Fujifilm GFX100S II Review

Only six months after launching their flagship Medium-Format Mirrorless Digital Camera, the GFX100 II, Fujifilm introduced more a compact variant with minor reduction in its specifications. That new camera is the Fujifilm GFX100S II and the subject of this Express review. Rest assured, all the information is available at Neocamera since most aspects are identical to the GFX100 II reviewed here
Fujifilm GFX100 II. Every difference is covered below in this review, while it refers to identical observations in GFX100 II review.

This Fujifilm GFX100S II is built around a 102 megapixels CMOS II HS sensor. This is the highest resolution sensor available in any camera on the market. Four other models share it, one is a unique Fixed-Lens Medium-Format camera. The Fujifilm GFX100S II shares its imaging pipeline with the GFX100 II too, thus delivering the same highly-acclaimed image quality that is already known.

The GFX100S II and GFX100 II both feature identical 5-Axis IBIS systems that can counter 8 stops of shake. There exists only a handful of digital cameras with more capable builtin image stabilization. These cameras use 3.8 million phase-detection elements to present a virtual 425-Point Phase-Detect AF sensor.

The differences between these models are quite minor and are detail in the Capability section of this review. The most notable difference is that the GFX100S II is 15% lighter, a little smaller in each dimension, shoots continuous at 1 FPS less and records 4K video instead of 8K. Additionally, the EVF is also fractionally smaller.

All professional digital cameras have extensive feature-sets. The GFX100S II delivers in this regards with a huge exposure-latitude, bulb mode, an interval timer, multiple exposure, extensive bracketing and sophisticated film simulation. It can capture 102 megapixels images at 7 FPS and is capable of recording 4K video. As one expects, this camera is fully weatherproof, freezeproof to -10C and boasts dual SDXC UHS-II memory-card slots.

This digital camera review analyses the usability, performance and image quality of the Fujifilm GFX100S II. Spans of contents below are taken from the Fujifilm GFX100 II review. This is noted below in green.

Fujifilm GFX100 II Features

As a premium professional digital camera, the Fujifilm GFX100S II technically has all the features required to handle every type of photography. While that is true, it is important to understand that it is not optimal for every type of photography. Compared to the flagship GFX100 II, there is no practical difference between the two in terms of applicability but their comparing their specifications well help decide between the two:

Specification	GFX100S II	GFX100 II	Effect
Max Shutter-Speed	1/16000s	1/32000s	GFX100 II Can freeze faster motion.
Max Continuous Drive	7 FPS	8 FPS	Easier to capture peak action with GFX100 II.
Max Video Resolution	Cinema 4K	Cinema 8K	8K video only with GFX100 II.
Weight	883g	1030g	GFX100S II is less lighter and smaller.
Dual Memory	Symmetric	Asymmetry	Simpler to manage on GFX100S II.

NOTE Those familiar with the GFX100 II may skip to the Usability section below.

There are aspects of both the GFX100S II and GFX100 to consider relative to specific types of photography. First, and most obvious, there is the bulk of the GFX system which makes Travel and Street photography less practical with these cameras. The second which is more restrictive is the availability of lenses. Fujifilm lenses made for the G-mount span focal-lengths from 20 to 500mm. Third-party makers produce some wider manual lenses, up to 15mm. There are Tilt-Shift lenses in the lineup but the only true macro is a third-party lens.

Then, there is Action photography. 7 FPS is enough to capture variations in poses but does not have much chances of capturing peek action in fast sports. Highly specialized action camera can shoot continuously 4 to 15X faster.

The 102 megapixels Medium-Format sensor of the GFX100S II captures sufficient resolution to produce some extremely large prints. Even a 60" x 45" would look completely sharp up close. There is enough resolution to print murals and billboards which are seen from further away. The expansive dynamic-range of this camera ensures rich gradations, proving extra leeway when processing files for print.

This camera supports a huge exposure latitude. Its standard ISO 80-25600 sensitivity range, expandable to 40-102400, combined with 1/16,000s-60m shutter-speed range can freeze fast action in bright light as easily as it can handle star trails in virtual darkness. Its 16-bit files capture shadow details better than any other camera.

