Camera
Scoring explained: Why we think the Fujifilm GFX 100S’ peers are cameras half its price (NOT the Sony a1)
I’m, at best, a keen enthusiast photographer but the GFX 100S’ strengths are all in areas that benefit the kinds of photos I like to take (everyday scenes, landscape, portraiture), whereas the a1’s aren’t: its speed would be utterly wasted on me.
The GFX 100S is one of the highest-end cameras we’ve ever reviewed, which has the effect of making it a difficult camera to review. I wanted to write a little bit about that challenge, why we compared it with full-frame cameras, and yet didn’t compare it to others.
The main difficulty of reviewing a medium-format camera is that there’s a class of wildly expensive, essentially pro-only camera bodies beyond it, that we don’t cover. And, while Phase One has been kind enough to lend us some cameras and digital backs in the past, I wouldn’t claim to have used them enough to form an opinion worth publishing. It could be argued that without testing it in a series of studio shoots, it’s not really practical to form an opinion worth publishing.
The GFX 100S seems pricey when compared to most full-frame cameras but is comparatively affordable for something offering beyond full-frame image quality. |
It’s a similar challenge with the more ambitious video gear we’re starting to encounter. Obviously the world of ALL CAPS cinema cameras from ARRI and RED exists beyond the more accessible likes of the Sony FX3 and Panasonic S1H, so how can we put the more affordable models in context? How can you review them properly?
The clue both for ‘affordable’ medium-format and video-focused hybrids, is that they’re at the upper extreme what we test. In other words, they’re the option you might reach for, if you go beyond the level of gear we usually cover. And, in turn, that explains why we tend to compare them to the level of gear below: because that’s the alternative you might otherwise settle for.
The comparative accessibility of the GFX 100S means it’s likely that some photographers who’d otherwise buy something like a Canon EOS R5, Sony a7R IV or Nikon Z7 II might consider stretching their budget to get one. At which point, it’s important that our review makes sense of the difference.
So why didn’t we compare it with the Sony a1 if we’re comparing it to full-frame cameras?
It’s understandable why some people draw parallels between the Fujifilm GFX 100S and the Sony a1. For a start, they were released at a similar time, so the earlier camera will have still been very fresh in the mind when the second was launched. Also, both cameras cost a similar amount of money. Finally, they’re both cameras that try to offer something beyond the latest fast-ish high resolution full-frame models. So why, if it makes sense to compare both with the likes of the Canon EOS R5, aren’t we comparing them to each other?
Quite simply because, while all the above is true, the comparison falls apart as soon as you look at precisely what they offer over high-res full-frame. The a1 offers speed (of both shooting and autofocus), along with 8K video and photojournalist-friendly communication options. The GFX 100S offers resolution and image quality in a way that is likely to delight landscape shooters and studio-based pros. There’s no real overlap in the things they offer over the more affordable cameras.
There’s no real overlap in the things they offer over the more affordable cameras.
The context for each camera is also rather different. Whereas $6500 is fairly typical for a flagship sports camera, it’s comparatively inexpensive for a medium-format camera offering a step up in image quality.
It’s easy to argue that the a1 is the more impressive technological achievement: its cutting-edge sensor raises the level of what mirrorless cameras can do (at least until we’ve seen what Nikon and Canon’s Stacked CMOS cameras are capable of). And it’s a project with no obvious corner cutting: none of the stripped-down video capabilities of the a9 series, for instance. By contrast, the GFX 100S has been reworked by the engineering and marketing departments to make the original GFX 100’s capabilities accessible to a wider audience.
In addition to speed of shooting, speed of AF and impressive video, the a1 offers a range of pro-friendly features, including an Ethernet connection. |
Which is why, as hard as we’ve tried to make our scoring system coherent across categories, you can’t just look at the numbers and say ‘the Sony scored 3% more, and hence is better, without qualification, than the Fujifilm’. It’s a level of nuance that is never going to be conveyed by a single number (or a single number and an award).
Instead our reviews spell out the basis on which the conclusion was drawn. The ‘How it compares…’ section of our reviews lists what we believe a camera’s peers to be, and why. We then explicitly detail the pertinent real-world differences after the conclusion.
Reviewing always gets more difficult when it comes to extremes of price and performance, which is why we try to contextualize how these exotic outliers compare to the more affordable options. Because ultimately, our job is to provide a basis from which people can make informed decisions (whichever way they decide), not to award bragging rights.
Camera
Our year in photos: Dale's most memorable shot of 2024
Pedestrians with umbrellas wander down a rainy alley in Yokohama’s Chinatown.
