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I never thought I’d be smitten by a camera with obvious limitations – but here we are. The Fujifilm GFX 100RF walked into my kit bag with its awkward fixed lens and price tag that made my credit card wince, and yet, it’s quickly become my companion for real-life shooting. Let me take you on a rambling (and sometimes sentimental) journey through why this oddball medium format might just be a better travel partner than perfection.
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Quirks That Stole My Photographer’s Heart (or Really Annoyed Me)
Camera Strap Design: The Unsung Hero of Comfort
Let’s start with something that’s rarely talked about in camera reviews, but makes a world of difference in daily use: the camera strap. I know, it sounds almost petty, but after years of suffering through those scratchy, awkward, and downright ugly straps that most camera manufacturers insist on including, the Fujifilm GFX 100RF’s strap is a breath of fresh air. As I’ve said before,
“Camera manufacturers have been producing these terrible straps for such a long time and this one I can see myself actually using.”
It’s the little comforts that matter when you’re out shooting for hours. The strap here is soft, sits nicely on the shoulder, and doesn’t dig into your neck. It’s a small detail, but it genuinely improves the camera ergonomics and makes the GFX 100RF feel like a true compact camera you’d want to carry everywhere. Sometimes, it’s these overlooked touches that quietly win your heart.
Fixed 35mm F4 Lens: Method in the Madness
Now, let’s address the fixed 35mm lens (which is a 28mm equivalent in full-frame terms). This is probably the most controversial design choice on the GFX 100RF. It’s not everyone’s cup of tea, and I’ll admit, I was sceptical at first. Many will point out that an f/4 aperture isn’t exactly ideal for low light, especially when you compare it to rivals like the Leica Q3 or Fujifilm’s own X100 series, both of which offer faster lenses.
But here’s the thing: after a few days of real-world shooting, I started to see the method in this madness. The fixed lens forces you to move, to think about your framing, and to engage more with your surroundings. It’s a creative limitation that, oddly enough, makes you a better photographer. And while f/4 isn’t the fastest, the medium format sensor more than makes up for it with gorgeous depth and detail, even when the light isn’t perfect.
Digital Teleconverter: From Mockery to Must-Have
I’ll be honest: I usually roll my eyes when manufacturers add digital teleconverters. They always feel like a bit of a gimmick. But with the GFX 100RF, I found myself using it again and again. The digital teleconverter lets you simulate 45mm, 63mm, and 80mm focal lengths, all at the tap of a button.
“Usually when they bake in this kind of stuff I mock it, but here I ended up using it all the time.”
It’s surprisingly useful for daily shooting, letting you quickly adapt to different scenes without the bulk of extra lenses. The image quality holds up better than expected, and it genuinely expands what you can do with this fixed lens setup. It’s one of those oddities that, against all odds, enhances the compact camera experience.
Design Oddities: Subtle Branding and the IBIS Debate
Another quirk that stood out is the lack of any brand name on the front of the camera. It’s a subtle, almost stealthy design choice that I’ve grown to appreciate. There’s something quietly confident about a camera that doesn’t need to shout its name from the rooftops. It fits the understated, professional vibe of the GFX 100RF perfectly.
Finally, let’s talk about the elephant in the room: the lack of in-body image stabilisation (IBIS). Many critics have called this a deal-breaker, but in practice, I didn’t find it to be the death knell they proclaim. The camera ergonomics and the overall balance of the body make it surprisingly steady in hand, and the sensor’s performance means you can push the ISO without fear. Yes, IBIS would be nice, but it’s not the end of the world.
In the end, these quirks—some delightful, some divisive—are what give the Fujifilm GFX 100RF its unique character. They’re the reasons I found myself falling for this camera, flaws and all.
Shooting in the Real World: Image Quality, Dynamic Range, and Surprising Versatility
Let’s get straight to it: the 102MP medium format sensor in the Fujifilm GFX 100RF is, quite frankly, a showstopper. In the real world, this translates to a level of detail that borders on the absurd. Even when you crop in tightly—far more than you’d dare with most cameras—you’re still left with files that sing with sharpness and nuance. I found myself zooming in 13 times on a GFX image, and the detail held up beautifully. To put it simply, the amount of detail and the sort of grain profile is really excellent.
