Fujifilm GFX 100
The high resolution and high price tag put the Fujifilm’s GFX 100 well into the professional category, where it will be sought after by photographers working in many different genres. Two features stand out: the high sensor resolution and the fact that the camera has been designed to be used hand-held (although it can also be tripod mounted).
Arguably the most advanced medium format camera currently available, there’s not much this camera can’t do. For professionals looking for the best image quality and the most usable medium format option on the market, the GFX 100 ticks both boxes.
Officially unveiled in late May 2019, following a ‘development announcement’ at Photokina last September, Fujifilm’s GFX 100 medium-format mirrorless camera can claim a number of noteworthy ‘firsts’. It’s the first mirrorless camera with more than 100-megapixel resolution and the first medium-format camera with a BSI (back side illuminated) image sensor. Other ‘firsts’ include sensor-shift stabilisation and the ability to record 4K/30p video. It’s also the first GFX Series model with built-in IEEE802.11ac 5GHz Wi-Fi.
Angled view of the 102-megapixel Fujifilm GFX 100 with the GF32-64mm f/4 R LM WR lens. (Source: Fujifilm.)
The review camera was supplied with the Fujinon GF 45mm f/2.8 R WR lens which we reviewed with the GFX 50R camera. This relatively fast, compact prime lens is ideal for reportage and documentary photography as well as commercial and fashion shooting and turned in an excellent performance in our tests.
Who’s it For?
The high resolution and high price tag put the well into the professional category, where it will be sought after by photographers working in many different genres. Two features will attract potential purchasers: the high sensor resolution and the fact that the camera has been designed to be used hand-held (although it can also be tripod mounted).
The 4K video capability will probably matter less than the camera’s ability to record high-resolution stills. There are lower-priced ‘full frame’ cameras with equal or better video credentials that provide professional video capabilities (even though the GFX 100 shares the sought-after log recording and high-bit-depth output capabilities).
Of the three Fujifilm medium format cameras, each photographer should choose the one that best meets their individual requirements. The table below compares the three models.
|GFX 100||GFX 50R||GFX 50S|
|Sensor||43.8 x 32.9mm BSI CMOS||43.8 x 32.9mm FSI CMOS|
|Focal length multiplier||0.79x|
|Pixel count||102 megapixels||51.4 megapixels|
|A/D processing||14-bit or 16-bit RAW; 24- or 30-bit TIFF via in-camera raw conversion||14-bit|
|Max. pixels||11648 x 8736 pixels||8256 x 6192 pixels|
|Max. average file size||JPEG (SF): 61.5MB; uncompressed RAW: 228.5MB; compressed RAW: 114.3MB||JPEG (SF): 31.5MB; uncompressed RAW: 121MB; compressed RAW: 63MB|
|Video||DCI 4K & UHD 4K @ 30/25/24 fps, DCI 2K & FHD @ 60/50/30/25/24 fps||FHD 1080p @ 30/25 fps|
|ISO range||ISO 100-12800 with expansions to ISO 50, ISO 25600, 51200, 102400|
|Card slots||2 x SD (UHS-II)|
|Shutter type||Focal plane mechanical plus electronic||Focal plane with electronic first curtain sync|
|Max frame rate||5 fps||3 fps|
|Buffer capacity||41 Large/Fine JPEGs, 14 compressed RAW or 13 uncompressed RAW||25 Large/Fine JPEGs, 13 compressed RAW or 8 uncompressed RAW|
|Autofocus system||Intelligent Hybrid AF with 3,760,000 PD pixels||117-point contrast detection|
|Metering||TTL 256-zone metering||On-sensor metering (256-zone)|
|Monitor||3-way tilting 3.2-inch, 2,360,000 dots||Tilting, 3.2-inch, 2,360,000 dots|
|Viewfinder||Detachable 5,760,000 dots, 0.86x magnification||Built-in, 3,690,000 dots, 0.77x magnification||Detachable 3,690,000 dots
|Communications /Interfaces||Wi-Fi, Bluetooth/ USB 3.2 Type-C, HDMI (Type D), 2.5 mm jack for Remote, 3.5 mm jacks for microphone and headphone, DC IN 15V
|Wi-Fi, Bluetooth / USB 3.1 Type-C, HDMI (Type D), 2.5 mm jack for Remote, Microphone, DC IN 15V
|Wi-Fi / USB 3.0, HDMI (Type D), 3.5mm jacks for microphone, headphone, 2.5 mm jack for Remote, DC IN 15V|
|Power supply||2x NP-T125 rechargeable Li-ion batteries in special base pack; CIPA rated for approx. 800 shots/charge||One NP-T125 rechargeable Li-ion battery; CIPA rated for approx. 400 shots/charge|
|Dimensions (wxhxd)||156.2 x 163.6 x 102.9 mm||160.7 x 96.5 x 66.4 mm||147.5 x 94.2 x 91.4 mm|
|Weight (inc. battery)||1400 g||775g||825g|
|RRP (body as supplied)||$16,499||$7099||$9999|
Build and Ergonomics
The GFX 100 has a similar body design to the original GFX 50S camera, with SLR-like styling and a detachable electronic viewfinder (which is supplied with the camera). The body is made from magnesium alloy with an ‘inner frame’ structure that integrates the image sensor, IBIS and lens mount into a single unit for maximum strength. Weather-sealing has been installed in 95 locations, making the body highly resistant to dust and moisture and allowing it to be used in low temperature environments.
