Fujifilm GFX 100S II landscape setup walkthrough

H

IMAGE QUALITY SETTING

STILL PHOTO DISPLAY → MENU/OK → H IMAGE QUALITY SETTING

Page 1 / 4 Image size · quality · RAW · JPEG · simulation · monochromatic · grain · colour chrome 3 to act on

#	Setting	C1 Value	Action
1	IMAGE SIZE	Full · 102 MP	Skip
2	IMAGE QUALITY	RAW	Confirm
Universal base. RAW only. The entire case for the GFX in landscape work rests on the sensor's broad dynamic range and 102 MP resolution — both of which exist only in the RAF file. Any JPEG compression discards irretrievable tonal information at exactly the scale where landscape printing demands it most.
3	RAW RECORDING Two sub-settings: compression type + bit depth	LOSSLESS · 16-bit	Confirm
Lossless, not Compressed: Lossless reduces file size ~30–60% through a fully reversible algorithm — zero data loss. Lossy (Compressed) goes further but is non-reversible; its artefacts are visible at the print sizes landscape work demands. 16-bit, not 14-bit: 65,536 tonal steps per channel versus 16,384. That extra precision does not create more dynamic range in stops, but it does preserve smoother tonal transitions when you recover deep shadow or pull back a near-clipped highlight in Lightroom. The file-size increase is the correct trade.
4	SELECT JPEG/HEIF	—	Skip
5	FILM SIMULATION	CLASSIC CHROME	Set
Why Classic Chrome, not Velvia or Provia: Classic Chrome reduces saturation and slightly compresses highlights — giving a preview that closely approximates how a landscape RAW file looks after careful Lightroom processing. Velvia's vivid saturation creates a dangerously misleading preview: the scene appears more resolved and more colourful than the RAW data will support in post. You make compositional and exposure decisions based on a lie, and discover the lie on the calibrated monitor at home. Classic Chrome keeps you honest about what you are actually capturing. The RAW file contains full colour regardless — Classic Chrome is a preview discipline, not a creative commitment.
6	MONOCHROMATIC COLOR	—	Skip
7	GRAIN EFFECT	OFF	Confirm
Grain in the preview adds visual texture that obscures your ability to read fine tonal gradations in the sky, water, and shadow zones — exactly the areas that matter in landscape work. OFF gives you a clean signal to evaluate from. If a finished print calls for grain, it is added precisely in Lightroom where you control size, roughness, and application.
8	COLOR CHROME EFFECT	OFF	Confirm

Page 2 / 4 Colour chrome FX · smooth skin · dynamic range · D-range priority · white balance · tone curve · colour · sharpness 4 to act on

#	Setting	C1 Value	Action
9	COLOR CHROME FX BLUE	OFF	Confirm
10	SMOOTH SKIN EFFECT	OFF	Confirm
11	DYNAMIC RANGE	100%	Confirm
DR200% and DR400% force the camera to raise ISO (minimum ISO 160 for 200%, ISO 320 for 400%) and compress highlights in-camera. For RAW landscape work this is actively harmful: it raises your ISO floor and increases noise in the shadow zone — the exact opposite of what you need when shooting at base ISO for maximum tonal latitude. The RAF already preserves broad highlight headroom at ISO 100. Highlight recovery in Lightroom is more precise and more controllable than any in-camera DR expansion. 100% always.
12	D RANGE PRIORITY	OFF	Confirm
D Range Priority overrides your Tone Curve and Dynamic Range settings automatically. For a controlled landscape workflow, you need full and predictable control over every exposure parameter. Any automatic override is unacceptable. OFF always.
13	WHITE BALANCE Select DAYLIGHT or set a fixed Kelvin value	DAYLIGHT · 5500K	Set
Fixed WB for landscape — never Auto: Auto white balance drifts between exposures as the light changes — a bracketed sequence or interval timer set shot at golden hour will have inconsistent WB from frame to frame, making selection and processing harder. A fixed Kelvin value gives consistent previews and a reliable starting point in Lightroom. Set 5500K as the C1 default for daylight work. Adjust to 4500–5000K for overcast or shade, 3200–4000K for sunset and golden hour warmth. The RAW file retains all colour information regardless — WB is metadata, not a destructive decision. But consistency across a sequence has real workflow value.
14	TONE CURVE Two sliders: Highlights and Shadows	H: 0 · S: 0	Confirm
Why zero tone curve for landscape: Any in-camera tone curve modification changes the JPEG preview and histogram. A shadow lift of +1 makes the live view appear to have more shadow detail than the RAW file actually contains — a dangerous illusion that causes underexposure of the shadow zone. A highlight compression makes you think highlights are safer than they are. Zero means the preview represents reality. Your exposure decisions are based on what the sensor actually captured, not a flattering interpretation of it.
15	COLOR	0	Confirm
16	SHARPNESS	0	Confirm

