Fujifilm GFX100RF

The Fujifilm GFX100RF is a medium format camera released in 2025, built around a 102 megapixel sensor. That resolution places it among cameras for very large prints and heavily cropped final images, the kind of work where fine detail is the goal.

The body weighs 735 grams, so it is a considered carry rather than a pocket camera. Weather sealing means a dusty trail or light rain does not end the shoot, which makes outdoor location work realistic.

It also records 4K video at 30 frames per second with 10-bit colour, so motion work sits comfortably alongside the stills.

The 102 megapixel medium format sensor defines this camera. That resolution leaves room for very large prints, and it lets you crop an image hard while keeping enough pixels for a clean final frame. For landscape, product and studio work, detail is the whole point, and the sensor commits to it.

A four-stop ND filter is built into the body. Engage it and you can keep the aperture wide in bright light, or hold the shutter open longer to blur moving water, without screwing a filter onto the lens or carrying a set of them in a pocket.

Flash sync reaches up to 1/2000, and technically up to 1/4000. Those speeds let you balance flash with daylight at wide apertures, keeping depth of field shallow for portraits, or let you darken the ambient light deliberately so the flash carries the frame.

The camera records 4K at 30 frames per second in both DCI and UHD versions. That covers standard delivery for online work, and 30p renders motion naturally for most subjects.

Colour is recorded at 10-bit 4:2:2, which holds far more colour and tonal information than basic 8-bit capture. In practice that means you can grade footage for mood and consistency without the banding that appears when 8-bit files are pushed hard.

ProRes support comes through external recording, so this codec option arrives via an attached recorder. That gives you an edit-friendly format for post-production, at the cost of extra kit to mount and manage on location, and it keeps the workflow tied to additional hardware.

Weather sealing is the key handling feature here. It lets you keep working through dust, splashes and light rain rather than packing up mid-shoot, and it is resistance to the elements rather than immersion.

Framing runs through an electronic viewfinder. The finder shows the sensor's live image, so you judge exposure and colour at your eye before shooting, instead of spotting mistakes on the rear screen afterwards.

The four-stop ND filter is built into the body, so light reduction is always carried with the camera, ready for bright conditions or longer exposures without fitting anything to the front of the lens.

Storage planning starts with the sensor. At 102 megapixels, each still is a large file, so cards and drives fill noticeably faster than with lower-resolution bodies, and spare cards earn their place on any long shoot.

Video adds to the data load. Footage is recorded at 10-bit 4:2:2, a colour depth that carries more information per frame than basic 8-bit capture, so a day mixing stills and motion fills capacity faster than a stills-only shoot.

ProRes support runs through external recording, so that footage collects on a separate recorder rather than on the camera. Two devices on a shoot means two sets of media to offload and keep track of afterwards, which adds a planning line for video-heavy days.