In summary
Like its precursor, the GFX100S II is a great choice for commercial and wedding photography and, with a suitable lens, it’s also good for landscapes, cityscapes, product and food photography and even (at a pinch) street photography. It’s lighter than a lot of ‘full-frame’ mirrorless cameras and competitively priced, given its sensor size.
The pricing, size and complexity of medium format cameras would normally put them out of the reach of everyday photographers. However, Fujifilm’s GFX cameras are similar to the flagship mirrorless models from Canon, Nikon and Sony in all three parameters. This makes them worthy of consideration by serious photo enthusiasts and entry-level professionals.
Full review
Announced in mid-May 2024, Fujifilm’s latest medium format camera, the GFX 100S II is physically almost identical to its predecessor, although lighter and 10 mm deeper. Its RRP is also lower and the camera’s magnesium alloy body is nicer to handle thanks to the new Bishamon-Tex finish, inherited from the much pricier flagship GFX 100 II model. Also inherited from the GFX100 II is the Pixel Shift Multi Shot mode and 3-way tilting touch-screen monitor. However, the GFX 100 II is distinguished by a larger, higher-resolution EVF, a full-sized HDMI terminal as well as faster burst speeds and a larger buffer memory – and it’s also 165 grams heavier and higher-priced.
Weighing only 883 grams, the GFX 100S body is the lightest in the system to date. (Source: Fujifilm.)
Aside from its lighter body, most of the improvements in the GFX 100S II are internal and relate to performance updates that increase responsiveness and improve video capture and stabilisation. We received the review camera with the GF63mm f/2.8 R WR standard prime lens, which was reviewed in September 2021.
Who’s it For?
The pricing, size and complexity of medium format cameras would normally put them out of the reach of everyday photographers. However, Fujifilm’s GFX cameras are similar to the flagship mirrorless models from Canon, Nikon and Sony in all three parameters. This makes them worthy of consideration by serious photo enthusiasts and entry-level professionals.
Medium format cameras have the advantage of significantly larger sensors than those in full-frame cameras, which means they can support higher resolutions and capture more image data. On the downside, however, the 0.79x focal length crop factor and larger means– and there isn’t the same wide choice of lens focal lengths.
The lenses also tend to be larger and heavier, which can make some of them difficult to use hand-held. Fujifilm’s GFX 100S cameras have the advantage of being lighter and more compact than other medium format cameras – and the GFX 100S II is marginally lighter than its predecessor, but only by 17 grams.
It also offers some worthwhile improvements over the original GFX 100S.
What’s New?
Although the sensor in the GFX 100S II is the same size and has the same resolution as the sensor in the GFX 100S, it’s an updated, second-generation CMOS II chip, which is paired with the latest X-Processor 5 high- speed image processor. While not as fast as the more expensive GFX 100II, the new camera offers some useful performance improvements:
1. Continuous shooting speeds have been boosted from a maximum of 5 frames/second (fps) to 7 fps in the new camera and the buffer capacity is increased to accommodate 184 Large/Fine JPEGs, 30 compressed RAW files or 16 uncompressed RAW files
2. In-camera image stabilisation (IBIS) has been redesigned with more precise gyroscopic and accelerometer sensors and is now rated at up to 8 stops of shake correction, compared with up to 6 stops in the previous model.
The updated in-camera image stabilisation mechanism. (Source: Fujifilm.)
3. The new camera gains a pixel shift high-res mode that uses the IBIS system to precisely shift the sensor by half a pixel between shots while recording 16 consecutive RAW images. These can be combined with the dedicated Pixel Shift Combiner software to generate a single 400-megapixel image.
4. A new Real Color mode records four RAW files with a one-pixel shift between each frame, enabling users to create 102-megapixel images with suppressed false colours, using only a quarter of the time and data of the previous GFX100S model.
5. The resolution of the built-in 0.5 inch OLED Colour EVF has increased to approx. 5.76 million dots with 0.84x magnification, compared with 3,690,000 dots and 0.77x magnification in the original camera.
6. Autofocusing has been improved with AI-assisted subject tracking that covers detection of human faces and eyes, animals and birds as well as cars, motorcycles, bicycles, airplanes and trains.
7. While video resolutions haven’t changed, the new camera can record DCI or UHS 4K video at up to 30p with 10-bit 4:2:2 options extending to 720 mbps. Video controls have been extended with the addition of waveform and vectorscope displays, the latest F-Log2 profile and tap-to-track AF in video mode.
