With the release of the Fujifilm GFX 100S II, it appears that Fujifilm might have found its rhythm with its GFX lineup. I find it hard to believe that it was only in 2017 that the Fujifilm GFX series burst onto the scene. Since then we have been treated to a few different shapes and sizes, but each new addition has pushed medium format cameras, bringing more resolution, IBIS, and professional video – all with prices that were competitive with the best full frame cameras.
With its latest model, Fujifilm simplifies its GFX lineup, ditching the last of its 50MP medium format cameras with the GFX 50S II, and is now focusing on two 102MP large sensor cameras. At one end of the scale, you have the GFX 100 II, a do-it-all camera for the top pros who need stunning image quality and cutting-edge video, which also has a price tag only suitable for professionals.
At the other end is the new GFX 100S II, a refinement of the GFX 100S, which we already gave a rave five-star review. Like the prior model, the 100S II is an attempt to balance affordability with some of the best aspects of medium format cameras and be the camera that brings medium format to more people. With some big shoes to fill, can the GFX 100S II continue the good work of its predecessor?
Fujifilm GFX 100S II: Specifications
Fujifilm GFX 100S II: Price
The GFX 100S II cost $4,999 / £4,999 / AU$8,699 at launch, this actually bucks the trend of rising prices, being a sizable $1000 / £500 / AU$500 less than the RRP of its predecessor. Although it might be hard to remember the GFX 100S being that price as it has been regularly discounted.
The GFX range has always offered notably good value compared to other medium-format cameras and it's great to see that continue here, with the closest Hasselblad currently costing $8,199, but the much cheaper Fuji going head-to-head on key specs. However, with the even more affordable GFX 50S II and GFX 100S disappearing, the 100S II is now the cheapest GFX option – but at full price, is slightly less competitive to megapixel-packed full-frame rivals like a Sony A7R V (currently $3,899).
Fujifilm GFX 100S II: Design & Handling
At first glance, you might not even notice this is a new camera, save for the numerical marking added to the product name. The GFX 100S II uses the same body as its predecessor, although the giveaway is the addition of Fujifilm’s new BISHAMON-TEX material with its signature Y-shaped pattern. Fujifilm likes to refer to this as fake leather in its marketing but is likely convincing no one that this is actually leather.
Like with the GFX 100 II, I probably prefer the look of traditional faux leather-wrapped cameras, but the BISHAMON-TEX is a lot grippier, which really helps with the not-so-light GFX cameras and lenses. And this is the lightest GFX camera yet at just 883g, which is very impressive when you consider a full-frame Nikon Z8 weighs 910g.
The camera itself isn't much larger than a DLSR, although GFX lenses can be monsters, so one-handed shooting is mostly out the window. I tested the GFX 100S II alongside the new GF 500mm lens, which is not a light combination to carry around, but I was pleasantly surprised by how easily I managed to cling onto the camera with the grip and new texture.
As mentioned, apart from the new material, all the ports, buttons, and switches remain the same as the GFX 100S, making for an easy transition for any upgraders. It also follows the general cross-range Fujifilm pro camera layout, so anyone familiar with a Fujifilm X-H2 can get up and running quickly.
Mostly I find the controls easy and intuitive enough to use with the usual front and rear wheels. The 8-way autofocus joystick on the rear is chunky and enough to easily find in a hurry. Like other Fujifilm cameras, the controls are incredibly customizable, so even if you aren't happy out of the box, it's quick and easy to set it up how you like, and there are two custom function buttons on the top plate for this.
The one button I struggled with a little was the exposure button – the location is perfect next to the shutter but is just a little too small for my clumsy finger to find quickly, hopefully, this will improve with enough practice, but a larger or more raised button would be preferable. And one from my personal wishlist as a regular X-Series shooter, I wish there was a directional pad on the back, this would add a few more customizable buttons which is also appreciated, but I also prefer navigating menus with a D-pad rather than the sometimes overzealous joystick.
As with the previous model, there are dual UHS-II SD card slots, with CFExpress being reserved as a key point of difference for the more expensive GFX 100 II. Your experience might vary depending on the SD card you have, but in testing the camera using a ProGrade V90 card, I didn’t have any issues with the camera slowing down to process images during high-speed bursts or when recording 4K video. There is also the ability to record to an external SSD via USB-C if you prefer that.
The 5.76m dot OLED viewfinder is really lovely to use, it is large, bright, and clear for composing shots. I was testing the GFX 100S II alongside the new Fujifilm X-T50 and taking the same shot through each viewfinder kept reminding me how much of a joy medium format GFX cameras are for composing images. The viewfinder is not removable or tiltable, however, which is another key point of difference with the GFX 100 II.
Fujifilm GFX 100S II: Performance
The headline feature is still the sublime 102MP that impressed so much in the previous model. Although, the sensor has been redesigned slightly from the GFX 100S with new microlenses for better AF, and a new pixel structure that allows the sensor to adopt a new low ISO of 80. For purposes that require the ultimate image quality like art reproduction or product photography, you really can't do much better than this sensor.
However, if you still aren't impressed by 102MP, then the GFX 100S II can also perform the Pixel Shift trickery like other models to create massive 400MP images. The camera is also capable of using pixel shift to merge four shots for true color.
