VITALSTATISTICS FUJIFILM GFX 100 $16,499 body only
Type: Professional digital medium format mir-
rorless camera with Fujifilm G bayonet lens
mount.
Focusing: TTL automatic using hybrid phase-
difference and contrast detection measure-
ments. 117 or 425 measuring points (13x9 or
25x17 patterns). Single-point, zone (7x7, 5x5
or 3x3 point clusters selected from 117 points)
and wide/tracking modes. Six focus point
sizes. Five tracking scenarios plus a Custom
setting (to adjust Tracking Sensitivity, Speed
Tracking Sensitivity, Zone Area Switching).
Face/eye detection with left/right priority.
Manual switching between one-shot and
continuous AF modes. AF+MF mode. Low-light
assist via built-in illuminator. Manual focus
assist via distance scale, magnified image (up
to 16.7x), focus peaking display (white, red or
blue; low or high level), ‘Digital Split Image’
(B&W or colour) or ‘Digital Microprism’.
Metering: 256-point multi-zone, centre-
weighted average, full average, spot (2.0% of
frame area) and TTL flash. Spot metering can
be locked to AF point/zone. Metering range is
EV -4.0 to 20 (ISO 100/f2.0).
Exposure Modes: Continuously-variable pro-
gram with shift, shutter-priority auto, aperture-
priority auto and metered manual.
Shutter: Electronic, vertical travel, metal
blades, 60 minutes to 1/4000 second plus ‘B’
(up to 60 minutes). Flash sync up to 1/125
second. Sensor shutter has a speed range
of 60 minutes to 1/16,000 second. Exposure
compensation up to +/-5.0 EV in 1/3-stop
increments.
Viewfinder: Detachable 1.3 cm OLED-type EVF
with 5.76 megadots resolution, 100% vertical/
horizontal scene coverage and 0.86x magnifi-
cation (35mm equivalent). Automatic/manual
switching between the EVF and the LCD
monitor screen. Eyepiece strength adjustment
built-in. 8.1 cm LCD monitor with 2.36 mega-
dots resolution, three-way tilt adjustments and
touchscreen controls. Both EVF and monitor
adjustable for brightness, colour saturation
and hue.
Flash: No built-in flash. External flash units
connect via hotshoe or PC terminal.Additional Features: Magnesium alloy
bodyshell sealed and insulated, top panel info
display, rear panel secondary info display, AE/
AF lock, auto exposure bracketing (up to +/-3.0
EV over two, three, five, seven or nine frames),
multi-mode self-timer (2 and 10 second
delays), audible signals, auto power-off, wired
remote trigger.DIGITAL SECTION
Sensor: 102 million (effective) pixels BSI
CMOS with 32.9x43.8 mm imaging area and
4:3 aspect ratio. No optical low-pass filter.
Sensitivity equivalent to ISO 100-12,800,
extendable to ISO 50, 25,600, 51,200 and
102,400.
Focal Length Magnification: 0.79x (35mm for-
mat), 1.3x (6x4.5cm format).
Formats/Resolution: Three JPEG compression
settings, RAW output (lossless compression
or uncompressed), TIFF RGB (via in-camera
conversion of RAW files) and RAW+JPEG
capture. Three resolution settings at 4:3 aspect
ratio; 11,648x8736, 8256x6192 and 4000x3000
pixels. Three resolution settings at 3:2 aspect
ratio; 11,648x7768, 8256x5504 and 4000x2664
pixels. Three resolution settings at 16:9 aspect
ratio; 11,648x6552, 8256x4640 and 4000x2248
pixels. Three resolution settings at 1:1 aspect
ratio; 8736x8736, 6192x6192 and 2992x2992
pixels. Three resolution settings at 65:24
aspect ratio; 11,648x4304, 8256x3048 and
4000x1480 pixels. Three resolution settings
at 5:4 aspect ratio; 10,928x8736, 7744x6192
and 3744x3000 pixels. Three resolution
settings at 7:6 aspect ratio; 10,192x8736,
7232x6192 and 3504x3000 pixels. RAW files
captured at 11,808x8754 pixels and TIFF files
at 11,648x8736 pixels. 24-bit RGB colour for
JPEGs, 48/42-bit RGB colour for RAW files,
48/24-bit RGB colour for TIFFs. 35mm Format
Mode capture at 24x35mm (9552x6368 pixels)
in either JPEG or RAW.
