Another big set of camera gear announcements this week comes from Fujifilm, which released its GFX 100S and X-E4 camera bodies, along with a few G and X mount lenses. The Fuji GFX 100S is basically a mini-GFX 100, minus the grip and slightly inferior features at a price point of $5,999, or roughly $4K cheaper than its big brother. It comes with the same excellent 102 MP medium format BSI CMOS sensor, the same X-Processor 4 image processor, and an improved in-body image stabilization system (IBIS). The GF 80mm f/1.7 R lens is Fuji’s fastest lens produced to date (roughly 63mm f/1.34 full-frame equivalent). The lens will retail for $2,299 MSRP when it is released together with the GFX 100S in March.
The main difference between the GFX 100 and the new GFX 100S is in body size (the GFX 100 is much larger and has a built-in vertical grip). Fuji engineers were able to reduce the footprint of the newer 5-axis IBIS by 20%, which allowed them to reduce the overall size of the camera, while simultaneously being able to improve stabilization by 0.5 stops to provide a total of 6 stops of stabilization by CIPA standards.
Size-wise, the new GFX 100S measures just 15cm x 10.4cm x 8.7 cm, which makes it comparable to other full-frame cameras. That’s very impressive, considering how large the mount and the sensor of the GFX 100S are.
Speaking of the sensor, the 102 MP BSI CMOS sensor is absolutely amazing. Having previously used the GFX 100 (see my Fuji GFX 100 Review), I was blown away by the image quality of the sensor, as well as with the amount of detail I could get with Fuji’s excellent GF lenses. Take a look at the below sample image that I captured with that camera:
Without a doubt, this is one of the best sensors on the market today for high-resolution work. So if you are a landscape, architecture or studio photographer who is looking for the ultimate tool that basically beats everything else out there in the sub-$10K medium format category, the GFX 100S is basically it.
When it comes to ergonomics, I really wish Fuji added the D-Pad back to all of its cameras, because the joystick is a pain to use with gloves on. I also wish Fuji started putting labels on its buttons so that you don’t have to guess what they do. Thankfully, there are only three unlabeled buttons compared to nine on the GFX 100 (come on Fuji, don’t do that!).
At the same time, I am happy to see that this camera retains the excellent LCD screen from the GFX 50S and GFX 100 that can be tilted both horizontally and vertically. This makes it so much easier to shoot with the camera in any orientation.
The non-removable EVF has a total of 3.68 million dots, which is inferior to the GFX 100 that has a 5.76 million-dot EVF. It also offers a reduced magnification of 0.77x versus 0.86x on the GFX 100.
Fuji chose the newer NP-W235 battery from the X-T4 on this camera, which can yield around 460 shots on a single charge (per CIPA standards). Not a big deal for new owners, but potentially disappointing for those who already own a bunch of NP-T125 batteries used on previous-generation medium-format cameras from Fuji.
Similar to its bigger brother, the GFX 100S can also shoot 4K videos (DCI or UHD 4K) at 30 FPS, up to 400 Mbps. If you want to record videos externally, it can manage 10-bit 4:2:2 or 12-bit RAW data stream through its HDMI port.
When it comes to storage, the camera has 2x UHS-II compatible SD memory card slots, which should provide plenty of speed even when capturing images at 5 FPS, which is the maximum continuous shooting speed of the camera.
The new GF 80mm f/1.7 R WR looks very exciting as well. At 795 grams, it is a pretty lightweight medium format lens for its large aperture, especially when compared to the much-bulkier GF 110mm f/2 R LM WR that weighs over a kilo. I am a huge fan of the GF 110mm f/2 R LM WR lens, but for travel and portraiture work, it is a beast to carry around. If the new GF 80mm f/1.7 R WR is as sharp as the GF 110mm, that’s would make it the ultimate portrait lens for the GFX cameras. It is also $500 cheaper, which is an added bonus.
Overall, both the Fuji GFX 100S and the GF 80mm f/1.7 R WR look absolutely amazing. I can’t wait to try out this combo when it becomes available in March. Time to sell my GFX 50S!
Official Press Release
Below is the official press release from Fujifilm:
More than Full Frame: Fujifilm Announces New FUJIFILM GFX100S Mirrorless Digital Camera
The Best of Fujifilm’s Image Making Technology In A Portable, Large Format, Mirrorless Camera Body
Valhalla, N.Y., January 27, 2021 – FUJIFILM North America Corporation is pleased to announce the release of FUJIFILM GFX100S digital camera (GFX100S), the fourth large format mirrorless camera in Fujifilm’s GFX System.