8. It can also output Apple ProRes 422 video through its USB-C port or via the HDMI port to an Atomos or Blackmagic external recorder. The GFX 100S II also supports the Atomos AirGlu BT Bluetooth timecode syncing.
9. Native sensitivity has been extended to include ISO 80 at the lower end of the range , with a further extension to ISO 40 available.
10. Film simulations have been extended to include the recently added REALA ACE, bringing the total to 20.
11. Power management has been improved to see the NP-W235 rechargeable Li-ion battery CIPA rated for approximately 530 shots/charge or 80 minutes of 4K video recording, compared with 460 shots/charge or around 60 minutes of movie recording in the previous model.
12. The RRP on release was AU$8699, compared with AU$9499 for the original GFX 100S.
Build and Ergonomics
As noted above, the GFX 100S II is physically almost identical to the original GFX 100S, with a robust magnesium alloy body shell and weather-resistant sealing in 60 different places. Different views of the camera are shown in the illustrations below.
Front view of the GFX 100S II body with no lens fitted. (Source: Fujifilm.)
Top view of GFX 100S II body with no lens fitted. (Source: Fujifilm.)
Angled rear view of the GFX 100S II showing the tilting monitor screen. (Source: Fujifilm.)
The side panel of the GFX 100S II with the cover removed to reveal the interface ports. (Source: Fujifilm.)
From a photographer’s viewpoint, the GFX 100S II compares in size and weight with the following cameras, along with the storage media they use:
| Camera body | Dimensions (wxhxd) | Weight (with battery & cards) | Storage media |
| Fujifilm GFX 100S II | 150.0 x 104.2 x 97.2 mm | 883 grams | 2x SD (UHS-II / V90) |
| Canon EOS R1 | 157.6 x 149.5 x 87.3 mm | 1115 grams | 2x CFe Type B |
| Canon EOS R3 | 150 x 143 x 87 mm | 1015 grams | 1x SD + 1X CFe Type B |
| Nikon Z9 | 149 x 150 x 91 mm | 1340 grams | 2x CFe/XQD |
| Sony α1 | 129 x 97 x 81 mm | 737 grams | 2x CFe Type A |
Three of the four cameras in this list are significantly larger and heavier than the GFX 100S II – and all four have 36 x 24 mm sensors, which are smaller than the 43.8 x 32.9 mm chips in Fujifilm’s medium format cameras and have less than half its resolution. It’s also worth noting SD cards are smaller, lighter and cheaper than the other card types.
Performance
As we found with previous reviews, our Imatest software is unable to process test files recorded at 102-megapixel resolution. So we opted to test the highest quality settings at the Medium image size, using the native 4:3 aspect ratio of the image sensor.
Medium JPEGs at Superfine quality delivered 45.4-megapixel files that our software could handle so our test results are based upon these images. Since raw files are always saved at the full resolution of 11,648 x 8736 pixels so we could include them in our test results we reduced their size to the same size as the Medium JPEGs after we converted them into 16-bit TIFFs with the latest version of Adobe Camera Raw.
The Imatest resolutions of both the JPEGs and the RAF.RAW files exceeded expectations for the 51.1-megapixel resolution we tested, with the raw files delivering the expected higher figures. Edge resolution for the raw files was also within the above-expectations level, although the resolution of parallel JPEGs fell slightly short.
Resolution peaked at ISO 100 and declined gradually thereafter, falling more abruptly at the two highest sensitivity settings. The graph below shows the results of our measurements across the camera’s full sensitivity range.
We’ve also provided some cropped sections from our full-resolution raw files and JPEGs after enlarging them to 100% in Photoshop. No editing adjustments were applied before or after the images were cropped.
Low-light performance was generally excellent – including during long exposures. Exposures at low and mid-sensitivities were clean and relatively noise-free with abundant highlight and shadow detail. A 100% enlargement of frames showed no visible noise at ISO 3200 – and very little at ISO 6400.
Shadow details had been lost by ISO 51200 but noise was barely visible, although it became evident at ISO 102400 but not obvious. This is remarkably good performance for any camera but due in part to the larger image sensor and excellent in-camera processing.
We’ve decided to dispense with our regular tests of white balance performance because we feel they are no longer necessary. Over the past few years no cameras we’ve tested have shown quantifiable problems with auto white balance control – provided the user selected the appropriate setting. Manual adjustment should only be required to correct unexpected colour casts.
The GFX 100S II provides the same settings as its predecessor, with three auto options: Auto, White Priority and Ambience Priority. It also includes full colour balance adjustments so users can input corrections when required and these adjustments are also available in most image editors and all capable raw file converters.
