Fujifilm GFX 100 II

      Photo Review 9.0

      In summary

      The GFX 100 II provides many advantages over its larger and heavier predecessor and offers even more comfortable handling, along with a better designed user interface. Like its predecessor, there’s not much this camera can’t do.

      For professionals looking for the best image and video quality and the most usable medium format option on the market, the GFX 100 II is even better than the camera it replaces.


      Full review

      Announced on 12 September 2023, the GFX100 II features the same sensor size and 102-megapixel resolution as the original GFX100, which we reviewed in July 2019 but introduces some subtle, but significant changes to its body design. Fujifilm has adopted the smaller, less expensive body of the GFX100S as well as its smaller, lower-capacity battery, while retaining the original model’s removable viewfinder. The GFX100’s integrated vertical grip is gone and there have been a few changes to the control layout. However, more important are the internal changes that make most operations faster and more effective and improve overall imaging and video performance, including adding 8K 25p (DCI or UHD) recording capabilities.

      Angled view of the 102-megapixel Fujifilm GFX 100 II with the new GF55mm f/1.7 R WR lens. (Source: Fujifilm.)

      The review camera was supplied with the new Fujinon GF 55mm f/1.7 R WR lens, which is reviewed separately and also the GF 32-64mm f/4 R LM WR lens, which we reviewed in January 2019.

      What’s New?
      Aside from the changes outlined above, the new camera’s price is also lower than the GFX100’s and it has some important advantages to offer. These can be found in the table below, which compares the second-generation GFX 100 II with the original GFX 100.

      GFX 100 II GFX 100
      Sensor 43.8 x 32.9 mm CMOS II HS 43.8 x 32.9mm BSI CMOS
      Focal length multiplier 0.79x
      Pixel count 102 megapixels
      A/D processing 14-bit or 16-bit RAW; 24- or 30-bit TIFF via in-camera raw conversion
      Max.  pixels 11648 x 8736 pixels
      In-body stabilisation Yes, up to 8 stops of shake correction Yes, up to 5.5 stops of shake correction
      Pixel Shift Multi Shot mode Yes; creates a 400MP image No
      Video formats MOV (H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes), MP4 (H.264/MPEG-4 AVC, H.265/HEVC) with All Intra / Long GOP compression MOV/H.264/H.265 4:2:0 10-Bit with All Intra/Long GOP compression
      Video resolution (PAL System) DCI 48K & UHD 8K @ 25/24 fps, DCI 4K & UHD 4K @ 50/25/24 fps, DCI 2K & FHD @  100/50/30/25/24 fps DCI 4K & UHD 4K @ 25/24 fps, DCI 2K & FHD @  50/30/25/24 fps
      Additional recording options F-Log, F-log2 (with dynamic range of 14+ stops), Hybrid Log-Gamma; RAW video output via HDMI; waveform vectorscope display F-Log, Hybrid Log-Gamma (limited to 25 fps frame rates)
       ISO range ISO 80~12800 with extensions to ISO 40 and ISO 102400 (ISO 100~12800 for movies) ISO 100-12800 with extensions to ISO 50, ISO 25600, 51200, 102400
      Card slots 1x SD (UHS-II/V90) + 1x  CFexpress Type B 2 x SD (UHS-II)
      Shutter type Focal plane mechanical plus electronic
      Max frame rate 8.7 fps 5 fps
      Buffer capacity 1000+ Large/Fine JPEGs, 325 compressed RAW files or 260 uncompressed RAW 41 Large/Fine JPEGs, 14 compressed RAW or 13 uncompressed RAW
      Autofocus system Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF), 425 selectable points Intelligent Hybrid AF with 3,760,000 PD pixels
      AF subject detection AF tracking and detection of human faces and eyes, animals, birds, cars, motorcycles, bicycles, airplanes and trains. AF tracking and detection of human faces and eyes.
      Metering TTL 256-zone metering
      Monitor 3-way tilting 3.2-inch, 2,360,000 dots
      Touch-controls Yes
      Viewfinder Detachable 9,440,000 dots, 1x magnification Detachable 5,760,000 dots, 0.86x magnification
      Communications /Interfaces Wi-Fi, Bluetooth 4.2/  USB 3.2 Gen2x1 Type-C, HDMI (Type A), 3.5 mm jacks for   remote/ microphone and headphone; LAN Ethernet port Wi-Fi, Bluetooth/  USB 3.2 Type-C, HDMI (Type D), 2.5 mm jack for   Remote, 3.5 mm jacks for  microphone and headphone, DC IN 15V