Low-Light Handling: Better Than Rumour Suggests
One of the big questions with any high-res, medium format camera is: how does it handle low light? I put the GFX 100RF through its paces at ISO 8,000, f/4, 1/60 sec—settings that would make most sensors sweat. The result? Surprisingly clean images, with a pleasing grain structure that feels almost filmic rather than digital noise. When compared side-by-side with a Leica Q3 (admittedly, a different beast), the GFX’s files retained more detail and a subtler grain, even when pushed hard in post. JPEGs straight out of camera were impressive, but the real magic comes alive in the RAWs.
The amount of detail and the sort of grain profile is really excellent.
Dynamic Range: Highlights, Shadows, and Everything In-Between
Dynamic range is where the GFX 100RF truly flexes its muscles. I shot scenes with harsh, overpowered highlights and deep, inky shadows, and the sensor managed to preserve detail across the board. There’s a particular photo I keep coming back to: the background is almost blown out, yet the subject and shadow details remain intact. It’s the kind of performance that gives you confidence to shoot in tricky lighting, knowing you can recover highlights or pull up shadows without the file falling apart.
This photo kind of shows it off the most… background highlight situation is overpowered but you still got a lot of detail there.
Creative Flexibility: Film Simulations and Aspect Ratio Dial
Of course, it wouldn’t be a Fujifilm without those legendary film simulations. The GFX 100RF offers more than 20, each with its own character—Classic Chrome for muted nostalgia, Velvia for punchy landscapes, Acros for crisp monochrome, and so on. These aren’t just marketing fluff; they genuinely change the mood and feel of your images, letting you experiment with colour and tone in-camera. It’s a playground for creative expression.
Then there’s the aspect ratio dial, which I found surprisingly addictive. With a quick flick, you can switch between a dizzying array of ratios: 4x3, 3x2, 16x9, 65x24, 17x6, 3x4, 1x1, 7x6, 12x4, 5x4—each perfect for different genres or moods. The camera even gives you a little visual “Easter egg” on-screen, showing which classic camera it’s mimicking as you change ratios. It’s a small touch, but one that makes you want to experiment with framing, whether you’re after cinematic wides or classic squares.
- 102MP medium format sensor delivers insane detail, even when cropping
- Handles high ISO (8,000 and beyond) with grace—grain is pleasing, not distracting
- Dynamic range means you can shoot in harsh light and still recover highlights/shadows
- Film simulations and aspect ratio dial foster genuine creative flexibility
In the real world, the GFX 100RF isn’t just a studio queen—it’s a surprisingly versatile tool that inspires you to push boundaries, experiment, and trust that your images will hold up, no matter the conditions.
Comparing Apples to Pears: GFX 100RF vs. Leica Q3 in the Wild
Let’s be honest: putting the Fujifilm GFX 100RF up against the Leica Q3 is a bit like comparing apples to pears. On paper, they’re both premium cameras, but in the wild, their differences become strikingly clear. I took both out for a spin—same scene, same light, same moment—to see how they really stack up. If you’re weighing up a Leica Q3 comparison or wondering if a medium format camera is worth the leap, here’s what I found.
Sensor Size vs. Lens Speed: What Matters More?
We all know the Leica Q3 comes with that lovely 28mm f/1.7 Summilux lens. It’s fast, bright, and in theory, should be a low-light monster. The GFX 100RF, on the other hand, sports a 35mm f/4 (28mm equivalent) lens—hardly a speed demon. But here’s the twist: sensor size and resolution can trump lens speed in real-world shooting.
When I zoomed into both JPEGs—13x for the GFX, 7x for the Leica—you can really see the amount of detail that has been retained. The GFX’s 102MP medium format sensor simply pulls out more texture, more nuance, and more “realness” from the scene. As I said on the day,
You can really see the amount of detail that has been retained… the performance here from the GFX 100 RF I’d say is actually a little bit better.
Even with the Leica’s wider aperture, the GFX’s bigger pixels and massive resolution mean you’re not missing out in low light as much as you’d think. In fact, the GFX’s image quality is, in most cases, a step ahead—especially when you want to crop or print big.