Autofocusing was also generally very good, even in low light levels, where we found no instances of focus hunting. Subject tracking was also good. When shooting both stills and video, the camera could generally pick up where to focus and easily tracked subjects as they entered and exited frames.
Video clips shot with the review camera were at least as good as those we obtained from the previous model – and in some cases better. We weren’t able to test all the video capabilities as we don’t have external recorders and we can’t evaluate raw footage. Nonetheless, professional videographers should welcome the wide range of settings available and the quality of the footage they can obtain.
Our timing tests were carried out with two SanDisk ExtremePro SDXC II UHS 3 memory cards with a 32GB card in one slot (assigned to JPEGs) and a 64GB card (assigned to raw files) in the other). Both cards have speed ratings of 300MB/s.
The review camera took less than a second to power up but shut down almost instantaneously. Capture lag was effectively non-existent, with or without pre-focusing. Shot-to shot times averaged 0.45 seconds, which was as fast as we could keep pressing the shutter button. It took approximately a second to process each Large/Superfine JPEG file and 1.6 seconds for each RAF.RAW file and 1.94 seconds for each RAW+ Superfine JPEG pair.
In the high-speed continuous shooting mode, the review camera recorded 65 Large/Fine JPEG images in 10.6 seconds without slowing. This is slightly better than the specified seven frames/second. Processing was completed within 7.4 seconds
When shooting losslessly compressed RAF.RAW frames the burst rate paused at 29 frames, which were recorded in 6.5 seconds. It took nine seconds to process this burst. With uncompressed 14-bit RAW files, the camera recorded 20 frames in 3.5 seconds and took 14.5 seconds to process the burst.
Conclusion
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SPECS
Image sensor: 43.8 x 32.9 mm CMOS II sensor with 102 megapixels effective; primary colour filter
Image processor: X-Processor 5
Lens mount: Fujifilm GF mount
Focal length crop factor: 0.79x
Image formats: Stills: JPEG (DCF, Exif Ver. 2.32), HEIF (4:2:2 10-bit), RAF.RAW (14bit / 16bit), RAW+JPEG, TIFF (8bit / 16bit RGB in-camera raw conversion only); Movies: MOV (H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes), MP4 (H.264/MPEG-4 AVC), All Intra 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 (native 4:3 aspect ratio): 11648 x 8736, 8256 x 6192, 4000 x 3000; Movies (PAL system): DCI-4K 4096 x 2160 and UHD 4K 3840 x 2160 at 25p; FHD (17:9) and FHD (16:9) at 50p, 25p, 24p
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; up to 8 stops of shake correction; digital image stabilisation for movies
Dust removal: Ultra Sonic Vibration
Shutter (speed range): Focal Plane shutter with Mechanical shutter: 30 to 1/4000 seconds; Electronic shutter: 30 to 1/16000 second; plus Bulb to 60 minutes; flash synch at up to 1/125 second
Exposure Compensation: +/-5 EV in 1/3EV steps (+/-2EV for movies)
Exposure bracketing: 2, 3, 5. 7 or 9 frames in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst
Other bracketing options: Aperture, Focus, White Balance, Dynamic Range, Film Simulation
Self-timer: 2 or 10 seconds delay for stills; 3, 5 or 10 seconds delay for movies
Multiple exposure: Yes (max. 9 frames); Pixel Shift Multi Shot supported (up to 400-megapixel images)
Interval recording: Yes, for time-lapse
Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF), 425 points
AF selection: Single point AF (13×9 / 25×17), Zone AF (3×3 / 5×5 / 7×7 / Custom1-3 from 117 areas on 13×9 grid), All; Subject Detection for Animal / Bird / Automobile / Motorcycle & Bike / Airplane / Train.
