102MP sensor well – and while there is some barrel distortion to speak of, it’s nothing that can’t be easily fixed in post.

My only gripe with the lens is that it’s just not quite fast enough for the kind of photography this camera lends itself to.

When combined with the medium format sensor, it’s f/4 aperture creates beautiful bokeh, but in the absence of IBIS, as soon as the light dips, you’re relying on the sensor as ISO increases to compensate.

Don’t get me wrong, the sensor does well, but at the end of the day it’s still a compromise I’d prefer not to make.

GFX100RF EVF and LCD

Does the GFX100RF include a hybrid viewfinder? Afraid not. But do you really need one? I own an X100V and honestly, I never use the hybrid viewfinder at all, preferring to have the live exposure preview that an EVF brings.

Of course, there will be people out there for whom the hybrid viewfinder is the only reason for buying the X100 or X-Pro cameras (which I completely understand, by the way). If this is you, I’m afraid you will be disappointed.

For everyone else, the GFX100RF’s 0.5-inch, 5.76m dot OLED EVF (the same as that in the GFX100S II), will be more than adequate. It was bright, sharp and responsive during my time with it.

The camera also includes a 3.15-inch tilting LCD touchscreen. Resolution is 2.1m dots and it supports various touch functions including focus point and focus area selection.

The LCD brings no major innovations and was familiar ground. Could it have done with the extra tilt for portrait orientation? Maybe for some, but I didn’t miss it.

GFX100RF video

Speaking of the LCD brings me neatly to the GFX100GF’s video features. As you may have guessed after reading this far, the GFX100GF is definitely designed for photographers, but its video capabilities are certainly not to be sniffed at.

The camera offers 4K/30p 4:2:2 10-bit video with a base ISO of 100. It is also possible to record in F-Log2, which offers 13+ stops of dynamic range. Furthermore, there is a digital stabilisation feature which can help to correct shaky handheld footage.

The camera’s digital teleconverter function is also an excellent feature for videographers as it offers a choice of 35mm, 45mm, 63mm and 80mm focal lengths for varied compositions.

From a usage perspective, there’s no vari-angle LCD or de-clickable aperture ring, but in all honesty, you’re not going to buy this camera for its video. So, the feature set that’s there is a very nice-to-have.

GFX100RF build quality

As mentioned above in the Body and Handling section, the top and bottom plates of the GFX100RF are milled from single pieces of aluminium, which gives the camera a high-quality feel and adds to its hardy durability.

Add to this the aluminium dials and aperture ring and the result is a solid camera body that feels reliable in hand.

The camera is weather sealed everywhere except the lens, however, a weather sealing kit is provided in the box. This consists of an adapter ring and filter which attaches to prevent water ingress via the external focus mechanism on the lens.

The trade-off is that it adds some bulk to the lens, plus of course an additional layer of glass, but even with it attached, the camera is still very portable.

What’s missing from the GFX100RF?

It would be remiss of me not to talk a little about the two most noticeable omissions from the GFX100RF, namely, the hybrid viewfinder and in body stabilisation.

First off, as mentioned above, the lack of hybrid viewfinder is a bit of a non-issue for me as I rarely use the one that’s on my X100V. But there are many people out there who swear by it. And indeed, it is a great tool.

I absolutely agree with those who say that no EVF can make you feel as connected to your scene as an OVF can, but the EVF on the GFX100RF does a great job. Plus, if it is any consolation, the aforementioned digital teleconverter crop view can still provide you with the seeing-outside-the-frame experience – albeit at the cost of some resolution.

The second omission is the big one: IBIS.

Many out there are arguing that a camera of this resolution with a fixed lens that only goes to f/4 needs IBIS. I have to say that, to a certain extent, I do agree.

Considering this camera is designed to be taken everywhere, capturing shots on the fly, the lack of IBIS does let it down a little. I was lucky to have experienced bright conditions during my testing, but as soon as the light faded, the noise crept in, eating away at all that stunning detail.

Having said that, is it the IBIS we should blame or the lens’ aperture? After all, if this camera is designed for street, there is almost always a moving subject, and even the most advanced IBIS in the world cannot prevent subject motion blur.

Whichever way you look at it, finding a solution to the problem would mean a significant increase in camera size and weight. And that takes away what is possibly the most impressive aspect of the GFX100RF: its portability.

Medium format lenses this wide with an aperture larger than f/4 are few and far between at any size. Just to make one as small as the GFX100RF’s in the first place is enough of a feat.

Furthermore, the addition of IBIS would likely add noticeable bulk to the camera. When you consider both together, you may as well buy a GFX100S.

As we all know, in photography there is always a trade-off – and in this case, I think Fujifilm chose right.

GFX100RF specs

Price £4699

Image formats 14/16-bit Raw, JPEG, 10-bit HEIF, 8/16-bit TIFF (via in camera Raw conversion only)

Storage media Single SD/SDHC/SDXC card, UHS-II compatible

ISO range Stills: 80-12,800, expanded 40 to 102,400 equivalent in 1/3 steps. Video: 100-12,800, expanded to 25,600 equivalent in 1/3 steps

Lens Focal length: 35mm (28mm equivalent). Max aperture: f/4. Construction: 10 elements in 8 groups

Shutter Mechanical: 30secs to 1/4000sec (P and A modes), 60mins to 1/4000sec (S and M modes). Electronic: 30secs to 1/16000sec (P and A modes), 60mins to 1/16000sec (S and M modes). Flash sync at all mechanical shutter speeds. B up to 60mins

Exposure system PASM, TTL 256 zone metering: multi, spot, average and centre-weighted options

Exposure compensation Stills: +/-5EV in 0.3EV steps. Video: +/-2EV in 0.3EV steps

Monitor 3.15in tilting touch panel, 2.10m dots

Viewfinder 0.5in OLED, 5.76m

Focusing Intelligent hybrid AF with 425 selectable AF points, single and continuous modes. All, Single point, Zone and Wide/Tracking options, face/eye detection, subject detection for animals, birds, automobiles, motorcycles and bikes, airplanes and trains

Drive modes Up to 6fps mechanical shutter, up to 3fps with electronic shutter. Bracketing options: AE, Film Simulation, dynamic range, ISO sensitivity, white balance, focus

Film Simulation modes Provia, Velvia, Astia, Classic Chrome, Reala Ace, Pro Neg Hi, Pro Neg Std, Classic Neg, Nostalgic Neg, Eterna, Eterna Bleach Bypass, Acros (stand-alone or with R, Y or G filter), Monochrome (stand-alone or with R, Y or G filter), Sepia. Other modes: Monochromatic Color, Grain Effect, Color Chrome Effect, Color Chrome Blue, Smooth Skin Effect

Video (max frame rates) 4096×2160 (DCI 4K 17:9) at 29.97p, 3840×2160 (4K 16:9) at 29.97p, 2048×1080 (Full HD 17:9) at 59.94p, 1920×1080 (Full HD 16:9) at 59.94p

Battery One NP-W235

Connectivity HDMI Type D, USB-C, 3.5mm headphone and mic socket, Wi-Fi,
Bluetooth

Dimensions (wxhxd) 133.5×90.4×76.5mm

Weight 735g (with card and battery)

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