“Fujifilm has taken the groundbreaking ideas that lead to the development of FUJIFILM GFX100 and now combined them with an approach rooted in portability, to create GFX100S — a camera that provides photographers and filmmakers with an unbelievable opportunity to take large format image-making to places it has never been before,” said Victor Ha, senior director of marketing and product development for FUJIFILM North America Corporation, Electronic Imaging Division.
Refusing to sacrifice performance for portability, Fujifilm has developed one of the most compact, high-performance, large format cameras in the world. GFX100S is more advanced than any GFX System camera to date and combines the best of Fujifilm’s imaging technology into a camera that weighs just 1.9lb (900g). Similar in size to most full-frame cameras, but beautifully engineered and designed with a 102MP sensor – 1.7 times larger*1 than a full-frame sensor – GFX100S also offers up to 6-stops*2 of five-axis in-body image stabilization (IBIS), incredibly fast and accurate autofocus, and world-renowned color reproduction to help image makers push the limits of their creativity.
102MP Images – Made with the Speed of a Compact Mirrorless Camera
– Powered by Fujifilm’s high-performance quad-core X-Processor 4 CPU, GFX100S utilizes its 102MP, back-illuminated large format CMOS sensor to deliver images with stunning quality. Compared to smaller, lower-resolution sensors commonly found in traditional full-frame DSLR and mirrorless cameras, GFX100S’s imaging sensor is approximately 1.7 times larger and is enhanced to be incredibly sensitive to light. This provides it with a significant advantage over smaller sensors when it comes to producing images with incredibly shallow depth of field, fantastic dynamic range, faithful color reproduction, and outstanding, high-ISO performance.
– With a choice of 19 exclusive FUJIFILM Film Simulation modes, it is easy to achieve fantastic color straight out of camera. GFX100S includes a new Film Simulation mode to explore — Nostalgic Neg. Reminiscent of American New Color Photography, which emerged in the 1970s, Nostalgic Neg continues this movement by enabling image makers to explore the boundaries of photographic creativity through the deliberate use of color. “This Film Simulation mode adds an amber tone to highlights for a uniquely soft look and boosts saturation to shadows, while still preserving details, to deliver images that feel both familiar and unfamiliar all at the same time,” said Ha.
High-Performance Mirrorless AF Made for Large Format, Even in Low Light
On-sensor phase detection pixels cover almost 100% of GFX100S’s imaging sensor, unlocking a level of autofocus performance never before seen in large format digital photography. GFX100S can acquire focus in as little as 0.16 seconds, even in luminance levels as low as -5.5EV*3 making it versatile, accurate, and incredibly fast. Powered by X-Processor 4, the camera is also easily able to efficiently make use of an updated focus tracking algorithm to keep subjects in focus when using the Tracking AF and Face/Eye AF functions.
Compact, 5-axis In-Body Stabilization (IBIS) delivering up to 6-stops of Vibration Reduction
– GFX100S features a newly designed IBIS system, which dramatically expands the capability of photographers to confidently create handheld images. Compared to the unit found in FUJIFILM GFX100, the IBIS mechanism inside of GFX100S is 20% smaller and 10% lighter. However, despite this reduction in size, the five-axis system provides 6-stops of CIPA-rated image stabilization, a 0.5-stop improvement over GFX100.
High-performance; Designed for Portability and the Elements
– Measuring 5.9in. wide, 4.09in. tall, and 3.4in. deep (15cmx10.4cmx8.7cm), GFX100S’ compact body is comparable in size to many full-frame cameras. However, despite its compact size, it is still able to pack in a high-performance IBIS and a 102MP imaging sensor that is almost twice the physical size of a typical full-frame sensor. GFX100S features a redesigned shutter unit and a brand new IBIS unit, while taking advantage of a uniquely small, but very efficient lithium-ion battery. This results in a camera body that is approximately 2.3in (6cm) shorter and 1.1lb (500g) lighter than GFX100, but is able to maintain the same level of still image and video performance. To that end, the reduction in GFX100S’s physical size is well balanced by a highly robust grip, with a comfortable in-hand feel that makes it exceptionally easy to hold for extended periods of time.
– GFX100S is made to operate in temperatures as low as 14°F (-10°C) and to also be dust- and moisture-resistant. It is constructed with a magnesium alloy casing that is purposely 1mm denser around the lens mount as compared to GFX100, which provides added support for larger G Mount lenses.
