Mirrorless Comparison
Canon EOS R1 vs Fujifilm GFX 100 II
Specifications
| Spec | Canon EOS R1 | Fujifilm GFX 100 II |
|---|---|---|
| Price (USD, MSRP) | $6,299● | $7,499 |
| Type | 24.2MP Full-Frame Back-Illuminated Stacked CMOS | Not listed |
| Sensor Size | Full-frame (36 × 24 mm) | 43.8 × 32.9 mm (medium format) |
| Effective Megapixels | 24.2 MP | 102 MP (11648 × 8736)● |
| Maximum Resolution | 6000 × 4000 pixels | Not listed● |
| Image Processor | DIGIC Accelerator + DIGIC X | Not listed |
| Mount | Canon RF | Fujifilm G-mount (interchangeable) |
| AF System | Dual Pixel Intelligent AF (Cross-Type), 4,897 points, 100% frame coverage | Not listed |
| User-Selectable AF Points | 4,368 (stills) | Not listed |
| ISO Range (Native) | 100–102,400 | ISO 80–12800 |
| ISO Range (Extended) | L: 50, H1: 204,800, H2: 409,600 | ISO 40–102400 |
| Continuous Shooting (Electronic) | 40 fps | Not listed |
| Continuous Shooting (Mechanical) | 12 fps | Not listed |
| Shutter Speed (Electronic) | 1/64,000 to 30 sec | 60 min – 1/32000 s |
| Shutter Speed (Mechanical) | 1/16,000 to 30 sec | 60 min – 1/4000 s |
| IBIS | Up to 8.5 stops (Coordinated Control IS with RF IS lens) | 5-axis in-body image stabilization, up to 8.0 stops compensation |
| Type | OLED EVF, blackout-free | Not listed |
| Resolution | 9.44 million dots | Not listed● |
| Magnification | 0.9× | Not listed |
| Rear Screen | 3.2-inch articulated touchscreen, 2.1 million dots | Not listed |
| Maximum Video Resolution | 6K 60p RAW (internal) | Not listed● |
| Video Formats | 6K 60p RAW, 4K 120p, 4K 60p (oversampled), FHD 240p | MP4 / MOV |
| Card Slots | 2× CFexpress Type B | 1× CFexpress Type B; 1× SD (UHS-I/UHS-II, V90); supports SSD |
| Wired | 2.5G Base-T Ethernet, USB-C (USB PD) | Not listed |
| Wireless | Wi-Fi 6E, Bluetooth | Not listed |
| Battery | LP-E19, USB-PD rechargeable | Not listed |
| Dimensions | 157.6 × 149.5 × 87.3 mm | 152.4 × 104.2 × 117.4 mm (with EVF) |
| Weight (Body Only) | 920 g | Not listed |
| Weight (with Battery and Card) | 1,115 g | Not listed |
| Announcement Date | May 15, 2024 | Not listed |
| Release Date | November 29, 2024 | September 12, 2023 |
| Sensor Type | Not listed | CMOS with Bayer filter (BSI) |
| Processor | Not listed | X-Processor 5 |
| AF System | Not listed | Intelligent Hybrid TTL contrast detection / phase detection |
| AF Points | Not listed | 425 points (25×17 grid); 117 points (13×9 grid) in standard modes |
| AF Coverage | Not listed | 100% phase-detection coverage |
| Subject Detection | Not listed | Face/Eye, Animal, Bird, Automobile, Motorcycle, Bike, Airplane, Train |
| Continuous Burst (Mechanical) | Not listed | 8.0 fps (up to 55 RAW+JPEG frames) |
| Continuous Burst (Electronic) | Not listed | 5.3 fps (up to 98 RAW+JPEG frames) |
| EVF | Not listed | 0.62-inch 9.44M-dot OLED, 1.0× magnification, 100% coverage, detachable |
| Rear Screen | Not listed | 3.2-inch 2.36M-dot 3-direction tilt LCD touchscreen |
| Top Screen | Not listed | 2.09-inch high-contrast monochromatic LCD |
| Video Resolutions | Not listed | 8K up to 30fps (1.53× crop), 4K up to 60fps (full frame), 1080p up to 120fps● |
| Wi-Fi | Not listed | Wi-Fi 5 (802.11a/b/g/n/ac) |
| Bluetooth | Not listed | Bluetooth 4.2 |
| USB | Not listed | USB-C 3.2 Gen 2x1 |
| LAN | Not listed | Ethernet 1000/100/10 Mbps |
| Audio/Video | Not listed | 3.5 mm mic, 3.5 mm headphone, HDMI Type A |
| Battery | Not listed | NP-W235 Li-ion |
| Weight | Not listed | 1,030 g (including battery, memory card, and EVF) |
A ● marks the leading value where a row is objectively ordered (lower price, higher resolution). Other rows are shown side by side without a winner.