Front view of the GFX 100 with no lens fitted and without the detachable EVF. (Source: Fujifilm.)
Without the detachable EVF, the front panel of the new camera looks a bit like a scaled-up GFX 50R, with a larger, slightly deeper grip but the same dominating lens mount. Adding the EVF brings it closer to the form factor of the GFX 50S, although all three cameras share many common design elements.
The lens release button sits low down on the right hand side of the mount with Fn3 function buttons above and below it between the mount and the grip. The lower button is used when the camera is held vertically.
For the first time in Fujifilm cameras, a vertical grip is built into the body of the GFX 100, making it more stable and comfortable to hold in portrait orientation. Key camera controls are located at each end of the grip, with the top end having the combined on/off switch and shutter button assembly and the front command dial inset below it, while the opposite end has the vertical grip shutter button plus a surrounding control lock, with the front command dial tucked in below it.
The Fn1 button, which doubles as an exposure compensation button, is situated just behind the shutter button assembly on the front panel, where it meets the top panel. An AF-assist/self-timer LED is embedded in the top left hand corner of the front panel.
Top views of the GFX 100 body with and without the detachable EVF. (Source: Fujifilm.)
The top panel is relatively sparsely furnished with only one dual-purpose control, the outer dial of which is used to access the movie, still and ‘multi’ (multiple exposure) shooting modes. Each of these modes can store items like exposure settings, white balance and Film Simulation selection.
The Multi setting sub menu contains six bracketing options: AE, ISO, Film Simulation, white balance, dynamic range and focus. At the bottom of this list is the single multiple exposures option, which combines two exposures into a single file.
Pressing the central Drive button in the Still mode accesses the high and low continuous shooting modes, while in the Movie mode it provides a quick way to access the various video recording settings. A release button in front of the assembly lets users change drive modes.
The three display options available for the secondary LCD monitor on the top panel.
To the right of the EVF is a 38 x 28 mm secondary LCD monitor, which can be set to one of three modes, including a ‘Virtual Dial Mode’ showing simulated dials. A backlight button sits near the rear corner of the panel, with the Fn2 button between it and the shutter/power assembly.
Strap lugs are located each end of the top panel, the right side on to the rear and the left forward of the mid-point. The strap is quite classy, with a textured, rubber-like inner panel where is passes around the user’s neck. A special tool is supplied for opening the ends of the metal strap clip and a leather-like protective cover is provided for keeping the attachment clips from rubbing against the camera body.
Rear view of the GFX 100. (Source: Fujifilm.)
The large, 3.2-inch, 4:3 aspect ratio monitor occupies about a third of the rear panel and its three-way tilting design provides more versatility than a simple tilting screen but not quite as much as a screen that is fully articulated. Like the monitors on the other GFX cameras, which have the same resolution, it has a touch panel overlay that supports the common gestural controls.
Above the monitor sits the detachable OLED EVF, which has a resolution of 5.76 million dots and was developed especially for this camera. There are five optical glass elements in its eyepiece, including some that are aspherical. With full frame coverage, a magnification of 0.86x and a 23mm eyepoint, it provides a wide range of dioptre adjustments and includes a built-in eye sensor.