      Power supply NP-W235 rechargeable Li-ion battery; CIPA rated for approx. 540 shots/charge  or 60 min. 8K or 4K video 2x NP-T125 rechargeable Li-ion batteries in special base pack; CIPA rated for approx. 800 shots/charge
      Dimensions (wxhxd) 152.4 x 103.5 x 73.5 mm 156.2 x 163.6 x 102.9 mm
      Weight (inc. battery) 1,030g with EVF included 1400 g
      RRP (body as supplied) $12,599 $16,499

      Who’s it For?
      Like the original GFX 100, the new camera is targeted at professional users, although its slightly smaller size and lower price could make it attractive to serious photo and video enthusiasts with deep pockets. The GFX 100 II is even better suited to hand-held use than its predecessor and the introduction of a Pixel Shift Multi Shot mode that can be used to produce 400-megapixel still images – albeit with the camera tripod-mounted – will doubtless make this camera a ‘must have’ for many studio, architectural and landscape photographers.

      The 8K video capability will almost certainly be overkill for many videographers, although it may be advantageous for those working in some professional fields, such as shooting stage performances and capturing footage for documentaries, where the ability to grab high-resolution frames for printing would be valuable.

      Like its predecessor, (and the GFX 50S) the GFX 100 II records images with a 4:3 aspect ratio but offers other selectable aspect ratios, which are achieved by cropping the 4:3 frame – and only for JPEGs. They include 3:2, 16:9, 1:1, 65:24, 5:4 and 7:6, examples of which can be found in the Samples section of this review. RAF.RAW frames are not cropped, regardless of the aspect ratio setting.

      Build and Ergonomics
      Like other models in Fujifilm’s GFX camera line, the GFX 100 II is weather-sealed. It has a magnesium alloy chassis with an ‘inner frame’ structure that integrates the image sensor, IBIS and lens mount into a single unit for maximum strength. The IBIS mechanism now provides up to eight-stop five-axis stabilisation performance, the best among Fujifilm cameras. It is also used to shift the image sensor at high precision to produce images with approximately 400 megapixels in the Pixel Shift Multi-Shot mode.

      A new BISHAMON-TEX coating has been used to optimise the camera’s grip and the top of the grip carrying the shutter release and power switch is tilted forward to improve handling, as on the GFX 100S.  The rest of the top panel slopes slightly towards the user enabling camera settings to be checked at a glance but is otherwise similar to that of the GFX 100S.

      As on the GFX 100S, it extends across most of the width of the panel but its graphic interface has been re-designed for to provide better visibility and readability. As usual, with Fujifilm’s GFX cameras, there are no dedicated exposure controls, although you can assign function to one of the dials for when you need to access them quickly.

      Top view of the GFX 1000 II with no lens attached showing the improved data display sub-monitor and re-located Fn buttons. (Source: Fujifilm.)

      Like its predecessor, the Mark II model has strap lugs at each end of the top panel, only this time they’re symmetrically positioned in the middle of each side. The strap is quite classy, with a textured, rubber-like inner panel where is passes around the user’s neck.

      Fujifilm’s designers have also shifted three Fn buttons to the top of the grip to make them more readily accessible.  The backlight button has been moved forward to make way for a fourth Fn button, which has moved up from its previous position on the thumb rest.

      Rear view of the GFX100 II. (Source: Fujifilm.)

      The large 3.2-inch, three-way tilting monitor is unchanged and retains its 2,360,000-dot resolution and touch-panel controls. Above the monitor the Drive and AF-on buttons have been added to the erase button (on the left) and focus mode selector (on the right) of the EVF mounting.

      The detachable OLED EVF boasts a much higher resolution of 9,440,000 dots with a 60Hz refresh rate and 1x magnification. For those who want faster refresh rates, there’s an option to boost it to 120 Hz, although it crops the frame in the process.

      The tilting screen is compatible with Fujifilm’s FAN-001 accessory, which clicks via electric contacts and is used to pass cooling air across the rear of the camera to enable users to record longer video clips at high bitrates without the camera overheating.  We weren’t able to test this accessory.

      To the right of the monitor is a vertical line of buttons, topped with the focus lever (joystick), with the AE-lock button just below it. Further down are the Menu/OK, Display/Back and Playback buttons. This layout is unchanged from the previous model, although we found the joystick smaller and less easy to use on the review camera. The thumb rest moulding still carries the small Quick menu button.

