Exaggeration aside, the 102MP sensor is
able to capture an insane level of detail
and clarity, even allowing viable crops
up to an almighty 100% while retaining
a great level of overall detail. Zooming
in allows you to see that the resolving
power of the GFX 100 is incredible.
However, while the GFX eschews the
X-Trans sensor in favour of a traditional
Bayer design, due to the increased
megapixels, Fujifilm has still kept its
trademark colour. All 16 current Film
Simulation modes are present, and the
dynamic range in our final production
model allowed us to capture a huge
amount of detail in every shot. It’s also
ISO invariant, so you are able to recover
masses of information in editing.
Pixel peepers
welcome here
IMAGE
QUALITY
LCD touchscreen boasting a
stunning 2360k dots and tilt as
per the X-T3. The detachable
EVF houses a breathtaking
high-resolution 5760k dots.
Finally, both the rear and the
top-plate have information
sub-monitors that display
several settings layouts,
and can be customised for
traditional settings, virtual
dials and even a histogram.
Performance
Although we didn’t get much
time to put it through the
wringer, it’s no surprise that
the first thing we noticed
was the image quality – and
it’s absolutely mind-blowing!
The sensor – 1.7x larger
than full-frame – renders
outstanding detail, and you
can see Fujifilm’s famed
colour science at work.
Zooming into 100%, the
clarity is astonishing. The
amount of features at play
here rival most of the gadget-
packed APS-C X Series, which
makes sense since the aimof
the GFX 100 appears to be
providing a similar experience
to its APS-C range with a clear
boost in image quality.
Although Fujifilm onlyhas
one body that boasts image
st abilisation, the X-H1, we
were told it was essential to
cancel out micro-shake on
the huge sensor. The system
definitely worked, and we
were easily able to use it
handheld at 1/125sec. The
body is set up to negate
vibrations with a clever shock-
absorbing construction that
effectively allows the sensor
to safely ‘float’ between the
front and rear plates. It also
comes in very handy when
shooting video, churning
out DCI 4K using the entire
sensor, via line skipping, with
4:2:0 10-bit internally, or
4:2:2 10-bit via HDMI output.
There’s even an F-Log flat
colour profile, as well as HLG
(Hybrid Log Gamma) for
creating HDR footage, and
a huge all-intra 400MB/s bit
rate that’s sure to appeal to
pro videographers.
The 425-point phase-detect
focus seemed snappy in use,
especially when compared
to the 50S and 50R contrast-
based system, and the points
cover 100% of the image
frame. It also offers impressive
fa ce and eye recognition due
to applying the advancements
made with the X-T3 and 30
models. While we do needto
carry out more testing for
a full review, our initial
thoughts are very positive.
Verdict
This camera is designed with
professional users in mind,
though the £10,000 price-tag
is considerably cheaper than
the competition, and the image
quality is top drawer. It’s a
la ndmark release that’s sure
to find a home in the kit bags
of pro commercial shooters
and videographers.
AboveThe1.8intop-plateLCD
can be programmedto offer
a range of displays, including
vi rtual dials or a histogram.
Medium-formatis a termfromthe days of film, when
it satalongside35mmandlarge-format film stocks.
It referredto camerasthattookrather sizeable 120mm
film. These days, it indicates sensors larger than
full-frame 35mm offerings, and includes the GFX range,
as well as Hasselblad and Phase One. The sensor
found in the GFX 100 is 1.7x larger than full-frame
sensors, and benefits from an increased amount of
light, as well as offering a superior depth-of-field than
its smaller cousin. This means the 102MP sensor will
retain a similar pixel density to Canon’s 5DS R 50.6MP
sensor, but capture greater detail in the images.
Tech Focus What is medium-format?
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