Intuitive Controls for a Familiar Experience
– GFX100S features controls that will be familiar to GFX System photographers. For example, a PASM dial, with six programmable custom options, provides quick and direct access to frequently used settings, while a switch, conveniently located next to the mode dial, lets users quickly change between still and movie mode. An ergonomic update to the Focus Lever also makes choosing a focus point both easy and fluid.
– The camera features a 3.2in. LCD monitor on the rear and a 1.8 in. sub LCD monitor on its top plate, which can be customized to show key EXIF settings – like shutter speed, aperture, ISO sensitivity and exposure compensation – and set to display the status of key functions or available capacity on storage media. The 3.2 in., touch-capable LCD display is a 2.36-million-dot monitor with 100% coverage that can be tilted in three directions (90° up, 45° down, and 60° right).
A Large Format system delivering smooth, 4K/30P video
– With its large format imaging sensor, GFX100S is capable of recording incredibly cinematic 4K/30p movies that feature incredible shallow depth-of-field, impressive high-ISO performance, wide tonal gradation, and an overall image quality that is unmatched. Footage can be recorded at bit rates of up to 400Mbps in 10-bit 4:2:0 F-log internally saved to an SD card, or output to an external recording device via the camera’s HDMI port in either10-bit 4:2:2 F-Log or 12-bit RAW.
– In addition to being able to record 4K footage in a 16:9 aspect ratio, GFX100S also supports a 17:9 aspect ratio, frequently used in digital cinema. The most commonly used compression codecs, like H.264 and H.265 are also available. Additionally, professional standards, like REC.2100 supported Hybrid Log Gamma (HLG), or F-Log can be selected for complete creative control. Compared to using commonly available compression codecs, like H.264, recording footage in F-Log or HLG gives filmmakers much more flexibility in post-production as footage is brought through the editing and color grading process and adjustments are made to luminance, color saturation, or any other image attribute.
– When using an Atomos Ninja V Monitor Recorder, GFX100S is also capable of outputting 4K/30P footage through its HDMI port that can also be saved as a 12-bit Apple ProRes RAW file. This allows for maximum flexibility in post- production when it comes to the color-grading process. Simultaneous output of RAW footage and footage in F-Log or Hybrid Log Gamma (HLG) with a Film Simulation mode applied is also possible.
Pricing and Availability
GFX100S is currently expected to be available in March 2021 at a manufacturer’s suggested retail price of $5,999.95 USD and $7,800 CDN. An optional metal hand grip accessory for the GFX100S will also be available in March 2021 at a manufacturer’s suggested retail price of $149 USD and $195 CDN. For more information, please visit https://fujifilm-x.com/en-us/products/cameras/gfx100s/.
Are you planning to review GFX100S? And GF80mm F1.7?
Maybe you should have an article about FF being dead now.
I wonder how other FF cameras (esp R5, Z7ii, A1, A7R4) hold up against the GFX100s.. Considering the bigger sensor and the optics optimized for optical quality it should be better, but the big question is if its noticable in real life prints. And if shortcomings.such as handling, missing focal lenses etc do reduce the quality of the picture outside the lab.
If there was a MF camera I would consider getting, it would be this one. The GFX-100 looks too big and unwieldy while the GFX-50S has too small of a resolution for a MF body. I think this camera will be great for landscape images especially in national parks and elsewhere. Looking forward to your review of this when you get your hands on it.
Illogical pictures from Fuji: The switch button is on OFF but we can see the settings on screen. WTF ?
Does someone else noticed or it’s just me ?
Maybe it’s just you who catched the OFF switch, but also it could be the display is constantly ON or could be activated without switching the whole system ON. Like a LCD wristwatch… Or lie some cameras also show informations in their Top LCDs, even when the camera is OFF.
For me, sensor sizes of 44mm x 33mm are not true medium format! Medium format starts at about 56mm x 40mm. A Phase One comes quite close with approx. 53.4mm x 40mm. Maybe in the future there will be sensors with about 56mm x 56mm, classic film format with a Rolleiflex or a Hasselblad, or even with 56mm x 72mm. All the hype is just marketing. For portraits, sensor sizes with 36mm x 24mm and approx. 30MP are quite sufficient. If there is more than 30MP, then you have more crop latitude. Even landscape shots or even architecture shots with a Nikon D850 are good enough and completely sufficient compared to Fujifilm GFX. A good photo does not depend on the MP of the sensor. What would be more interesting for me would be for example a sensor with 36mm x 24mm and 45 MP but with 16 BIT per color.