      As before, dual memory card slots are located beneath a locking cover on the right hand side panel although the second SD card slot has been replaced with a slot that supports CFexpress Type B cards to enable users to take advantage of the camera’s full video capabilities.  (We found it wouldn’t record video to an SD card.)

      The left side compartments are similar to the original GFX 100 camera, but the upper one now accommodates LAN connector, which can be used for tethering the camera or connecting it to a network. This allows direct transmission of files to an online server.  The camera also supports the Frame.io Camera to Cloud service  for uploading Apple ProRes Proxy and other video files.

      The GFX 100 II connected to an ultra-compact SSD storage drive via its USB-C port. (Source: Fujifilm.)

      The microphone jack, USB C, micro HDMI and 15V DC-IN connectors are in the lower one. The headphone jack now has its own compartment in front of the memory card compartment.

      The HDMI interface has been updated from the small (6.4 mm) type D to the larger (13.9 mm) Type A connection, which allows a wider range of storage devices to be connected to the camera for transferring files. The camera can also be connected to an external SSD for recording stills and video data directly in any mode or format.
      The battery compartment is, as usual, accessed via the base plate. The new camera uses the same NP-W235 as other Fujifilm cameras, like the X-H2, X-T5 and GFX 50S and GFX 100S. It’s CIPA rated for approximately 530 shots per charge.

      The base plate also sports a tripod socket (located on the lens axis), along with contact points for the optional VG-GFX II battery grip, which we were unable to test. The GFX 100 II supports direct USB charging and can also be powered through its USB-C port.

      When reviewing the previous model we commented that is was ‘remarkably comfortable to use … for such a large and heavy camera’. Even though the new model is a bit smaller and lighter, it’s still a relatively bulky and heavy camera. But it’s nice to use, thanks to its generous, rounded-off grip moulding and well-laid-out controls. It’s also more affordable than its predecessor.

      Sensor and Image Processing
      The GFX 100 II uses the same sized sensor as previous models and also has a Bayer colour array, rather than Fujifilm’s proprietary X-Trans filter. Although it retains the 102-megapixel resolution of its predecessor, it’s a new GFX 102MP CMOS II HS chip with upgraded circuitry that roughly doubles the readout speed provided by the GFX100S. This improvement increases video capabilities to 8K 25p (albeit with some cropping) and helps to suppress the rolling shutter effect when recording video.

      Improvements to the pixel structure and microlenses have enabled the use of ISO 80 as a standard sensitivity for stills and ISO 100 when recording video, allowing the camera to record images and movies with a wider dynamic range and lower noise than previously.  Image edge quality is now better than with the previous model.

      The sensor is paired with the latest fourth-generation X-Processor 5 high-speed image processing engine, enabling the new camera to offer more accurate hybrid contrast/phase detect AF system with 425 selectable AF points. The new processor uses Deep Learning technology to add AI-based tracking for a wide variety of subjects, extending beyond human faces and eyes to include animals, birds, cars, motorcycles, bicycles, airplanes and trains. While not quite as fast as the AF systems in Fujifilm’s latest APS-C cameras, it’s certainly an improvement on previous models.

      The burst shooting performance has also improved from the previous 5.0 frames/second to 8.0 frames/second with the mechanical shutter and buffer memory capacity has been enlarged accordingly. The new camera can accommodate more than 1000 JPEGs, 325 compressed RAW files or 260 uncompressed RAW files.

      As before, the camera supports three different JPEG sizes plus three JPEG compression settings (Super Fine, Fine, Normal), as well as uncompressed, compressed and losslessly compressed RAF.RAW settings.  Users can select between 16-bit and 14-bit depth for raw files and RAW+JPEG capture can combine any of the JPEG sizes with either type of raw file.

      The ISO sensitivity range has been increased and the native Auto range is now ISO 80-12800 with extensions to ISO 40 and ISO 102400 for stills or ISO 100-12800 for movies. As before, selecting the electronic shutter, either singly or combined with the mechanical shutter, prevents you from using the extended ISO settings. Long exposure noise reduction is also disabled.

