The best medium format cameras boast two things that no other digital camera offers: the physically biggest image sensors, for unparalleled image quality, and native 100MP resolution for unmatched detail.
There are other benefits, too; medium format sensors render a much shallower depth of field than even full-frame cameras, and the sheer amount of data they capture results in truly astonishing dynamic range, color depth and color accuracy. All this comes at a cost, though, as these are typically the most expensive cameras on the market.
They're not right for everybody, though; the larger sensors have slower readout speeds, meaning they're less than optimum for fast action and video. To find out if you really need a medium format camera, read the FAQ section below.
The market is dominated by Hasselblad and Fujifilm, both of whom use Sony image sensors that are actually smaller than traditional medium format dimensions (more on that in the how to choose section below). The notable exception is Phase One, a super-specialist company that makes the most expensive professional cameras in the world with full-size medium format image sensors.
I absolutely love shooting with medium format cameras not just for their extreme resolution, but for their unique performance advantages. Here's my pick of the best you can buy…
I've been shooting professionally for more than a decade and have been interested in medium format dating back to the film days. I'm lucky enough to have tested every mirrorless medium format camera, and my personal pick is the Hasselblad X2D 100C – I love what Fujifilm is doing with GFX, but for me the Hasselblad color science simply can't be beaten. When I'm shooting for supreme image quality, either for client work or my portfolio, I reach for the X2D with the XCD 90V lens. I've even started trialling it as my everyday carry!
My top picks
The original GFX 100 blew my mind, but Fujifilm took things to an entirely new level here. Better autofocus, better stabilization, better ISO, better video… better everything! The only thing I miss is the vertical grip, but not everyone will agree.
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Simply put, I've never seen images quite as stunning come straight out of any other camera. Hasselblad's color science is truly unparalleled – and this might also be the most ergonomically perfect camera I've ever used.
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Combining the sensor and processor of the X2D 100C with the V system's modularity results in the most versatile medium format camera and back ever. I love how it brings the 500C back to life, and can be used on technical and field cameras too! Read more below
The 100S has been outclassed by the GFX 100 II, but this means you can get a 100MP camera at the lowest price ever – and given that its performance is so close to the GFX 100 II, I think this might actually be a more attractive proposition!
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I would estimate that only 5% of professional photographers truly need a camera like this. But those that do simply won't accept anything less. A specialist field camera that's just unparalleled in its field – with an unparalleled price tag, too!
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The best medium format camera in 2024
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Best medium format camera overall
✅ You want the best stabilization: The in-body image stabilization is an incredible 8 stops – and is better than many full frame cameras!
✅ You want to shoot video: With 8K 30p recording, you can achieve truly sublime results.
❌ You want to stay light: While it isn't as heavy as the original GFX 100, at over a kilogram it's still a tank.
❌ You want an articulating screen: I like the ability to tilt both horizontally and vertically, but it's no match for a fully articulating screen.
🔎 Fujifilm GFX 100 II Stills, video, speed, stabilization – this camera offers it all. The GFX 100 II will accommodate virtually any kind of shooting at an elite level. ★★★★★
Refining a formula that has worked exceptionally well for Fujifilm, the GFX 100 II continues to bring medium format to the masses by packing a big sensor into a comparatively small body. On the outside I wouldn't say there's much to physically distinguish it from a full-frame camera. On the inside it's a different story, though, with a 102MP BSI 43.8 x 32.9mm medium format sensor running the show.
Unlike the bigger GFX 100, the vertical grip is an optional extra here rather than being integrated and the electronic viewfinder is now detachable. However, while it's smaller and lighter than its hulking predecessor, it's still a heavy camera at 1,030g.
This is Fujifilm's third-generation 100MP model – and it gives an impressive upgrade in speed that makes this a viable option for shooting sports or wildlife. There is an 8fps motordrive setting and a buffer that can shoot bursts of up to 325 shots. Video shooting has also been improved, with this model offering 8K capture with over 13 stops of dynamic range.
The in-body image stabilization is rated at an incredible 8 stops, which isn't quite good enough for on-the-go vlogging but is still very impressive – and I find it better than a lot of full frame cameras! Fujifilm's gorgeous film simulations also make their obligatory appearance, opening up some fun shooting possibilities and the ability to experiment with different in-camera looks.
This is the most versatile 100MP camera in terms of all-around performance, offering superb stabilization, enviable video and surprising speed in addition to its headline resolution.
Read our hands-on Fujifilm GFX 100 II review
Best medium format camera for image quality
✅ You want ultimate quality: For still image fidelity, the X2D is simply unparalleled.
✅ You want the best storage: It uses the superior CFexpress B card format and boasts 1TB of internal SSD memory.