Fujifilm are experts at color science. They offer a high number of Film Simulation modes based on classic Fuji film. For the undecided, there is even Virtual Bracketing which takes one shot and renders it as 3 images, each one using a different user-selected Film Simulation. There are now 14 to choose from and each can be tuned to taste. White-Balance control is also quite complete.

There are several bracketing options in this camera: AEB, ISO and Dynamic-Range. ISO Bracketing captures 3 frames with step sizes of 1/3-1 EV. Dynamic-Range Bracketing captures images with 100%, 200% and 400% dynamic-range, which is actually only available between ISO 320 and 12800. Exposure Bracketing is the most sophisticated of any camera to date. The GFX100S II can capture between 2 and 9 frames using the current exposure as base, center or limit. It allows any step size from 1/3 to 3 EV. Frames can be captured continuously or individually and in any of 4 possible orderings!

The Fujifilm GFX100S II implements two Pixel-Shift modes. These rely on the IBIS mechanism to produce an image with either more color definition plus, optionally, quadruple the resolution. The camera restricts sensitivity to the ISO 80-1600 range in these modes. Increased color-accuracy is produced by taking 4 frames shifted by one quarter pixel so that the Bayer filter reads every primary color at each photosite. Images of a whopping 400 megapixels are captured using 16 frames shifted by a half-pixel in each direction. Pixel-Shift captures RAW files that must be processed using Fujifilm software. The sheer volume of data probably explains why this camera does not feature builtin HDR which requires similar processing to combine multiple images.

This Medium-Format Mirrorless Digital Camera has a very modern design similar to Full-Frame Mirrorless Digital Cameras from other brands yet with some distinctly Fujifilm choices. Its handling and controls are familiar with one exception detailed further down in this review.

The Fujifilm GFX100S II is fairly large for a mirrorless. It feels dense and extremely well built. Its sculpted hand-grip has an indentation to rest on a finger. A standard two-stage shutter-release is located hight up at a 30° angle. It has a good amount of resistance and travel to the halfway point. Around it, there is rotating power switch with a strong detent that prevents turning on the camera accidentally.

Just below the shutter-release, the front control-dial is visible. It has nice distinct detents and a ribbed texture to enhance traction which makes it easy to use while wearing gloves. The control-dial is clickable. That action is used to cycle over multiple parameters which is necessary in Manual mode. How parameters are distributed between dials is configurable from the Settings menu. In Manual mode, the front dial has to serve two purposes, although it can do three, and clicking it cycles over parameters.

There is one button between the grip and the lens mount. Like every customizable button on the GFX100S II, it can be assigned to one of 67 functions! Often, this button is used for Depth-of-Field preview but we found it was much better to assign it for Exposure-Compensation. The reason for that will be obvious below. The lens release is found further down. Having it on this side is optimal for changing lenses, since it is possible to detach the lens while still holding onto the grip.

NOTE From here until the description of the back of the camera further down, the GFX100S II controls differ from the GFX100 II.

The top of the Fujifilm GFX100S II is similar but not an exact match for the deeper layout of the GFX100 II. A row of three buttons has been replaced by a minuscule Exposure-Compensation button squeezed tightly against the shutter-release. This button specifically is the only serious ergonomic issue of this camera. Luckily, it can be reassigned to a function that is not so critical. Good candidates are IS mode and the Self-Timer.

The status monochrome LCD of the GFX100S II measures 1.8" diagonally, making it a little smaller than the 2" LCD of the GFX100 II. Fujifilm moved the illumination button to the left of the status screen and reassigned the button used on the GFX100 II. The buttons on the top plate have a different physical shape and size now. When the camera is powered off, the status LCD remains on, as long as there is till a battery with some power inside the GFX100S II and it is not set to Live Histogram mode.