      The GFX 100 II features advanced video features not previously possible in any GFX System or X Series camera, although it requires the use of CFexpress cards for recording movies. The new camera builds on the capabilities offered by the GFX 100S, providing the ability to record in both DCI 4K (17:9) and UHD (16:9) formats for 8K, 4K and Full HD footage as well as anamorphic 2x 8K at 2.76:1 and anamorphic 4.6K at 1.28:1 aspect ratios.

      The GFX 100 II is also the first camera in the GFX System to support 8K/25p video and the first to be able to output up to 8K/25p 12-bit video as RAW data via HDMI. It is also the first GFX System camera to feature F-Log2 recording with dynamic range expanded up to 14+ stops and include an F-log2 D Range Priority mode.

      In addition, the new camera can record in the Apple ProRes RAW format when used with the NINJA V+ monitor by ATOMOS, as well as the Blackmagic RAW format when used with the Video Assist 12G monitor by Blackmagic Design. It can also be connected to a portable storage device to enable files to be backed-up or transferred for storage, as shown in the illustration in the Build and Ergonomics section above.

      Users can also access new ‘Video Format’ modes and cinematic recording formats such Premista and 35mm. Time code sync with ATOMOS AirGlu BT is also available for seamless timecode syncing with multiple cameras, while anamorphic (35mm) recording is possible with the mount adapter.

      A tracking AF function for video recording has been added, allowing users to touch the screen to select a subject to be tracked while recording in the AF-C + Wide / Tracking AF mode. This allows the camera to select and track the main subject in situations with multiple subjects in the frame.

      Most of the Film Simulation effects can be applied to movie recordings and monochrome movies can be recorded with a warm or cool tone. Other options available include dynamic range and white balance adjustments as well as highlight and shadow tones, colour density, sharpness and noise reduction. Aids to assist movie recording include zebra displays to show up over-exposed highlights, time coding, wind and low-cut filters and adjustments for internal and external mic levels and headphones volume.

      As with the GFX 100 review, we had to conduct our Imatest testing on downsized files since the software was unable to process 100-megapixel images. Consequently, we selected the M/Super Fine + RAW setting, which produced 51.1-megapixel JPEGs. The RAF.RAW files were downsized in Photoshop 2024 to the same pixel dimensions after being converted into 16-bit TIFF format with Adobe Camera Raw, our preferred file conversion software.

      Both JPEGs and converted raw files showed good colour accuracy results in our Imatest tests at the camera’s default settings. JPEG resolution was up to expectations in our analyses, which converted raw files yielded results that were slightly above expectations. This is normal for most of the cameras we test. Resolution remained relatively high throughout the ISO range, with a gradual decline setting in from ISO 3200, as shown in the graph below. Interestingly, the highest – ISO 102400 – setting showed only a modest decline in resolution and shots would be usable at moderate reproduction sizes.

      Long exposures at night confirmed our Imatest results. Exposures at settings up to ISO 12800 were clean and relatively noise-free, although some noise could be discerned by ISO 51200, along with traces of softening. However, noise didn’t become really visible until ISO 102400.

      At the other end of the ISO scale, we found shots taken at ISO 40 tended to be quite contrasty.  We’d recommend using an ND filter to control exposures in very bright conditions, rather than the low ISO settings.

      We found the dynamic range in shots taken with strong backlighting in contrasty conditions was noticeably better than the GFX 100’s in similar conditions. Exposure metering was also more accurate, regardless of which mode was used.

      Like other recent Fujifilm cameras, the GFX 100 II provides three auto white balance settings: Auto, White Priority and Ambience Priority. The White Priority setting biases colours in favour of whites, while the Ambience Priority setting is used to retain the warm hues of incandescent and warm-toned fluorescent and LED lighting.

      In our tests, the auto white balance setting only produced neutral colour rendition under fluorescent lighting – and even then it was very slightly warm. The warm colour casts from incandescent and warm-toned LED lighting weren’t fully corrected, although in each case the cast was reduced enough to make subsequent corrections easy.

      The tungsten and fluorescent pre-sets tended to over-correct with their respective lighting types, although with the daylight fluorescent pre-set the adjustment was very slight. There’s no pre-set for LED lighting but plenty of in-camera adjustability is available to fine-tune colour balance on the go.

      It’s difficult to judge autofocusing speeds without the previous model being available for comparison. Focusing accuracy depended on using the appropriate AF mode, selecting the optimal AF area setting and positioning it right on the subject.