Panasonic S5IIX + Panasonic S 28-200mm F4-7.1 | F7 | 1/125 sec | ISO 1600 |
Japan is one of my favorite places to travel. I’m captivated by its culture, cuisine, and the warmth of its people. It’s also a photographer’s paradise, offering endless possibilities, from serene temples and bustling markets to breathtaking landscapes.
My favorite type of photography when traveling in Japan is street photography, especially at night. I never tire of exploring the vibrant cityscapes, from the iconic Shibuya Crossing in Tokyo to the atmospheric alleys of Yokohama’s Chinatown.
However, there’s a twist: I seek out rainy conditions. While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical. The umbrellas emerge, the city lights reflect off the wet pavement, and colors take on a vibrant intensity.
I was fortunate to visit Japan twice this year, and it rained both times. What some might consider lousy weather, I welcome as luck. Both my camera and I were thoroughly drenched during several nights of shooting, underscoring the value of weather-sealed equipment. (For the record, despite being so wet they were dripping with water, neither camera nor lens ever missed a beat.)
“While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical.”
Unsurprisingly, some of my most memorable photos of 2024 were captured during these rain-soaked adventures. It’s challenging to select just one favorite because, as many of you will surely understand, how we remember the value of an image is often intertwined with the experience of capturing it.
The photo at the top of this page is one of my favorites from these trips, captured in Yokohama’s Chinatown. Off the main street, the area is full of narrow alleys, many decorated with traditional lanterns, creating small, intimate spaces. I spied these two pedestrians with similar coats and umbrellas turn into one of these alleys and instantly knew there was a potential photo around the corner.
I managed to fire off two shots before the scene lost its magic, but that’s all I needed. I love that you can’t see the main subjects’ faces. They remain anonymous, allowing the viewer to focus on the place rather than the person.
Camera
Our year in photos: Dale's most memorable shot of 2024
Pedestrians with umbrellas wander down a rainy alley in Yokohama’s Chinatown.
Panasonic S5IIX + Panasonic S 28-200mm F4-7.1 | F7 | 1/125 sec | ISO 1600 |
Japan is one of my favorite places to travel. I’m captivated by its culture, cuisine, and the warmth of its people. It’s also a photographer’s paradise, offering endless possibilities, from serene temples and bustling markets to breathtaking landscapes.
My favorite type of photography when traveling in Japan is street photography, especially at night. I never tire of exploring the vibrant cityscapes, from the iconic Shibuya Crossing in Tokyo to the atmospheric alleys of Yokohama’s Chinatown.
However, there’s a twist: I seek out rainy conditions. While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical. The umbrellas emerge, the city lights reflect off the wet pavement, and colors take on a vibrant intensity.
I was fortunate to visit Japan twice this year, and it rained both times. What some might consider lousy weather, I welcome as luck. Both my camera and I were thoroughly drenched during several nights of shooting, underscoring the value of weather-sealed equipment. (For the record, despite being so wet they were dripping with water, neither camera nor lens ever missed a beat.)
“While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical.”
Unsurprisingly, some of my most memorable photos of 2024 were captured during these rain-soaked adventures. It’s challenging to select just one favorite because, as many of you will surely understand, how we remember the value of an image is often intertwined with the experience of capturing it.
The photo at the top of this page is one of my favorites from these trips, captured in Yokohama’s Chinatown. Off the main street, the area is full of narrow alleys, many decorated with traditional lanterns, creating small, intimate spaces. I spied these two pedestrians with similar coats and umbrellas turn into one of these alleys and instantly knew there was a potential photo around the corner.
I managed to fire off two shots before the scene lost its magic, but that’s all I needed. I love that you can’t see the main subjects’ faces. They remain anonymous, allowing the viewer to focus on the place rather than the person.
Camera
Godox releases V100, a 100Ws fast rechargeable flash
Image: Godox |
Godox has announced the V100, a 100Ws version of its round-headed V1 on/off camera flashgun. The V100 can deliver up to 100 Watt Seconds of power in manual mode and can shoot over 70 consecutive bursts of light at full power. Recycle times of under 1 sec are possible when used with an external power source (1.7 sec with the internal battery).
Like the existing V1 and V1Pro, the V100 is available in versions compatible with the proprietary TTL flash metering systems of Canon, Nikon, Sony, Fujifilm or Olympus/OM System, each of which comes with a small secondary flash that can be used to provide a little ‘fill.’ It also has a 2W LED modeling lamp, to help you understand how its light is going to fall.
