Fujifilm GFX100S II
Introduction
You may be one of those who are still wondering whether to buy a camera from Fujifilm's GFX range, which is why you've landed on this page. No matter what you read in the following paragraphs, it's impossible to answer for you. However, I can advise you never to limit yourself to reading tests published online or in magazines (including my own). Go to a store, ask to see the body and hold it in your hand. Better still, ask if you can rent it or have it lent to you for a weekend. With which lens? The GF32-64mm f/4 R LM WR or the GF45-100mm f/4 R LM WR. These two lenses will give you a good idea of the possibilities and limitations of medium-format cameras. Even if these cameras look more and more like X-H2s on steroids, they are by no means a simple copy-paste of the X range with a larger sensor. Clothes don't make the man...
Disclaimer : although I'm in direct contact with Fujifilm France as part of their X-Photographer program, mainly to try out equipment, I bought the GFX100S II body used for this article privately. The same applies to all the lenses and other bodies mentioned throughout the test. Fujifilm did not pay me, did not read this article before publishing it, and never asked me to publish anything.
If you've ever used a Fujifilm X-H hybrid body, imagine for a moment holding a heavier, beefier X-H2 or X-H2s, whose autofocus has received its third downgrade (I can already hear the cynical comments of some who will immediately bring up the autofocus problems users have had to deal with following the introduction of updates that haven't done the manufacturer's image any good).
Software update: several updates were released by Fujifilm in November and December 2024, including one for the Fujifilm GFX100S II which can be found on the following page: https: //fujifilm-x.com/fr-fr/support/download/firmware/cameras/
To date, the latest firmware version is 1.10, dated 19 December 2024. You can also update your camera directly from the Fujifilm application available from the Apple App Store or Google PlayStore.
I can confirm that this body, which you're salivating over, and the lenses in the GF range produce exceptional files. However, you won't be able to use this camera with as much flexibility or agility as with recent APS-C or full-frame bodies. If fast focusing and precise capture of moving objects are your priorities, stop reading. Don't bother reading on, GFX cameras are not for you. In fact, if there's one thing you have to accept when buying such equipment, it's that it's going to slower (there's another, weight, but we'll talk about that later). Let's face it, when compared to first-generation medium-format cameras, the GFX100S II is a formula 1. However, if you're used to photographing with an X-T5 or X-H2, you're likely to experience a great deal of frustration if you approach medium-format photography in the same way.
I repeat: autofocus is slow. SD card writing speed is also slow. The same goes for photo playback: slow. Photos of children running in the park? Your hit ratio will be low. Street photography? Possible, but you'll experience a lot of frustration. Your son in the semi-finals of a fencing competition? He'll thank you for immortalizing his performance with your smartphone.
It's simple: you need a camera that's responsive, discreet and easy to pull out at the right moment? Don't buy a medium-format camera, including the GFX100S II. You'll be much happier with an X-Pro3, X100VI or X-T5.
If, despite all my warnings, you're convinced that this is the camera for you, go ahead and buy it! You're in for a treat! Landscape, architecture, portrait, macro, astro, product, ... and even a little street photography are just some of the areas in which medium format, and this camera in particular, will put sparks in your sights. Quite simply, once you've had a taste of medium format, it's challenging to go back. It's a bit like going from DVD to 4K: it's the same movie, but with a level of sharpness, contrast and detail that makes all the difference!
Getting started
When you first take the GFX100S II out of the box, you're struck by one thing in particular: its size. It's barely thicker than a last-generation DSLR.
And yet! 102 megapixels on an imposing sensor, an on-board 5-axis stabilization system, autofocus with technical features never before seen on a medium-format camera in this price range, a 3.69-megapixel electronic viewfinder, an adjustable LCD touchscreen, two SD card slots, the ability to shoot in 4K, simulations galore, etc... the list is long... and wild. In simple terms, this body offers 99% of the possibilities offered by the brand's top-of-the-range GFX100 II, but at a much more affordable price.
Weight? 883 grams with NP-W235 battery. By comparison, the GFX 50R weighed 775 grams, and the first GFX100 added 1.32 kilos to the backpack. Finally, a Sony A7RV weighs 723 grams with battery. While the weight of the camera body is no longer a problem, GF lenses are quite bulky and heavy, often adding over a kilo of glass, metal and plastic to your new toy. Fellow landscape photographers, eager for long walks, I can only recommend that you take Pilates classes.