Page 3 / 4 High ISO NR · clarity · long exposure NR · lens modulation optimizer · colour space · pixel mapping · edit/save custom · auto update 4 to act on · 1 critical

#	Setting	C1 Value	Action
17	HIGH ISO NR	−4	Confirm
Universal base. At −4 the preview shows you the actual noise state of the file. At base ISO 100 this is almost entirely irrelevant — the file will be clean. But the setting must be at −4 to prevent the camera from lying to you if you ever temporarily raise ISO: a noisy preview at ISO 800 means the file is noisy, and you should add more light rather than pretending it isn't there.
18	CLARITY	0	Confirm
19	LONG EXPOSURE NR	OFF	Set
Critical for long exposure landscape work: Long Exposure NR takes a second dark-frame exposure of the same duration as your shot and subtracts hot pixels from the result. A 30-second exposure followed by a 30-second NR processing cycle means you cannot fire the next frame for a full minute. At golden hour, blue hour, and dawn — where the light changes by the minute — this is an unacceptable cost. Hot pixel correction in Lightroom using AI Denoise or a manually created dark frame achieves equivalent results without the field time penalty. OFF always in C1.
20	LENS MODULATION OPTIMIZER	ON	Confirm
LMO applies GF-lens-specific corrections for diffraction at small apertures and peripheral focus falloff. At 102 MP, diffraction becomes visible as mush — not soft, but a collapse of micro-detail texture — at f/11+. The GF 20-35mm's sweet spot is f/5.6–f/8. At these apertures LMO provides meaningful correction at the frame edges where the sensor's resolution exceeds what even excellent optics deliver without correction. No performance cost. Always ON.
21	COLOR SPACE	ADOBE RGB	Confirm
Affects the JPEG preview only — the RAW file contains the full sensor gamut regardless. Adobe RGB gives a wider-gamut preview, making colour decisions in the EVF more accurate. sRGB clips saturated colours in the preview — a saturated sunset sky may look acceptable on the EVF but the full depth of the data is invisible to you while shooting. Adobe RGB shows you more of what is actually there.
22	PIXEL MAPPING	—	Skip
23	EDIT / SAVE CUSTOM SETTING	← Use last	Later
24	AUTO UPDATE CUSTOM SETTING	DISABLE	Critical
The most dangerous setting in the camera. With ENABLE, any change made while shooting in C1 — temporarily raising ISO for a handheld shot, nudging the shutter speed — is silently written back to the bank permanently. Return to C1 at your next location and find ISO 800 saved where ISO 100 should be. DISABLE means changes persist only for the current session and are never written to the bank unless you explicitly choose to save them. Protect the bank you built.

Page 4 / 4 Mount adaptor setting No action needed

#	Setting	C1 Value	Action
25	MOUNT ADAPTOR SETTING	—	Skip

G

AF / MF SETTING

STILL PHOTO DISPLAY → MENU/OK → G AF/MF SETTING

Page 1 / 3 Focus area · AF mode · zone custom · AF mode all · AF-C custom · store AF orientation · AF point display · wrap focus point 2 to set · 1 to confirm

