I am eagerly awaiting a GFX 100, mostly because I want to dig into its inner workings.
Of course, when I’m not testing it I’ll put the 120/4 macro on it and use it for my Spots on my Apples ongoing series — for that, there’s no such thing as too much resolution. Here are some things about which I am intensely curious:
- Is it too heavy for extended handheld use?
- Does the grip work for verticals?
- What are the details of the dual-conversion gain (aka DR-Pix, aka the Aptina trick) implementation?
- What do the shadow SNR curves look like? Are they basically the same as a 44×33 crop of the Phase One 150 MP camera?
- Does the PDAF cause striping like it does in the a7x cameras?
- Have Fuji done a ham-handed PDAF striping fix that is a cure worse than the disease, like Nikon did with the Zx?
- For which native lenses is the extra resolution not a big win? I’m guessing only for the 100-200/5.6, or maybe the 250 with the 1.4x TC attached.
- How much AF accuracy — if any — has Fuji given up with their PDAF implementation?
- What is Fuji’s diaphragm-control strategy during autofocus, and how does it interact with the focus shift that occurs in some of the native lenses? By the way, short of lens-dependent strategies, I consider the Z7 aperture-control strategy to be the current state of the art.
- Does the diaphragm control during manual focusing with native lenses work the same was with the GFX 100 as with the 50S and 50R?
- Will I miss the 50x dials?
- How good is the EVF?
- How good is the peaking, and how accurate and fast is manual focusing? Is peaking still only based on horizontal differences?
- How fast is the new PDAF? How controllable?
- What’s the silent shutter scan time?
- When does Fuji throw in the towel on analog gain’s relationship to ISO setting and just change the metadata and let the raw developer sort it out? I consider the current GFX 50x behavior to be the best out there. Does Fuji ever use — shudder — digital gain?
- Under what conditions does the camera apply spatial filtering?
- Does having more resolution significantly reduce the — already small, IMHO — effect of distortion correction?
- Are there thermal problems associated with the higher processing requirements of the higher-resolution, faster sensor?
- Is using the camera with full-frame lenses more of a win over the Zx and A7Rx cameras now that we have finer pixel pitch than those cameras?
Anything else I should be curious about? I’ll update this page as new things come up.
The photograph that accompanies this post has nothing to do with the GFX 100, other than it was made with a GFX 50S and the Fuji 120/4 macro.
[Additions below. Thanks to the readers who suggested them.]
- How much does IBIS help with different lenses?
- Does Fuji lock down the sensor when IBIS is turned off? If not, does this cause any problems?
- Does Fuji use the same 1/500s limit for EFCS?
- Are there visible differences between 14-bit and 16-bit GFX 100 files?