❌ You want to shoot video: The X2D offers no video capture whatsoever.
❌ You want an articulating screen: This is a single-axis tilt-only affair, which limits shooting flexibility.
🔎 Hasselblad X2D 100C If I had the money, this is the camera I would buy. It's a photo-only machine, but the images it produces are simply unrivaled. ★★★★★
If you're looking for ultimate photographic quality, look no further – the Hasselblad X2D is the definitive still imaging machine. Thanks to the stunning 100MP image sensor and Hasselblad's exceptional Natural Colour Solution technology, simply put I have never seen images as stunning come straight out of any other camera – photos are gallery ready, directly out of the X2D.
Employing hybrid phase detect autofocus, Hasselblad's latest mirrorless marvel has the fast and robust AF system it deserves – and it also boasts a stunning seven stops of in-body image stabilization, which is just wild for a medium format camera, making this a truly hand-holdable device that can shoot whatever, wherever.
In addition to a 5.76 million dot viewfinder, which enables you to see every ounce of detail in your 100MP shots, the camera supports CFexpress B cards but also boasts 1TB of internal storage. No more scrambling around for cards!
The asterisk is that the X2D does not shoot video in any way, shape, or form. Honestly, though, nobody buys a medium-format camera to vlog with, so this should be the farthest thing from your mind. I do wish it had an articulating screen, though.
Two things I really want to highlight are the UI/UX and the build of this camera. It has the sleekest, most pleasing and easiest to use menu system of any camera out there – it's a cross between Leica's slickness and Apple's intuitiveness. And not only is it incredibly light, at just 895g, it's the most comfortable camera I've ever held. The ergonomics are perfect!
Read my full Hasselblad X2D 100C review
Best modular medium format camera
✅ You need modularity: The digital back can turn a vintage Hasselblad SLR into a digital camera, and transform a technical camera into a 100MP beast.
✅ You shoot on sticks: Every other camera on this list is designed to accommodate handheld shooting, but this tailor made for tripods.
❌ You need video: Like the X2D, this doesn't offer any video recording.
❌ You want to shoot handheld: There is an optional grip but, with no stabilization and severe rolling shutter, this is a camera designed to be locked off.
🔎 Hasselblad 907X & CFV100C The ultimate modular camera, it can be used as a standalone 100MP machine or bring new life to field cameras and vintage 'blads. ★★★★★
While I think this is the best looking camera ever made, it's not a camera for everybody. Most photographers will be better served with the X2D 100C, which features the same sensor and image processor in a conventional mirrorless camera body (complete with all the associated advantages such as in-body image stabilization).
However, for a certain kind of photographer the 907X & CFV 100C combo is simply unbeatable. The 907X "body" is essentially there to enable the CFV 100C digital back to use modern XCD lenses.
However, the back can also be mounted to legacy Hasselblad V bodies (such as the iconic 500C) to bring them back to life – and it can be mounted to any camera that accepts V plates, such as field and technical cameras, turning any of these systems into a 100MP powerhouse.
Since it lacks any in-body image stabilization, suffers pretty severe rolling shutter, and lacks an integrated viewfinder, this is intended as a tripod-based camera rather than a handheld shooter.
So if you're someone who shoots on sticks and prefers shooting on a waist-level screen (emulating old waist-level finders), and wants the ability to adapt other camera systems, this will be your dream setup.
Read my full Hasselblad 907X & CFV 100C review
Best affordable 100MP medium format camera
✅ You want value: There are some absolutely ridiculous bargains on this camera right now – it's cheaper than some full frame bodies!
✅ You want an all-rounder: Between its 102MP photos and 4K 30p video, this is an excellent hybrid camera.
❌ You want to shoot 8K: Despite the 102MP sensor, the GFX 100S doesn't offer 8K video.
❌ You want subject detection: If you want things like human, animal and vehicle AF tracking, you'll need the GFX 100 II.
🔎 Fujifilm GFX 100S It's just outclassed by the GFX 100 II – but I think you're better buying this and saving (a lot of!) money to put towards lenses. ★★★★★
While it's easy to see what makes the original GFX 100 different, with its oversized body (and matching oversized price tag), even I had to double-check the differences between the GFX 100S and GFX 100 II!
In short, they're very similar in terms of performance – so similar that I think most people would actually be better served buying the 100S. It's a cheaper body, which will leave you money to buy the lenses that will make much more difference to your photographs. If it was my money, it's what I would do.
There are, of course, differences that should be noted. The 100S only shoots 4K (compared to the 100 II's 8K), stabilization is rated at 6 stops (vs 8 on the 100 II), burst shooting tops out at 5ps (instead of 8fps), the viewfinder is 3.69 million dots (as opposed to 9.44 million) and the AF system is a little less advanced.