#	Setting	C1 Value	Action
1	FOCUS AREA Position set in live view with focus lever	SINGLE POINT · centre	Set
Single Point AF gives you precise, deliberate placement of the focus plane. For landscape work — where focus decisions are intentional rather than reactive — you position the single point on the specific element that must be sharp, lock focus, verify with the magnifier, and shoot. The focus lever moves the point to exactly where you need it. Save the bank with the point at centre as the default; reposition per scene using the lever.
2	AF MODE	SINGLE POINT	Set
For landscape work the subject is the scene — and the scene does not move faster than you can think. Single Point AF means you choose exactly which part of the frame the camera focuses on. Zone, Wide/Tracking, and subject detection modes exist to handle subjects the photographer cannot predict or control. In landscape, you control everything. Use the tool that reflects that control.
3	ZONE CUSTOM SETTING	—	Skip
4	AF MODE ALL SETTING	—	Skip
5	AF-C CUSTOM SETTINGS	—	Skip
C1 uses AF-S, not AF-C. The AF-C Custom Settings configure tracking behaviour for continuous focus — entirely irrelevant for static landscape subjects. Leave at default.
6	STORE AF MODE BY ORIENTATION	ON	Confirm
Stores separate focus point positions for landscape and portrait orientation. When you rotate the camera to portrait format for a vertical composition, the focus point does not jump to an inappropriate stored position from the previous orientation. Particularly useful when switching between horizontal sky-led compositions and vertical foreground-led ones.
7	AF POINT DISPLAY	—	Skip
8	WRAP FOCUS POINT	—	Skip

Page 2 / 3 Number of focus points · pre-AF · AF illuminator · face/eye detection · subject detection · AF+MF · MF assist · interlock MF 5 to set · 1 critical

#	Setting	C1 Value	Action
9	NUMBER OF FOCUS POINTS	425 POINTS (17×25)	Set
Maximum precision for deliberate focus placement. At 102 MP, the difference between a focus point placed on the exact critical element and one placed 2mm away is visible at print scale. The 425-point grid gives the finest possible spatial resolution for Single Point AF — you can place the focus point precisely on the tip of a rock, the edge of a branch, or the exact hyperfocal point on the horizon. There is no speed cost for landscape work. Use the finest grid available.
10	PRE-AF	OFF	Confirm
Pre-AF continuously adjusts focus even when the shutter button is not pressed — draining battery and creating continuous motor activity. For deliberate landscape work, you engage focus intentionally when you are ready to shoot. Continuous searching serves no purpose and wastes battery on a tripod session that may last hours.
11	AF ILLUMINATOR	OFF	Confirm
12	FACE/EYE DETECTION SETTING	OFF	Set
Face Detection has no subject to lock onto in a landscape scene. With it active, the camera searches continuously for faces — an unnecessary processing overhead that could interfere with Single Point AF behaviour. OFF for C1.
13	SUBJECT DETECTION SETTING	OFF	Set
14	AF+MF	ON	Set
Essential for landscape precision: After AF-S locks focus, AF+MF allows you to fine-tune the focus plane by turning the focus ring without re-engaging the autofocus. This is the workflow for hyperfocal landscape work: half-press to AF-lock on your chosen element, then rotate the focus ring a fraction to shift the plane to the exact position you want — perhaps slightly in front of the AF point to maximise near-field depth, or slightly behind to push the hyperfocal distance. This level of precision is only possible with AF+MF ON. Without it, any touch of the focus ring disengages AF rather than refining it.
15	MF ASSIST	FOCUS PEAK HIGHLIGHT	Set
Focus Peak Highlight overlays coloured fringing on edges at the focus plane — visible in the EVF as you rotate the focus ring. For fine-tuning after AF-S lock (the AF+MF workflow above), it gives you immediate visual feedback on exactly where the plane of sharpness sits. Combined with Focus Check (magnifier, see below), this is the two-stage precision verification system for landscape work: peak highlights show you the zone, magnifier confirms the exact point.
16	INTERLOCK MF ASSIST & FOCUS RING	—	Skip

Page 3 / 3 Focus check · interlock spot AE · instant AF · depth-of-field scale · release/focus priority · AF range limiter · touch screen mode 4 to set · 1 critical

