This image illustrates the
sensor’s vast dynamic range
GF 32-64mm f/4 at 32mm,
1/240sec at f/8, ISO 100looks after shooting, too.
Given that the ludicrous
resolution will reveal every tiny
detail, whether you like it or not,
Fujifilm has included a new
‘smooth skin effect’ option for
portraits. Other handy features
include an intervalometer and
extensive bracketing options.
The GFX100 also boasts
an extremely impressive video
specification. 4K recording is
available at 30fps using the full
width of the sensor, with footage
recorded at 10bit 4:2:2 externally
and 10bit 4:2:0 internally, using
the H.265/HEVC codec. Fujifilm
has included its cine-optimised
Eterna Film Simulation mode,
while F-log allows greater flexibility
for grading in post-production.
Hybrid Log Gamma is also
available for HDR footage.
Naturally Wi-Fi and Bluetooth
are built-in, allowing connection to
a smartphone or tablet for remote
control of the camera or copying
images for sharing. Tethered
shooting is available via the USB-C
port, using Fujifilm X Acquire or
Capture One Pro software.
Build and handling
In terms of design, the GFX100
resembles a pro-level full-frame
DSLR, with an integrated vertical
grip to accommodate a pair of
hefty MP-T125 batteries, and
a duplicate set of controls for
portrait-format shooting. At
156.2 x 163.6 x 102.9mm and
1,400g in weight, it’s very similar
in size to the full-frame Nikon D5
or Canon EOS-1D X Mark II. With
two separate magnesium-alloy
shells, one for the outer body and
another to protect the core
imaging components inside, it’s
also built to withstand tough
conditions, being dust- and
water-resistant and freeze-proof
to -10°C. All this makes it more
robust and easier to handle than
conventional DSLRs.
Strikingly, the GFX100 does
away with the analogue dials that
are a hallmark of Fujifilm’s other
cameras. Instead it employs pairs
of electronic dials on each grip to
control shutter speed, ISO and
exposure compensation, with the
aperture set using a ring on the
lens. There’s no conventional
exposure mode dial: instead a
button beside the top LCD cycles
between shutter priority and
program modes when the
aperture ring is set to its A
position; otherwise it toggles
between aperture priority and
manual. A large dial on the
top-plate switches between stills
and video modes, allowing settings
to be retained for each.The rear LCD is touch-sensitive,
which can be useful for setting
the focus point, browsing through
images, and operating the
onscreen Q menu. However it’s
a touch laggy and can’t be used
to navigate the main menus. So
it’s not as useful as those we’ve
seen on recent high-resolution
full-frame models such as the
Panasonic S1R and Nikon Z 7.
Fujifilm has, however, made
some uncharacteristic errors with
regard to the handling. The dials,
buttons and joysticks are all tiny,
and very difficult to operate with
gloves. The main grip is nicely
sculpted with a thick rubber
coating, but the vertical grip is just
a slim slab of bare metal, making
it distinctly uncomfortable to hold.
The control layout is inconsistent
between the two grips, with the
exposure compensation and AE-L
buttons in different places; this is
compounded by the fact that a
lot of the buttons are unlabelled.
Meanwhile the portrait grip
AF-selection joystick is difficult
to locate as it’s recessed behind
a ridge on the back. This shouldn’t
be the case on a professional
camera costing £10k.
However there’s plenty of
customisation on offer, and with a
little tweaking the camera’s most
egregious handling flaws can bemitigated. Most importantly,
setting the exposure
compensation button mode
to Switch means that the rear
dial continues to operate this
setting until you disable it again,
regardless of whether you turn the
camera on or off. Even at its best,
though, the GFX100 doesn’t
really handle how a professional
camera should. This stands in stark