Rather than go into detail about every element of the body, I'll share with you what I liked, and what I'm a little more skeptical about.
The grip is perfectly suited to my relatively large, thin-fingered hand. If you find the X-T5 a little too small, the GFX100S II will probably be perfect for you. The body of the GFX100S II is covered with a texture called BISHAMON-TEX, also used on the GFX100 II. According to the manufacturer, the three-pointed pattern, inspired by traditional Japanese design, not only enhances the look of the camera, but also ensures an excellent grip. I can confirm this. Although suspicious of marketing brochures, I have to admit that this new finish not only adds a touch of luxury to the body but is also very reassuring when you take the camera out of your bag.
I would have liked the extrusion at the back of the case (where the thumb rests and the Q button is located) to be a little more rounded, and therefore a little wider. This would undoubtedly have improved overall comfort a little and would also have made it possible to offer a larger Q button. Indeed, I can't keep my eye on the viewfinder if I want to press the Q button, so I'm constantly looking for it.
The ON/OFF button is ideally placed and stays firmly in place in my bag, unlike other cameras such as my X100VI, which tends to light up on contact with the bag.
The top LCD screen proves very useful. As with the GFX100 or GFX 50S, it remains legible even when the camera is switched off. So, there are no nasty surprises. At a glance, the main shooting parameters can be identified. I much prefer the presentation that displays the exposure scale rather than the one that simulates control wheels (less legible), or the histogram.
The PSAM dial on the left-hand side of the camera makes some people cringe, especially those who like the retro feel of Fujifilm cameras. Personally, I find it very convenient. The ability to access predefined parameters in a matter of seconds, even taking into account the format of the photo, is simply brilliant. Each C has its own style (e.g. C1 for portrait, 4/3, Classic Neg., C2 for black & white 16/9, Acros Red, etc.).
The same applies to the MOVIE/STILL switch: no need to search for the video mode in the DRIVE menu. One click and it's done!
The side connections include everything you need for remote triggering, filming and retransmission to an external screen, or sound and image recording.
The viewfinder doesn't have the resolution of the GFX100 II, but quite honestly, I challenge you to feel a real difference on a daily basis. I have no problem with the fact that it's not removable or adjustable. For landscape photography or studio portraits, I mainly use the LCD screen or my MacBook Pro connected to the body via the USB-C connection.
The rear LCD screen is the same as on the GFX100 II. It's bright and perfectly legible. Tactile, it responds fluidly to touch and makes it easy to review or zoom photos, even when a protective glass is placed on top. Its 4:3 format is simply brilliant.
Finally, the battery. It holds its charge and will allow you to shoot all day without stress. I tend to review my shots on the rear LCD screen several times per outing, and one battery lets me take 500 to 600 shots before I have to replace it. The icing on the cake is that this battery is now used on almost all the brand's bodies, offering greater flexibility between cameras. No need to carry around different chargers and batteries.
While we're on the subject of batteries, let's get down to the nitty-gritty.
With a price tag of 5,490 euros for the body, it's reasonable to ask why the external charger isn't included with the camera. It's not the first time Fujifilm has done this, but in the GFX range, this practice is more than questionable. You can, of course, charge the battery directly from your body using the USB-C cable supplied, but this immobilizes the GFX100S II during charging. Conclusion: the purchase of an external case is unavoidable (which I did).
The absence of a CFexpress card compartment is annoying. Even the X-H2 is more complete. So, yes, the GFX100S II has exactly the same features as the GFX100S, but a little adaptation wouldn't have hurt. Between CFexpress compatibility and BISHAMON-TEX texture, I'll let you guess what I'd have preferred. The fastest SD cards on the market can't match the speeds of the most basic CFexpress cards, and this is clearly felt with a camera whose sensor is over 100 megapixels.
The rear joystick is a little nicer to use than on the GFX100S, but it's tedious to master, especially to be able to click on it. I much prefer the GFX 50R's joystick, which may look less professional, but has the merit of being very responsive and efficient.
I would also have liked a few more customizable buttons. You won't be short of them, but only the GFX100 II offers more options today.
