The Painter’s Camera – A Short Encounter with the Fujifilm GFX100RF
I only had the Fujifilm GFX100RF for a couple of days. Not enough time for a technical deep dive, but enough to get a feel for its character. I spent a day or two playing around with it, learning the controls, and getting comfortable. Then I took it for a one-day trip to the Belgian coast — a place that always gives me a sense of space, calm, and reflection. It felt like the perfect environment for this camera.
I only had the Fujifilm GFX100RF for a couple of days. Not enough time for a technical deep dive, but enough to get a feel for its character. I spent a day or two playing around with it, learning the controls, and getting comfortable. Then I took it for a one-day trip to the Belgian coast — a place that always gives me a sense of space, calm, and reflection. It felt like the perfect environment for this camera.
I wanted to see if the GFX100RF could become what I like to call the painter’s camera — a camera for slow, deliberate photography, where every frame feels like a “tableau”.
First impressions
The GFX100RF is a beautifully designed object. It looks premium, feels solid, and has that typical Fujifilm charm. I tested the silver version, and while it’s gorgeous, I’d probably go for the black one myself — a bit less conspicuous, a bit more “working tool.” Still, the silver version does turn heads, and that counts for something when you believe that design is part of the joy of using a camera.
It comes well equipped too: a metal hood, a filter adapter with a protective filter, even a rope strap, a nice touch, though too short to wear cross-body (that is when it has to go across MY rather bulky body). You can tell Fujifilm wanted this to feel complete. It doesn’t come with a charger but that’s the standard these days.
“A beautifully designed camera — balanced, precise, and confident in its simplicity. The kind of object that reminds you that design still matters.”
“Premium without being pretentious. Every dial and curve feels considered. It’s a tool that invites calm, deliberate use — even when it’s just sitting still.”
Ergonomically, it’s easy to handle if you’re used to Fujifilm cameras. The new aspect-ratio dial is an interesting choice. I’m not sure it’s something that I NEED, but it doesn’t get in the way and I’ve come to appreciate it during my time with the camera.
The day at the coast
I went to the seaside with the camera around my neck and nothing else. I wanted to travel light and stay open. The goal wasn’t to do a scientific test, but to just see.
The weather was kind — calm light, a slight haze, a bit of wind. I walked for hours, letting the rhythm of the waves slow me down. That’s when the GFX100RF started to make sense: it’s not a camera for coverage or productivity. It’s a camera for presence.
ISO 200 | f/4 | 1/640s
“Minimal, balanced, and peaceful. The 4:3 aspect ratio feels like a painting — calm, centered, and content to just hold the image steady.”
That image set the tone for the rest of the day. It’s nothing spectacular, but it feels right — open, quiet, complete. The 4:3 frame helps. It has a compositional stillness that keeps everything grounded, like the proportions of a painting.
As I walked, I noticed I was gravitating toward solitude again — a recurring theme in my work. The coast can feel empty, but never lonely. This camera fits that mood perfectly. It doesn’t shout. It just listens.
Portraits and people
Later that afternoon, I made a few portraits. Now, a wide and relatively slow lens isn’t what you’d call ideal for portraiture, especially on medium format. Still, the results surprised me. They weren’t typically portrait-flattering — not much bokeh, little subject isolation magic — but they felt honest.
ISO 200 | f/4 | 1/500s
“A straightforward portrait — unforced and open. The unspectacular rendering brings honesty to the frame.”
ISO 160 | f/4 | 1/400s
“Wide and slow isn’t supposed to work for portraits, but it does — if you let go of expectations. The lens doesn’t flatter; it describes.”
ISO 200 | f/4 | 1/320s
Taking selfies on a medium format camera, why not? The lens is wide enough to do this with the length of my arm. And as my buddy Kevin Mullins says: “Pictures don’t have to be spectacular to be important.”
The GFX100RF renders people with a kind of visual honesty that I love. There’s nowhere to hide — which can be confronting, but also liberating. These portraits aren’t about idealisation; they’re about realness.
The technical “limitations”
Everyone talks about the GFX100RF’s two supposed flaws: the f/4 lens and the lack of IBIS. They’re not wrong — these factors do limit what you can do technically. But they also invite a different way of working.
In bright light, the lens is more than fine. But when the sun dips, you quickly hit high ISO (which is still very usable to me) or slow shutter speeds. During my brief time with the camera I didn’t get into situations were it was too dark to use a sensible shutter speed so I forced the issue of trying to be creative with a slow shutter (handheld).
