When Fujifilm announced the GFX100RF on March 20, 2025, at the X Summit in Prague, it felt like the culmination of a decade-long dream for many photographers—myself included. As someone who’s spent years lugging around full-frame DSLRs and mirrorless bodies, only to fall in love with the compact simplicity of the X100V, the idea of a medium format camera that doesn’t require a sherpa to carry it was intoxicating. I’ve now had the chance to spend some quality time with this camera, and it’s safe to say the GFX100RF is more than just a novelty—it’s a game-changer that blends the best of Fujifilm’s heritage with a vision for the future.

Let’s start with the basics: the GFX100RF is a 102-megapixel medium format camera with a fixed 35mm f/4 lens (equivalent to 28mm on a full-frame sensor). It weighs just 735 grams with a battery and SD card, making it the lightest GFX camera to date. That’s lighter than the GFX50R (775 grams without a lens) and only slightly heftier than the X100VI. The body measures 133.5mm wide, 90.4mm tall, and 76.5mm deep, including the lens—a footprint that’s astonishingly compact for a medium format system. The top plate is milled from a solid block of aluminum, a process that takes five hours per unit, resulting in sharp edges and a premium tactile feel that screams craftsmanship. It’s available in two flavors: an all-black finish for understated elegance or a silver-and-black two-tone that nods to classic rangefinders.

The heart of the GFX100RF is its 43.8 x 32.9mm BSI CMOS II sensor, the same 102-megapixel beast found in the GFX100S II and GFX100 II. Paired with Fujifilm’s fifth-generation X-Processor 5, it delivers fast readout speeds, exceptional dynamic range, and low noise even at its native ISO 80. The fixed lens, a Fujinon GF 35mm f/4, comprises 10 elements in 8 groups, including two aspherical lenses, and offers a minimum focus distance of 20cm (7.9 inches). It features a leaf shutter capable of syncing with flashes up to 1/2000 (or 1/4000 with some limitations), and a built-in 4-stop neutral density (ND) filter adds flexibility for long exposures or wide-aperture shooting in bright light. The camera lacks in-body image stabilization (IBIS), a compromise to keep it compact, but the leaf shutter helps minimize vibration.

The viewfinder is a 0.84x magnification, 5.76-million-dot OLED EVF—bright, responsive, and a joy to use, though it’s purely electronic, lacking the hybrid optical/electronic option of the X100 series. The rear LCD is a 3.15-inch, 2.1-million-dot two-axis tilting touchscreen, perfect for waist-level shooting or subtle adjustments. A standout feature is the dedicated aspect ratio dial on the back, offering nine options: 4:3, 3:4, 5:4, 1:1, 3:2, 7:6, 65:24, 17:6, and 16:9. This dial, inspired by analog classics like the Fujifilm TX-1 and GX617, transforms how you frame your shots, especially with panoramic ratios like 65:24 and 17:6, which retain around 50 megapixels even when cropped. A digital teleconverter rocker on the front lets you zoom to 45mm, 63mm, or 80mm equivalents, cropping the sensor but still delivering ample resolution.

Using the GFX100RF feels like a love letter to photographers who crave both quality and simplicity. My first outing with it was a weekend trip to a coastal town, where I wanted to capture the rugged cliffs and vibrant street scenes without the burden of a heavy kit. Slipping it into a small shoulder bag alongside a notebook and a water bottle felt surreal—medium format has never been this portable. The tactile dials, particularly the shutter speed dial with its nested ISO dial, brought a nostalgic joy reminiscent of film cameras, while the solid click of the aperture ring on the lens grounded me in the moment. The aspect ratio dial became my new obsession; I found myself lingering on 17:6, watching the world stretch into a cinematic panorama that forced me to rethink composition entirely.

The image quality is, predictably, jaw-dropping. The 102-megapixel sensor captures detail so fine you can count the grains of sand on a beach or the threads in a stranger’s sweater from across the street. Colors pop with Fujifilm’s signature richness, and the 16-bit RAW files offer a dynamic range that lets you recover shadows or highlights with ease—up to five stops, by my reckoning. The 20 film simulations, including the new Reala Ace, add instant character; I shot a series of black-and-white portraits in Acros that felt straight out of a 1950s photo book. The lens, while a modest f/4, is tack-sharp from edge to edge, with minimal distortion and a pleasing bokeh for close-ups, thanks to its 9-blade aperture.