Honestly, though? Aside from video (which I barely shoot on medium format anyway) I don't notice any of those things in practice when I actually shoot with the GFX 100S. So unless you really need 8K and the more intelligent autofocus, I would advise going with this camera and put the extra cash towards some glass.
Read our full Fujifilm GFX 100S review for more details
Best field camera
✅ You want the highest resolution: At 150MP, this has more megapixels than any other commercial camera.
✅ You need full-size medium format: Unlike the cropped sensors used by Hasselblad and Fujifilm, Phase One employs a true 53.4 x 40mm medium format sensor.
❌ You're on a budget: This is an elite camera for elite commercial shooting – with an elite commercial price tag!
❌ You've never used a field camera: Field and technical cameras are very unique. If you haven't used one before, be ready for a steep learning curve.
🔎 Phase One XT At well over 50 grand in the US, this isn't a camera for everybody. But for those who need true medium format and a true field camera, there's nothing better.
The Phase One XT is an extraordinary camera. Phase One doesn't want to call it a technical camera or a field camera but, honestly, I think that's the only appropriate category for it.
Being a technical camera (sorry, Phase One) it has built-in lens movements for perspective correction, and relies on the LCD display on its digital back for composing images. It also employs the reassuringly expensive Rodenstock lens mount and optics, so the purchase cost of the XT itself is just the start.
The other thing that sets the XT apart is the fact that it possesses a full-size medium format sensor (53.4 x 40mm) rather than the cropped sensors (approximately 44 x 33mm) used by every other camera on this list.
So not only does it pack more pixels, they are also physically larger – and thus able to offer finer fidelity. However, it lacks the image processing magic of Fujifilm and Hasselblad – and in particular, Hasseblad's color science – so images might be technically "superior" but they don't look quite as "good" to my eyes.
For a full-fat modular medium format system it's extremely compact, accepting the same 150MP IQ4 digital backs as the Phase One XF system but being designed for portability and field work.
It's not going to be for everyone, but landscape and architectural shooters who want a lot of resolving power in a field-ready kit are going to absolutely fall in love with it.
Read our Phase One XT review
How to choose the best medium-format camera
When it comes to medium format there are a few things to consider. First of all, resolution; cameras like the Fujifilm GFX 50S II and Hasselblad X1D II 50C pack 50MP, but with full frame cameras like the Sony A7R V, Leica SL3 and Sigma fp L hitting over 60MP, medium format isn't automatically the king of resolution.
That said, it does offer the highest resolutions available with every camera on this list exceeding 100MP. In fact, the GFX 100S and 100 II can both capture 400MP photographs via the magic of pixel-shift multi-shot (though this does come with caveats, such as requiring a completely still scene).
Do you need to shoot video? I would personally recommend a number of full frame cameras for that purpose (look to the Panasonic S5 IIX, for starters) but, if you want video, bear in mind that the 100MP Hasselblads don't shoot it – and only the GFX 100 II shoots 8K.
How about what you shoot – do you mainly shoot on a tripod, either in a studio or on location, or do you need the flexibility to shoot handheld? The Hasselblad 907X is the superior camera for tripod shooting, while the X2D has the best ergonomics and the GFX 100 II has the best stabilization.
While I've picked a lineup of modern mirrorless options, you can still search out older DSLR-based medium format cameras such as the Pentax 645Z, the Leica S3 and the likes of the Hasselblad H6D-100c.
Medium format sensor sizes
It is worth noting that medium format image sensors come in two main sizes. The 'full frame' medium format size is 53.4 x 40mm, used by Phase One, and it corresponds closely with the traditional 645 film format. Hasselblad's discontinued H cameras used a similarly-sized sensor, and this is one of the main reasons that these full-fat medium format cameras cost in the tens of thousands.
By comparison, the 'cropped' medium format sensors are broadly 45 x 30mm in dimension – fitting in-between traditional medium format and 35mm full frame sensors. These smaller sensors "only" cost in the thousands, and are used by Hasselblad X / V and Fujifilm GFX cameras (along with Pentax and Leica S).
What's the real-world difference? Phase One's sensors are both bigger and pack more pixels (150MP, to be precise), so they offer superior resolution and fidelity – though this comes at a price, since the only people who truly need this are the highest level commercial and architectural photographers.