The new Medium-Format model has a flatter profile because its EVF is built into the camera, rather than the detachable unit used on the GFX100 II. The new EVF protrudes very nicely from the back of the camera. While it is not the class-leading viewfinder of the GFX100 II, it remains one of the best EVFs to date. This unit is a 5.8 Megapixels 0.5" OLED panel that shows 100% coverage at a very large 0.84X magnification. It is paired with a highly-responsive and essential Eye-Start Sensor.

Squeezed closely with the EVF, there is tiny button that illuminates the monochrome status LCD that is next to it. This 1.8" monochrome Status Display is incredibly configurable. In its default Information mode, an EC scale can be toggled on or off, plus it shows three large values and four icons that are completely customizable. Another model shows ISO and Shutter-Speed as dials, the selected aperture below it and an EC scale. A third mode replaces the entire content of the display with a Live-Histogram.

On the opposite side of the top plate, there is an Exposure Mode dial. It offers the standard PASM modes plus no less than 6 custom modes, the most of any camera! In the center of the dial, there is button to lock the Mode dial in place. Press it once to lock, another time to unlock. There are strong detents on the Mode Dial, so it is unlikely to turn accidentally. There is a standard hot-shoe above the EVF.

NOTE The backs of the Fujifilm GFX100S II and GFX100 II have an absolutely identical control layout. Skip to the Conclusion section, if familiar the the GFX100 II.

The back of this mirrorless camera features a large 3.2" LCD touchscreen with 2.4 megapixels, one of the highest resolutions available on a rear LCD screen. While it is one of the larger screens yet, it looks normal-sized on such a large Medium-Format Digital Camera. The LCD is mounted on a sturdy double-hinge that lets it tilt down or up 1" away from the camera to minimize chances of the EVF blocking its view. The display is not so bright but its anti-reflection coating helps reduce glare.

Along the right edge of the rear LCD, there is a column of buttons with an 8-way joystick at the top. The joystick controls the focusing point and is usable in MF mode too, since it determines which area is magnified during MF Assist. There is no 4-way controller on the GFX100 II, similar to several other Fujifilm cameras, so the joystick is also used for menu navigation.

Below the joystick, there is an AEL button that can be customized to perform other functions. One button down, there is the Menu/OK button which is used to enter the menu system and confirm changes. Below it, the DISP/BACK button cycles over display modes are exits an open menu. The button at the button toggles between Capture and Playback modes.

A curiously placed Q button to near the outer edge of the camera activates the Fujifilm Q menu. This iconic screen allows users to select up to 15 functions to be accessed without entering the full menu system. The is the only problematic button on the GFX. It easily gets press unintentionally while using the camera. A few more button are lined up with the top edge. Drive brings up a list of drive modes, Delete is used to prompt a file for deletion and AF On is customizable. By default it triggers the autofocus system.

To the left of the AF On button, there is a typical 3-way focus mode switch, only in an unusual location! On the right, one can see the rear control-dial which is clickable. By default, clicking this dial activates MF Assist, but this can be customized to invoke other functions. The two control-dials provide efficient control over exposure and can be setup in various ways. The factory settings are set to a modal interface that requires more careful usage than ideal.

The bottom of the camera shows a metal tripod mount, inline with the optical center of the sensor. This is ideal for panoramic photography. A rigid plastic door covers the opening to the battery compartment. There is a slim rubber gasket on the inside of the door to provide protection against the elements. The proprietary Lithium-Ion battery is charged inside the camera, unfortunately forcing users to leave the camera out while charging. For the price, it should really come with a charger. It is possible to purchase a twin USB-C charger separately though.

Ergonomics of the Fujifilm GFX100 II are quite good, except for that one default EC button. While this is a large and heavy camera, some high-end professional Full-Frame Mirrorless Digital Cameras are heavier. The camera is fairly efficient to control. Even though there are only two control-dials, the majority of GFX lenses have an aperture-ring, so it is possible to control all three exposure parameters without resorting to modal operations. The disadvantage of using an aperture-ring is that it overrides the Mode-Dial position.