Straddling the EVF mounting on the rear panel are two buttons, the erase button on the left and the focus mode selector on the right. The Fn 4 and Quick menu buttons are mounted on the thumb rest above a tiny inset LED indicator that glows green when focus is locked, orange when images are being recorded and blinks to provide warnings. Ranged along the right hand side of the monitor are six controls. In line with the minimalist design of the camera, these are kept as simple as possible.
The top AF-on button is slightly offset. Below it is the focus lever (joystick), with the AE-lock button just below it. Further down are the Menu/OK, Display/Back and Playback buttons.
Below the monitor sits the rear secondary monitor, a 50 x 10 mm monochrome panel that provides an additional display of camera settings in large text. The default display shows aperture, shutter speed, ISO, white balance, film simulation and exposure compensation values. Alternatively, users can opt to display an EV scale or a histogram or turn the screen off.
The battery compartment is located in the lower section of the camera body and contains a pull-out tray that holds two NP-T125 battery packs. The camera is dispatched with the batteries uncharged and the supplied charger accommodates a single battery, which takes roughly 140 minutes to recharge. The camera can also be powered and charged via its USB connection.
In line with common practice, dual memory card slots are located beneath a locking cover on the right hand side panel. Like its siblings, the GFX 100 accepts SD, SDHC and SDXC cards and supports UHS Speed Class 3 and Video Speed Class 60 or higher protocols.
There are two small compartments with hard plastic covers on the left hand side of the camera body, the upper one accommodating the microphone and headphone jacks and the lower one the USB C, micro HDMI and 15V DC-IN connectors. A sync terminal is located forward of the port compartments.
For the first time, stabilisation is built into the camera body and achieved through a sensor shift mechanism. Fujifilm claims up to 5.5-stops of shake correction with control over pitch and yaw (up/down and right/left tilting) as well as shift (vertical/horizontal) and roll (rotational) movements.
For such a large and heavy camera, we found the GFX 100 remarkably comfortable to use, thanks to an efficient body design with well-laid-out controls. Its stabilisation system is also impressive, as outlined in the Performance section below and shown in the sample images section.
Sensor and Image Processing
The GFX 100 uses the same sized sensor as the 50R and 50S but it’s a totally different chip, although it also has a Bayer colour array, rather than the proprietary X-Trans filter used in some X-mount cameras. The sensor is paired with the latest fourth-generation X-Processor 4 high-speed image processing engine.
The back-illuminated structure of the sensor provides superior light-capturing ability to regular front illumination, while the use of phase detection pixels across its entire surface makes autofocusing up to twice as fast as in the current models. Focusing accuracy in both AF-S and AF-C modes is higher and the new camera is better than its predecessors at tracking moving subjects.
Despite the new sensor and processor, the GFX 100 offers the same sensitivity range as the 50S, covering ISO 100-12800 in 1/3EV steps with extensions to ISO 50 and ISO 25600, 51200 and 102400 available for stills. As before, selecting the electronic shutter, either singly or combined with the mechanical shutter, prevents you from using the extended ISO settings. Long exposure noise reduction is also disabled. Sensitivity for movies contracts to ISO 200-12800, with extension to ISO 25600.
The camera supports three different JPEG sizes plus three JPEG compression settings (Super Fine, Fine, Normal), as well as uncompressed and losslessly compressed RAF.RAW settings. Users can select between 16-bit and 14-bit depth for raw files and RAW+JPEG capture can combine any of the JPEG sizes with either type of raw file.
TIFF output is available as an alternative to JPEG when converting raw files to an editable format in the camera via in-camera RAW development. Image size is not reset when the camera is switched off or another shooting mode is selected.
The table below shows the image sizes available for the default 4:3 aspect ratio along with the approximate file sizes (which can vary with the complexity of the scene recorded).
|Image quality||Image size (pixels)||Approximate file size|
|Uncompressed raw||11,648 x 8736||~266.7MB|
|JPEG||11,648 x 8736||65.3MB||42.9MB||26.7MB|
|8256 x 6192||28.7MB||21.6MB||12.8MB|
|4000 x 3000||7.7MB||5.1MB||3.2MB|
Other aspect ratios also selectable, include 3:2, 16:9, 1:1, 65:24, 5:4 and 7:6 (the same as in the 50S). In each case, they are achieved by cropping the 4:3 frame.
