Fujifilm GFX 100

Medium format AF digital mirrorless camera

Specification

Production details
Announced:May 2019
System: Fujifilm G (2017)
Imaging plane
Maximum format:Medium format 44x33
Mount and Flange focal distance:Fujifilm G [26.7mm]
Imaging plane:43.8 × 32.9mm CMOS sensor
Resolution:11648 × 8736 - 102 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:3600 - 1/4000 + B
Sensor-shift image stabilization:Yes
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:1155g
Dimensions:156.2x144x75.1mm

Manufacturer description

Valhalla, New York, May 23, 2019 – FUJIFILM Holdings America Corporation today announced the upcoming release of its flagship GFX100 mirrorless digital camera, incorporating a newly-developed 102 megapixel (MP), 55mm diagonal length large format image sensor that is designed to deliver image clarity and capability previously unheard of in the photography and video industries.

The GFX100 features several ‘world firsts’ for a large format camera with an image sensor larger than the 35mm (full-frame) format: including its 102MP back-side illuminated sensor (BSI), in body image stabilization (IBIS) and on-board phase detection hybrid auto-focus (AF) with near 100% coverage. In addition to pioneering features, the GFX100 is fully equipped with Fujifilm’s unparalleled color reproduction technology and film simulations. Resulting from years of research and technological innovations, the GFX100 will provide photographers with exceedingly high-quality imagery and best-in-class camera responsiveness for filmmaking and photography in a simple-to-use large format system with a growing selection of lenses.

Offering large-format video capability, the GFX100 is the world’s first mirrorless digital camera with an image sensor of this size to offer 4K, 30p video recording capability (4:2:2 10-bit). These groundbreaking features make the GFX100 a camera of unparalleled innovation and versatility, fulfilling photography’s intrinsic mission of capturing and recording precious moments that may never be repeated with the utmost image quality.

Resolution Redefined: World’s First 100 MP BSI CMOS Sensor in a Mirrorless Camera The GFX100 pairs a newly-developed back-illuminated 102MP CMOS imaging sensor with Fujifilm’s blazingly fast X-Processor 4 processing engine to create a combination capable of outputting 16-bit images with amazing color fidelity, rich shadow detail, and incredible dynamic range. Its back-illuminated structure promotes crisp image quality by bringing the exposure plane in extremely close proximity to the color filter array, which results in ultra-low noise levels and a native ISO of ISO 100.

Noteworthy Stability When It Matters: World’s First Five-axis IBIS in a Camera Featuring an Image Sensor Bigger than the 35mm Format

High-resolution image sensors require high-level stability to ensure image sharpness. With built-in 5-axis image stabilization, GFX100 users are reassured that vibrations won’t interrupt the capture process. The function offers up to 5.5-stop image stabilization (when using the GF63mmF2.8 R WR lens). The entire shutter unit is suspended with four springs to minimize the effect of shutter shock. This dramatically broadens the scope of situations where a user can hand-hold the camera and still enjoy the world of 100MP+ ultra-high resolution, pushing the boundaries of photographic expression.

Practical Auto-Focus for Large Format: World’s First On-Board Phase Detection Hybrid AF with approximately 100% Coverage

Compared to traditional medium format digital systems, the GFX100 raises the bar in AF performance by utilizing phase detection pixels across the sensor to help photographers obtain focus wherever they choose to position their subjects in the frame. With 3.76 million phase detection pixels, at approximately 100% coverage, near perfect auto-focus performance with speed and accuracy is now a reality for photographers needing optimum performance in subject tracking, face/eye detection and low-contrast environments. The effect is particularly notable when using fast prime lenses, achieving speed improvement of up to 210% over the conventional contrast AF system used in GFX 50R.

Pushing Creative Boundaries for Filmmakers: Large Format Camera with 4K video at 30p

With a sensor size of 43.9mm x 32.9mm, the GFX100 supports filmmakers in achieving their creative visions. The new sensor and processor combination support 4K video recording at 30p with a unique cinematic look. It’s now a breeze to explore shallow depth-of-field, wide tonal reproducibility and extra high ISO sensitivity, producing high- quality video footage with detailed textures while reproducing three-dimensional definitions and even capturing the atmosphere of the scene. With the ability to apply Fujifilm’s highly respected Film Simulations (including ETERNA cinema film simulation mode), record in F-Log Rec 2020, and capture 4:2:2 10-bit uncompressed footage through the HDMI port, GFX100 should certainly be coming soon to a screen near you.

Dust-resistant, Weather-resistant, Lightweight and Highly Robust Magnesium Alloy Body with Integrated Vertical Grip

Maximizing its use for even the toughest conditions, the GFX100 has weather sealing in 95 locations across the camera body and detachable EVF to ensure an exceptionally high level of dust and moisture resistance. Photographers will have the opportunity to capture moments in even the most remote locations as the GFX100 can maintain reliable operation even under tough natural conditions.

Although it sports a large image sensor, the GFX100’s body is equivalent to that of a flagship 35mm full-frame DSLR camera in terms of dimensions (6.15” (W) x 6.44” (H) x 4.05” (D), measuring 1.93” at the thinnest part) and weight (approx. 3 lbs. including two batteries, memory card and EVF).

Designed for protection, the GFX100’s core imaging unit, consisting of the lens mount, image stabilization mechanism and image sensor, has been structured completely separate from the main body panels. This “double-structure” is designed to ensure a high level of precision and robustness while minimizing resolution degradation caused by external stress to the body. To maximize usability, the GFX100 incorporates a vertical grip, enabling effective use of in-body space.

Advanced Color Reproduction Technology, Delivering Astonishing Quality in Stills

The combination of the newly-developed image sensor and the fourth-generation X- Processor 4 processing engine means the camera supports the 16-bit RAW capture requested by many professional photographers seeking files that tolerate heavy post- processing. The GFX100 also features the newly-developed “Smooth Skin Effect” function, which automatically smooths the skin tone of the subjects, as is often performed in portraiture. It allows the photographer to skip a portion of post-processing work so that images captured with this function can be finished at an extremely high level of perfection, faster.

The GFX100 will be the flagship model of the GFX Series of mirrorless cameras, which have garnered strong praise from professional photographers and photo enthusiasts for their use of 55mm large format image sensor, measuring 55mm diagonally (43.8mm x 32.9mm) and providing approximately 1.7 times the area of the regular 35mm full-frame sensor.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.