#	Setting	C1 Value	Action
17	FOCUS CHECK	ON	Set
The final verification before committing the exposure. Focus Check magnifies the image on the EVF immediately after half-pressing — or can be configured to appear at the focus point location. It allows you to verify at 1:1 magnification that the focus plane is exactly where you intended before firing the shutter. On a 102 MP sensor, a marginally focused landscape frame is unusable at large print size — the failure is not visible on the rear LCD at normal zoom, only at 1:1 on a calibrated monitor at home. Focus Check catches it in the field, when there is still time to reshoot. The cost is a few seconds per frame. The benefit is confidence.
18	INTERLOCK SPOT AE & FOCUS AREA	OFF	Confirm
In Manual mode — which is C1's shooting mode — metering is informational only. The live histogram, not the meter, is your exposure reference. Interlocking Spot AE to the focus area would create unpredictable exposure readings as you reposition the focus point across the scene. OFF.
19	INSTANT AF SETTING	—	Skip
20	DEPTH-OF-FIELD SCALE	—	Skip
21	RELEASE / FOCUS PRIORITY (AF-S) Confirm you are setting the AF-S row, not AF-C	FOCUS	Critical
FOCUS priority for landscape — the opposite of C4. If the camera has not confirmed AF lock, the shutter must not release. A marginally focused landscape at 102 MP is not "nearly sharp enough" — it fails at print size. Unlike sport work where a slightly uncertain frame is still usable, a soft landscape frame at the scale this system prints is simply discarded. FOCUS priority prevents the camera from firing until it has confirmed focus lock. If lock fails in low contrast conditions (a flat grey sky, smooth water), switch to manual focus and use the Focus Peak + magnifier workflow.
22	AF RANGE LIMITER Configure PRESET 1 for landscape range	PRESET 1 · 3m – ∞	Set
Configure PRESET 1 as your landscape range limiter. Setting a minimum focus distance of 3m–∞ eliminates AF hunting through the close-focus range when you are pointing at a distant scene. The lens acquires focus faster on distant subjects when it is not searching from minimum distance. Assign PRESET 1 to a function button (recommended: D-pad UP, as per the doctrine) so you can toggle it instantly — disable when you have a near foreground element within 3m, enable for general landscape shots. Save the bank with the limiter OFF; toggle it in the field as needed rather than saving it in an always-on state.
23	TOUCH SCREEN MODE	OFF	Set
With the camera on a tripod and the focus lever used for precise point placement, accidental touch-screen AF activation while adjusting the camera is a real risk. A tap on the LCD while repositioning could silently move the focus point. OFF eliminates this failure mode. Use the focus lever for all point positioning in C1.

A

SHOOTING SETTING

STILL PHOTO DISPLAY → MENU/OK → A SHOOTING SETTING

Page 1 / 3 Self-timer · save self-timer · self-timer lamp · interval timer · interval smoothing · interval priority · AE BKT · film sim BKT 2 to set · 2 available features

#	Setting	C1 Value	Action
1	SELF-TIMER	2 sec	Set
The minimum necessary shutter-button vibration elimination. Pressing the shutter button introduces vibration into the tripod that takes approximately 1–2 seconds to fully dissipate. A 2-second delay is enough for the camera to settle completely before the shutter opens. The 10-second timer is unnecessarily slow for landscape work; 2 seconds is the correct choice. When an RR-100 remote release is available, use it instead — the remote eliminates button vibration entirely without any delay. Save the bank with 2-second timer as the default; switch to remote when you have it.
2	SAVE SELF-TIMER SETTING	ON	Set
With SAVE SELF-TIMER SETTING ON, the 2-second timer persists across power cycles and bank switches. Without it, the self-timer resets to OFF when the camera is powered down. On a tripod session that spans dawn to mid-morning, the camera may be powered off between light changes. This setting ensures the timer is always active in C1 without requiring you to re-enable it each time.
3	SELF-TIMER LAMP	—	Skip
4	INTERVAL TIMER SHOOTING Configure per-session — not saved to bank default	OFF (default)	Off
Available in C1 when needed — configure per-session. Interval Timer Shooting fires the shutter automatically at a set interval — ideal for golden hour sequences where you want the camera to capture every 30–60 seconds while you observe, manage filters, or scout the next composition. Each frame is a full 16-bit lossless RAW. Save the bank with interval timer OFF; enable and configure the interval, number of shots, and start time when you arrive at a location that calls for it. Typical landscape intervals: 30 seconds to 3 minutes depending on how quickly the light is moving.
5	INTERVAL TIMER SHOOTING EXPOSURE SMOOTHING	—	Skip
When using Interval Timer with AUTO ISO in Manual mode: enable Exposure Smoothing to prevent step-changes in exposure as light dims through a golden hour sequence. In C1 with fixed ISO 100, Exposure Smoothing has no effect — ISO is fixed and cannot float. Only relevant if you temporarily use Auto ISO during an interval sequence.
6	INTERVAL PRIORITY MODE	—	Skip
7	AE BKT SETTING Available in C1 when needed	OFF (default)	Off
Useful in C1 as a selection tool, not an HDR tool. The GFX sensor's broad dynamic range means HDR merging is often unnecessary — a single RAW usually contains the full scene range when exposed correctly. But bracketing +/-1/3 to +/-2/3 EV around your metered exposure gives you three RAW files from which to select the optimal exposure in Lightroom. At 102 MP with complex mixed light (a sun just clearing a ridge, a long exposure with moving cloud), the difference between -1/3 and +1/3 EV can be meaningful. Configure: 3 frames, 1/3 EV step, CONTINUOUS shooting method (fires all 3 in one shutter press), sequence order 0 / - / +.
8	FILM SIMULATION BKT	—	Skip