Continuous shooting speeds are a bit faster than the other GFX cameras but relatively slow compared with those offered by pro ‘full frame’ DSLR and mirrorless cameras, although quite impressive when 102-megapixel resolution is accounted for. The maximum burst speed is five frames/second with the mechanical shutter but only 2.9 fps with the electronic shutter, the latter being slightly faster than the low speed burst rate of two fps, which applies to both shutter types.
According to Fujifilm’s published data, the buffer memory capacity is 41 JPEGs, (almost double the capacity of the 50S and 50R cameras but only 14 compressed raw files and 13 uncompressed raw files, a marginal increase on the previous models. ‘Endless’ capacity for JPEGs and compressed raw files is available when the slower frame rate is selected.
The drive button is used to select the movie mode and recordings can be made in any of the P, A, S or M modes. Unlike its siblings, the GFX 100 offers professional recording capabilities with both DCI 4K 17:9 (4096 x 2160 pixels) and UHD 4K 16:9 (3840 x 2160 pixels) formats at 30/25 fps frame rates available. Full HD 1080p clips can be recorded with both the 16:9 and 17:9 aspect ratios and frame rates of 59.94, 50, 29.97, 25, 24 and 23.98 fps.
When the GFX 100 records video in DCI 17:9 format it uses a sensor area measuring about 49.5mm diagonally, which is larger in size than that of high-end cine cameras. Oversampling brings the amount of data recorded to approx. 50.5 million pixels to render video with very high resolution, optimal high ISO performance, shallow depth-of-field capability and wide tonal reproduction.
By default, video is recorded to an SD card at 4K 30P 10-bit 4:2:0 or to external media via HDMI at 4K 30P 10-bit 4:2:2 depth, with simultaneous recording possible. FHD movies can also be saved to the HDMI device in 4:2:2 10-bit format. Users can select which memory card the files will be stored on and direct files to an HDMI device via the SAVE DATA SET-UP > MOVIE FILE DESTINATION entry in the setup menu.
Frame size and rate can be set via the Drive control on the top panel or through the main menu, by selecting MOVIE SETTING > MOVIE MODE and choosing from the drop-down menu. Users can choose between the newer and more efficient H.265(HEVC) and regular H.264 codecs and select between ALL-Intra and Long GOP compression.
F-Log recording is available via the movie setting menu for delivering a ‘gentle’ gamma curve with a wide gamut suitable for post-processing. Hybrid Log-Gamma recording is also available for professional-standard recordings that conform to the ITU-BT2100 standard. But both are limited to 30/25 fps frame rates.
Most of the film Simulation effects can be applied to movie recordings and monochrome movies cab be recorded with a warm or cool tone. Other options available include dynamic range and white balance adjustments as well as highlight and shadow tones, colour density, sharpness and noise reduction.
Aids to assist movie recording include zebra displays to show up over-exposed highlights, time coding, wind and low-cut filters and adjustments for internal and external mic levels and headphones volume. The user manual recommends using a UHS speed class 3 or better card to record movies with this camera.
With an array of 3.76 million phase detection pixels covering the image sensor plus the latest phase detection AF algorithms from Fujifilm’s X Series mirrorless cameras, the GFX 100 can claim a more advanced focusing system than either of its siblings. According to Fujifilm, the new camera can track a moving subject at a speed up to twice that of current models.
Users can choose from Single Point, Zone and Wide Tracking focus areas and opt for Face and Eye Detection AF, which claim to have been dramatically improved in accuracy. Face Detection now works from a greater shooting distance and is able to track subjects in profile and when partially blocked by an obstacle.
Wi-Fi connections are set up via the Connections setting in the set-up menu, which also covers the Bluetooth, Network and Instax printer settings. Wireless functions require the Fujifilm Camera Remote app and include smartphone synchronisation and auto image transfer.
The addition of a Bluetooth low-energy connection to the standard integrated Wi-Fi adds an option for an always-on connection between the camera and a smart device without excessive drain on battery power. As with Wi-Fi, users must ‘pair’ the camera with the smart device via the PAIRING REGISTRATION function in the setup menu. (Up to seven devices can be paired with the camera.)