But it’s not all perfection. The lack of IBIS means you need steady hands or a tripod for slower shutter speeds, especially given the f/4 aperture’s light-gathering limits. I found myself pushing the ISO to 800 or 1600 in dim light, and while noise is well-controlled, it’s a reminder that this isn’t a low-light champion like the X100VI with its faster f/2 lens. Autofocus, powered by the X-Processor 5, is snappy for a medium format camera—faster than the GFX50S II, for sure—but it’s not on par with Fujifilm’s APS-C flagships like the X-T5. Tracking moving subjects, like a dog running on the beach, was hit-or-miss, though single-point focus nailed static scenes every time.

Battery life surprised me pleasantly. The NP-W235 battery, familiar from other Fujifilm bodies, is rated for 820 shots, and I easily got through a full day of casual shooting—around 600 frames—without needing a recharge. Dual UHS-II SD card slots offer flexible storage, and the option to record to an external SSD via USB-C is a nod to professionals who need massive file capacity. The kit includes a metal lens cap, a 49mm filter adapter (required for weather sealing), a protective filter, a square lens hood, and a braided rope strap—all thoughtful touches that elevate the unboxing experience.

So, who is this camera for? At $4,899 in the U.S. (or £4,699 in the UK, €5,499 in Europe), it’s not cheap, but it’s a bargain compared to the $5,999 GFX100S II body alone, let alone adding a lens. Street photographers will adore its portability and discreet profile, while travel shooters will appreciate the all-in-one design—no lens swaps needed mid-adventure. Landscape enthusiasts might miss IBIS and interchangeable lenses, but the ND filter and high resolution make it a contender. Portrait photographers can crop to 80mm and still have megapixels to spare, though the f/4 aperture limits shallow depth-of-field compared to faster GF lenses. Video shooters get 4K/30p, but the lack of IBIS and a fully articulating screen suggests Fujifilm prioritized stills here.

My personal experience with the GFX100RF was overwhelmingly positive, tinged with a few “if only” moments. I loved its weight in my hands—substantial yet manageable—and the way it encouraged me to slow down and savor each shot. The EVF’s clarity made framing a pleasure, and the surround view function (showing semi-transparent areas outside the crop) mimicked an optical viewfinder’s perspective, bridging the gap between digital and analog. I took it to a bustling market, shooting candids at 65:24, and the results felt like stills from a widescreen film—unique and arresting. Yet, in low light, I occasionally wished for a faster lens or stabilization; a tripod became my evening companion more often than I’d hoped.

Looking to the future, the GFX100RF feels like a proof of concept with room to grow. Fujifilm has taken a risk, and if the X100VI’s runaway success is any indication, it could pay off big. I’d love to see a Mark II with a faster lens—say, f/2.8—and a compact IBIS system, though that might push the size and price beyond its current sweet spot. A telephoto attachment, as some have speculated, could turn it into a portrait powerhouse without sacrificing its fixed-lens ethos. Fujifilm’s willingness to experiment with form factors suggests more surprises ahead—perhaps a GFX100RF Zoom with a modest 28-50mm range? For now, this camera carves a niche that blends the GFX’s professional prowess with the X100’s everyday appeal.

Pre-sale details have been a whirlwind since the announcement. Priced at $4,899, it’s available for pre-order from major retailers like B&H, Adorama, and Fujifilm’s own site, with shipping expected by April 7, 2025, in the U.S., and slightly later in Europe (April 24 per some sources). The buzz on X and photography forums suggests pre-orders are “off the scale,” echoing the X100VI’s frenzy. Fujifilm’s included kit—lens hood, filter, adapter, and strap—sweetens the deal, and the weather-sealing option (with the adapter and filter attached) adds practical allure for outdoor shooters. Rumors of limited initial stock have fueled urgency, so if you’re tempted, acting fast seems wise.

In the end, the GFX100RF is a camera that defies easy categorization. It’s an expensive toy for gearheads, a beefed-up X100 for enthusiasts, and a serious tool for artists—all at once. I liked using it more than I expected; it rekindled my love for deliberate, high-quality photography without the bulk I’d come to accept as a trade-off. Its specifications impress, its design delights, and its future feels bright. Whether you’re a pro seeking a portable second body or an amateur chasing the ultimate image quality, the GFX100RF offers something special—just don’t expect it to be everything to everyone. For me, it’s a keeper, tripod and all.