Medium Format vs. Full-Frame: Is Fujifilm’s GFX System Making It the New Standard?

In 1901, Kodak made the revolutionary decision to unveil the ‘120 film format’, commonly known today as the medium format. It was introduced as the main format to be used in their Brownie No.2 camera released the same year. This camera and film format changed the history of photography as its availability made it accessible to people who had never held a camera before. The camera’s accessibility was largely due to its relative affordability. At the time, the cameras came pre-loaded with a 100 exposure roll of film which greatly added to its appeal. For decades and decades, it was the main format for consumer cameras worldwide.
 
As time and technology progressed, medium format was eventually surpassed by 35mm film which inevitably became the dominant format used. Shortly after the success of 35mm, medium format then reverted to more of a niche status, suited to certain professionals, such as those that were seeking the best balance between image quality and all-round portability. As such, it became very popular with travel photographers and still is today. A century on from 120’s inception, and the first full-frame DSLR cameras were developed in Japan – the MZ-D by Pentax and the EOS-1Ds by Canon. Full-frame sensors have instead gone from strength to strength, slowly but surely dominating the camera market – and for good reason. After all, they come with a myriad of advantages; superior image quality that excels particularly in low-light conditions, a shallower depth of field and a wider dynamic range all combine to make the final shot the best it can be. One of the main advantages to full-frame sensors are their bigger sizes which allow more light to be absorbed, creating images with less grain.
 
There are also more beneficial features that add to the appeal, such as faster shooting speeds and sharper auto-focus, both of which are key in modern photography. It is for these reasons that full frame has become the industry standard for professional photographers. However, there is still a valid argument to be made for modern medium format cameras. For example, Fujifilm’s GFX100 II released in the final quarter of 2023 was met with overwhelmingly positive reviews, capturing the minds of many full-frame enthusiasts and traditional 120 supporters. Some have even claimed that the GFX100 II is the strongest camera the brand has ever produced, their view influenced no doubt by the snappy, ultra-responsive image capture.
 
One of the glaring positives of the GFX100 II is its stellar auto-focus, which stays locked on to the subject even when in fast motion. Still, in-focus images are not always as accurately captured with any medium format camera as they are with a 35mm mirrorless camera system like the Sony A1, Nikon Z9, or Canon R3 which does mean they are not always the most practical option for professionals. Despite that, the GFx100 II still offers up a fantastic frame rate, buffer depth and auto-focus system that will suffice for many, and the facial recognition tracking in motion is undoubtedly impressive. While the auto-focus system might be lagging the rivals, it is still a solid purchase for anyone looking to have a great shooting experience.
 
This begs the question – will medium format ever win out against the ever-growing mirrorless market? The answer is an obvious one – certainly not. There are simply too many areas where medium format cannot compete with modern mirrorless devices, virtually all of which boast tighter auto-focus, quicker image processing and superior responsiveness. These are the most important elements to those working in the industry. Then there’s the issue of costs – while the Sony A7R V is still very much a high-end full-frame device, medium format cameras like the GFX100 II weigh in at a significantly higher entry point; the Sony A7R V costs around $3,900 whereas the GFX100 II is currently sat at a blistering $7500. The difference in price will be enough to discourage hobbyists and enthusiasts alike. Much of this is due to the GFX100 II’s remarkable pixel count – the A7R V has a 61 megapixel sensor, whereas the GFX100 II has a whopping 102-megapixel count.
 
There is also the element of skill required. Medium format cameras are generally better suited to photographers that have the patience and experience to produce high level images. Additionally, it is a far less practical choice and in modern times feels very dated. For example, unlike 35mm film, which is protected by a small metal canister, a roll of 120 film instead is a lot fiddlier as it is taped to backing paper which is then rolled around a spool and re-secured with more tape. This also makes it a lot easier to damage the roll because it is so unprotected. Bright sunlight, moisture and even fingerprints are all harmful to the film and can cause visual deficiencies when the final image is produced. Another issue is the final part of the process – scanning the film. Modern scanning devices are not normally equipped to deal with 120, which can make things tricky.
 
However, as previously mentioned, 120 offers up a significantly sharper resolution than 35mm currently can. 35mm is already high enough resolution for professionals, but medium format provides even more. Still, that is not to say that medium format market couldn’t grow as well, after all, there are more than enough aficionados of such, many of whom may well have been won by the GFX100 II’s impressive array of technicalities. Ultimately, it is a testament to the medium format’s greatness that it is the only niche film stock to survive outside the security of 35mm. But should full-frame photographers choose to go down the medium format path in light of all this? If they have the funds and are seeking out a less-constrictive shooting experience and want to experiment away from the pressures of the industry, then they should look no further. It is unlikely that medium format cameras will reach mainstream status if for no other reason than prices.