Once the connection is established, the Fujifilm Camera Remote app can be used to browse pictures in the camera, select images for downloading and receive images from the camera, upload location data from the camera and control the camera remotely. It can also be used to update the camera’s firmware.
This app will be handy for professional photographers because it allows them to send shots to clients or display them on other devices immediately after they have been captured. The camera allows raw files to be converted into JPEGs in-camera to assist this process, although we think it would be quicker and easier to simply shoot RAW+JPEG and set the JPEG size to the best option for sharing, since the camera will apply the same processing to the raw files.
Like the GFX 50R, the GFX100 has a USB Type-C (USB3.1 Gen1) connection instead of USB 3.0 and it also supports USB tethered shooting. The interface is located in the lower compartment on the left side panel, just above the HDMI (Type D) socket, which sits above DC IN 15V connector. The upper compartment contains the microphone and headphone jacks. The remote release is located below the memory card compartment on the right hand side panel.
Playback and Software
The GFX 100 can display 28 icons for various types of information on its LCD monitor and EVF screens to help users keep track of camera settings. Pressing the Display button lets you toggle through four options, covering standard indicators, no indicators, an info display and a ‘favourites’ display with star ratings.
Playback options available by pressing the Display/Back button.
Pressing the focus stick (joystick) provides three ‘photo information’ displays.
The Photo Information display options.
Other playback settings are basically the same as for the GFX 100’s siblings and include playback zoom with magnification depending on the image size, multi-frame playback, switching between card slots, raw conversion to JPEG or TIFF format and the standard erase, protect, rotate, resize, crop and red-eye removal settings as well as voice memo addition and copying between cards.
Following an agreement with Phase One, like other Fujifilm cameras, buyers of the GFX 100 can download a copy of Phase One’s Capture One raw file conversion software for Fujifilm. This means you’re no longer forced to use an inferior raw file processor.
Other software available for downloading free of charge include Fujifilm Camera Remote, MyFinePix Studio, Raw File Converter EX, Fujifilm X Raw Studio, Fujifilm X Acquire, Fujifilm Tether Shooting Plug-ins for Lightroom and Hyper-Utility Software HS-V5. Most of these have limited value.
For the first time ever, our Imatest software was unable to process the test files we recorded with the GFX 100 review camera and provide us with figures to indicate the resolution of the camera and 45mm f/2.8 lens; the resolution was just too high! While it coped just fine with 50-megapixel files from other cameras, 100 megapixels was beyond its capabilities.
Fortunately, we were able to obtain colour accuracy results via the Imatest software, which showed the camera to be a good performer with its default setting for both JPEGs recorded directly and RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw, our preferred file conversion software. The results are shown in the TESTS section of this review.
To show the resolution capabilities of the review camera we have provided cropped sections of some of the test shots after enlarging them to 100% in Photoshop. No editing adjustments were applied before the images were cropped.
We found the sensor in the review camera could have problems recording a wide dynamic range in shots taken with strong backlighting in contrasty conditions. The dial-in Dynamic Range adjustments went some way towards addressing this issue but even the 400% setting couldn’t overcome the problem entirely in extreme conditions, as shown in the Samples section below.
Long exposures at night showed the review camera to be a competent performer. Despite its very high resolution (which meant individual photosites were approximately 3.76 microns square, compared with 5.31 microns for the GFX 50S and 50R cameras), exposures at settings up to ISO 12800 were clean and relatively noise-free. 100% enlargement of the frames showed little of no noise was present at ISO 800, although it was quite visible by ISO 51200.
At normal magnification, we noticed slight softening at ISO 51200 but noise didn’t become really visible until ISO 102400. Overall performance in this area was excellent and images shot at the highest sensitivity were definitely usable.
The auto white balance setting produced neutral colour rendition under fluorescent lighting but failed to completely eliminate the warm colour casts from incandescent and warm-toned LED lighting, although in each case the cast was reduced enough to make subsequent corrections easy. The tungsten and fluorescent pre-sets tended to over-correct with their respective lighting types, although with the daylight fluorescent pre-set the adjustment was very slight.