Finally, and less dramatically, and no doubt a little utopian on my part, I dream of a body whose base would be shaped to be Arca-Swiss compatible. You can always buy additional bases - offered as an option by Fujifilm (MHG-GFX S) - but then again, why not have also designed and offered a complete L-Bracket? Later, I'll tell you which accessories I use with my GFX100S II.
As you can see, the GFX100S II is superbly built. Have no doubts about the quality of its finish or its durability. It's a true all-rounder, a hyphen between all Fujifilm's latest innovations. If I'm quibbling a little, it's because, as an informed nerd, I always want more, but I have to admit that this camera offers a quality/performance/price ratio that is unique in the medium-format camera market.
Responsiveness and autofocus
Having used the GFX 50R, GFX 50S and GFX100S, I can see that Fujifilm has taken a significant step forward with the GFX100S II. Equipped with the same processor as the latest-generation cameras (X-H2, X-T5...), it benefits from increased computing power for autofocus. It also incorporates object detection (cars, motorcycles, bicycles, planes, birds, etc.), already present on the X series (X-H2, X-H2S...). Although less responsive than APS-C cameras dedicated to speed, this new feature represents a significant advance for a medium-format camera.
Continuous shooting and subject tracking
With a frame rate of 7 fps, the GFX100S II offers decent performance for a medium-format camera, even if it can't compete with today's APS-C or full-format cameras on fast-moving subjects. Hit ratio remains limited when subjects move closer to the camera. However, in portrait mode (in the studio or on location), eye and face tracking accuracy is significantly improved: the transition from one face to another, or from one eye to another, is quicker and smoother. The camera maintains focus on the eye of a person moving at moderate speed, provided the lighting conditions are right.
Fine-tuned stabilization
8 EV! That's what Fujifilm officially announces for this medium-format camera. It's impossible for me to scientifically verify the manufacturer's marketing, but I can testify that taking handheld photos in very dark environments is child's play. The photo of the Teatro La Fenice and that of the canal in Venice above in this article were taken handheld. In both cases, at ISO 6400. The first at f/16 and 1/5 sec. The second at f/8 and 1/7 sec. The one below, at f/16 and 1/15 sec. still at ISO 6400.
Low-light behavior
Thanks to the increase in ISO and sensor size, detection now works more satisfactorily in low-light conditions. However, autofocus remains laborious in some cases, even with a lens like the GF 110mm featuring faster linear motors. Wedding and party photographers may still encounter difficulties, preferring to resort to manual focusing once the light fades (for example, after 6 p.m. in winter).
Recent improvements and persistent limitations
The recent autofocus update improves focus consistency in AF-C mode. Even so, Fujifilm still lags slightly behind the competition in this area, across all formats. That said, the GFX100S II is clearly more responsive than the brand's previous medium-format cameras. It comes close to the usual performance of a 24x36 SLR or hybrid, even if it's still a notch below specialized action or sports cameras (X-H2S, Sony A9/A1, Canon R3, etc.).
Finally, detection of eyes, faces, animals and vehicles is now sufficiently reliable for this medium-format camera to be used in many contexts. Only the “big brother” GFX100 II does a little better, with its 8fps burst.
So I stand by my initial warning: if you want to practice photography on subjects where speed is essential, skip it. You'll save money and avoid XXL frustration. For everyone else, you now have one of the fastest, most reliable medium-format cameras on the market.
Image Quality
If you don't want to waste time reading the rest, I can sum it up in a single word: “Wow!”
The GFX100S II has the same resolution as its predecessor (the GFX100S), but the sensor architecture has apparently been reworked to optimize light capture. In the field, this translates into a clear improvement in micro-contrast and a more subtle rendering of detail in finely textured areas, such as hair or certain complex fabrics.
While Hasselblad (rightly) boasts incredibly accurate color rendition at sensor output, Fujifilm is no exception with its cameras, particularly the GFX100S II. It's simply stunning. Flesh tones retain a natural appearance, while Fujifilm's color science continues to excel in the reproduction of warm hues and delicate gradations. The ability to customize film simulations (Velvia, Astia, Provia, Classic Chrome, etc.) is an undeniable asset for those who like to fine-tune the atmosphere of their images right from the shoot. While I use these simulations when shooting to share shots via smartphone afterwards, I have to admit that once I'm home, I develop each shot with Lightroom, DXO Photolab or Capture One.