      However, with the optimal settings, focusing speed and accuracy was at least as good as – and arguably better than in some cases – the previous model. The built-in sensor-shift stabilisation system was demonstrably better than the previous model’s, enabling us to shoot with the camera hand held at shutter speeds as slow as 1.2 seconds and capture a high percentage of shots shake-free. An example is provided in the Samples section.

      For our video tests we swapped to the GF 32-64mm f/4 R LM WR lens so we could evaluate performance across a wider range of focal lengths and during zooming. Overall video performance was impressive, particularly with 8K resolution, which allowed high-quality frame grabs at 33 megapixels. But even with lower resolutions, the review camera recorded the best quality video we have obtained from any camera we have reviewed to date.

      At all the settings we tested, our recordings captured natural-looking colours, a wide tonal distribution and abundant detail. Autofocusing was generally accurate and subject tracking reliable in most situations, aside from the occasional ‘blip’ when something came between the tracked subject and the camera or when it became difficult to identify the main subject due to confusing environments.

      Soundtracks were also clear and distortion-free, with acceptable stereo presence from the built-in microphones. The addition of an external mic would doubtless deliver even better audio. Professional videographers should be happy with the wide range of settings available and the quality of the footage they can obtain.

      Our timing tests were carried out with a 64GB SanDisk ExtremePro SDXC II UHS 3 memory card in one slot (assigned to JPEGs) and a 64GB SanDisk ExtremePro  CFexpress card rated at 800MB/second write and 1500 MB/s in the other (assigned to raw files).

      The review camera took just under a second to power up and a similar length of time to shut down.  We measured an average capture lag of 0.15 seconds, which was eliminated with pre-focusing. Shot-to shot times averaged 0.3 seconds. It took roughly one second on average to process each JPEG file and just over three seconds for each RAF.RAW file and RAW+JPEG pair.

      In the high-speed continuous shooting mode with the mechanical shutter, the review camera recorded 102 full-resolution JPEG images in 11.9 seconds without slowing. This works out at a little less than eight frames/second, which matches specifications. Processing was completed within 8.4 seconds.

      With the electronic shutter, and the same JPEG setting, the camera recorded 100 frames in 11.8 seconds, which is close to the 8.7 fps frame rate. This burst took 8.1 seconds to process.

      Shifting to uncompressed RAF.RAW frames with the mechanical shutter made no appreciable change to the frame rate and we were able to record 105 frames in 12.4 seconds.  It took 54 seconds to process this burst. A similar frame rate was measured for RAW+JPEG pairs, but processing time for a 100 frame burst extended to one minute and 12 seconds.