For anything other than the most stringent scrutiny, Fujifilm and Hasselblad's sensors still deliver truly incredible image quality – and in fact, thanks to their superior image processing engines and color science, I actually prefer them.
| Camera | Sensor size | Megapixels |
|---|---|---|
| Fujifilm GFX 100/100S/100 II | 43.8 x 32.9mm | 100 |
| Hasselblad X2D 100C / CFV 100C | 44 x 33mm | 100 |
| Leica S3 | 45 x 30mm | 64 |
| Pentax 645Z | 44 x 33mm | 51 |
| Phase One XT | 53.4 x 40mm | 150 |
| Row 5 - Cell 0 | Row 5 - Cell 1 | Row 5 - Cell 2 |
How we test medium format cameras
I test cameras in real-world shooting environments – which often includes my professional work and assignments. This way I can see not only how a camera performs under carefully controlled conditions, but also when pushed in authentic shooting situations.
In addition to the quality of imagery, I also factor in how files handle in the editing stage, the quality of image stabilization, extra features on offer (and how useful they are!), battery life, ease of use… basically everything that happens from the moment I pick up the camera to the second I export your final photo or video.
Then the camera goes over to my colleague Ben Andrews, manager of our camera lab. He tests resolution, dynamic range and noise under scientifically controlled conditions using two key testing tools: Imatest Master and DxO Analyzer. This assesses:
1. Resolution (ISO-12233): We use a resolution chart based on ISO-12233 from Applied Image inc to indicate the limit of the camera’s vertical resolution at the centre of the frame. The higher the value, the better the detail resolution.
2. Dynamic range (DxO Analyzer): This is a measure of a camera’s ability to capture detail in the highlights and shadows. We use DxO’s transmissive chart, which enables us to test a dynamic range of 13.3 stops.
3. Noise (DxO Analyzer): We use the dynamic range transmissive chart to analyze the signal-to-noise ratio for RAW and JPG files at every sensitivity setting using DxO Analyzer. A higher value means the signal is cleaner.
FAQs
Is a medium format camera right for me? Do I REALLY need one?
Medium format cameras offer the ultimate in still image quality. This is thanks to their physically larger image sensors that not only have room for more pixels (which now start at 100MP!) but also for larger pixels. This results in images with more data, more detail and more dynamic range.
This kind of performance obviously presents benefits to everyone. However, this level of fidelity and fine detail is really the preserve of professionals whose clients demand files of the highest possible quality.
If you're a working pro shooting predominantly static subjects – such as portraiture, beauty, still life, landscapes, architecture and product photography – a medium format camera is something that may very well be worth the investment.
What are the downsides of medium format cameras?
The most obvious drawback of medium format is the price. The older generation of 50MP cameras cost around $3,000, while 100MP bodies start at $5,000. Lenses are expensive, too; while there are some entry level and third-party optics that are more affordable, realistically you're looking at between $2,000 to $4,000 for Fujifilm or Hasselblad glass.
Speaking of lenses, while medium format bodies are smaller and lighter than they've ever been (about the same size as an advanced DSLR), the lenses are still hulking big beasts given that they have to cover a much larger sensor area than other formats. So going medium format means using physically larger, heavier gear – which means these are not well suited as travel cameras (especially with the risk of them being stolen).
Arguably the only genre they are truly unsuitable for is sports and wildlife photography, due to slower autofocus, burst shooting and readout speeds, along with rolling shutter issues. That said, the latest GFX cameras possess formidable animal AF – and Fujifilm is starting to develop its system for wildlife shooting with lenses such as the GF 500mm f/5.6.
Workflow and storage is another consideration. Given that these are 16-bit 100MP files, you're going to need to a computer with a half-decent spec to handle the files – but, more importantly, you're going to need a lot of storage.
What are medium format cameras best for?
Historically, medium format cameras were largely limited to studio or landscape work due to their size and the fact that they had to be tripod-mounted. As such, they are best suited to genres such as beauty and portraiture, still life, product photography, landscapes and architecture.
While that is arguably still their ideal use case, today they possess a form factor not much different to a normal full frame camera – and the ability to handhold them liberates them from the shackles of a tripod. And while other cameras are definitely better suited, medium format cameras from Fujifilm are very capable at capturing video.
Is medium format good for street photography?
Traditionally, no – medium format was explicitly unsuitable for street photography. Today, however, cameras like the Fujifilm GFX 100 series and the Hasselblad X2D are formidable street shooters thanks to their smaller form factor, incredible image stabilization and extreme resolution – which enables you to crop right into images to realize intimate candid moments with an artificial "zoom".
Truthfully, though, the best cameras for street photography are typically much smaller and more discreet bodies.
Do professional photographers use medium format?
While many professional photographers use full frame cameras (as well as APS-C and Micro Four Thirds cameras, for that matter), medium format is still preferred by many pros.
Once upon a time it was a format exclusively for professionals (and was almost a requirement for top shooters), but today it has been democratized to such an extent that even enthusiasts are shooting medium format.
