The Case For Going Large

Smaller might be beautiful, but bigger is often better and that is certainly the case when it comes to imaging. That, of course, is hardly news and in photography, the larger the format the better the image quality on a technical level with less noticeable grain, superior fine detail retention and smoother tonality. 

When it comes to digital interchangeable lens cameras, we have three main formats, Micro Four Thirds, APS-C and 35mm full-frame and while each has its pros and cons, they are all very worthy contenders for your attention. Indeed, many creators own a mix of cameras and use whatever’s appropriate to the situation.

Most camera users believe the full-frame 36x24mm format is the pinnacle for its portability, versatility, image quality and the huge range of lens options. However, there is another alternative on the table. 

In the early days of medium-format digital capture, it was the almost exclusive province of the extremely well-heeled photographer, but that changed when Fujifilm introduced its GFX system. Based on an image format of 44x33mm, which is 1.7x larger than 35mm, the GFX system has brought medium-format photography within the reach of many more creators. 

Medium-format: Image quality

Fujifilm kicked off its medium-format system in 2016 with the GFX50S and then later in 2018 with the GFX50R, both of which featured a 51.4MP sensor. That changed in 2019 when the 102MP sensor was introduced in the GFX100. Since then, we’ve seen three more 102MP cameras and one 51.2MP product, the GFX50S II.

The GFX100S II’s 102MP sensor coupled with the quality of the GF lenses, makes the most of intricate detail. Taken with the GF45-100mm F4 R LM OIS WR with the pair on a tripod using an exposure of 1/9sec at f/11 and ISO 80.

With the highest resolution 35mm cameras offering 45MP and 61MP, having 102MP at your disposal is something special. 

Working with 102MP is a pleasure and producing a fine quality image is not all about pure resolution. Tonality and the ability to handle extreme contrast are just as important. The GFX100S II and other models can capture in 16-bit as well as 14-bit. Shoot 16-bit at ISO 80 and it is possible to record images with a wider dynamic range and lower noise than ever before.

For completely static scenes, there’s Pixel Shift Multi-Shot that comes in two forms in the GFX100S II. In 16-shot mode, once the files have been merged in Pixel Shift Combiner software, the result is an incredible 400MP image. 

Use the GFX100S II in normal photography, and files open out to 11,648×8736 pixels which, assuming 300ppi, gives a 38.8×29.1in print. Compare those statistics with a 45MP 35mm full-frame camera that gives files of 8192×5464 pixels which translate to a photo quality print of 27.3×18.2in.

The potential of a bigger print is important but so too is the capacity for cropping into a file for a bigger subject while still keeping a large image size. 

To demonstrate the difference between medium-format and 35mm full-frame, we shot the same scene with a Fujifilm GFX100S II fitted with a GF45-100mm F/4 R L OIS WR and a 45MP mirrorless 35mm camera with a standard zoom, with both zooms set to give the same angle of view. On both cameras, 14-bit Raws were captured at a range of ISO speeds from 100 to 6400 – the two extremes are shown here – and a Gitzo carbon fibre tripod was used.

The Raws were processed through Adobe Lightroom with default settings. The GFX100S II images (shown right) were magnified to 200% and the 35mm shots to 276% to give the same image size on screen.

With the two images at ISO 100, the medium-format shot showed superior smoothness, less noise, and excellent rendering of fine detail, which looked crystal clear compared with the 35mm frame. 

Moving on to the ISO 6400 shots, both photos show a high level of noise, as you would expect, but the medium-format image was significantly finer and intricate detail held up very well indeed.

There was no doubt that the image quality benefit of medium-format was immediately apparent on our test shots. 

Finally, before we leave image quality, it’s worth mentioning that one of Fujifilm’s super powers is its Film Simulation picture style modes. The GFX100S II has the full complement of Film Simulation modes including the recently introduced REALA ACE. Being able to select a particular style to add a look to your photos is a very powerful tool. 

Medium-format: Handling

The GFX medium-format sensor measures 44x33mm compared with the 36x24mm of the 35mm full-frame sensor, which works out at being 1.7x larger. On that simple premise, you would expect the medium-format camera body to be appreciably larger than the 35mm format body. However, that’s not the case and the GFX100S II body measures 150×104.2×87.2mm, which compares with 138.5×97.7x88mm of the Canon EOS R5 and 144x119x83mm of the Nikon Z8.