I set the camera to ISO 100, closed down to f/11, activated the 4-stop ND filter, and let the shutter run at 0.8 seconds. Predictably, there was motion blur and camera shake. But instead of ruining the shot, it turned it into something softer and more painterly.
ISO 100 | f/11 | 0.8s
“Too slow to freeze movement — and that’s the point. The blur becomes texture, not error.”
ISO 100 | f/11 | 0.8s
“Technical imperfection as creative opportunity. Sometimes the world moves, and the photo should too.”
That’s when it clicked for me: this isn’t a camera for solving problems; it’s a camera for embracing them.
The structure at sea
A little later I noticed a solitary structure out in the water — some kind of marine platform. It stood there, quiet and distant, framed by the curve of the breakwater boulders. It felt like a metaphor for this whole experience: distant, calm, and alone, yet somehow still connected to the shore.
ISO 200 | f/4 | 1/500s
“A structure at sea — far enough for peace, close enough to still belong. The X-Pan crop adds a cinematic touch.”
It’s probably my second-favourite frame from the day. The cinematic crop gives it a different mood — less painterly, more filmic — but still deeply quiet.
The smaller moments
Not every frame has to carry a big message. Sometimes you just make a photograph because it feels right.
ISO 250 | f/4 | 1/800s
“Red, green, and grey. Simple, graphic, balanced.”
ISO 320 | f/4 | 1/1000s
“Surfers waiting for waves. Patience, repetition, rhythm — all the same things this camera teaches.”
ISO 200 | f/4 | 1/640s
“Old bunker in the dunes. A quiet reminder that stillness often hides history.”
ISO 160 | f/4 | 1/500s
“Art by the sea — Currently the International Photo Biennal Ostend is going on, worth a visit. Pictures by the amazing Frieke Janssens”
They might not all be “great” pictures, but they belong to the same story — a day of looking without rushing.
Reflections after returning the camera
I had to return the GFX100RF sooner than I’d wanted — just as I was getting into the rhythm. But maybe that’s a good thing. It left me wanting more, and that’s always a healthy sign.
Was it the camera that made the day so enjoyable? Or the perfect autumn light at the coast? Or maybe just the freshness of working with something new? Probably all of those. But what stayed with me most was how natural the day felt. The camera never got in the way. It just hung around my neck, quietly ready whenever I saw something worth noticing.
It didn’t feel like work. It just felt like walking and breathing — with a camera quietly waiting for a moment that deserved attention.
It reminded me of something important: I don’t always need flexibility. Sometimes I need constraint. A big system with interchangeable lenses might have given me close-ups of the seals on the fenced of beach or creamy portraits in backlight, but I doubt I would’ve been as present. The fixed lens forces you to stay within your frame — literally and mentally. And there’s freedom in that.
The One
Every review needs a conclusion, and for me, it came as a picture.
ISO 200 | f/4 | 1/400s
“The Painter’s Camera. Quietness, balance, and solitude — everything this camera stands for.”
This is the image I’ll print large — It’s recognisable, timeless, and balanced. The kind of photo you don’t have to explain. It’s the one that brings everything together for me: design, simplicity, slowness, honesty.
That’s what the GFX100RF does best — it slows you down until you see something real.
Extra Gallery
Here are some more pictures that I’ve shot with the GFX100RF during my day at the coast:
Final thoughts
The Fujifilm GFX100RF isn’t an all-rounder, and that’s its strength. It’s not for chasing moments; it’s for holding them still. It could do all that but there are cameras that do it better. The GFX100RF is for photographers who don’t mind walking slower, thinking longer, and coming home with fewer frames.
It’s not spectacular. But maybe that’s the point.
And if I learned one thing in these two short days, it’s this:
A camera that helps you make one great picture — one that truly stays with you — is worth far more than a camera that makes a hundred good ones.
Free download pack
If you’d like to follow along, I share new stories, reflections, and occasional behind-the-scenes thoughts through my newsletter — small notes about gear, craft, and life, written at the same slow pace I try to photograph with.
I’ve made a small download pack to go with this post — The Quiet Painter Companion
It includes the Lightroom presets I made for these images and a few high-resolution sample files.
It will be available for free soon to newsletter subscribers as a small thank-you for following my work.
TTartisan 75mm F1.5 Swirly Bokeh
I’ve done way to many reviews in the last year but you know I like lenses with character. So when Pergear gave me the chance to test out the TTartisan 75mm F1.5 Swirly Bokeh, I couldn’t resist. After all this is a remake of the legendary Carl Zeiss Jena Biotar 75mm F1.5.
