Now we have a production-spec GFX 100 in the office, we've had a chance to re-shoot our studio scene. Having painstakingly re-shot the scene multiple times with a variety of settings, we're confident these are representative of the camera's performance.

As you can see, the camera is extremely sharp and capable of resolving nearly everything in our test scene. Many of the finest targets that exhibit aliasing on the already impressive GFX 50R (shot with the same lens) are more convincingly resolved by the 100MP camera, meaning that its images look better than the older camera's shots do, even when downscaled to the same resolution.

In fact the GFX 100 now out-resolves our previous 'benchmark' camera: the 80MP Phase One IQ180. But to make sure we know how the Fujifilm compares with its more expensive medium format peers, we've borrowed a 150MP Phase One IQ4, which we hope will act as our new benchmark once we're run it through the studio.

In the meantime, full analysis of the GFX 100 will come in our full review: coming soon.


Notes on testing:

These shots come from our second period of testing the GFX 100, following an imperfect set shot with a pre-production camera.

This process was a vivid reminder that our test scene is extremely demanding. Comparing images side-by-side at 100% sets a (perhaps artificially) high bar for performance: far beyond the expectations that would be applied to images viewed in isolation. It also demands that every one of the 44 permutations of ISO setting, file type and lighting level we shoot reaches this same level, lest one perfect shot make the rest look inferior. These images are the result of multiple sequences shot to find the optimal shutter type, aperture and focus position.

Please note: optimizing central sharpness meant allowing a little softness at the extreme corners of the scene: the focus with sharper corners was fractionally softer in the center. Stopping the aperture down also reduced peak sharpness, due to diffraction.