There’s no pre-set for LED lighting but plenty of in-camera adjustability is available to fine-tune colour balance on the go. On location, the camera handled mixed lighting situations well and manual adjustment was seldom needed.
As mentioned, the stabilisation system was generally excellent, although it was aided by the size and weight of the camera body. Hand-held exposures of 1/4 second were all pin-sharp but we were also able to hand-hold the camera for exposures as long as one second and obtain a high percentage of usable results. That’s impressive!
Autofocusing speeds were similar to the X-T3 and focusing was just as accurate as we found with that camera. The overwhelming majority of images and movie clips were correctly focused as well as correctly exposed (since the camera links AF and AE measurements by default).
Although we were hampered to some extent by having only one lens (and that one a prime) to shoot with, movie performance was equally striking and recordings captured natural-looking colours, a wide tonal distribution (without blown-out highlights) and abundant detail. Professional videographers should be comfortable with the wide range of settings available and the quality of the footage they can obtain.
Both the 4K and Full HD settings delivered good results with soundtracks that were competently recorded. Although we don’t have the facilities to edit the F-Log and HLG footage, examples are shown in the Samples section below.
Our timing tests were carried out with a 64GB SanDisk ExtremePro SDXC II UHS 3 memory card in one slot (assigned to JPEGs) and a 32GB Lexar Professional SDHC II UHS 3 card rated at 95MB/second in the other (assigned to raw files). Both cards have speed ratings of 300MB/s.
The review camera took just under a second to power up and a similar length of time to shut down. We measured an average capture lag of 0.2 seconds, which was reduced to less than 0.1 seconds with pre-focusing. Shot-to shot times averaged 0.4 seconds. It took approximately 1.25 seconds to process each JPEG file and 3.4 seconds for each RAF.RAW file and RAW+JPEG pair.
In the high-speed continuous shooting mode, the review camera recorded 61 full-resolution JPEG images in 12.8 seconds without slowing. This works out at a little less than five frames/second, which matches specifications. Processing was completed within 18.2 seconds
Shooting uncompressed RAF.RAW frames with the mechanical shutter filled the buffer at 31 frames, which were recorded in 3.8 seconds. It took 43 seconds to process this burst.
Combining uncompressed raw frames with high-resolution JPEGs reduced the buffer capacity to 12 frames, which were recorded in 2.6 seconds, a frame rate of 4.6 fps. It took 33 seconds to clear the buffer memory.
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Image sensor: 43.8 x 32.9 BSI CMOS sensor with Bayer colour array, 102 megapixels effective, 4:3 aspect ratio, no AA filter, approximate pixel pitch 3.76 microns
Image processor: X-Processor 4
A/D processing: 14-bit or 16-bit RAW; 24- or 30-bit TIFF via in-camera raw conversion
Lens mount: Fujifilm G mount
Focal length crop factor: 0.79x
Image formats: Stills: JPEG (Exif Ver. 2.3), RAF.RAW (14-bit/16-bit), RAW+JPEG (8-bit/16-bit, 10-bit output in 16-bit file) TIFF via in-camera raw conversion; Movies: MOV/H.264/H.265 4:2:0 10-Bit using All Intra/Long GOP compression; Linear PCM Stereo audio with 24-bit/48KHz sampling
Image Sizes: Stills for 4:3 aspect ratio: 11648 x 8736, 8256 x 6192, 4000 x 3000 ; Movies: DCI 4K (4096 x 2160) at 30/25/24 fps (100-400Mbps), UHD 4K (3840 x 2160) at 30/25/24 fps (100-400Mbps), DCI 2K (2048 x 1080) at 60, 50, 30, 25, 24 fps (50 to 200 Mb/s), Full HD (1920 x 1080) at 60, 50, 30, 25, 24 fps (50 to 200 Mb/s)
Aspect ratios: 3:2, 4:3, 5:4, 7:6, 16:9, 65:24, 1:1
