Three years have passed since Fujifilm unveiled its GFX medium format lineup, and during this time, the brand has established a solid presence by launching several high-quality lenses and three distinct medium format cameras. The crown jewel of this lineup is the Fujifilm GFX 100, equipped with an impressive 100 MP sensor measuring 44x33mm and incorporating the groundbreaking 5-axis in-body stabilization—a first in the world of medium format photography.
Fujifilm’s engineers went to great lengths to ensure the GFX 100 would stand out among its peers. It boasts on-sensor phase detection autofocus—the first of its kind for medium format—alongside twin UHS-II compatible SD slots, a dual battery system, programmable OLED status displays, and a robust image processor capable of delivering 4K video. All these features come wrapped in a sturdy, weather-sealed magnesium alloy frame. It’s a complete package and arguably the most advanced medium format camera currently available.
Priced at $9,999, the GFX 100 isn’t exactly budget-friendly, but in comparison to other medium format options that retail for $20,000 to $30,000 or more, its price tag feels more justified. When considering its extensive features and performance capabilities, it becomes evident that the GFX 100 has few—if any—real rivals on the market today, and likely won’t for years to come.
GFX 100 + GF23mmF4 R LM WR @ 23mm, ISO 100, 0.8 sec, f/11.0
After four months of working with the GFX 100, I’ve gathered enough hands-on experience to provide a detailed and insightful review for our readers.
Fuji GFX 100 Review: Introduction
When Fujifilm and Hasselblad launched their 50 MP mirrorless medium format cameras, many photographers questioned whether switching systems made sense—especially since high-resolution full-frame alternatives already existed. While these cameras delivered superior image quality, their autofocus was sluggish, lens choices were limited, and software bugs were not uncommon. To many, upgrading to a larger, more expensive system didn’t seem worth the compromises.
GFX 100 + GF23mmF4 R LM WR @ 23mm, ISO 200, 1/1000, f/16.0
The arrival of the GFX 100 changed that narrative. With its 100 MP sensor, built-in stabilization, speedy phase detection autofocus, intuitive interface, extended battery life, and rugged, weather-resistant construction, it marked a new era for medium format systems. It delivered on nearly every front and proved that medium format could rival—or even surpass—top-tier full-frame cameras.
It’s also worth mentioning that the gap between full-frame and medium format sensor sizes isn’t as dramatic as some might think—especially when it comes to cameras like the Fujifilm GFX series, Hasselblad X1D, and Pentax 645 models. Check out the following diagram to see how sensor sizes compare:
Unlike APS-C and full-frame formats, “medium format” doesn’t refer to one standardized sensor size. For instance, while the GFX 100 (and its siblings, the GFX 50S/50R, Pentax 645Z, and Hasselblad X1D-50c) share the same sensor dimensions, the sensor in the Hasselblad H6D-100c is substantially larger. Although both the GFX 100 and H6D-100c offer 100 MP resolution, the H6D’s larger sensor means it has larger pixels, which can yield better performance in certain conditions.
GFX 100 + GF32-64mmF4 R LM WR @ 45.7mm, ISO 100, 2.6 sec, f/8.0
So, the decision to go “medium format” can vary significantly based on sensor dimensions and budget. Opting for a camera with a 53.5 x 40mm sensor comes at a steep cost—take the Hasselblad H6D-100c, which costs around $33,000, more than triple the GFX 100’s price. In this context, cameras like the GFX 100 should be considered crop-sensor medium format, despite offering incredible image quality.
This strategic thinking explains why Fujifilm bypassed the full-frame market altogether. The jump from APS-C to medium format offers a more substantial leap in image fidelity compared to moving from full-frame to crop-sensor medium format. Presently, the most detailed full-frame camera—Sony’s A7R IV—offers 60 MP with a 3.76µm pixel size, while the GFX 100 delivers 100 MP with the same pixel pitch. If it weren’t for its 4:3 aspect ratio, the GFX sensor would equate to roughly 90 MP in a 3:2 format. All of this supports Fujifilm’s decision to invest in APS-C and medium format technologies rather than full-frame systems.