Video Recording: MOV format (MPEG 4
AVC/H.264 with 8-bit 4:2:0 colour internally
or HEVC H.265 codec with 10-bit 4:2:0 colour
internally) at 4096x2160 pixels (4K DCI); 30,
25 or 24 fps (400 Mbps, All-Intra compression)and 17:9 aspect ratio. At 3840x2160 pixels (4K
Ultra HD); 30, 25 or 24 fps (400, 200 or Mbps,
Long GOP compression) and 16:9 aspect ratio.
At 1920x1080 pixels (Full HD); 60, 50, 30, 25
or 24 fps (400 Mbps, All-Intra compression)
and 17:9 aspect ratio. At 1920x1080 pixels
(Full HD); 60, 50, 30, 25 or 24 fps (200, 100
or Mbps, Long GOP compression) and 16:9
aspect ratio. Stereo microphones with auto/
manual levels adjustment, attenuator, wind-cut
filter and low-cut filter. Stereo audio input and
stereo audio output provided. 4K UHD and DCI
clip lengths are up to 60 minutes at 30/25/24
fps. FHD clip lengths can be up to 80 minutes.
Video Features: 4K/2K video streaming via the
HDMI connection (H.265: 10-bit 4:2:0 to SD
card, 10-bit 4:2:2 to HDMI. H.264: 8-bit 4:2:0 to
SD card, 10-bit 4:2:2 to HDMI), F-Log gamma
profile, HLG profile, focus peaking display,
zebra patterns with adjustable brightness
threshold, time code support, interframe noise
reduction, movie silent control.
Recording Media: Dual slots for SD, SDHC and
SDXC memory cards with UHS-I and UHS-II
support. Sequential, Back-Up and RAW/JPEG
slot file management modes.
Continuous Shooting: Up to 41 JPEG/large/
superfine frames at 5.0 fps or 14 RAW (loss-
less compressed) frames. Low speed continu-
ous mode captures at 2.0 fps with unlimited
JPEG bursts and up to 20 RAW (lossless
compressed) frames.
White Balance: TTL measurement. Auto mode,
seven presets and three custom settings.
White balance compensation (amber-to-blue
and/or green-to-magenta) in all presets, and
white balance bracketing. Manual colour tem-
perature setting from 2500 to 10,000 degrees
Kelvin.
Interfaces: USB Type C (USB 3.2), micro HDMI
(Type D), 3.5 mm stereo audio input, 3.5 mm
stereo audio output, 2.5 mm remote trigger
connection.
Additional Digital Features: In-body image
stabilization over five axes, sensor cleaning,
16 ‘Film Simulation’ presets (Standard/Provia,
Vivid/Velvia, Soft/Astia, Classic Chrome,
Pro Neg High, Pro Neg Standard, ACROS,ACROS+Yellow, ACROS+Red, ACROS+Green,
Monochrome, Monochrome+Yellow,
Monochrome+Red, Monochrome+Green, Sepia,
Eterna/Cinema), ‘Grain Effect’ (Strong, Weak,
Off), ‘Colour Chrome Effect’ (Strong, Weak,
Off), ‘Smooth Skin Effect’ (Strong, Weak, Off),
‘B&W Adjustment’ (Warm/Cool), ‘Quick Menu’
control screen (customisable), ‘Lens Modulation
Optimiser’ processing, intervalometer (up to
999 frames), pixel mapping, dynamic range
expansion (Auto, 100%, 200%, 400%), ‘D-Range
Priority’ (Auto, Strong Weak, off), adjust-
able image parameters (Colour Saturation,
Sharpness, Highlight Tone, Shadow Tone),
real-time RGB/brightness histogram display,
highlight alert, single/dual-axis electronic level
displays, grid displays (choice of two), depth-
of-field preview, auto bracketing functions
(AE, ‘Film Simulation’, Dynamic Range, ISO,
White Balance, Focus), multiple exposures (two
images), flicker detection and correction, high
ISO noise reduction (plus/minus four levels),
long exposure noise reduction (On/Off), seven
custom set-up memories (C1 to C7), sRGB and
Adobe RGB colour space settings, RGB and
brightness histograms in playback, highlight
alert in playback, in-camera editing functions
(RAW Conversion to TIFF or JPEG [17 adjust-
able parameters], Erase, Simultaneous Delete,
Crop, Resize, Protect, Image Rotate, Red-Eye
Removal, Copy, PhotoBook Assist), auto play-
back, multi-image playback, 9/100 thumbnail
displays, zoom playback, silent mode, Instax
print, customisable ‘My Menu’ (16 items),
copyright info, voice memo recording, WiFi and
Bluetooth LE connectivity, DPOF support.