Image Stabilisation: Image sensor-shift with 5-axis compensation;5.5 stop shake correction
Dust removal: Ultra Sonic Vibration
Shutter (speed range): Focal Plane Shutter; Mechanical Shutter: 30 to 1/4000 second; Electronic Shutter: 30 to 1/16000 second; up to 3600 seconds available in Manual mode and 0 to 60 minutes in Bulb mode; Movie mode 1/4 to 1/4000 second; flash synch at 1/125 second
Exposure Compensation: +/- 5EV in 1/3EV steps (+/-2EV for movies)
Exposure bracketing: +/2, 3, 5, 7 or 9 frames in 1/3, 2/3, 1, 4/3, 5/3, 2, 7/3, 8/3 or 3EV steps
Other bracketing options: Film Simulation, Dynamic Range, ISO, White Balance, Focus
Self-timer: 2 or 10 seconds delay
Interval Timer: Yes (settings for number of shots, starting time, interval time, exposure smoothing)
Focus system: Intelligent Hybrid AF (TTL contrast/phase detection) system with 3,760,000 Phase Detection pixels covering the entire surface of the sensor; Auto and Manual Focus
AF points & selection: Single-point AF (with changeable frame size), Zone AF (3×3, 5×5, 7×7 from 117 areas on 13×9 grid), Wide/Tracking AF (up to 18 areas), AF-S, AF-C, Tracking (All), Manual Focus (M)
Focus modes: Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF) / S-AF + MF / AF tracking (C-AF + TR) / Preset MF; C-AF lock (5 steps), AF scanner (3 types); AF targeting pad; AF limiter; 3x , 5x , 7x , 10x , 14x Magnified frame AF; face/eye detection AF; Manual focus assist (magnification and peaking)
Exposure metering: TTL 256-zone metering with Multi, Spot, Average, Centre-weighted patterns
Shooting modes: Program AE, Aperture Priority, Shutter Priority, Manual
Film Simulation modes: 16 modes (PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, CLASSIC CHROME, PRO Neg.Hi, PRO Neg.Std, Black & White, Black & White+Ye Filter, Black & White+R Filter, Black & White+G Filter, Sepia, ACROS, ACROS+Ye Filter, ACROS+R Filter, ACROS+G Filter, ETERNA/Cinema); Monochrome adjustment function -9 to +9; B&W adjustment of +/- 9 when ACROS or B&W is selected
Other shooting modes: D range priority, Highlight tone, Shadow tone, Colour, Sharpness, Noise reduction, Long exposure NR, Lens Modulation Optimizer, Colour space, Pixel mapping, Select custom setting, Edit/Save custom setting, AF-C custom setting, Store AF mode by orientation, AF point display, Pre-AF, AF Illuminator, Face/Eye detection AF, AF+MF, MF assist(Digital Split Image, Digital Microprism, Focus peak highlight), Focus check, Interlock spot AE & focus area, Instant AF setting (AF-S/AF-C), Depth-of-field scale, Release/Focus priority, Touch screen mode, Flicker reduction, Mount adapter setting, 35mm Format Mode, Red eye removal, RGB Histogram, Highlight alert, Electronic level, Preview depth of field, AE lock, AF lock, AF-ON, AWB lock, Multiple exposure
In-camera effects: Grain, Colour Chrome, Smooth Skin
Dynamic Range functions: Auto, 100%, 200%, 400%
Colour space options: sRGB and Adobe RGB
ISO range: Auto x3, (up to ISO12800), Manual – ISO 100-12800 in 1/3EV steps with extension to ISO 50 and ISO 102400 available; Movie range ISO 200-12800 with extension to ISO 25600
White balance: Automatic Scene Recognition, Colour Temperature, Custom, Fine, Fluorescent (Cool White), Fluorescent (Daylight), Fluorescent (Warm White), Incandescent, Shade, Underwater
Flash: External flashguns only
Flash modes: First-Curtain Sync, Hi-Speed Sync, Manual, Second-Curtain Sync, Slow Sync, TTL Auto
Flash exposure adjustment: +/- 3 EV in 1/3, 1/2, 1 EV steps
Sequence shooting: Max. 5 frames/sec. with locked AF
Buffer capacity: Max. 41 Large/Fine JPEGs, 14 compressed RAW files, 13 uncompressed RAW
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I, II and Video V90 compatible)
Viewfinder: Detachable 0.5-inch 5,760,000-dot OLED EVF with 100% frame coverage, 23mm eyepoint, 0.86x magnification, -4 to +2 dpt adjustment, built-in eye sensor