What Does 102MP Buy You Over Leica’s Full-Frame?
Let’s talk about the real-world perks of all those megapixels. With the GFX 100RF, you can shoot wide, then crop in with wild abandon. I found myself zooming in on distant details—like the spires of Cardiff Castle—showing them off to curious tourists on the back screen. Even after digital zoom and cropping, the GFX held up. Sure, at extreme zoom it turns to mush, but you can still make out details that the Leica simply can’t resolve at the same crop.
This is where the medium format camera shines. If you’re into landscapes, travel, or want to print your work massive, the GFX gives you flexibility the Leica Q3 just can’t match. The difference is even more pronounced when you shoot RAW, but even the JPEGs tell the story.
Are You Really Missing Out Without a Fancier, Faster Lens?
It’s easy to get caught up in lens envy. The Leica’s f/1.7 is tempting, especially for street and low-light work. But in practice, the GFX’s larger sensor and pixel size mean you don’t need to chase the lowest aperture number. I found myself stopping down anyway for sharpness and depth of field. For most quality-focused shooters, the GFX’s “slower” lens is more than enough.
Field Performance: Where Each Camera Shines
- GFX 100RF: Ideal for landscapes, travel, and fine art. The image quality, detail retention, and cropping power are unmatched. Perfect if you want to see it, crop it, and print it massive.
- Leica Q3: Brilliant for fast action, street, and low-light situations where you need to react quickly or want subject separation. The faster lens and smaller body make it more nimble, especially if you’re chasing your dog at dusk.
In my real-world Leica Q3 comparison, the GFX 100RF consistently edged ahead for image quality, but the Leica still holds its own for speed and simplicity. Ultimately, it’s not all about aperture size—sensor matters, and the GFX proves it in the wild.
Ergonomics, Everyday Use, and Those Unexpected Joys (and Frustrations)
Let’s talk about camera ergonomics and design—because, honestly, the Fujifilm GFX 100RF is a bit of an oddball at first glance. Its body is the smallest and lightest in the GFX range, and yet, when you first pick it up, you might wonder if that compact body will actually be comfortable in the real world. I’ll admit, my first outing with it ended with me tripping over the stairs (not my finest moment), but that’s more a reflection on my clumsiness than the camera itself.
Wonky Body Shape, Surprisingly Comfortable
Despite its unconventional silhouette, the GFX 100RF just works in practice. The grip is deep enough for a secure hold, and the overall balance is spot on, even with the lens attached. It’s the kind of camera you can sling over your shoulder and forget about—until you need it, of course. The camera strap design is simple but effective, making it a joy to carry during long days wandering city streets or hopping on and off trains. The compact body means it fits in my bag alongside other gear, which is a real win for travel and urban shooting.
No Branding, All Function: The Joy of Switches and Dials
One of the quirks that stands out is the lack of a big, bold Fujifilm logo on the front. At first, I missed it—there’s something reassuring about a brand name. But once I started shooting, I realised it’s the design choices that matter. The switches and dials are a tactile delight, especially the aspect ratio dial. Changing settings is intuitive, with each switch giving a satisfying click. It’s a reminder that physical controls can make or break the shooting experience.
The filter attachment system deserves a mention too. Unscrewing the front ring and lining up the notches to add a filter or lens hood is oddly satisfying. It’s secure, quick, and feels like a nod to old-school film cameras—a little ritual that makes you feel connected to the process.
The Viewfinder: A Genuine Surprise
I’ve used a lot of electronic viewfinders, but the GFX 100RF’s 5.76 million dot OLED is, quite simply, the best I’ve used in years.
That is a 5.76 million dot OLED viewfinder and is absolutely beautiful to behold.
The clarity is astonishing, with colours and details popping in a way that makes composing shots a pleasure. Whether you’re shooting in bright sunlight or low light, this viewfinder never misses a beat. It’s a real confidence booster, especially when you’re trying to nail focus on the move.
Everyday Use: Seamless, Mostly Joyful, Occasionally Frustrating
In daily use, the GFX 100RF is a bit of a paradox. On one hand, the ergonomics absolutely fantastic—
makes the experience of taking photographs seamless.