As usual, I started by testing the lens by shooting anything and everything.
And when it was time to shoot Maya’s birthday portrait, I did it with the 75mm.
Here’s the setup shot for the pictures above. Note how fast the sharpness drops off. And in case you are wondering, that’s an inflatable light from Ulanzi, crazy stuff but very handy.
During the shoot with Yasmin for the Simera 50mm review, I also took a couple of shots with the Swirly Bokeh.
And then I did a little improvised shoot with my friend Bert from Rewilding Drum.
The TTartisan 75mm F1.5 is an M42 screw mount lens with a big image circle. This means that with a cheap adapter you can use it on pretty much any camera system. The beautiful Annick was kind enough to get in front of the lens on a very cold day, so I could try this lens one three different sensor: aps-c, full frame and medium format.
The shots below are all shot with my trusty Fujifilm X-H2 (aps-c sensor):
The shots below are all shot with a Leica SL2-S (full frame sensor):
The shots below are all shot with my good old Fujifilm GFX-50R (medium format sensor):
I feel like I’ve done enough reviews for a while, time to tackle some other subjects on my YouTube channel. Put your ideas and suggestions in the comment!
Simera 50mm f/1.4 ASPH
Another 50mm? Yup, I am fully aware that I have a bit of an obsession with 50mm lenses. And that’s exactly the reason why I couldn’t resist testing this new Thypoch Simera 50mm f1.4 ASPH.
If you want to know what I think about this lens, you’ll have to watch my YouTube video about it below:
Here are some of the pictures I did with my friend Jasmin with the Simera 50mm on the Fujifilm X-H2:
And because this is a full frame lens, I also wanted to test it on a full frame camera. Below, you’ll find some pictures with the Leica SL2-S:
The Simera 50mm is compact and light which makes it a great manual lens for every day life pictures:
I really like this lens. It’s a pleasure to use and the images that come out of it really fit my visual preferences. And because it’s so compact, I might find a little space in my bag for an extra 50mm ;-)
Aurora Experiments
My fascination for people and light is endless. So is my urge to keep experimenting with both.
Let me know what you think of these.
Bikepacking UK 2024
Someone recently asked me where she could find the pictures of our bikepacking trip to the UK last summer. And then it hit me, that I hadn’t shared them yet. Maybe because I wasn’t in “photo mode” much during the trip or because I shot the majority of the pictures on my phone. But here’s an impression of what 641km and nearly 7.000 meters of elevation look like:
The route wasn’t all smooth sailing. We encountered dangerous busy roads, completely overgrown tracks, tons of sheep/horse/cow shit, tracks that were much more suited to a full suspension mountainbike than a fully laden gravelbike, … But all of that is a small price to pay for the adventure, amazing landscapes, nice people and the cardiovascular benefits ;-)
Portraits with the PMI SmokeNINJA PRO Haze Kit
You’ve seen me use haze before and you’ve seen me photograph Lara before, but you’ve never seen me shoot Lara with haze … until now.
About a year ago, I bought and experimented with the original PMI SmokeNINJA. It wasn’t a real haze machine, but I could make it work. Recently PMI got in touch with me. They said they loved my video about the original SmokeNINJA and that they were developing something new that they thought I would love: an improved SmokeNINJA PRO that also comes in a Haze Kit. They wanted to send me one, and didn’t even want me to review it. They just wanted me to make a video in which I explain how photographers can use haze. And I dit just that:
And in case you want to take a better look at some of the pictures, here you go:
You know I like to travel light and keep things simple in order to work freely and connect with my subject. But that sometimes restricts me in what I can do compared to a bigger production. And I’m always on the lookout for products that give me big production options in a portable package. This SmokeNINJA PRO Haze Kit, definitely qualifies and can replace my big, heavy, AC-powered hazer in many situations.
To finish the shoot and demonstrate how focused light turns into strong beams through haze, I set up my old beamer as a backlight and used a tiny LCD-panel as the main light.
PMI may not be the cheapest player on the market when it comes to portable smoke machines, but they are not that more expensive as the really cheap ones. You get what you pay for. The whole experience, the construction quality and safety features are just the best I’ve seen in these kind of devices.
Thank you PMI for getting to work with user feedback and letting me do my thing. Also a big thanks to Lara for being patient, pretty and professional. And to my girlfriend, thank you for finding a great location, shooting some behind-the-scenes video and putting up with my crazy ideas.
