Fuji GFX 100 RF: an evolution in medium format
The announcement of the Fujifilm GFX 100 RF sparked a wave of excitement and debate among photography enthusiasts, including those like me who have found a faithful and versatile companion in the Fujifilm GFX 50R. This new addition to the GFX system promises to raise the bar with intriguing technical features but also introduces design choices that divide the photographic community. After years of experience with Fuji’s medium format — and the early X100/X100s — and with the recent addition of the Nikon Zf to my kit, I decided to put my thoughts in writing, comparing this new release with my personal journey and photographic habits. After all, as I’ve written many times here, my fascination with small cameras with great image quality has always guided my choice of photographic tools.
The absence of stabilization: an acceptable compromise?
One of the hottest topics concerns Fuji’s decision not to include an in-body image stabilization system (IBIS). For many photographers — or technically minded ones like Lloyd Chambers — this absence is seen as a major limitation, especially considering that the GFX 100 RF comes with an f/4 lens, not particularly bright.
In low-light situations — think poorly lit interiors, twilight or nighttime scenes — IBIS can make a big difference, avoiding the need to push ISO levels too far or use dangerously slow shutter speeds, risking motion blur and loss of detail. Recently, thanks to my Nikon Zf, I’ve personally experienced the benefits of effective IBIS: shooting static subjects handheld, without a tripod, has become child’s play, especially in low-light conditions.
Yet, thinking back to my history with the GFX 50R, I have to admit that the lack of IBIS never really held me back. In street or travel photography, I tend to prefer faster shutter speeds anyway — often 1/250 sec. In these dynamic situations, in-body stabilization becomes less relevant, and careful exposure management has always allowed me to get sharp images, despite the 50R’s somewhat outdated autofocus. In that context, typically the “F8 and be there” approach, an f/4 lens is hardly an issue.
In the case of this portrait, which I consider quite successful — taken spontaneously and under pressure, both for the subject and the camera — I even pushed it to 1/13 sec.
The “medium format look”
There’s an unknown: will the new lens be able to replicate the magic of the 45mm on the GFX 50R (even at f/4)? That piece of glass delivers a unique visual “character” — soft, three-dimensional, with that unmistakable quality of medium format (or “super full frame,” if you will) — that captivated me from the very first shot, reminding me of my old Rollei 6008. Only a field test will give me the answer. The first images available online, as often happens, are not very meaningful for evaluating such things.
Shutter and motion blur: a resolved limitation?
One aspect that actually caused me some frustration with the GFX 50R is its tendency toward motion blur, a problem tied to its non-leaf shutter. Over time, this pushed me to adopt even faster shutter speeds than I would’ve liked — a precaution that became part of my workflow (except in those moments, like the one above, where there’s no time to think). The GFX 100 RF, with its leaf shutter, seems to be addressing this very issue, promising a reduction in motion blur. That’s a feature I find very intriguing and definitely want to test.
100 megapixels: power and creative versatility
The 100-megapixel resolution of the GFX 100 RF is another attention-grabbing feature. A sensor like that requires strict discipline: fast shutter speeds are essential if you want to exploit every pixel without introducing the slightest motion. But this power comes with an upside: the ability to crop heavily in post-production without sacrificing quality. It’s an approach that closely resembles Leica’s philosophy (and marketing strategy), with their ultra-high-resolution sensors designed to offer creative flexibility — even if some critics see cropping as a “lazy” shortcut. This camera even includes a dedicated command for that function…!
The Ricoh GR’s 28mm
This camera inevitably reminds me of my Ricoh GR, a compact camera with a fixed 28mm lens that I always carry with me. At first, that wide focal length threw me off — used to more classic perspectives, closer to 35mm, I struggled to make the most of it. Over time, though, I learned to love its visual language, perfect for street photography and compositions that play with depth and context. With the GFX 100 RF, thanks to its extreme resolution, I could recreate similar perspectives in post-production, combining the versatility of cropping with the superior quality of medium format. It’s an idea that excites me — a bridge between two seemingly distant photographic worlds. Sure, it’s not yet as “small” as the GR, but it seems to condense all the power necessary for any type of use.
High ISO: software empowering hardware
When talking about photography in challenging light conditions — night scenes or dimly lit interiors — managing noise at high ISO sensitivities becomes critical. Recently, after testing several other tools, I found a powerful ally in software like DXO PureRaw, which removes digital noise with impressive precision while preserving detail and visual rendering. This makes me view Fuji’s decision to equip the GFX 100 RF with an f/4 lens — less bright, but more compact and manageable than faster lenses — from a different perspective. Today, working at high ISO is far less of an issue than it used to be, thanks to AI-based software that can compensate for some hardware limitations. This photo, taken with the Zf at ISO 25,600, was masterfully “cleaned up” with PureRaw… Who’s afraid of high ISO anymore?
Of course, there’s a price to pay: at high sensitivities, dynamic range suffers slightly, but it’s a compromise I gladly accept in exchange for portability and practicality. Fuji seems well aware of this balance between hardware and software, a trend increasingly common among modern camera manufacturers. In this sense, the GFX 100 RF appears to be a product designed for photographers who know how to make the most of today’s technological ecosystem, without being intimidated by seemingly modest specs that can be overcome in post-production.
Autofocus: the real test
Compared to the GFX 50R, the GFX 100 RF represents an impressive technical leap — but there’s one aspect that still leaves me cautious: autofocus. Don’t get me wrong: if I was content with the 50R, this one should be a breeze. And yet, after trying out the GFX 100S II, which shares much with this new model, I was left a bit lukewarm regarding its speed and accuracy. By comparison, the Nikon Zf has spoiled me with its responsive and reliable AF system, which I now enjoy using even in particularly dynamic situations. If the GFX 100 RF — thanks to its simpler lens and potential software improvements — delivers autofocus performance up to the task, it could truly convince me to make the switch. That’s a factor I intend to evaluate carefully, because in street photography, fast focus can be the difference between a great shot and a missed opportunity — unless you “resign yourself,” as I do with the 50R, to using zone focusing.
Conclusion: a future to explore
The Fuji GFX 100 RF is a step forward that expands the horizon of medium format, combining technical power with inspiring creative possibilities. Despite some questionable choices, this camera seems to embody Fujifilm’s innovative vision — always attentive to balancing tradition and modernity to meet the real needs of photographers. My GFX 50R will remain a cornerstone in my personal photographic story, with its extraordinary image quality and unique character. However, the GFX 100 RF is calling me: I want to test it in the field, to experience firsthand the rendering of the new lens, assess the autofocus, and see whether it truly has what it takes to become the next chapter of my photographic journey — maybe even replacing all my other cameras… except, of course, the Ricoh GR.
And what if tomorrow Fuji releases a Mark II version with IBIS? Life is now.
