Here's my first cut at the GFX 100RF review.
The Fuji GFX 100RF arrived from LensRentals looking brand new, and the first surprise was how compact it felt compared to the other GFX cameras. For a medium-format camera it is downright svelte, close in heft to a Nikon Z7 with a small 35mm lens. The design calls to mind a modern digital version of the Plaubel Makina 67, though I’d like it better if it shipped with a 45mm rather than a 35mm lens.
This is a controversial camera. Fixed lens high-end digital cameras are a niche market. If you are happy with their limitations, they can be convenient, lightweight, fluid operating tools. The size and weight of the camera is freeing to many people. Those folks who like the 28 mm full frame field of view and want medium format quality can get it with the 100RF. But there are other fixed lens options out there.
I don’t shoot JPEG. I have noticed that many of the people who like this camera do make JPEG images most or all of the time. My perspective on photography is so different from that of people who are happy with straight out of camera JPEGs that I expect that this review will be of little use to that cohort.
The ergonomics are a mixed bag; mostly good, with a few clinkers. The on/off switch action is so light that I can imagine it being inadvertently tripped in a camera bag; I found that I accidentally turned the camera on a lot. The Q button has been redesigned to sit flush, a welcome change that reduces accidental presses. Aperture and shutter speed each have an “A” position, which makes the exposure system flexible, and ISO is adjusted via a collar around the shutter dial. That’s an elegant solution, but the lack of detents while setting means you can’t operate it confidently by feel. The exposure-compensation dial is a highlight, generously sized and perfectly positioned for thumb access. Unfortunately, the knurled dials and joystick suffer from vague, mushy feedback; Fuji still lags Nikon in haptics. A few other details disappoint as well: the battery door latch doesn’t self-engage, and the card slot door feels second-rate compared with Nikon’s design. I would have vastly preferred a CFExpress slot instead of the two SD card slots.
The lens itself is a strong performer. It delivers excellent sharpness on-axis until diffraction sets in, with only a modest falloff toward the edges. Field curvature is essentially absent. Distortion is noticeable in uncorrected files, but digital correction leaves little trace and costs almost nothing in sharpness. Vignetting is moderate but disappears once corrections are applied. The leaf shutter is quiet and contributes to the camera’s appeal, though at speeds of 1/500 second and above it introduces bokeh artifacts. These become obvious at 1/4000 second but are still less objectionable than the artifacts produced by Hasselblad’s XCD 38V and 90V lenses.
The sensor appears to be the same as in the GFX 100 II, complete with Fuji’s curious ISO 80 black-point subtraction. Image quality is excellent and familiar to anyone who has used that camera. Autofocus is also on par with the GFX 100 II: entirely adequate by medium-format standards but behind what today’s full-frame cameras can do.
Overall, the GFX 100RF feels like a small, purposeful tool for medium-format work. It should make a good travel camera. I’m not a big fan of the crop control. As a compositional aid it has its uses, but it is too large and would benefit from a lock. The integration of the camera metering and the crop tool is strange: the exposure recommended by the camera will vary with the borders chosen for the EVF crop display.
If you’re used to GFX cameras, you’ll bond with this one readily. If you’re not, you will find it a little eccentric. The Fuji user interface is a little unusual, but I like it.
Context matters. If you think of this primarily as a medium-format camera, then you must also be happy with the perspective of a 35mm lens on a 33×44 mm sensor, about the same field of view as a 28mm lens on full frame. If what you really want is the look of a 35mm lens on full frame, then you’ll end up with a 60-megapixel camera instead, and the Leica Q3 or Sony RX1R III become serious alternatives. The GFX 100RF weighs about 735 grams, compared with 743 grams for the Leica and only 482 grams for the Sony. The price story is equally tight: the Fuji lists at about $5,499, the Leica at $5,995, and the Sony at roughly $5,100. In other words, choosing full frame won’t save you money, but it might save you weight.
Fuji is pushing the cropping characteristics of the sensor in the GFX 100 RF. It’s true that you can crop more aggressively from a 100 MP sensor than a 60 MP one of the same pixel pitch. You can crop more than with the Q2 at the same angle of view. However, the sensor in the GFX 100 RF offers the same cropped image quality at the same angles of view as the Sony RX1R III, so there’s a win there for the GFX only between the full frame angles of view of a 28mm and a 35mm lens.