Two Flagships That Almost Never Compete for the Same Shot
The Canon EOS R1 and the Fujifilm GFX 100 II both wear flagship badges, yet they answer opposite questions. The R1 asks how fast and how reliably you can freeze a moment, while the GFX 100 II asks how much detail and tonal depth you can record when the moment holds still. Pricing sits close, with the Canon EOS R1 at $6,299 and the Fujifilm GFX 100 II at $7,499, but the $1,200 gap is the least important number on this page.
The Sensor Decision That Sets Everything Else in Motion
The R1 uses a 24.2MP full-frame back-illuminated stacked CMOS sensor, a design built so the readout stays fast enough for blackout-free 40fps capture. The GFX 100 II carries a 102MP medium format sensor measuring 43.8 by 32.9mm, roughly 1.7 times the surface area of full frame. That single architectural choice cascades into burst rate, file size, rolling shutter, and the entire shooting rhythm each camera was designed around.
| Spec | A | B |
|---|---|---|
| Sensor | 24.2MP Full-Frame BSI Stacked CMOS | 102MP Medium Format (43.8 x 32.9mm) BSI CMOS |
| Continuous shooting | 40 fps electronic, 12 fps mechanical (better) | 8 fps mechanical |
| Resolution | 24.2 MP | 102 MP (better) |
Frame Rate Versus Pixel Count: A 5x Gap Each Way
The spread between these two bodies is unusually wide in both directions. The R1 shoots five times faster, while the GFX 100 II records more than four times the pixels. Neither camera tries to split the difference, which is exactly why a buyer rarely agonizes between them once the use case is clear.
Peak burst rate and resolution, side by side
The R1 leads on speed; the GFX 100 II leads on resolution. The deltas run in opposite directions.
What 40fps Buys You on a Sideline
Imagine you are tracking a sprinter from blocks to tape, or a striker winding up for a volley. At 40fps the R1 records a frame every 25 milliseconds, so the peak of the action lands inside your sequence rather than between two shots. The blackout-free 9.44m-dot viewfinder keeps the subject visible through the entire burst, which is the difference between reacting to motion and predicting it.
What 102 Megapixels Buys You on a Tripod
Now imagine a different morning: a mountain ridge at first light, the camera locked on a tripod, nothing moving but the clouds. The GFX 100 II resolves texture down to individual branches on distant trees, and its 16-bit RAW files hold shadow detail that survives aggressive recovery in post. Consensus among commercial and landscape shooters is that this tonal latitude, not the headline megapixel figure alone, is the real reason to own the larger sensor.
Autofocus and the Cost of a Larger Sensor
The R1 introduces Cross-Type AF across 100 percent of the frame, detecting both vertical and horizontal contrast so focus stays sticky on low-contrast subjects and erratic motion. The GFX 100 II offers capable AI subject detection for a medium format body, tracking faces, eyes, and even vehicles. Reviewers note the gap widens with motion: the R1 holds erratic action that the larger, slower-reading GFX sensor cannot match.
Rolling Shutter: The Hidden Tax on a Big Sensor
The R1's stacked sensor reads out fast enough that electronic shutter distortion is minimal even on rapid pans. The GFX 100 II's much larger sensor reads more slowly, so in electronic shutter mode fast motion can skew and propellers or golf swings can bend. For static and slow subjects this never appears, but it is a real constraint the moment your subject starts moving quickly.
Endurance and the Pre-Capture Advantage
The R1's immense battery life and pre-capture buffering let it record frames from the instant before you fully press the shutter, so a reaction-time delay no longer costs you the launch of a jump or the crack of a bat. Action Priority modes read athlete body mechanics to anticipate where focus needs to land. The GFX 100 II has no equivalent because its slower readout makes pre-capture impractical, which again reflects how differently each body treats time.