The sensor's dynamic range is also impressive. This was already the case with the brand's previous cameras, but I'm still amazed by the exposure latitude that allows me to recover material in highlights and shadows. Every time, even when pushing the sliders to extremes, noise remains relatively discreet and colorimetry stable. It's amazing!
Sharpness and detail are breathtaking, and there's real scope for cropping in post-production, whether in photography or video. Of course, the 102 megapixels are a big help, but you'd expect some degradation in quality, and that's not the case. Combined with fixed-focal lenses such as the GF110 mm f/2 or GF80 mm f/1.7, the sharpness of the photos is absolutely exemplary. I confess to spending a lot of time (too much time) zooming in on shots to detect the slightest weakness or drop in sharpness at full aperture. It's totally pointless, but incredibly enjoyable.
As for ISO, the camera now goes down to ISO 80, and as with the GFX100 II, digital noise management is perfectly contained thanks to the camera's internal processing up to ISO 6,400. Just apply DeepPRIME XD/XD2s to raw files in Photolab's development module, and you're done! Amazing.
Elephants in the room
Before concluding this test, it's worth mentioning two decisive aspects in the choice of medium-format equipment: price and weight. Both must be carefully weighed up before embarking on this path.
A substantial investment cost
The camera body, priced at €5,490 at the time of writing, is just the tip of the iceberg. Then there's the cost of one or more lenses, which can quickly add up. For example, if you choose the two zooms GF32-64 mm and GF45-100 mm, you'll need to add around €4,900. Of course, buying second-hand or keeping an eye on Fujifilm promotions can help reduce the bill. However, it's worth considering the range of equipment you could expect to find in the X range on a budget of around €10,500.
The question of computer configuration
Even if you decide to take the plunge, don't forget to consider the requirements in terms of computing power and storage. A RAW file takes up an average of 65 MB, compared with 45 MB for a JPEG. The creation of panoramas composed of 5 or 7 images, particularly in Photoshop or Lightroom, places even greater demands on system resources. In this context, a MacBook Pro M3 Pro with 48 GB RAM can become an almost indispensable investment, bearing in mind that a minimum of 32 GB is already necessary to work comfortably with these large files (my own MacBook Pro M1 Pro and its 16 GB RAM struggle when processing panoramas).
Other costs to consider
If that's not enough, you might want to consider purchasing additional batteries, an external charger or an L-Bracket. To sum up, medium-format photography undeniably offers exceptional quality and pleasure of use to discerning enthusiasts, but this world implies a high budget that it's essential to weigh up carefully before taking the plunge.
Conclusion
It's hard to argue with the qualities offered by the GFX100S II. Thanks to its highly competitive price/performance ratio, it was even €500 cheaper than the GFX100S at launch. Lighter, with faster autofocus, a better-defined viewfinder, a more sensitive sensor and an exemplary finish, it has many assets to seduce the majority of photographers. Some will even argue that it offers a better compromise than the GFX100 II, which is more expensive and only slightly better in some areas.
The benefits
Image quality: excellent detail and color rendition, typical of the medium-format range.
Improved autofocus: a clear gain in speed and precision over the previous generation, though still below that of specialized action cameras.
Ergonomics and viewfinder: sharper viewfinder and more comfortable grip thanks to a refined body.
Value for money: less expensive at launch than its predecessor, offering a very attractive price positioning for a medium-format camera.
Disadvantages
Overall cost: despite a lower launch price, the initial investment remains substantial (body + lenses + accessories).
Size: more compact than a conventional medium-format camera, but still bulkier and heavier than most full-frame or APS-C cameras.
File processing: the high-resolution sensor produces very large files, requiring an adapted computer and storage space.
Perfectible AF: although much improved, autofocus is still not up to par with sports or ultra-fast wildlife cameras.
All in all, if you're prepared to take on the physical (weight, bulk) and financial (photo and computer equipment) consequences of such an investment, you'll be amply rewarded by the quality of the images, both on screen and on paper. The GFX100S II is positioned as a best-seller capable of redefining Fujifilm's medium-format range and shaking up the habits of photographers looking for a high-end experience. Competitors have only themselves to blame.
Photo credits: all equipment photos supplied by Fujifilm France. All other photos are the property of Patrice Michellon.