Page 2 / 3 Focus BKT · photometry · shutter type · flicker reduction · flickerless SS · ISO · IS mode · 35mm format mode 5 to set · 2 critical

#	Setting	C1 Value	Action
9	FOCUS BKT SETTING Available in C1 when needed	OFF (default)	Off
A key C1 tool — configure when needed, not as a saved default. Focus Bracketing automatically shoots a sequence shifting the focus plane incrementally from near to far. Use Lightroom for RAW preparation and cataloging, then blend the stack in Photoshop (Auto-Align + Auto-Blend) or dedicated stacking software. This eliminates the need to stop down to f/16 for depth — where diffraction softens the 102 MP resolution. Use at f/5.6–f/8 (sweet spot for GF 20-35mm and 45-100mm, and equally valid on the GF 100-200mm F5.6 when you are building a compressed long-lens landscape). When to use it: when you have a foreground element within 1–2m of the lens that must be simultaneously sharp with the distant scene, or when a longer lens is compressing multiple planes that all need crisp separation. At 20mm with a subject at 3m+, depth of field is usually sufficient without stacking. Configure: Mode AUTO, starting point at closest desired sharp plane.
10	PHOTOMETRY	MULTI	Set
In Manual mode, the meter is informational only — the live histogram is your actual exposure reference. But Multi metering gives the most complete luminance analysis of the scene as a cross-check. It reads across all zones and provides the most accurate overall scene brightness reading. In M mode, the meter reading informs your starting point before you read the histogram; Multi is the most useful mode for this informational role. Never use the meter reading as a final exposure decision — always confirm against the histogram.
11	SHUTTER TYPE	MECHANICAL	Set
Mechanical for tripod landscape work. The Electronic Shutter has no meaningful vibration advantage on a stable tripod — the self-timer or remote release already removes the mechanical-shutter start impulse. The Electronic Shutter introduces rolling-shutter risk in scenes with moving clouds, water, or foliage, so Mechanical remains the safer saved default. If you need very long exposures, note that Bulb is not available with Electronic Shutter on this body; stay with Mechanical and use a remote release or self-timer discipline.
12	FLICKER REDUCTION	OFF	Set
Outdoor landscape. No artificial light flicker. Flicker Reduction increases write time between frames and has no benefit outdoors. OFF. If you move to an urban landscape at night with artificial light sources in frame, enable per-session.
13	FLICKERLESS S.S. SETTING	—	Skip
14	ISO Fixed value — never Auto ISO for landscape	ISO 100	Critical
Never Auto ISO for landscape — ever. Auto ISO introduces variable noise across a static scene. If the camera raises ISO between frames of an interval sequence, or between bracketed exposures, the noise character changes frame-to-frame — making selection and blending inconsistent. Fix ISO at 100 (base) and let the tripod handle whatever shutter speed the exposure demands. ISO 200 has negligible difference from 100 and gives slight shutter speed flexibility without visible noise penalty — acceptable for handheld supplementary shots. ISO 100 is the C1 default.
15	IS MODE	OFF	Critical
The single most common landscape IQ failure — and it is completely silent. IBIS actively moves the sensor to compensate for camera movement. On a stable tripod, there is no movement to compensate for. IBIS then searches for vibration that doesn't exist, generating the micro-movement it is designed to prevent. The result is a subtle but real loss of resolution that does not announce itself as blur — it announces itself as a slight softness that survives the rear LCD review and only fails at 1:1 on the monitor at home. IS MODE OFF on every tripod session, every time. Also critical for the OIS zooms in this kit — the GF 45-100mm and GF 100-200mm F5.6 both have a physical OIS switch on the barrel. Both the barrel switch AND the camera IS Mode must be OFF on a tripod — they are two separate settings and both must be checked.
16	35mm FORMAT MODE	OFF	Confirm