The GFX100S II’s design layout is clear and logical and promotes slick handling while features such as the in-body image stabiliser helps sharp stills shooting and smooth video.

Of course the larger format sensor does mean a wider diameter lens mount and GFX lenses are more rotund but a multiple lens outfit is still very portable for photographers working on location.

However, when we talk about camera handling in terms of adjusting and accessing controls and using the menus, the GFX100S II is just as intuitive and user-friendly as the slickest 35mm camera.

The GFX100S II has a maximum continuous shooting rate of 7fps with the camera’s mechanical shutter. Taken with the GF500mm F5.6 R LM OIS WR lens with an exposure of 1/2000sec at f/5.6 and ISO 500. The PROVIA/Std Film Simulation mode was used.

Where there is a clear difference in GFX cameras compared with smaller format cameras is the continuous shooting rate. A top-end 35mm format mirrorless camera, such as the Nikon Z8 and Sony A1 can race through full-size Raw frames at 20fps and 30ps, respectively. Inevitably, with the larger sensor and sheer quantity of data that has to be processed and written to card, a medium-format camera won’t have that level of shooting speed. However, the GFX100S II is capable of 7fps with its mechanical shutter which is more than a little impressive if you consider it’s a 102MP camera.

Medium-format: Lenses

The GF lens system has grown steadily since the system’s arrival. With the introduction of the GF500mm F5.6 R LM OIS WR telephoto, the GF lens system now stands at 11 primes including a macro, five zooms and two specialist tilt-shift optics. Fujifilm has more lenses in development.

With its larger 44x33mm image format, the Fujifilm G-mount has an internal diameter of 65mm so bigger than the mounts of 35mm format cameras. The lenses, focal length for focal length, are larger but still perfectly portable. A great example of this is the new GF500mm F5.6 R LM OIS WR, a powerful telephoto giving an equivalent focal length of 395mm in the 35mm format.

To work out the coverage of a GF lens compared with 35mm full-frame, multiply the GF lens’ focal length by 0.79x. So, the GF100-200mm F5.6 R LM OIS WR is a 35mm equivalent of a 79-158mm zoom and the GF50mm F3.5 R LM WR is a moderate 39mm wide-angle lens.

The camera’s eye/subject detect AF skills performed admirably on this parakeet in the garden. Taken on a GFX100S II with the GF500mm F5.6 R LM OIS WR lens with an exposure of 1/2000sec at f/5.6 and ISO 1600. The PROVIA/Std Film Simulation mode was used.

As you would expect, the GF lens system features the best of Fujifilm’s design and optical technologies. Eighteen currently available GF lenses have LM (linear motors) for super-swift and responsive autofocusing with virtually no noise, and five feature OIS (Optical Image Stabilisation) for shake-free shots at slower shutter speeds even on the GFX 50S and 50R that do not have in-body image stabilisers (IBIS). On IBIS-equipped bodies, the two stabilisers combine to give even more benefit. All except the two Tilt/Shift lenses are weather-resistant so will continue to perform flawlessly in adverse conditions.

All these design points are, of course, very welcome and desirable, but the most important characteristic is their advanced optical designs that give them the ability to resolve the finest details in a scene and make the most of the super-high resolution of GFX cameras. Whether you’re shooting with the GF20-35mm F4 R WR, GF55mm F1.7 R WR or the GF500mm F5.6 R LM OIS WR, you’re not going to be disappointed with their performance.

Medium-format: Summary

Medium-format may not suit all photographers (or not all subject genres), but that has been the case ever since the 35mm or roll-film question was first asked many years ago. 

In the digital world, the high prices of the latest top-end 35mm format equipment means the financial commitment of the two formats is comparable, subject to camera/ lens choices, so the deciding factor lies elsewhere.

Partner the GFX100S II with the right lens and you have a reasonably portable combination that works as a walkaround camera. Taken with the GF45-100mm F4 R LM OIS WR with an exposure of 1/160sec at f/11 and ISO 250.

For those photographers striving to get the most from their images and perhaps prefer a more contemplative working approach, medium-format digital capture is a compelling and realistic proposition thanks in no small manner to Fujifilm and its GFX system. 

As for the latest model, the GFX100S II, it is an outstanding picture-taking machine (read our review here) that’s hugely capable across a wide range of subject genres including action and nature. Throw in good portability, exquisite handling and the support of an ever-growing lens family, going medium-format the Fujifilm GFX way is seriously tempting.