Cok salak adamsin, gercekten. Your thinking is just strange…
I shoot mostly landscapes and architecture/cityscapes, and I regularly print at 24×36 and larger. My primary cameras have been from the Nikon D8xx series since the D800 came out, and I am very satisfied and pleased with the D850 use now. With all that as context, 100s has me seriously considering a change. I never really thought I would spend that much on a camera body nor go to medium format. But, I am very familiar with the output from the original GFX 100, and have to admit it is a noticeable step up from the D8xx’s – especially for my use cases – IMHO. The GFX 100 files are just stunning, but the original camera’s ergonomics are awful – and $10,000 is too much for me. But this 100s certainly sounds like a genuine “game changer”.
I’m in the same sort of boat. I own dual 750s but shoot landscapes with D850 and astro with D810A. I own the trinity plus macro and 50 prime and I’m selling all of it for a 100S. I’m excited about the size and resolution and tentatively interested in the 400MP shift option. Most of my print sales are 50-96″ wide acrylic and my files are generally 1-4GP using a robotic panoramic shooting device called PiXplorer. The 80mm 1.7 and the 100S seem like the dream team to me.
With my 4 year old computer, Lightroom already chokes on my 24MP raw files. I can’t imagine trying to work with a folder of 100MP files. What were your experiences processing these files compared to smaller images?
Hi Jason, my laptop is a 10 years old i7 and, on it, LR 6 (the last one one could buy) handles my D600″s 24 MP files perfectly. A while ago I replaced the HDD with a 1 TB SSD, which improve performance from fast (5 years ago) to flawless, even by today standards.
Sounds like you have a bottleneck somewhere. My computer is also 4 years old- 8700K cpu, 64GB ram, a 13TB fusion drive (12TB+1TB Gen 4 NVME), and 4k monitor with Radeon VII card. 500MP files don’t slow me down. Suspect you don’t have enough RAM which causes the software to constantly write RAM to disk (swap). Try a NVME drive and add more ram?
Appreciate your thoughts on new cameras by Fujifilm and Sony, I’m a Nikon user and a long time reader of your articles. Actually I learned a lot from you since I started following my passion of photography.
I own a D850 & Z7 currently along with about 7 lenses (most of them your recommended like Sigma 24-35mm f2 etc.). However, since Z7 came D850 is mostly left at rest unless I’m shooting BIF. Also being a hobbyist I was not sure if I really needed two cameras but I did buy Z7 and found it more convenient and useful than D850 and I strongly feel may be a single (do it all) camera body (which D850 is BTW) is all I need. As a matter of fact I agree with your conclusion on another recent article that mirror-less is the future and have so many benefits over DSLR to simply ignore.
With the announcement of Sony A1, GFX100S and to be announced Nikon Z8/9 professional bodies, would you endorse my opinion of having a single (do it all) mirror-less professional camera? If yes, do you see a significant reason to change system (I’ve only one Z lens) looking briefly at Sony & Fujifilm cameras?
Muhammad, thank you for being a reader!
I think at this point, it is hard to recommend one single camera from Nikon that can do it all – we are not there yet, especially for birding. However, once Nikon releases a sports-oriented mirrorless (which is surely going to happen, especially once the 400mm and 600mm lenses materialize), then you could potentially have a “do it all” camera.
Don’t change systems. It is not worth it. The grass always looks greener on the other side, but you are the one who will be paying for it.
The GFX 100S is a very specialized camera for portraiture, landscapes and studio work. It is not suitable for wildlife at all, and Fuji doesn’t even have long glass for it. The Sony A1 looks pretty amazing, but once again, you will be dealing with the huge cost premium and swapping the entire system out. Personally, I can’t stand Sony ergonomics. If Sony doesn’t change its body design, button layout and the horrid menu system (yes, even the new menu system on the A7S / A1 isn’t much better), I am not going to consider it. I’ve tried almost every Sony mirrorless camera since the NEX-series cameras, and I never liked the ergonomics. For me, it has always been between Nikon, Canon and Pentax from the ergonomics standpoint.
I know many are getting impatient with Nikon, but trust me, we will have an amazing camera system within the next year or two. Look at all the wonderful S glass. More is coming, and it is only going to get better.
Appreciated Nasim for an expert opinion while considering sincerely my loss over gains for converting to another camera system.
Yes, I expect the same too and that’s the reason I’ve mentioned Z8/9 in my comment. Fingers crossed and hoping for Nikon to come up with a professional Z camera soon.