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering: TTL 256-zone metering with Multi, Centre-weighted, Average and Spot patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure Film simulation 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
Special effects: Grain Effect, Colour Chrome Effect, Colour chrome Blue, Smooth Skin Effect, Dynamic range adjustments (AUTO / 100％ / 200％ / 400％), Clarity (+/-5 steps)
Colour space options: sRGB and Adobe RGB
ISO range: Auto (x3), ISO 80-12800 (1/3EV steps), plus extensions to ISO 40 and ISO 102,400 for stills; ISO 100-12800 for movies with extension to ISO 25600
White balance: AWB, AWB ambience priority, AWB white priority, Daylight, Shade, Fluorescent (x3), Incandescent, Underwater, Custom (x 3), Colour temperature setting (2500K~10000K)
Flash: External flashguns only
Flash modes: TTL (TTL Auto/ Standard / Slow Sync. ), Manual, Multi (When EF-X500 is set), Off; 1st & 2nd curtain sync available
Flash exposure adjustment: +/- EV in 1/3EV steps
Sequence shooting: Max. 7 frames/sec. with electronic shutter
Buffer capacity: Max. 184 Large/Fine JPEGs, 30 compressed RAW files, 16 uncompressed RAW files, 14 losslessly compressed RAW+JPEG
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I / UHS-II / Video Speed Class V90 compatible)
Viewfinder: 0.5 inch OLED Colour EVF with approx. 5.76 million dots; 100% frame coverage, 24 mm eyepoint, -5 to +3 dioptre adjustment, 0.84x magnification, built-in eye sensor
LCD monitor: 3.2 inch tilting (three direction) touch screen colour LCD with 4:3 aspect ratio, 2.36 million dots; 1.80 inch monochrome LCD sub-monitor data display
Weather sealing: Yes
Interface terminals: USB Type-C (USB3.2 Gen2x1), HDMI Micro connector (Type D), 3.5 mm stereo mini connectors for microphone and headphones, 2.5 mm Remote Release Connector, Hot shoe, Synchronized terminal
Wi-Fi function: IEEE802.11a/b/g/n/ac (standard wireless protocol); Bluetooth v4.2 (Bluetooth Low Energy)
Power supply: NP-W235 rechargeable Li-ion battery; CIPA rated for approx. 530 shots/charge or approx 80 minutes of 4K video recording
Dimensions (wxhxd): Approx. 150.0 x 104.2 x 97.2 mm
Weight: Approx. 883 grams with battery and card
Distributor: Fujifilm Australia
TESTS
Based on Medium/Superfine JPEG files taken with the Fujinon GF63mm f/2.8 R WR lens.
Based on RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw and then re-sized to match the Medium JPEGs.
SAMPLES
All the shots below were taken with the Fujinon GF63mm f/2.8 R WR lens.
60-second exposure at ISO 40, f/2.8.
30-second exposure at ISO 100, f/2.8.
20-second exposure at ISO 800, f/5.6.
13-second exposure at ISO 6400, f/14.
10-second exposure at ISO 12800, f/16.
6.5-second exposure at ISO 25600, f/18.
4-second exposure at ISO 51200, f/20.
1-second exposure at ISO 102400, f/16.
ISO 320, 1/50 second at f/9.
Crop from the above image magnified to 100% showing traces of coloured fringing and slight veiling flare near the edges of the frame.
Second crop at the same magnification showing details recorded.
ISO 160, 1/58 second at f/16.
Crop from the above image magnified to 100% to show details recorded.
4:3 aspect ratio; ISO 160, 1/500 second at f/10.
3:2 aspect ratio; ISO 160, 1/450 second at f/11.
5:4 aspect ratio; ISO 160, 1/500 second at f/10.
7:6 aspect ratio; ISO 160, 1/450 second at f/10.
65:24 aspect ratio; ISO 160, 1/500 second at f/11.
The same subject recorded simultaneously as a JPEG (left) and a RAF.RAW file (right); ISO 160, 1/120 second at f/5.6.
ISO 400, 1/50 second at f/9.
ISO 160, 1/350 second at f/8.
ISO 500, 1/50 second at f/11.
ISO 640, 1/50 second at f/11.
ISO 160, 1/52 second at f/11.
ISO 1000, 1/500 second at f/9.
ISO 160, 1/640 second at f/8.
ISO 400, 1/250 second at f/10.
Still frame from 4K (3840 x 2160) 16:9 video clip recorded at 50p; H.265 ALL-I 4:2:2 MOV format.
Still frame from DCI 4K (4096 x 2160) 17:9 video clip recorded at 50p; H.265 ALL-I 4:2:2 MOV format.
Still frame from 4K (3840 x 2160) 16:9 video clip recorded at 25p; H.264 MP4 format.
Still frame from 4K (3840 x 2160) 16:9 video clip recorded at 25p; H.265 LongGOP 4:2:0 MOV format.
Still frame from DCI 2K (2048 x 1080) 17:9 video clip recorded at 50p; H.265 ALL-I 4:2:2 MOV format.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p; H.265 LongGOP 4:2:0 MOV format.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 50p; H.265 LongGOP 4:2:0 MOV format.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 100p; H.265 LongGOP 4:2:0 MOV format.
Still frame from FHD (1920 x 1080) 16:9 video clip recorded at 25p; H.264 LMP4 format.
Rating
RRP: AU$8699 (body only)
- Build: 9.2
- 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: 9.0
BUY