LCD monitor: 3.2-inch 4:3 aspect ratio 3-way tilting touchscreen colour LCD with 2,360,000 dots; Sub LCD monitor – 1.8-inch 4:3 aspect ratio 303 x 230-dot monochrome LCD, Rear sub monitor – 2.05-inch 4:1 aspect ratio 256 x 64-dot monochrome OLED screen
Interface terminals: USB Type-C USB3.2 Gen1x1, Micro HDMI (type D), 2.5mm remote control jack, 3.5 mm stereo mini jack (microphone), 3.5 mm stereo mini jack (headphone), DC IN 15V connector
Wi-Fi function: Built-in (IEEE802.11a/b/g/n/ac (standard wireless protocol), Bluetooth Ver. 4.2 low energy; Geotagging, Image transfer (Individual image/Selected multiple images), View & Obtain Images, instax Printer Print, Pairing registration, Delete pairing registration, Bluetooth ON/OFF setting, Auto image transfer, Smartphone Sync. Setting, Wireless com. frequency setting
Power supply: 2x NP-T125 rechargeable Li-ion batteries in special base pack; CIPA rated for approx. 800 shots/charge
Dimensions (wxhxd): Approx. 156.2 x 163.6 x 102.9 mm (including EVF
Weight: Approx. 1155 grams (body only); 1400 grams with batteries and card but without EVF
Distributor: Fujifilm Australia; 1800 226 355; www.fujifilm.com.au
Based on JPEG files taken with the Fujinon GF 45mm f/2.8 R WR lens.
Based on RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw
All shots taken with the Fujinon GF 45mm f/2.8 R WR lens.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
30-second exposure at ISO 50, f/2.8.
30-second exposure at ISO 100, f/4.
15-second exposure at ISO 800, f/5.
Crop from near the centre of the above image enlarged to 100%.
8-second exposure at ISO 6400, f/8.
8-second exposure at ISO 12800, f/11.
4-second exposure at ISO 25600, f/11.
2-second exposure at ISO 51200, f/11.
Crop from near the centre of the above image enlarged to 100%.
2-second exposure at ISO 102400, f/16.
Crop from near the centre of the above image enlarged to 100%.
ISO 100, 1/3 second at f/5.6.
ISO 400, 1/10 second at f/5.6.
ISO 3200, 1/80 second at f/5.6.
ISO 10,000, 1/250 second at f/5.6.
ISO 500, 1/4 second at f/5.6.
ISO 1600, 1/4 second at f/16.
ISO 800, 1/4 second at f/5.6.
Stabilisation test; ISO 100, 1/2 second at f/5.
Strong backlighting with Auto DR setting; ISO 200, 1/500 second at f/8.
Strong backlighting with 400% DR setting; ISO 400, 1/640 second at f/8.
ISO 200, 1/1000 second at f/6.3.
Flare; ISO 100, 1/18 second at f/9.
Normal sunlight; ISO 100, 1/250 second at f/8.
Crop from near the centre of the above image enlarged to 100%.
Low light level subject; ISO 200, 1/4 second at f/5.6.
Crop from near the centre of the above image enlarged to 100%.
Crop from near the lower left corner of the above image enlarged to 100%.
High contrast subject; ISO 100, 1/50 second at f/8.
ISO 200, 1/480 second at f/5.6.
ISO 100, 1/250 second at f/7.1.
ISO 200, 1/850 second at f/5.6.
Eterna Film Simulation for stills shot; ISO 200, 1/320 second at f/8.
Still frame from DCI 4K (4096 x 2160) 17:9 video clip recorded at 30p.
Still frame from DCI 4K (4096 x 2160) 17:9 video clip recorded at 25p.
Still frame from 4K (3840 x 2160) 16:9 video clip recorded at 25p.
Still frame from DCI 2K (2048 x 1080) 17:9 video clip recorded at 50p.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p, H.265 compression.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 25p, H.265 compression.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p, H.264 compression.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 25p, H.264 compression.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p with Eterna/Cinema Film Simulation.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p with F-log mode.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p with Hybrid Log Gamma (HLG) mode.
RRP: AU$16,499; US$9999
- Build: 9.5
- Ease of use: 9.0
- Autofocusing: 9.0
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 9.0