Talking about crazy ideas, this machine can also make bubbles filled with smoke, definitely something to try out soon ;-)
Lara & Luna
I’ve known these two for years, since they were these cute twin kid models. I’m sure you’ll agree that Lara and Luna are still cute, but they aren’t kids anymore. It was a pleasure to photograph these amazing young ladies again.
This was a last minute test shoot for me and I got really lucky that Lara and Luna were in town and up for a little improvisation shoot. The goal for me was to compare modern lenses with some vintage lenses. First some results with the modern glass:
The pictures above were all shot with the Fujinon XF56mmF1.2 R WR, a lens that I’ve had since it came out (I actually even tested a prototype before it came out). I loved and used the first version of that lens a lot, but for some reason I haven’t used the new much. This is probably because I’m shooting most of my portraits with 50mm equivalent lenses. I almost forgot what a beautiful lens the 56mm is. I need a bit more space with this longer lens but I’m still close enough to my subject to communicate without shouting from a distance. I’m definitely going to use it more often.
This optical masterpiece had to go up to two vintage lenses I’ve had for years: The Minolta Rokkor 58mm F1.7 and 85mm F1.7, No autofocus, no weather sealing and it’s clear that coatings and lens design have come a long way in controlling flare and all kind of other distortions. But that’s exactly the beauty of these old lenses. I just love these imperfections and the fact that the behaviour of vintage glass is hard to predict.
You’ll have to invest a lot of time to get to know a vintage lens because it behaves differently in different situations. Backlit, like in the shots above, you’ll get tons of character and if you don’t watch out, it takes over the photo. It’s easy to overdo it and hard to judge all the flare and other effects on the back of the camera.
But turn the camera around to get the sun out of the front element of the lens, stop it down a bit, and these lenses will show you their alter ego. All of a sudden, they become well behaved, respectable performing lenses that make you appreciate the craftmanship and design of another era. They’ll never be as cricitally sharp and contrasty as their modern counterparts but a lens is about much more than that.
My conclusion of this test shoot is that I love vintage lenses … and I love the XF56 as well ;-) In the end it’s all about the right tool for the job. If I want crisp, reliable results, speed and ease of use, nothing beats the modern lenses.
But vintage lenses are a rabbit hole, I’ll happily get sucked into for endless creative opportunities and the deliberate process of shooting manually. I guess I’ll be spending more time on nerdy forums and eBay looking for optical gems.
Thypoch Simera 35mm F1.4 Review
Recently I’ve been shooting with vintage and modern manual lenses more than in my analog days. I love the process, the character and the experience of manual lenses and I feel this approach often makes for better pictures. So when Thypoch asked if I wanted to test their new 35mm F1.4, I couldn’t say no.
My thoughts on this lens are in the video above and below you’ll find some sample pictures. Most pictures are with the Fujifilm X-T5 except for those of Erika (X-H2).
Do you shoot with manual lenses? Tell me which ones you prefer and why!
Camarades Bikepacking Luxembourg
It started during the pandemic and has become a yearly tradition: a couple of days of cycling with some old friends. This year we decided to go for a 4 day bikepacking trip in Luxembourg.
A bunch of guys, all around 50 years old and with busy lifes, doesn’t make it easy to plan a multi-day trip. On top of that, some of the group battled some injuries but we’re still young enough to ignore those facts until it’s too late :-)
On our way to our starting point the weather looked grim, but by the time we weighted our bikes (surprisingly we all ended up with a bike that weighted in between 32 and 36 kg), the weather cleared up. We would only get rain in the final two hours of the last day. Mechanically, we only encountered a broken chain (after only 5km’s) but that was easily fixed.
Some of us have bikepacking experience but for others it was the first time they’d have to lug all their camping stuff on the bike for multiple days. In combination with the rather brutal terrain and the heat, this proved to be a bit of a reality check for some. What surprises me every time is that this bunch of guys who only see each other maybe one or two times a year, get along so well. Despite the fierce banter, we always get where we want to be. I’m already looking forward to next year.
Although I brought my X100V and even a drone (yeah it’s all about travelling light), I didn’t take many pictures this time. Most of the pictures I made with my phone. But sometimes it’s enough to enjoy the adventure and have just enough visual memories of it.
Three Days in Rotterdam
Things change, our kids aren’t kids anymore. So holidays change as well. Instead of the usual camping trip, the three youngest choose to do a city trip. They planned the trip themselves and took us along for the ride. The beautiful city of Rotterdam was our destination for 3 days. And while the girls went shopping, I dusted off my street photography skills.