Page 3 / 3 Wireless communication No action needed

#	Setting	C1 Value	Action
17	WIRELESS COMMUNICATION	—	Skip

◈

Drive Mode is on the DRIVE button, not in the menu. Press DRIVE → select STILL IMAGE (single frame). This ensures one deliberate frame per shutter release. In AE Bracket mode (when needed) return here and select the BKT option; in Focus Bracketing mode the camera switches drive automatically. Confirm single-frame is set before saving the bank.

◈

Shooting mode M is set on the mode dial. Rotate to M. Set your starting values: ISO 100, f/8, shutter speed determined by the histogram at the scene. In M mode the histogram is your exposure reference — not the meter. The live histogram must be enabled in DISP. CUSTOM SETTING (see Setup section). Mode dial position and exposure values are captured when you save the bank.

F

FLASH SETTING

STILL PHOTO DISPLAY → MENU/OK → F FLASH SETTING — 1 page

Page 1 / 1 Flash function · red eye · TTL-lock · LED light · commander · CH setting Confirm all off

#	Setting	C1 Value	Action
1	FLASH FUNCTION SETTING	OFF / DISABLED	Confirm
2	RED EYE REMOVAL	—	Skip
3	TTL-LOCK MODE	—	Skip
4	LED LIGHT SETTING	—	Skip
5	COMMANDER SETTING	—	Skip
6	CH SETTING	—	Skip

D

SETUP — Relevant Settings

Setup settings are global across all banks — confirm before each session

D SOUND SETTING Electronic shutter sound 1 to confirm

Sub-menu	Setting	C1 Value	Action
Sound	ELECTRONIC SHUTTER SOUND	OFF	Confirm
In natural landscape environments — dawn, remote locations, wildlife-adjacent settings — any artificial sound is an intrusion on the environment and on other people present. The mechanical shutter is unavoidable; the simulated electronic sound is not. OFF.

D POWER MANAGEMENT Performance mode and power-off behaviour 2 to set

Sub-menu	Setting	C1 Value	Action
Power	PERFORMANCE	NORMAL	Set
Normal, not High Performance for landscape: High Performance mode (used in C4) maximises AF speed and EVF refresh at the cost of significant battery drain. For landscape work — where you are shooting one deliberate frame at a time, often with a multi-hour session span — battery longevity matters more than AF response speed. Normal Performance is fully adequate for AF-S Single Point on static subjects. Reserve High Performance for C4 sport sessions and return to Normal when in C1.
Power	AUTO POWER OFF	2 min or longer	Set
During golden hour interval shooting or slow deliberate landscape sessions, there may be extended periods between active use. A very short auto power-off (30s) means the camera regularly sleeps and requires wake-up before each shot — adding delay and risk of missing a fleeting light moment. Set to at least 2 minutes; 5 minutes is reasonable for long sessions. For interval timer shooting: the camera manages its own power state during the sequence and ignores auto power-off.

D SCREEN SETTING → DISP. CUSTOM SETTING Live histogram and highlight alert — essential for ETTR exposure discipline 2 critical to confirm

