My Fujifilm GFX 100 Mistake

The Fujifilm GFX 100 was released four years ago, and a replacement model is most likely coming out soon. Even so, I have been wanting to try out this 102 megapixel behemoth for a long time, and I was recently able to get one on loan from Fujifilm for review. After testing the camera, I realize that it was a mistake, and in this video, I tell you why.

For those of you who already realize where this is going, my "mistake" was not realizing how much I would love using the GFX 100. As this was the first GFX camera I've tried, as well as the first medium format digital camera, I had a bunch of expectations for how the camera would handle, how it would perform, and, of course, I expected the image quality to be superb. To say that the camera defied my expectations is an understatement. From the handling, to the performance, to the autofocus speed, and more, I was surprised and thrilled over and over with the GFX 100.

Regarding image quality, I had my biggest revelation. I knew the images would be extremely detailed and sharp, but the part that really impressed me most is regarding dynamic range and the latitude the files have in the editing room. For a portrait photographer who loves color grading, I found working with the files to be a real treat, and not nearly as cumbersome as I imagined they would be.

I'll sum up the video with a comment from a viewer regarding the potentially costly "mistake" I made by trying the GFX system. He simply says: "That’s why I would never, ever test drive a Ferrari."

I hope you enjoy this tongue-in-cheek review.

Pete Coco's picture

Pete Coco is a portrait photographer and musician based in New York. When not performing as a jazz bassist, Pete can be found in his studio working with a wide range of clients, although is passion is creating unique portraits of other musicians and artists.

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Fuji XT-5 shooter gets a GFX on loaner and likes it.
Sports at 11.

Fret not, time heals all. Well, sort of, maybe.

There are mant ways to mess up, for sure:)
I still think a fullframe canera is the optimal solution. The extra you get is a huge screen fascination and not required in any way.
Anyways I will be staying with my A7iii, it’s all I need. Not even upgrading. Maybe to mark 4 if I find a mint second hand. Better want to pay bills and travel.

I was a film photographer for 32 of my 42 year career. I retired In 2018. I made the transition to digital a bit early which ran parallel to film. I kept my early DSLRs longer than I wanted true but even so they were up to the task. I finally upgraded to a 2012 Nikon with 24.2 megapixels even though I didn't need it. I even shot medium format on Bronica for 20 years. I find the 24.2 similar to medium format and other that huge prints it is up to the task for anything, maybe even overkill for an old person. You have made a good choice to stay relevant and solvent. Yes, the used market is now a viable alternative to going broke on the latest thing.

When you started your career, the awarding factor for alot of commerical ad jobs was technical capability.

Today, it's often creativity.

In the film days, and early digital, the camera mattered. In 2023, so long as you have a 20+MP file and can tether into Capture One, you can pretty much shoot anything for anyone.

Anyone shooting a camera better than a D800 or 5D2, is doing it for quality-of-life reasons.