Godox says it’s able to sync with the global shutter of Sony’s a9 III, up to shutter speeds of 1/80,000, though the company also says the V100’s minimum flash duration is 1/20,000, so presumably 1/80,000 sec shutter speeds would only experience a fraction of that output.
Image: Godox |
The V100 is powered by a rechargeable Li-Ion battery that can be charged directly using a USB-C cable or in an optional multi-battery charger if you need to prepare multiple batteries before a shoot.
It’s compatible with the company’s 2.4Ghz radio frequency off-camera communication protocol either as a transmitter or receiver.
Buy now:
No details have been given about price or availability but it’s listed as “Coming Soon” on B&H Photo’s website with a price of $349. B&H is also listing a Pentax-compatible version, not listed on Godox’s website.
Godox V100 C/N/S/F/O
Power Beyond Limits, 100Ws at Hand
Introducing the epic 100Ws TTL Li-ion Round Head Camera Flash V100. The Godox V100 redefines the standards for flagship on-camera flashes, brining an era of 100Ws power to handheld lighting. This groundbreaking flash delivers global shutter sync, a vibrant 2.3-inch color touchscreen, an intuitive menu, and one-tap syn operations. It combine cutting-edge features and professional-grade performance to provide an ultimate solution for professional lighting.
100Ws, Beyond Limits
The V100 sets a new benchmark for on-camera flashes by offering an unprecedented 100Ws power at its maximum output (M mode). With adjustable power steps from 1/1 to 1/256 or from 2.0 to 10, it covers the spectrum from subtle fill light to robust lighting for diverse scenarios, pushing the boundaries of creativity in flash photography.
Intuitive Touchscreen, Effortless Control
Equipped with a 2.3” full-color, high-sensitivity touchscreen, the V100 offers a smooth and responsive interface. Paired with an intuitive menu design and logical control layout, it allows photographers to quickly adjust power levels, activate high-speed sync, switch between TTL/M modes, and pair devices with a single tap, significantly improving workflow efficiency.
Global Shutter Flash Sync
The V100 is seamlessly compatible with cameras featuring global shutter like Sony a9 III. Supporting shutter speeds up to 1/80,000 seconds and offering TTL functionality, it delivers outstanding high-speed continuous shooting with effortless precision. This makes it an ideal choice for sports photography, outdoor bright light, and other fast-paced shooting scenarios.
70 Full-Power Consecutive Flashes
Thanks to its advanced cooling system, the V100 delivers 70 to 100 consecutive flashes at 100Ws without compromising performance. This ensures enhanced shooting efficiency and flexibility, allowing you to handle complex scenarios with ease and capture every brilliant moment of your creative vision.
Zoom range (mm) | 28mm | 35mm | 50mm | 70mm | 80mm | 105mm |
---|---|---|---|---|---|---|
Continuous flashes (100Ws) |
75 | 75 | 80 | 90 | 100 | 100 |
Detachable Sub Flash
The V100 continues the highly praised detachable sub flash (SU-1) design from the V1 Pro. This versatile feature enables dual-light setups with a single flash, offering creative lighting solutions for portrait photography.
Wireless Sync, Streamlined Workflow
With the built-in Godox 2.4G Wireless X System, the V100 functions as both a master and receiver unit. Its one-tap pairing capability seamlessly integrates with the X3 trigger or other Godox wireless flash units, streamlining multi-flash setups and boosting productivity.
Powerful Battery, Convenient Charging
Powered by the same high-performance lithium battery as the V1 Pro, the V100 ensures uninterrupted shooting. The Type-C charging port and compatibility with the VC26T Multi-Battery Charger make recharging quick and convenient.
Enhanced Recycling with External Power
The V100 includes a port for the PB960 Lithium-Ion Flash Power Pack, reducing full-power recycling time to as fast as 0.8 seconds. This feature supports demanding, high-intensity shooting scenarios, ensuring peak performance.
Built-In LED Modeling Lamp
A 2W LED modeling lamp with 10 adjustable levels provides flexible options for previewing light effects or serving as a fill light. The lamp supports continuous or interrupt modes, catering to different creative needs.
Comprehensive Accessory Ecosystem
The V100 is compatible with a broad range of Godox accessories, including the AK-R1 Accessory Kit for Round Flash Heads, AK-R21 Projection Attachment, AK-R22 Collapsible Diffusion Dome, and the S2 Speedlite Bracket for Bowens, among others. Whether you’re fine-tuning light, exploring creative effects, or expanding functionality, the V100 is designed to meet every need.
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