The lack of a 4-way controller gives this camera fewer controls than other professional models. Luckily, the Fujifilm menu system is one of the less complicated to navigate. It forces some tough choices when customizing controls though. Anecdotally, the same of the grip on this camera seems to have prevented accidentally pressing the Q button, which happened all the time during the GFX100 II review.

Medium Format is all about image quality. The larger-than-full-frame 0.8X crop-factor image sensor is expected to translate into lower image noise at equal magnification and higher dynamic-range. This is essentially the only reason photographers accept bigger and heavier lenses, with all that those imply.

NOTE Image quality and performance from the Fujifilm GFX100S II were measured and confirm that the image quality is indistinguishably between it and the GFX100 II. Additionally, speed and responsiveness only show negligible differences between the two, other than the extra 1 FPS continuous drive speed.

The ultimate output quality of any ILC depends on both the camera and lens. Fujifilm made sure this is overseen by announcing that all their GF-mount lenses are designed for a resolution of 100 MP, telling photographers that those lenses were ready for future-generation GFX system cameras. It did not take long to reach this future with the GFX100. While color, noise, contrast and exposure are properties of the camera, distortion, vignetting and chromatic aberrations are properties of the lens. Sharpness depends on the weakest link. So, the camera cannot capture more details than the lens lets through. Conversely, a lens can transmit a greater amount of details than the sensor can capture.

Sharpness & Image Noise

Image quality of the Fujifilm GFX100S II is incomparable to any other save for its siblings. The level of detail captured by the 102 megapixels sensor is often too much! In some studio shots of still life, this camera rendered the dust precisely without even using a macro lens. It also managed to resolve the dots used to print the book covers used for comparing image-noise.

Between ISO 80 and 800, this camera captures imperceptible details. The expanded ISO 40 level offers the same noise-free output with a very slight smoothing of detail due to internal processing. The default Sharpness level is really good, while pushing it to +1 produces absolutely tack-sharp images without any visible artifacts. At these sensitivities. it is possible to print impeccable 60" x 45" prints and murals.

There is virtually no difference between ISO 800 and 1600. Tiny speckles of noise is apparent when seen at 100% magnification yet incredibly small details are still captured. Enormous prints up to murals are still possible at this level. At the pixel-level, equivalent to a 110" wide print on most monitors, one can see a hint of softness appear at ISO 3200. Images captured at this sensitivity still capture more detail than any other camera.

One thing that is truly outstanding is how slowly image-noise increases with this camera. ISO 6400 shows very minor degradation compared to ISO 3200. The finest detail become a little soft and the fine noise pattern is just slightly more apparent. The noise floor rises only enough to be detectable, so the GFX100S II still captures a broad dynamic-range at ISO 6400. Maximum print sizes diminishes by a few linear inches at most.

ISO 12800 is the first level where noise is apparent at 100% view. Still, the noise pattern is fine and details remain remarkably clear. Even at such high sensitivity, color and contrast stay very consistent. The camera still renders deep blacks, showing that dynamic-range is minimally affected. This further reduces print sizes compared to ISO 6400, yet only by a few more linear inches. It is still possible to print a beautiful poster-size print.

The last standard sensitivity, ISO 25600, is still very good considering the incredible resolution of this Medium-Format camera. The noise pattern is a little coarser and the edges of details start showing signs of damage. There is a slight drop in contrast and some colors start fading. More common large prints can still look nice.

Expanded sensitivities are rarely usable but the Fujifilm GFX100S II is clearly takes exception at ISO 51200. At that level, noise is obvious but still not very destructive. Images remain looking sharp only with some grain to them. Contrast is very good, while colors are slightly more muted than at ISO 25600. Expect common print sizes to appear quite reasonable. ISO 102400 shows coarse image noise that downs out fine details and turns blacks into dark grey. There is a surprising amount of contrast and colors are not too far off, making this sensitivity workable for some uses.