Agreed that Nikon is going to get there. Bu if I was starting today with a fresh system, primarily for landscapes, I’d probably buy a GFX100s. Medium Format finally creeped down to FF price. I never considered 50s or 50R as gamechangers, but this one is. You are getting a massive increase in IQ compared to a 40-50MP FF with this camera. And the price difference is much lower now.
First of all, Fuji doesn’t sell medium format cameras… they are full frame plus at best with far smaller sensors than the 6×6 and 6×7 film medium formats of yore. As such they can’t draw the “medium format look” any better than a modern full format camera with fast lenses can. Buy it for resolution if you absolutely need that, but otherwise it’s no significant upgrade in image quality over a 45-60MP full frame.
Second, it looks to me like Nikon Z will never catch up to either Canon R or Sony E now. They just can’t seem to match the AF speed or precision that the R5/R6 and A7RIII-A1 have achieved and are presently at least two generations behind in AF with their Z7II/Z6II. I’ll wager that when we see a Z8 or Z9 come out later in 2021 that we’ll get yet another warmed over version of the AF system from the Z6/Z7 (which itself was a warmed over version of the AF system the Nikon V1 used in 2012).
I think Nikon has as good cameras as Sony does at the same price bracket. I don’t think Z7II is any worse than A7RIV, and Z6II isn’t any worse than A73. R5 and R6 are more expensive compared to Z6 and Z7, and they are not Mark II versions of R and RP, which were both quite inferior to Nikon offerings, and still are. Nikon’s first cameras into FF mirrorless were quite competitive, and still are. Canon’s R and RP was quite weak, and still are. R5 and R6 are amazing cameras, so I have no reason to think Nikon cannot get there if Canon could.
About sensor size, it does not really matter as long as the lenses and the resolution work together to give you that IQ increase, in real world scenarios. And GFX does exactly that. A 100MP GFX image is heads and shoulders above a 50MP FF image at the moment. So if IQ is what you care about, GFX would be the first choice. And even though Canon is rumored to release a 90MP FF camera, I have no clue whether RF lenses can actually resolve all that detail. On the other hand, all GFX lenses can resolve 100MP.
Well, Dogan, consider this. The pixel density of the smallish MF sensor in the GFX 100’s is exactly the same as that of the XT-3. So the GFX image quality is basically no better than a series of multiple XT-3 images stitched together. You are conflating image resolution with image quality. There’s much more to it than that!
But, by virtue, you could stitch 3 GFX images together and have a 300 MP image – sorry, don’t mean to be difficult, but I don’t find your point completely compelling re: stitching 30 MP images together equaling (and thereofore reducing) the value of the image quality of the MF body. Also, Shooting 100 MP in one shot is much easier than 3 and dealing with variation of clouds, wind effects on grass / trees etc. You have also missed that it can be used for portraiture, which I think stitching would be, well…. yeah.
Lastly, I think the point Dogan was making is that the 100 MP sensor can be resolved with the glass Fuji sells for the system – he is not sure that Canon’s current glass could effectively resolve 90 MP as is rumored for the upcoming hi-res body.
Hi Peter, granted one can stitch the GFX as well. And yes, if you need 100MP it is easier to get it in one shot.
My point is that I don’t particularly like the pixel density of the XT-3 as I find it comparatively noisy. Putting that same density onto the smallish sensor of the GFX only buys me 100MP of XT-3 level image quality. Even back in the early days of DMF the “medium format” cameras that were sporting high resolution had a pixel pitch advantage over full frame cameras sporting similar resolutions.
Lastly, IMHO using the GFX for portraiture is overkill. Waste of resolution, processing time, and storage space.
I had a look at the sensor size for the GFX after commenting, and discovered it is a small medium format. Was a little surprised that medium format sizing is a bit of a free-for-all… So, yeah, I can see your concern worrying about noise. Although, I am sure shooting at base ISO would be fine. I can’t comment on whether the GFX 100 MP medium format sensor is a purely upsized XT-3 – I’m pretty ignorant on Fuji sensors generally – but one would hope not for the big $$$ being outlayed.
RE: portraiture, I agree, but I am sure there are some who wish to print massive posters for gallery displays or commercial work, but it would be a minority I imagine.
EDITS: edited for clarity.
I mean, you could mount the GF250mm with 1.4TC and FF crop the MF sensor which would produce images with center to edge pristine sharpness and zero vignetting by tossing out the right side of the MTF dropoff.