Sub-menu	Setting	C1 Value	Action
Screen	LIVE VIEW HIGHLIGHT ALERTInside DISP. CUSTOM SETTING	ON (blinkies)	Confirm
The blinkies are your ETTR instrument. The highlight alert fires at the JPEG preview clipping point — typically 1–2 stops before the actual RAW data is exhausted. The correct ETTR workflow: push exposure up until the blinkies fire on the brightest specular zones (bright sky edge, reflected sun on water), then check the RAW in Lightroom with Highlights −100. You will find recoverable data in almost every case. The blinkies are not a warning to stop — they are a signal that you are approaching the correct exposure ceiling. Never discard a RAW frame because of blinkies without verifying in Lightroom first.
Screen	HISTOGRAM DISPLAY (RGB)Inside DISP. CUSTOM SETTING	RGB HISTOGRAM	Confirm
The RGB histogram reveals what the luminance histogram hides. In landscape work, saturated colours — a red-orange sunset, a deep blue polarised sky — can clip in a single colour channel while the luminance channel appears safely within range. The RGB histogram shows each channel separately. When the red channel clips on a sunset sky, you see it. When the blue channel clips on a polarised sky, you see it. The luminance histogram would show both as safe. This is the difference between a recoverable highlight and a permanently clipped channel in the final print. Use RGB always.

I

NETWORK / USB SETTING

STILL PHOTO DISPLAY → MENU/OK → I NETWORK/USB SETTING

◈

No C1-specific network settings. For outdoor landscape sessions, consider enabling Airplane Mode to eliminate battery drain from background wireless activity. Remote locations often have no network anyway, making any active connection pointless. Re-enable for post-session transfer via Bluetooth or smartphone.

Page 1 / 2 Connection settings · airplane mode · Bluetooth · instax · Frame.io · FTP · USB power 1 to check

#	Setting	C1 Value	Action
1	CREATE/EDIT CONNECTION SETTING	—	Skip
2	SELECT CONNECTION SETTING	—	Skip
3	AIRPLANE MODE	Consider ON outdoors	Check
4	BLUETOOTH / SMARTPHONE SETTING	—	Skip
5	instax PRINTER CONNECTION SETTING	—	Skip
6	Frame.io Camera to Cloud	—	Skip
7	FTP OPTIONAL SETTING	—	Skip
8	USB POWER SUPPLY / COMM SETTING	—	Skip

Page 2 / 2 Information · reset network settings No action needed

#	Setting	C1 Value	Action
9	INFORMATION	—	Skip
10	RESET NETWORK/USB SETTING	Do not reset	Skip

↳

Save to Bank C1

H IMAGE QUALITY SETTING → Page 3/4 → EDIT/SAVE CUSTOM SETTING → C1 → SAVE CURRENT SETTINGS

Exact save sequence

Writing C1 to the camera

Confirm you are in M mode on the dial with ISO 100, f/8 set and STILL IMAGE (single) drive mode active. Confirm IS MODE is OFF. Then navigate to H IMAGE QUALITY SETTING → Page 3/4 → EDIT/SAVE CUSTOM SETTING. Select C1. Select SAVE CURRENT SETTINGS. The camera writes the complete menu state — including drive mode, shooting mode, ISO, and IS mode — to the C1 bank.

Then: EDIT CUSTOM NAME → C1 → type: LANDSCAPE.

To verify: EDIT/SAVE CUSTOM SETTING → C1 → EDIT/CHECK. Confirm: AUTO UPDATE CUSTOM SETTING = DISABLE · IS MODE = OFF · RELEASE/FOCUS PRIORITY (AF-S) = FOCUS · SHUTTER TYPE = MECHANICAL · ISO = 100 · FILM SIMULATION = CLASSIC CHROME · WHITE BALANCE = DAYLIGHT.

⚠

The IS MODE OFF check before every tripod session. After any handheld shooting — or any session where another bank was used — return to C1 on the dial and physically confirm: IS MODE = OFF in the shooting menu, AND (if using the GF 45-100mm or GF 100-200mm F5.6) the barrel OIS switch is set to OFF on the lens. Both must be OFF. One active and one off is still a failure. This is the most common silent IQ failure in landscape work. Make it a physical pre-shoot habit, not an assumption.

◈

The field discipline that makes C1 work: rotate the mode dial to C1 before lifting the camera. The act of selecting the bank is the act of declaring your intent — deliberate, maximum resolution, zero compromise. Take a moment to verify: tripod stable, IS off, focus lever at your intended point, histogram visible, blinkies armed. Only then compose and shoot. The GFX does not reward optimism.

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C1 Landscape
— Menu Setup Guide

Writing C1 to the camera

This guide is free to read

C1 Landscape— Menu Setup Guide

Writing C1 to the camera

This guide is free to read

C1 Landscape
— Menu Setup Guide