Power: Two 10.8 volt/1250 mAh recharge-
able lithium-ion battery packs (NP-T125 type).
Battery age check facility. In-camera battery
charging via USB.
Dimensions (WxHxD): body only =
156.2x144.0x75.1 mm.
Weight: 1155 grams body only (without battery
packs or memory cards).
Price: $16,499 body only (with detachable EVF
and dual battery packs).
Distributor: Fujifilm Australia, telephone (02)
9466 2600 or visit http://www.fujifilm.com.auON TRIAL FUJIFILM GFX 100
The continuous AF performance
is as good as you’d expect from
the class-leading smaller format
mirrorless cameras, and the Eye AF
works brilliantly too.
How did we go with hand-held
shooting? Better than has been
the case with any of the 50 MP
cameras we’ve tested, with the
stabilisation really providing some
useful leeway when you’re trying
to hang on to shooting with lower
ISO settings... we shot as low as
1/15 second with excellent results.
However, we still reckon you should
pack a tripod because, over time,
the GFX 100 will definitely start to
make its presence felt, especially
if you’re using one of the bigger,
heavier lenses.
Image quality? Uh oh! Let’s just
say don’t go there if you don’t want
to go back, even to 50 MP.
The amount of detailing is
beyond stunning, it’s also addictive
so, after a while, any image that
doesn’t deliver the same amount of
information looks like it’s missing
something in terms of the depth
and definition. And we’re talking
superfine JPEGs here.
As noted at the outset, you can
crop to your heart’s content and still
have a big, highly-detailed image
file. The really good news is that
everything hangs together very
well at the higher ISOs and you’ll
be hard-pushed to notice anything
different – in terms of definition or
saturation – from ISO 100 to 1600
which is nice to know if you really
want to leave the tripod behind. In
fact, there are really minimal noise
increases up to the top of the native
ISO range – and it’s all relative –
so there’s still impressive levels ofdetailing (and you’ll still be able to
produce pretty big prints).
Despite the smaller pixel
size, the dynamic range is still
exceptional and at least as good as
the 50S and 50R, if not better at
the lower ISO settings. With RAW
capture, this translates into a huge
amount of exposure latitude...
and for rescuing both shadows
and highlights. Of course, will a
bigger sensor you can pack a lot
more pixels in and they’re still a
reasonable size so, in turn, a decent
signal-to-noise ratio is maintained.
It’s a mighty effort, and
the GFX 100 resets numerous
performance standards in the
process.THE VERDICT
Nah, I don’t need 102 megapixels.
I really don’t... do I? Do I?Well, thinking about it a bit...
Hmm, righto. Y’know what? That
image quality is pretty delicious,
isn’t it? In fact, it’s drop-dead gor-
geous, even at the higher ISOs.
All that detail! Nothing gives you
better-looking JPEGs. And the cam-
era really doesn’t make you work
all that hard either. It does just
what you ask it to... it’s big, but
it just doesn’t seem to get in the
way. That price tag is big too, but
then you’re getting a helluva lot of
camera for your money. A helluva
lot... well, I mean, 102 megapix-
els, there’s a lot you can do with
all that resolution, isn’t there? It’s
not just about the numbers either,
there’s both technical and creative
elements at play too.
Yep, I think you’re definitely talk-
ing me around: I really could use
102 megapixels.