The tilt screen (3.15 inches) is bright and responsive, perfect for those awkward angles or quick street shots. The film simulations are back, and while there’s no dedicated dial like on some other Fujifilm models, the colours straight out of camera are genuinely lovely.
Attaching the lens hood is another unexpected pleasure. It clicks into place with a reassuring snap, echoing the feel of classic film cameras. It’s these little tactile moments—switches, dials, hoods—that make the GFX 100RF a joy to use, even when you’re juggling bags, umbrellas, and the odd bit of British drizzle.
Of course, no camera is perfect. The price tag is hefty, and there are quirks—like the missing film simulation dial—that might irk long-time Fuji fans. But in the real world, the handling, design, and shooting experience come together in a way that’s hard not to love, flaws and all.
Creative Playgrounds: Film Simulations, Aspect Ratios, and Shooting Oddities
One of the first things that drew me to the Fujifilm GFX 100RF was its creative toolkit—those signature Fujifilm film simulations that have become almost legendary among photographers. I’ll admit, on other Fuji bodies, I’ve sometimes ignored them, preferring to shoot RAW and tweak later. But here, with over 20 film simulations at my fingertips, I found myself reaching for them time and again. Whether I wanted the punchy vibrance of Velvia for a cityscape or the gentle nostalgia of Classic Chrome on a rainy morning, the GFX 100RF delivered colours and tones straight out of camera that felt both authentic and inspiring. Having the film simulations back again is great—and this time, they’re not just a gimmick, but a genuine part of my creative workflow.
What’s more, the aspect ratio options on the GFX 100RF are a joy to explore. There’s a dedicated on-screen dial that lets you flick between classic formats—4:3, 3:2, 16:9, 65:24, 17:6, 3:4, 1:1, and more. It’s a small touch, but it mimics the experience of shooting with old film cameras, and there’s actually a little secret Easter egg with this feature on the camera. Hidden icons pop up when you switch ratios, a playful nod from Fuji to those who love to tinker. It’s the sort of detail that makes you smile mid-shoot, and it encourages experimentation. I found myself composing differently, thinking in panoramas or squares, and letting the frame guide my vision rather than cropping later. These little surprises are part of what makes the GFX 100RF feel like a true creative playground.
Then there’s the digital teleconverter functionality, or as Fuji calls it, the digital crop modes. With a quick tap, you can simulate 45mm, 63mm, or 80mm focal lengths, all without swapping lenses. At first, I thought I’d never use it—surely it’s just a digital crop, right? But in practice, it’s a lifesaver for spontaneous moments. When I needed to grab a tighter shot of a subject across the street, or frame a portrait without moving my feet, the digital teleconverter saved the day. The resulting files are still massive, and the quality drop is barely noticeable for most uses. It’s another tool that adds flexibility and fun, making the GFX 100RF feel less like a stuffy medium format camera and more like a versatile companion for real-world shooting.
Of course, all this creative freedom comes at a price. The GFX 100RF pricing sits at around £4,699 for the body alone—a serious investment by any standard. But when you stack it up against rivals like the Leica Q3, it’s actually quite competitive. What you get for that money isn’t just technical excellence (though the 5.76 million dot OLED viewfinder and 3.15-inch tilt screen are both outstanding), but a camera that invites you to play, experiment, and fall in love with photography all over again. The build quality, the tactile controls, the thoughtful details like the lens hood and filter system—they all add up to an experience that’s as much about joy as it is about performance.
In the end, the Fujifilm GFX 100RF isn’t perfect. There are quirks, and it’s not cheap. But for those who value creativity, flexibility, and a bit of magic in their shooting, it’s worth every penny. It’s a camera that makes you want to get out, see the world differently, and capture it in ways you hadn’t imagined. And for me, that’s the real measure of value—fun and inspiration, as well as flawless files. The GFX 100RF delivers both, in spades.
TL;DR: The Fujifilm GFX 100RF feels less like a technical tool and more like a stubborn but charming friend: quirky, a bit unpredictable, but packed with depth, beauty, and creative surprises.