GFX 100 + GF110mmF2 R LM WR @ 110mm, ISO 1000, 1/500, f/2.8
Fuji GFX 100 Specifications
- Image Sensor: 101.8 MP with 3.76µm pixel pitch
- Sensor Dimensions: 43.8 x 32.9mm
- Maximum Image Resolution: 11,648 x 8,736
- Standard ISO Range: 100–12,800
- Extended ISO Options: 50, 25,600–102,400
- RAW Output: Up to 16-bit depth
- Image Stabilization: Built-in 5-axis IBIS
- Sealing: Weather-resistant construction
- Processor: X-Processor 4
- Mechanical Shutter Speed: 60 min to 1/4000s
- Electronic Shutter Speed: 60 min to 1/16000s
- Storage Media: Dual UHS-II SD card slots
- EVF: 5.76M-dot OLED with full 100% coverage
- Burst Rate: 5 frames per second
- Flash: Not included
- Focus Mechanism: Hybrid phase/contrast detection
- AF Points: Approx. 3.76 million
- Focus Modes: AF-S, AF-C, Manual
- LCD: 3.2″ tilting touchscreen, 2.36M dots
- OLED Panels: Positioned on top and back
- Touchscreen Support: Yes
- Video Capabilities: Up to 4K at 30p
- Connectivity: WiFi and Bluetooth supported
- GPS: Not available
- USB Port: USB Type-C (3.0)
- Battery: Dual NP-T125 lithium-ion batteries
- Weight: 1,400g with EVF and batteries
- Dimensions: 156mm x 164mm x 103mm
- MSRP: $9,999
GFX 100 + GF32-64mmF4 R LM WR @ 64mm, ISO 400, 1/50, f/16.0
Full technical specifications are available on the official Fujifilm website.
Fuji GFX 100 Review: Ergonomics and Build Quality
There’s no denying that Fujifilm poured its heart into developing the GFX 100. Yet, in doing so, they made some bold design decisions that may feel unfamiliar or even frustrating to long-time Fuji users accustomed to their classic, intuitive control layout.
GFX 100 + GF32-64mmF4 R LM WR @ 64mm, ISO 125, 1/55, f/8.0
Most noticeably, the removal of dedicated dials for ISO and shutter speed marks a significant departure from Fuji’s traditional design. While the new control scheme offers increased customization, it does so at the expense of the user-friendly tactile experience that many Fuji photographers appreciate.
GFX 100 + GF23mmF4 R LM WR @ 23mm, ISO 200, 1/10, f/11.0
Fujifilm has long stood out for its analog-style controls—aperture rings on lenses and manual ISO/shutter dials on the body made adjusting exposure settings seamless. Now, these physical controls have been replaced with digital equivalents. Though customizable dials and buttons offer some flexibility, the switch requires time and patience to adapt. Going back to the GFX 50S after using the GFX 100, I found myself preferring the more straightforward control layout of the older model.
Button size is another sticking point. Despite the GFX 100’s substantial body, the buttons remain surprisingly small, including the joystick. For a camera this large, it feels like a missed opportunity to design more ergonomically sized inputs. The “AF-ON” button, in particular, should be much larger—at least the size of the MENU/OK button—to improve usability.
GFX 100 + GF32-64mmF4 R LM WR @ 41.1mm, ISO 100, 1/210, f/8.0
Navigation through the menu system also leaves much to be desired. Following the trend of the GFX 50R, Fujifilm eliminated the traditional four-way navigation pad, forcing users to rely solely on the rear joystick. This becomes especially problematic when shooting in cold environments with gloves on. The tiny front and rear command dials feel flimsy as well—unworthy of a flagship medium format camera.
The positioning of the exposure compensation button is yet another ergonomic flaw. Placing it in the top-right corner makes it challenging to locate and press, particularly when wearing gloves. It’s hard to understand why Fujifilm moved this button from its more accessible location on the GFX 50S.
The newly introduced “Movie / Multi / Still” mode dial combined with the DRIVE button situated on top creates unnecessary confusion. It’s puzzling why Fujifilm decided to place the unlabeled lock button so far up and to the left — a spot that feels unintuitive. I handed the camera to multiple experienced photographers and asked them to adjust the dial, which is locked by default. Each of them struggled to associate the button with the lock mechanism. Those familiar with other Fuji models instinctively pressed the DRIVE button while attempting to rotate the dial!
GFX 100 + GF32-64mmF4 R LM WR @ 64mm, ISO 100, 1/220, f/8.0
Another strange choice is the complete lack of labels on several buttons. While having the option to reassign functions is useful, basic identifiers like f1, f2, etc., would go a long way. Without these, referencing buttons in user manuals or tutorials becomes needlessly complex. The GFX 100 features — believe it or not — nine buttons without any markings. That’s excessive!
Imagine trying to describe one of these buttons: “Hit the slightly bigger button to the right of the top LCD,” or “press the second one at the bottom left, near the joystick.” Interestingly, in the menu system, these are already referred to as Fn2, V-Fn2, Fn3, V-Fn3, and so on. So why not just print these names directly on the buttons or nearby? And what’s with stacking buttons both vertically and horizontally with no ergonomic logic?