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      Image sensor: 43.8 x 32.9 mm CMOS II HS sensor with  102 megapixels effective, primary colour filter
      Image processor:  X-Processor 5
      Lens mount: Fujifilm G mount
      Focal length crop factor:  0.79x
      Image formats: Stills: JPEG (DCF 2.0, Exif Ver. 2.32),  HEIF 4:2:2 10bit, RAF.RAW (14bit / 16bit), RAW+JPEG, TIFF (in-camera raw conversion only) 8bit / 16bit RGB; Movies: MOV (H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes), MP4 (H.264/MPEG-4 AVC, H.265/HEVC) with All Intra / Long GOP compression
      Audio: MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit) (4ch 48kHz/24-bit, 96kHz/24-bit); MP4: AAC (2ch 48kHz/16-bit)
      Image Sizes: Stills (4:3 native format):  11648 x 8736,  8256 x 6192,  4000 x 3000; Movies (PAL system):  8K (17:9) 8192 x 4320 at 24p, 8K (16:9) 7680 x 4320 at 25p, 5.8K (2.35:1) 5824 x 2476 at 25p,  5.4K (17:9) 5440 x 2868 at 25p, 4.8 K(16:9) 4776 x 2688 at 25p, DCI 4K (17:9) 4096 x 2160 at 50p/25p, 4K (16:9) 3840 x 2160 at 50p/25p, FHD (17:9) 2048 x 1080 at 50p/25p, FHD (16:9) 1920 x 1080 at 50p/25p; High speed recording at 100p available in Full HD modes
      Aspect ratios: 4:3, 3:2, 16:9, 1:1, 65:24, 5:4, 7:6
      Image Stabilisation: Image sensor shift mechanism with 5-axis compensation; CIPA rated for up to 8 stops (pitch/yaw shake only); Digital IS and IS Mode Burst in movie mode
      Dust removal:  Ultra Sonic Vibration
      Shutter (speed range): Mechanical shutter (30 to 1/4000 seconds in P, A modes; up to 60 min. in S, M & Bulb modes; Electronic shutter: 30 to 1/32000 second in P, A modes; up to 60 min. in S, M & Bulb modes; flash sync at 1/125 sec. or slower (with mechanical shutter)
      Exposure Compensation: +/-5EV in 1/3EV steps (+/-2EV for movies)
      Exposure bracketing: 2, 3, 5, 7 or 9 frames in 1/3EV steps, up to +/-3 EV
      Other bracketing options: Film Simulation, Dynamic Range, ISO, White Balance, Focus, Multiple Exposure (Max. 9 frames), Pixel Shift Multi Shot (combines 16 RAW files to generate a 400MP image)
      Self-timer: 2 or 10 seconds delay
      Interval recording: Yes, for time-lapse (Setting : Interval, Number of shots, Starting time, Interval timer shooting exposure smoothing, Interval priority mode)
      Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF)
      AF  selection: Single point AF: 13×9 / 25×17 (Changeable size of AF frame), Zone AF: 3×3 / 5×5 / 7×7 / Custom1-3 from 117 areas on 13×9 grid, Wide/Tracking AF: Yes (AF-S: Wide / AF-C: Tracking);  Face/eye detection, Subject detection Animal, Bird, Automobile, Motorcycle & Bike, Airplane, Train
      Focus modes: Single AF / Continuous AF / MF
      Exposure metering: TTL 256-zone multi-pattern sensing system with Multi, Centre-weighted,  Average and Spot metering patterns
      Shooting modes: P (Program AE) / A (Aperture Priority AE) / S (Shutter Speed Priority AE) / M (Manual Exposure)
      Film simulation modes: 0 modes (PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, REALA ACE, PRO Neg.Hi, PRO Neg.Std, Classic Neg., Nostalgic Neg., ETERNA/Cinema, ETERNA BLEACH BYPASS, ACROS, ACROS + Ye Filter, ACROS + R Filter, ACROS + G Filter, Black & White, Black & White + Ye Filter, Black & White + R Filter, Black & White + G Filter, Sepia)
      Other in-camera modes: Monochromatic Colour, Grain Effect, Colour Chrome Effect, Colour Chrome Blue, Smooth Skin Effect, Dynamic range (AUTO / 100% / 200% / 400%)
      Colour space options: sRGB and Adobe RGB
      ISO range: Stills: Auto, ISO 80~12800 with extensions to ISO 40 and ISO 102400 in 1.3 steps. Movies: ISO 100~12800 with extension to ISO 25600
      White balance: Auto  (White Priority / Auto / Ambience Priority),  Daylight / Shade / Fluorescent Light-1 / Fluorescent Light-2 / Fluorescent Light-3 / Incandescent Light / Underwater, Custom1 – 3, Colour temperature setting (2500K~10000K)
      Flash: External flashguns only (dedicated TTL Flash compatible)
      Flash modes: TTL (TTL Auto / Standard / Slow Sync. ) / Manual / Multi*When EF-X500 is set / OFF; 1st Curtain / 2nd Curtain / AUTO FP (HSS) available
      Sequence shooting: Max. 8.7 shots/sec. with 35mm Format Mode ON and electronic shutter; approx 8 fps with mechanical shutter
      Buffer capacity: Max. 1000+ frames Large/Fine JPEGs, 260 frames uncompressed RAW files
      Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class V90 compliant) and CFexpress Type B cards
      Viewfinder: 0.64 inch OLED EVF with approx. 9.44 million dots; approx. 21mm eyepoint, -5~+2 dioptre adjustment, 1.00x magnification with 50mm lens, built-in eye sensor
      LCD monitor: 3.2 inch tilt-type (three direction) touch screen colour LCD with approx. 2.36 million dots
      Weather sealing: Moisture- and dust-resistant sealing
      Interface terminals: USB Type-C (USB3.2 Gen2x1), HDMI connector (Type A), LAN Terminal (1000BASE-T、100BASE-TX、10BASE-T), 3.5mm stereo mini-jack for microphone/remote release and headphones
      Wi-Fi function: Built-in Wi-Fi (IEEE802.11a/b/g/n/ac); Bluetooth v4.2 (Bluetooth Low Energy)
      Power supply: NP-W235 rechargeable Li-ion battery; CIPA rated for approx. 540 shots/charge  or 60 min. 8K or 4K video
      Supplied accessories: Interchangeable electronic viewfinder EVF-GFX3, Li-ion battery NP-W235, AC power adapter AC-5VJ, Plug adapter, USB cable, Shoulder strap, Body cap, Hot shoe cover, Vertical battery grip connector cover, Memory card slot cover, Sync terminal cover, Cooling fan connector cover, Cable protector
      Dimensions (wxhxd): Approx. 152.4 x 103.5 x 73.5 mm (excluding protrusions)
      Weight: Approx. 948 grams with battery and card (1,030g with EVF included)