For other types of photography, yes 102MP can seem like overkill, but the benefits of cropping capabilities mean that you can digitally zoom further into your subject without losing quality. I spent a weekend with the camera in a wildlife park, and even though I was using the new GFX 500mm zoom – the longest large frame lens ever – the ability to crop in even further on animals just beyond the lens' reach was really useful.
See the example below of just how far I was able to crop into a photo and still maintain quality.
Autofocus is improved from the last model concerning AI smarts. The camera can now recognize vehicles, drones, birds, insects, and as I have thoroughly tested – animals.
The autofocus was very good at recognizing a huge range of animals on my safari testing, locking on to the animals' shape with ease, and more often than not when given an unobstructed view – finding the animals' eye. This isn't quite as quick as rival full-frame cameras from Canon and Sony, with the camera easily getting a little thrown off by fences or branches that slightly obscured my animal subjects. The autofocus also was a bit skittish when there were multiple subjects in the frame, in a herd of deer, the camera changed its mind several times in just a few seconds about which deer it fancied focusing on.
Autofocus speed, as seen in the prior model, is still fantastic, the camera can pull from near to far very quickly (although this will be somewhat dependent on the lens). Tracking, on the whole, was very good, especially when my subject meandered slowly around the frame in a predictable manner, but when subjects did start to move around a little quicker, there were a few more missed focus shots with the autofocus not as sticky as in other systems.
The in-body image stabilization (IBIS) has also been upped from 6.0 to 8.0 stops of shake correction (when used with a compatible lens). One such lens is the new GF 500mm, and handheld, it was absolutely outstanding. In my time with the camera, shooting at a slow speed in the fading light at the end of the day while also on a slowly moving vehicle, I still managed to get sharp shots.
My only major frustration was battery life. The GFX 100S II uses the same NP-W235 as its predecessor which is just fairly mediocre. I managed to easily churn through a battery in just a few hours of shooting. So making sure you carry and charge spares is a necessity, but when I am on a job or out and about, I really don't want to be dealing with battery anxiety.
Fujifilm GFX 100S II: Sample Images
These photos were all taken on a final version of the GFX 100S II alongside a pre-production version of the Fujinon GF 500mm f/5.6 R LM OIS WR lens. All photos are out of camera JPEGs taken using the standard (Provia) settings.
Fujifilm GFX 100S II: Lab results
For our lab data comparison we pitched the GFX 100S II against its predecessor, the original GFX 100S, along with its rival 100MP medium format rival from Hasselblad: the X2D 100C. We've also included the highest megapixel full-frame camera currently available, the Sony A7R V, to see what difference medium format makes to image quality.
Resolution (line widths/picture height):
Resolution is measured using standardized text charts which give results in line widths / picture height, which is independent of sensor size.
As these medium format cameras boast the highest megapixel counts we've ever tested, it's small wonder they max out our resolution test scale. Interestingly the original GFX 100S resolves slightly more fine detail at higher sensitivities that the newer model, potentially due to a change in image quality priorities baked into the new X-Processor 5 image processing engine. Regardless, the mark II still delivers a stellar performance.
Dynamic range (EV):
Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').
All four cameras are closely matched when it comes to capturing dynamic range, with the two GFX cameras delivering a comparable performance when judged across the entire tested sensitivity range.
Signal to noise ratio (decibels):
This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.
While the mark II may lose out slightly to the original GFX 100S in high ISO resolving power, the tables turn when it comes to noise control, as the 100S II produces the cleanest images of our test group.
Fujifilm GFX 100S II: Verdict
If you have been longing for the GFX 100 II since its release last year but find it beyond your budget, the GFX 100S II might be the perfect alternative. Fujifilm has managed to keep the price attractively affordable for a medium-format camera, and it is actually cheaper than the previous model, making it a compelling option for professionals who are debating between full-frame and the GFX series.
The GFX 100S II isn't a groundbreaking departure from its predecessor, rather, it builds upon the excellent foundation of the GFX 100S. It incorporates the latest X-Processor5, enhancing autofocus, shooting speed, and video capabilities while also improving IBIS to offer up to 8.0 stops of correction. The body design remains unchanged, although Fujifilm has somehow managed to lighten the load even more, with the GFX 100S II being lighter than some full-frame mirrorless bodies. The other new addition is Fuji’s BISHAMON-TEX material which increases grip.
I enjoy testing Fujifilm's medium format bodies so much, as each time I am just blown away by the capabilities of a 102MP large sensor. Photos are pin-sharp, and the ability to crop into the smallest details is unreal. Any pro photographers about to click buy on a new full-frame camera should seriously consider the GFX 100S II as an alternative.
✅ Buy this if...
- The 102MP will give you stunning image quality for portraits, food, products, and more.
- If you don't need the cutting edge of pro video then the GFX 100S II is a better choice than the GFX 100 II.
🚫 Don't buy this if...
- If you want a very small camera then while reduced in size, the GFX range is still quite large – especially lenses.
- Don't buy this without factoring in the cost of GF lenses as well, which can be quite pricey!