The positioning of the Menu button is equally baffling. Sandwiched between two other buttons and noticeably chunkier, it’s relatively easy to identify by touch — unless you’re wearing gloves, in which case, good luck. Given the GFX 100’s premium build, wouldn’t it have been logical to include backlit buttons for nighttime shooting? This small feature would significantly improve usability in dark environments.
GFX 100 + GF32-64mmF4 R LM WR @ 64mm, ISO 100, 1/12, f/11.0
On a positive note, Fuji got the main grip right — it’s spacious, contoured well, and fits large hands comfortably. Unfortunately, the same can’t be said for the vertical grip. It’s slippery, lacks ergonomic depth, and feels more like an afterthought than an integral part of the camera. It’s difficult to grasp why Fujifilm opted to use two entirely different grip styles on one body. After all, users aren’t likely to switch grips mid-session.
It seems Fuji could benefit greatly from bringing in a top-tier industrial design team to reimagine its professional camera layouts — something akin to what Nikon did with its D3 series.
GFX 100 + GF100-200mmF5.6 R LM OIS WR @ 100mm, ISO 125, 1/20, f/8.0
All these critiques might paint the GFX 100 as ergonomically flawed — and in many ways, it is. Still, Fuji got several things right. For instance, the top OLED panel is fantastic. It’s highly customizable and offers essential shooting information at a glance. Likewise, the secondary OLED beneath the main screen is a valuable addition, providing data such as exposure settings, histograms, and more.
The rear LCD is another standout. It’s generously sized, sharp, and — most importantly — it tilts. And not just upward or downward; it also swings sideways, which is especially helpful for vertical shots whether handheld or on a tripod. Fuji even aligned the screen’s aspect ratio (4:3) with that of the sensor, so no screen space is wasted.
GFX 100 + GF100-200mmF5.6 R LM OIS WR @ 103.6mm, ISO 100, 1/340, f/8.0
The electronic viewfinder (EVF) is another strong point. Featuring a 5.76 million-dot resolution, it far surpasses the older GFX 50S’s 3.69 million dots and delivers a noticeably smoother 85 FPS refresh rate versus the former 60 FPS. This detachable EVF works similarly to its predecessor’s but is currently exclusive to the GFX 100. If you’d prefer angled viewing, there’s an optional tilt adapter available separately.
Ignoring the small, plastic-feeling buttons and dials, the overall construction is superb. The GFX 100 boasts a rugged magnesium alloy body designed for durability in harsh conditions. The only fragile components seem to be the OLED screens — a hard drop could damage them, potentially resulting in costly repairs.
GFX 100 + GF110mmF2 R LM WR @ 110mm, ISO 200, 1/500, f/2.0
After several months of usage, I found the camera’s ergonomics to be underwhelming, especially in comparison to the GFX 50S. Given its size, Fuji could have integrated larger and more logically positioned buttons. Every control element should have had a clear label and ideally some form of illumination for nighttime use. The vertical grip should mirror the texture and comfort of the primary grip. Navigation buttons, which were omitted, would have made menu browsing significantly easier — particularly when wearing gloves. Additionally, the joystick design could be improved; a larger, more tactile alternative would be much more user-friendly than the small, plasticky one currently in place.
GFX 100 + GF23mmF4 R LM WR @ 23mm, ISO 100, 6 sec, f/16.0
Menu System and Firmware Updates
Thankfully, Fuji stuck with its familiar menu interface found across its GFX and X-series models. If you’ve used a Fuji camera before, you’ll instantly recognize the layout. Apart from some additional customization options, the structure remains largely unchanged — and that’s a good thing. Personally, I appreciate how Fuji organized its menus. As someone used to Nikon’s approach, I favor having primary and secondary menus on the left side and love how easy it is to curate a personalized “My Menu” section. Fuji’s menu design is intuitive and efficient — a clear win over some overly complicated alternatives on the market.
GFX 100 + GF100-200mmF5.6 R LM OIS WR @ 200mm, ISO 125, 1/50, f/8.0
Early versions of the GFX 100 firmware were plagued with stability issues and minor bugs, but these were promptly resolved through updates 1.01, 1.02, and 1.03 (current as of November 2019). After upgrading to the latest firmware, I experienced no technical hiccups during fieldwork. Now that the system is stable, future updates are expected to introduce new features — especially as next-gen models roll out. Given the GFX 100’s flagship status, it’s sure to receive premium updates, assuming the hardware is capable of supporting them.