Storage and Workflow: Two Very Different Aftermaths
The R1 carries dual CFexpress Type B slots, giving working photojournalists true redundancy so a card failure never costs the assignment. The GFX 100 II pairs one CFexpress Type B slot with one SD UHS-II slot, a more flexible but less symmetrical arrangement. The deeper divide is downstream: 102MP files are enormous, and a single GFX session can fill hundreds of gigabytes, demanding serious storage that the R1's leaner 24MP files never require.
| Spec | A | B |
|---|---|---|
| Card slots | 2x CFexpress Type B (better) | 1x CFexpress Type B + 1x SD UHS-II |
| Connectivity | 2.5G Ethernet, Wi-Fi 6E, USB-C (better) | USB-C |
| Viewfinder | 9.44m-dot, blackout-free, fixed | 9.44m-dot, removable/tiltable |
Ergonomics: A Tank Versus a Convertible
The R1 keeps the integrated vertical grip of the 1-series, a rigid magnesium chassis weather-sealed to survive monsoons and built for all-day shooting with gloves. The GFX 100 II sheds the original GFX 100's built-in grip to become smaller and lighter, and its removable, tiltable viewfinder enables waist-level composition for low-angle studio work. One body is shaped for relentless field abuse, the other for deliberate, considered framing.
Lens Ecosystem: The Decision Most Buyers Underweight
The R1 mounts Canon's RF system, a deep lineup of fast telephotos and zooms engineered for autofocus speed, with the 2.5G Ethernet port feeding instant FTP transfer to a news desk. The GFX 100 II uses Fujifilm's G-mount, where lenses are large, heavy, and frequently priced above $2,500 each, and it accepts Premista cinema glass natively. Because the two systems share no mount, an existing glass collection should weigh heavily, since switching means rebuilding from scratch per the CIPA standards that govern how both brands report their specifications.
Frequently Asked Questions
- Is the Canon EOS R1 better than the Fujifilm GFX 100 II for sports photography?
For sports, the R1 is the clear tool. It shoots 40fps with a blackout-free viewfinder and Cross-Type autofocus across the full frame, so it locks onto erratic motion and freezes the peak of the action. The GFX 100 II tops out at 8fps with a slower-reading sensor, which makes it poorly suited to fast, unpredictable subjects despite its capable subject detection.
- Why would anyone pay more for a slower camera like the GFX 100 II?
Because frame rate is irrelevant to the work it targets. Commercial, fashion, and landscape photographers buy the GFX 100 II for its 102MP medium format sensor and 16-bit RAW files, which deliver detail and tonal latitude no 24MP full-frame body can match. For mural-sized prints and aggressive shadow recovery, that sensor, not speed, is what justifies the price.
- Does the Fujifilm GFX 100 II have rolling shutter problems with fast motion?
Yes, to a degree. The medium format sensor is physically large and reads out more slowly than the R1's stacked sensor, so in electronic shutter mode fast motion can skew and straight lines can bend during quick pans. For static subjects, portraits, and landscapes this never appears, but it is a genuine limitation if you photograph rapid movement with the electronic shutter.
- Can I use my Canon RF lenses on the Fujifilm GFX 100 II?
No. The GFX 100 II uses Fujifilm's G-mount for medium format, which is physically and electronically incompatible with Canon's RF mount. There is no practical adapter that preserves autofocus and aperture control across these systems. Switching from one body to the other means rebuilding your entire lens collection, which for medium format glass priced above $2,500 each is a substantial cost to weigh.
- Which camera is better for hybrid photo and video work?
It depends on your priorities. The R1 offers 6K 60p RAW and 4K 120p with fast, reliable autofocus and minimal rolling shutter, making it strong for run-and-gun and high-frame-rate capture. The GFX 100 II shoots 8K 30p and supports large-format Premista cinema lenses, favoring deliberate, high-resolution cinematography over speed. Fast action favors the R1; controlled cinematic detail favors the Fujifilm.
- How much storage do I need for the GFX 100 II compared to the R1?
Considerably more. The GFX 100 II produces 102MP RAW files that are several times larger than the R1's 24MP files, and a single intensive session can fill hundreds of gigabytes. Owners typically plan for a serious RAID or multi-drive backup setup. The R1's leaner files move faster over its 2.5G Ethernet and fill cards far more slowly, easing both storage and transfer demands.
The Call: Match the Body to the Moment, Not the Price
These two cameras barely overlap in purpose, so the $1,200 gap should not anchor your decision. Choose the R1 if your living depends on capturing fast, unrepeatable action with absolute reliability and instant delivery. Choose the GFX 100 II if your craft is resolving detail and tonal depth in subjects that hold still long enough to reward 102 megapixels.