The question now for pro photographers considering a larger medium-format camera is less about budget and more about needs.
For balance, we do need to consider the system that a camera is part of.
Thankfully, there are numerous decent Fujifilm GF lenses for the GFX100S II.
The grip of the GFX100S II is supremely comfortable.
However, in general they are pricier and chunkier than full-frame equivalents.
The backlit top LCD is super-handy, too.
We also get twin card slots, although both slots are SD card only.
GFX100S II with GF 100-200mm F5.6 lens attached.
We can’t expect the same power from the much cheaper GFX100S II, but it’s no slouch.
Frankly, I found 8-stops a tad optimistic.
First impressions are thatPanasonic’s IBIS in the full-frameLumix S5 IIperforms better, as does theHasselblad X2D 100C.
What you do get, though, is the best autofocus performance of any medium-format camera.
I have photos of bears with pin-sharp focus on the eyes (see above).
This camera is an absolute dream for landscape photography.
They’re quite capable of resolving intricate detail, but also of superbly controlling distortion and flare.
Where the flagship model shoots8Kvideo, the GFX100S II only records4Kup to 30fps, with no slow-motion option.
This means more potential for rolling shutter in video and in fast action photos, which can look ugly.
I’ll be checking this out more when I get my hands on the camera again.
First reviewed May 2024
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The bishamon-tex leather finish that is the hallmark of Fujifilm’s medium format cameras today.
The large top LCD displays exposure information but can be customized to display other info such as a histogram.
The two-way tilt touchscreen makes shooting from awkward angles a breeze, though you can’t use it for selfies.
The viewfinder is fixed, whereas the one in the GFX100 II can be removed.
102MP images at 7fps means you can capture superb detail and the best moment. I’ve heavily cropped into the full-resolution version of this image, shot through a fence with the 500mm F5.6 lens.
Animal detection autofocus nailed sharp focus on the bear’s eye (scroll for closeup)(Image credit: Future | Tim Coleman)
Animal detection autofocus nailed sharp focus on the bear’s eye(Image credit: Future | Tim Coleman)
This scenario often tricked the GFX100S II’s animal detection autofocus, which often mistook the gorilla’s ear for an eye and therefore focused on the ear.
I could crop tight on the gorilla from the full scene and still have pixels to spare.(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
The full picture.(Image credit: Future | Tim Coleman)
The kind of cropping that you can easily do with such a vast number of pixels.(Image credit: Future | Tim Coleman)
At ISO 10,000, contrast is reduced and detail less clean, but for such big files is possible to mitigate the adverse impact of noise.
Velvia Vivid Film Simulation(Image credit: Future | Tim Coleman)
Reala Ace Film Simulation(Image credit: Future | Tim Coleman)
Classic Negative Film Simulation(Image credit: Future | Tim Coleman)
Eterna Bleach Bypass Film Simulation(Image credit: Future | Tim Coleman)
Acros Film Simulation(Image credit: Future | Tim Coleman)