Details here:
https://blog.kasson.com/gfx-100rf/fujifilm-gfx-100rf-inclusive-review/
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https://blog.kasson.com
The Fuji GFX 100RF arrived from LensRentals looking brand new, and the first surprise was how compact it felt compared to the other GFX cameras. For a medium-format camera it is downright svelte, close in heft to a Nikon Z7 with a small 35mm lens. The design calls to mind a modern digital version of the Plaubel Makina 67, though I’d like it better if it shipped with a 45mm rather than a 35mm lens.
This is a controversial camera. Fixed lens high-end digital cameras are a niche market. If you are happy with their limitations, they can be convenient, lightweight, fluid operating tools. The size and weight of the camera is freeing to many people. Those folks who like the 28 mm full frame field of view and want medium format quality can get it with the 100RF. But there are other fixed lens options out there.
I don’t shoot JPEG. I have noticed that many of the people who like this camera do make JPEG images most or all of the time. My perspective on photography is so different from that of people who are happy with straight out of camera JPEGs that I expect that this review will be of little use to that cohort.
The ergonomics are a mixed bag; mostly good, with a few clinkers. The on/off switch action is so light that I can imagine it being inadvertently tripped in a camera bag; I found that I accidentally turned the camera on a lot. The Q button has been redesigned to sit flush, a welcome change that reduces accidental presses. Aperture and shutter speed each have an “A” position, which makes the exposure system flexible, and ISO is adjusted via a collar around the shutter dial. That’s an elegant solution, but the lack of detents while setting means you can’t operate it confidently by feel. The exposure-compensation dial is a highlight, generously sized and perfectly positioned for thumb access. Unfortunately, the knurled dials and joystick suffer from vague, mushy feedback; Fuji still lags Nikon in haptics. A few other details disappoint as well: the battery door latch doesn’t self-engage, and the card slot door feels second-rate compared with Nikon’s design. I would have vastly preferred a CFExpress slot instead of the two SD card slots.
The lens itself is a strong performer. It delivers excellent sharpness on-axis until diffraction sets in, with only a modest falloff toward the edges. Field curvature is essentially absent. Distortion is noticeable in uncorrected files, but digital correction leaves little trace and costs almost nothing in sharpness. Vignetting is moderate but disappears once corrections are applied. The leaf shutter is quiet and contributes to the camera’s appeal, though at speeds of 1/500 second and above it introduces bokeh artifacts. These become obvious at 1/4000 second but are still less objectionable than the artifacts produced by Hasselblad’s XCD 38V and 90V lenses.
The sensor appears to be the same as in the GFX 100 II, complete with Fuji’s curious ISO 80 black-point subtraction. Image quality is excellent and familiar to anyone who has used that camera. Autofocus is also on par with the GFX 100 II: entirely adequate by medium-format standards but behind what today’s full-frame cameras can do.
Overall, the GFX 100RF feels like a small, purposeful tool for medium-format work. It should make a good travel camera. I’m not a big fan of the crop control. As a compositional aid it has its uses, but it is too large and would benefit from a lock. The integration of the camera metering and the crop tool is strange: the exposure recommended by the camera will vary with the borders chosen for the EVF crop display.
If you’re used to GFX cameras, you’ll bond with this one readily. If you’re not, you will find it a little eccentric. The Fuji user interface is a little unusual, but I like it.
Context matters. If you think of this primarily as a medium-format camera, then you must also be happy with the perspective of a 35mm lens on a 33×44 mm sensor, about the same field of view as a 28mm lens on full frame. If what you really want is the look of a 35mm lens on full frame, then you’ll end up with a 60-megapixel camera instead, and the Leica Q3 or Sony RX1R III become serious alternatives. The GFX 100RF weighs about 735 grams, compared with 743 grams for the Leica and only 482 grams for the Sony. The price story is equally tight: the Fuji lists at about $5,499, the Leica at $5,995, and the Sony at roughly $5,100. In other words, choosing full frame won’t save you money, but it might save you weight.
Fuji is pushing the cropping characteristics of the sensor in the GFX 100 RF. It’s true that you can crop more aggressively from a 100 MP sensor than a 60 MP one of the same pixel pitch. You can crop more than with the Q2 at the same angle of view. However, the sensor in the GFX 100 RF offers the same cropped image quality at the same angles of view as the Sony RX1R III, so there’s a win there for the GFX only between the full frame angles of view of a 28mm and a 35mm lens.
Details here:
https://blog.kasson.com/gfx-100rf/fujifilm-gfx-100rf-inclusive-review/
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https://blog.kasson.com
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