Dynamic-Range & Metering

Dynamic-range of the Fujifilm GFX100S II is nothing short of exceptional. This Medium Format mirrorless camera can easily handle over 14 stops of dynamic-range all the way to ISO 12800! Our systems cannot measure beyond 14 stops even, so there is no telling exactly how much it can capture. Images straight out of this digital camera have the look of HDR, even though they are made from a single exposure. The maximum dynamic-range it can record happens at ISO 320. Lower sensitivities all the way down to Expanded ISO 40 all still capture more than 14 stops.

From ISO 12800 upward, dynamic-range very gradually decreases, finally becoming measurable. ISO 25600 still captures 12 stops, by far the best high ISO performance of any camera reviewed here. An extra stop gets lost at ISO 51200 and more than one more at ISO 102400.Clearly this is where the larger pixels of Medium Format offer the most advantage.

There are three Dynamic-Range settings on the Fujifilm GFX100S II: 100%, 200% and 400%. These represent a normal capture, one with 1 full-stop more and one with 2 stops more than the default. 200% is available from ISO 200 and up, while 400% if available from ISO 320. Expanded ISO sensitivities are are locked at 100% Dynamic-Range. Unless shooting rather low-contrast subjects, simply setting Dynamic Range to 400% performs optimally, since the camera will simply use a lower setting when 400% is not available.

The GFX100S II offers independent control for Shadow and Highlight tone. These affect how dynamic-range is compressed when rendering JPEG images. The default tones are close to perfect. A half-point or full-point reduction in Highlight Tone can recover some highlight detail without making images look dull.

Metering of the GFX100S II is one of the best. The Multi-Segment metering system produces well-balanced exposures while minimizing clipping of highlights. It rarely over-exposes major areas. Only a slight negative Exposure-Compensation is needed to perfectly record highlights gradations in high-contrast scenes. Of course, given how much dynamic-range this Medium Format camera can capture, there are much fewer scenes that do not fit within its dynamic-range. This camera also offers simple Center-Weighed, Average and Spot metering modes, which all work exactly as expected.

Color & White-Balance

Unsurprisingly for a company still named after their analog origins, Fujifilm expertly renders colors. The GFX100S II offers an impressive number of Film Simulation modes that vary in saturation, contrast and gradation. Still, hue is almost always close to reality with both Provia and Astia producing the most life-like colors. There is a tiny amount of extra red which is corrected by setting Color to -1.

The White-Balance system in the GFX100S II is reliable and highly consistent. In some cases of low artificial light, there is a slight blue tint using the default Auto WB mode but there are two more settings to prioritize whites or ambiance. Even mixed lighting is rendered really naturally.

Speed and Performance

This Medium-Format camera requires a huge amount of processing power and throughput to handle its 102 megapixels sensor. It manages to be responsive without feeling instantaneous since operations take fractionally longer. The GFX100S II clearly reacts to every input when pressed. Even very quick actions as just long enough to be noticed. This is most obvious when switching between Capture and Playback modes but is also perceptible as a lag when releasing the shutter.

The Fujifilm GFX100S II boasts a sophisticated autofocus system which initiates swiftly and is capable of tracking multiple subjects types across the frame. Practical autofocus performance is dependent on the system and the specific lenses. G-Mount lenses are necessarily large and some have to move large optical elements to focus. This creates a highly variable performance even among very recent lenses. With the GF20-35mm F/4R WR
Fujifilm Fujinon GF20-35mm F/4R WR, that has a moderate F/4 maximum aperture, autofocus is fast.

Releasing the shutter incurs two delays that vary according to the selected hybrid shutter-mode. The first delay is the shutter-response which is shorter. That is the fraction of a second between pressing release passed the halfway point and the photo being taken. The second, longer delay is the shutter-return which causes a blackout until the camera is ready for the next photo.

• The shutter-response is slowest when using the mechanical shutter. One has time to feel the shutter move, even for a a very short exposure.
• When EFCS is enabled, the shutter-response is faster but still noticeable. In fully Electronic-Shutter mode, it is practically instant.
• The shutter-return is slow when the mechanical shutter is used, regardless if EFCS is enabled or not.
• Electronic shutter-return is fast but still noticeable with a visible blackout for a fraction of a second.