      Distributor: Fujifilm Australia



      Based on JPEG file taken with the Fujinon GF 45mm f/2.8 R WR lens.

      Based on RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw



      The stills shots below were taken with the Fujinon GF 55mm f/1.7 R WR lens.

      Auto white balance with incandescent lighting.

      White priority auto white balance with incandescent lighting.

      Ambience priority auto white balance with incandescent lighting.

      Auto white balance with fluorescent lighting.

      White priority auto white balance with fluorescent lighting.

      Ambience priority auto white balance with fluorescent lighting.

      Auto white balance with warm-toned LED lighting.

      White priority auto white balance with warm-toned LED lighting.

      Ambience priority auto white balance with
      warm-toned LED lighting.

      40-second exposure at ISO 40, f/2.0.

      30-second exposure at ISO 100, f/4.

      10-second exposure at ISO 800, f/6.4.

      2.5-second exposure at ISO 6400, f/7.1.

      1.5-second exposure at ISO 12800, f/8.

      1.5-second exposure at ISO 25600, f/13.

      1.5-second exposure at ISO 51200, f/18.

      1-second exposure at ISO 102400, f/22.

      4:3 aspect ratio, ISO 320, 1/42 second at f/8.

      3:2 aspect ratio, ISO 320, 1/42 second at f/8.

      16:9 aspect ratio, ISO 400, 1/42 second at f/8.

      1:1 aspect ratio,
      ISO 400, 1/42 second at f/8.

      65:24 aspect ratio,
      ISO 500, 1/42 second at f/8.

      5:4 aspect ratio,
      ISO 320, 1/42 second at f/8.

      7:6 aspect ratio, ISO 400, 1/42 second at f/8.

      ISO 80, 1/680 second at f/5.6.

      ISO 160, 1/280 second at f/3.6.

      ISO 80, 1/600 second at f/5.6.

      ISO 200, 1/450 second at f/4.5.

      ISO 160, 1/420 second at f/4.

      ISO 100, 1/500 second at f/5.

      The images and video clips below were recorded with the GF 32-64mm f/4 R LM WR lens.

      64mm focal length, ISO 3200, 1/50 second exposure at f/11.

      Stabilisation test; 64mm focal length, ISO 100, 1.2 seconds exposure at f/11.

      32mm focal length, ISO 25600, 1/100 second exposure at f/16.

      32mm focal length, ISO 4000, 1/25 second exposure at f/11.

      40mm focal length, ISO 1600, 1/28 second exposure at f/10.

      Still frame from Cine 5.3K (5824 x 2476) 2.35:1 video clip recorded at 24p.

      Still frame from DCI 8K (8192 x 4320) 17:9 video clip recorded at 25p.

      Still frame from UHD 8K (7680 x 4320) 16:9 video clip recorded at 25p.

      Still frame from DCI 4K (5824 x 2476) 17:9 video clip recorded at 25p.

      Still frame from UHD 4K (3840 x 2160) 16:9 video clip recorded at 25p.

      Still frame from DCI 4K (4096 x 2160) 17:9 video clip recorded at 25p.

      Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 25p.

      Still frame from DCI FHD (2048 x 1080) 17:9 video clip recorded at 25p.

      Still frame from UHD 4K (3840 x 2160) 16:9 video clip recorded at 50p.

      Still frame from DCI 4K (4096 x 2160) 17:9 video clip recorded at 50p.

      Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p.

      Still frame from DCI FHD (2048 x 1080) 17:9 video clip recorded at 50p.

      Additional stills samples can be found with our review of the Fujinon GF 45mm f/2.8 R WR lens.



      RRP: AU$12,599 (body only)

      • Build: 9.5
      • Features: 9.0
      • Ease of use: 9.0
      • Autofocusing: 9.0
      • Still image quality JPEG: 9.0
      • Still image quality RAW: 9.0
      • Video quality: 9.3