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The GFX100’s chunky body incorporates a
comprehensivearrayofprofessionalfeaturesFocal points
Connectors
On the left side you’ll find microphone
and headphone sockets, along with USB-C,
HDMI and 15V power-in connectors plus a
PC sync socket for studio flash. A 2.5mm
remote control socket is on the handgrip.Two batteries
The integrated grip has allowed Fujifilm to include two NP-T125 batteries, as
previouslyusedin the GFX 50S and 50R, promising a combined endurance of 800 shots.Rearsub-monitor
This small screen below the
main LCD can show a brief
summary of camera settings or
exposure information.Top-plateLCD
This large
screencanshow
detailedexposure
information,a
virtualISO/shutter
speeddialdisplay
or a livehistogram.
A buttonalongside
cyclesthroughthe
displaymodes.163.6 mm
102.9 mm
Removable
EVF
The viewfinder
can be slid off
the body if you
want to use the
screen instead.
There’s a hinged
adapter that
allows it to be
set to different
angles as well.156.2 mm
CAMERA TEST Testbench
To give an idea of the sensor’s
incredible resolution, this is an
extreme crop that represents
just 7% of the image area
GF 120mm f/4 Macro,
1/400sec at f/4.5, ISO 100contrast to the similarly shaped
Olympus OM-D E-M1X, which
works like a dream, with large
controls and a vertical grip that
closely mirrors the main one.
Viewfi nder and screen
If there’s one area where the
GFX100 can’t be criticised, it’s
when it comes to viewing your
images. The camera employs a
stunning electronic viewfi nder, with
a huge 5.76-million-dot resolution
and 0.86x magnifi cation that
provides a vast, detailed preview
image. Multiple viewing modes are
available (which Fujifi lm calls Boost
modes), depending on whether
you want to prioritise resolution,
frame rate or autofocus speed.
The differences may not be easy
to see at fi rst, but they genuinely
make a difference to how the
camera and viewfi nder perform.
As on the GFX 50S, the EVF
unit is removable.
A huge array of exposure
information can be overlaid on the
live view feed, including gridlines,
an electronic level, a live histogram
and a focus-distance scale. The
exposure is always previewed live,
which helps you judge exposure
and avoid clipping highlights,
while a half-press of the shutter
previews depth of fi eld. By default
the in-camera processing is also
previewed, but if you’re shooting in
high-contrast light this can cause
the shadows to block up, hindering
composition. In such situations
I generally preferred to use the
Natural Live View setting, which
aims to replicate the look of an
optical viewfi nder by lowering the
contrast and displaying more
neutral colours.
On the back, there’s a 3.2in,
2.36-million-dot touchscreen
with a three-way tilt mechanism
that enables waist-level shooting in
both portrait and landscape
formats. However if you want to
shoot with the LCD tilted upwards
as a waist-level fi nder in landscape
format, you’ll need to remove the
EVF, as it overhangs the back of
the camera so far that it blocks
most of the screen. This isn’t a
problem if you’re shooting static
subjects such as landscapes, but
it’s infuriating when you’re trying to
work quickly. Swiping up or down
on the touchscreen overlays a
RGB histogram or a larger and
more precise dual-axis electronic
level. These displays can be
particularly handy when you’re
setting up shots on a tripod.
Additional monochrome
status displays are found on
the top-plate and lower back.
These can show either exposure
information or a live histogram,
which can be handy for judging
exposure when the camera is on
a tripod. But while it’s easy to cycle
through display modes on the top
screen by pressing a small button
alongside, you have to dive into
the menus to change the rear
display, which makes it less useful
than it should be. It would be nice
to be able to access this from
either a function button or
the Q Menu.Dual cards
As befits a professional
camera, the GFX100 has dual
high-speed UHS-II SD card
slots. It’s possible to use them
simultaneously or sequentially,
or record JPEGs to one and
raw files to the other.