Essentially, all this confirms that the GFX100S II is not an action camera. Nobody expected it to be. With a large and heavy camera system, photos are taken more deliberately and frequently from a tripod. After all, sifting through thousands of 102 megapixels images is going to take a lot of time.

Even though this camera has a slower drive than the GFX100 II, performance measurements were slightly better in some areas:

• Power-On: 1s. Average.
• Power-On to First-Shot: 1½s. This is somewhat slower than average.
• Autofocus: ¼ - 1½s. Average. This number is lens-dependent on the GFX100 II but this could not be confirmed for the GFX100S II since only one AF lens was available.
• Shutter-lag: Instant with the Electronic-Shutter. Over ¼s with Mechanical-Shutter. Sluggish.
• Shot-to-shot: About ½s. Slower than average.
• Playback: 1s to enter and ½s to exit. Slowish.
• Power-Off: Under 2s, including cleaning. Good.
• Video: Instant to record and stop. Excellent.

Controls on the Fujifilm GFX100S II are all quite responsive. Its speed of operation though is reasonable yet certainly slower than most modern professional digital cameras. When the Mechanical Shutter is selected, one can feel and hear every exposure being taken. There is a soft sound as the shutter closes and reopens. This gives a distinct more deliberate feel to every shot taken.

Medium-Format Digital Cameras are premium professional cameras that are built to produce the ultimate in image-quality above everything else. The Fujfilm GFX100S II and its flagship sibling, the GFX100 II, produce the best image-quality of any camera to date. Full-Frame models are known for their high image-quality but Medium-Format is a level above them. Between the two Fujifilm models, the GFX100S II is better for most photographers. The bulkier model has inconvenient asymmetric memory-card slots that are more inconvenient than the few features give the GFX100 II its flagship status.

The Fujifilm GFX100S II captures images with an incredible amount of detail, extremely low noise and a huge dynamic-range. This allows the camera to photograph most scenes effortlessly. It is liberating to use a camera that can almost never underexpose and rarely overexposes the principal subject. Images from the GFX100S II, even in JPEG format that limits dynamic-range, look like HDR because they preserve so much tonality.

Fujifilm color rendering is legendary and this camera upholds the reputation. It can produce images with highly accurate colors or simulate the way different type of film render colors with various degree of saturation, contrast and tonal curve. Extra flexibility is provided via independent adjustments of contrast for shadows, mid-tones and highlights. The Auto White-Balance is not infallible but it handles most lighting with easy. Photographers can always fallback on precise custom white-balance or fine-tune presets.

The dynamic-range of the Fujifilm GFX100S II sensor at its base standard ISO 100 sensitivity is already very broad. When faced with scenes of extreme contrast, the camera can extend its dynamic-range by up to 400% from ISO 400 to 12800. It even has an automatic Dynamic-Range Priority mode that chooses the amount of dynamic-range to record. The Multi-Segment metering system of the GFX100S II rarely misses exposure due to the enormous dynamic-range advantage of this Medium-Format Digital Cameras.

The GFX100S II manages to capture extremely sharp images with great consistency thanks to its IBIS and AF systems. The 5-axis image-stabilization mechanism inside this camera is extremely effective. Its 8-stop efficiency is the second-best among Medium-Format cameras, behind the 10-stop system of the Hasselblad X2D II 100C
Hasselblad X2D II 100C only. Using 3.8 million phase-detection elements, this Fujifilm camera can focus quickly nearly anywhere within the frame.

There are only two areas of disadvantages to this camera. One is speed. Images have such a high pixel count that no current processor is capable of fast burst rates. A larger and heavier mechanical-shutter also results in some lag. The other is bulk. While this camera itself is not enormous, the huge size of its sensor demands correspondingly sizable lenses. Each such lens is also heavier than equivalent ones for Full-Frame.

The Fujifilm GFX100S II is a joy to use. It captures superb images with uncanny ease. For professionals who demand the highest image-quality and produce enormous prints, no camera can best the GFX100S II.