Night Rider
Just like last year, I rode and photographed the famous Sanglier Gravier Night gravel ride. Really enjoyed riding it with my son. Despite my horrendous tire choice for the muddy parts, we did the long route and kept the camera in one piece.
Wide Angle Portraits with Ann
After my test shoot with Lara, I continued my experiments with wide angle (28mm full frame equivalent) portraits with Ann.
Thanks Anneke for always being game for my crazy experiments.
The Roof of Belgium
My 49th birthday, a couple of days off, nice weather, bikes and a nice place to stay.
Life, work, family, it all got really busy but at the end of April we finally found somr free days to go on a little trip. We took our bikes on the train to Eupen and then cycled over the roof of Belgium to a little town called Malmedy. Our first plan was to do some camping but with the weather being unpredictable all year, we opted for the cosy Daft hotel, a boutique hotel and recording studio. Don’t worry, I didn’t record anything but my rides on Strava but Milow was. We were a bit afraid that the hotel would be a bit too “hipster” for our liking, but although it is hip, we really enjoyed the laid back atmosphere.
Turned out that Tom, Milow’s guitar player, and I share the same birthday and age so we exchanged our improvised birthday cakes.
Apart from a couple of pretty spicy gravel rides, we also visited the Martin Parr expo in a nearby town. We really enjoyed this and it gave me a renewed appreciation for the photographer.
And before we knew it our stay was over. One last night around the campfire and e beautiful gravel ride back to the train station.
Wide Angle Portraits with Lara
Common knowledge dictates that a 50mm lens (in full frame terms) is about the widest lens you should use for portraiture. But in the last year or so I fell in love with the 28mm field of view and I wanted to try if I can use it as a portrait lens.
Lara’s mom responded to a social media post in which I asked for a guinea pig model. Many years ago I photographed Lara and her sister a number of times when they were still adorable little kids. Now, Lara is still adorable but a grown up young woman who even made it to the finals of Miss Belgium. We picked it up where we left it years ago and just walked around looking for pictures.
I consider this wide angle portrait shoot a succes. I’m still having a hard time finding the right angles to avoid distortion but when the stars align, I really love this look. What do you think?
M Museum
Last weekend, we just needed to get out for a couple of hours, so we headed for M Leuven a local museum. We last visited it not so long ago but there’s always something to see.
A couple of months ago, we decided to get a Museum Pass, which gives you access to a bunch of museums and exhibitions throughout the country. I will admit that I was never much of a museum person. My dislike for elitarian art, wannabe critics and expensive formality have ruined quiet a few of the museum experiences in my life. And when I pay good money for an individual museum visit, I feel obliged to visit every room, read every card and look at each item. I may have aged but my attention span is still that of a teenager, so after a while I simply have to get out or do something else. The Museum Pass helps a lot in this aspect because for most museums the entrance is free and I can just step in and out as I please.
Now, I just look at what I like, read what I want and stay however long or short feels right. And lately I’ve also come to enjoy the theater that is formed by the interaction between the space, the architecture, the curation, the art, the artist and the visitors. It’s always there, even when the content of a museum may not be my thing. It’s an interesting subject and as long as I have that and a camera, the risk of me shouting “bullshit” in a museum is relatively small.
Maybe there’s even a photography project in this, what do you think?
PS: M Leuven is a really nice museum with a variety of exhibitions. So the part about “elitarian art, wannabe critics and expensive formality” is definitely not based on this museum visit.
A bit of Smoke
Creating atmosphere in a portrait shoot with just a handheld smoke machine, an LED light and the good old Fujifilm GFX50R.
Smoke, fog and haze can be a great way to enhance the mood in a portrait shoot. I've been using big smoke machines and hazers for many years but more often than not they are too big and bulky to work on location (and they require plug-in power). So I'm really happy to see a lot of manufacturers come up with a small portable smoke machine. Pergear asked me to test out their Smoke B Portable Fog machine, so I tried it on an intimate portrait shoot with my good friend Chana who’s always up for some crazy tests.
No need to write more, as I made this video to show the process.
And then the images:
I really enjoyed this portrait session. The conditions were challenging but working with someone who’s brave enough to try anything and have fun along the way, must make this my favourite way to shoot (thanks Chana). This tastes like more, so I’m always on the lookout for new subjects. I don’t care much for sizes, gender, age, experience, … as long as you are willing to create art together. If that sounds like you, let me know!