Fujifilm GFX100S II Review – Good Déjà Vu

In this review, we’ll look at the new Fujifilm GFX100S II, the second edition of Fujifilm’s lean and mean GFX100S medium format camera launched in February 2021 in the depth of the COVID-19 pandemic. I received that camera on launch day and wrote a first impressions review and then followed up with a six month deep dive. 

Fujifilm’s naming schemes are very confusing and inconsistent. The “S” line in their X series 24mm x 16mm APSC cameras denotes “sports”, “speed” or sometimes “Stacked Sensor” referring to the cameras intended market with its high burst rate and blackout free EVF. The Fujifilm X-H2S has a stacked sensor for super-fast readout. However, in the GFX series, what the “S” stands for is unclear. 

Since Fujifilm isn’t forthright on what it stands for, I’ll take a crack at it. I think the “S” stands for “sexy”. The GFX100S II is a gorgeous and compact camera. However, owners of older GFX50S will be asking, “Sexy, seriously?” I’m a big Leica fan, and love their designs, however when comparing the Leica SL3 to the Fujifilm GFX100S II, I think the Fuji wins by a mile. 

I titled this review “déjà vu” because most of the content is very similar to what I wrote in the GFX100 II review. The two cameras are so similar that it feels like déjà vu to be discovering the same capabilities and writing about them. However, they’re not the same and throughout the review, I’ll highlight the places where they differ.    

“The two cameras are so similar that it feels like déjà vu to be discovering the same capabilities and writing about them.”

The key selling point for me of the GFX100 II was the improved autofocus (AF) capabilities, and this will be the case for many GFX100S owners who are considering upgrading to the Mk. II version. The GFX100S II utilizes the same AI assisted AF system from the X-T5/X-H2 and X-H2S cameras. 

This is both good and bad. It’s good because there’s no other 44mm x 33mm (Medium Format) sensor camera with this level of AF capability. It’s bad because it means all the foibles of the X series AF system carry over to the GFX100S II, including the false positives issue and the substandard (by 35mm x 24mm Full Frame standards) tracking performance. 

Disclaimer: As with all of my reviews, the GFX100S II and all lenses used in the review were purchased at the prevailing market price from an Authorized Fujifilm Retailer. In this instance, the GFX100S II was purchased from Tin Cheung Camera in Hong Kong. Neither Tin Cheung nor Fujifilm were involved with this review.

Autofocus

For anyone upgrading from the GFX100S, the major enticement will be the new camera’s autofocus system. The GFX100S did a very good job on static subjects using the AF-Single (AF-S) mode leveraging its hybrid phase and contrast detect capabilities. If you positioned the AF box on a high contrast part of the subject, the AF system would lock on instantly and the resulting image would be perfectly focused. 

On moving subjects however, the system lagged its smaller 35mm x 24mm Full Frame peers. Due to a combination of heavier glass to move and the AF system itself, moving subjects using AF-Continuous (AF-C) were more challenging to capture in perfect focus. The system would show the green boxing trying its best to track the subject, but often the image would be slightly or very out of focus.

AF-Single

The GFX100S II maintains the same AF-S performance as its predecessor, meaning that it’s very, very good. The AF-S is fast and accurate and can be relied on. When the subject detection modes are off and the AF box is placed on a subject, if it shows green (along with the green dot in the brackets), you can be sure the camera has focused on the subject under the box.

AF-Continuous

As with its predecessor, the AF-C performance lags behind its smaller sensor 35mm x 24mm Full Frame competitors but is miles ahead of its real peers in the 44mm x 33mm Medium Format segment. Cameras like the Hasselblad X2D can’t come close to what the GFX100S II offers. 

The AF-C performance is improved sufficiently in the GFX100S II that you can confidently leave it in this mode if the subject has sufficient contrast, even with static subjects. This is something that Sony users will find comforting as it’s rare to use AF-S mode in those cameras. It’s nice to be able to leave the camera in AF-C mode as it’s one less setting that needs to be changed for different subjects.

Subject Detection Autofocus

The GFX100S had only human face and eye subject detection capabilities. The GFX100S II keeps that and adds animals, birds, cars, bicycles, motorcycles, insects and planes. The new system claims to use AI, but when you use it, it’s perhaps equivalent to GPT-1 whereas the rest of the camera world is already on GPT-4 levels of capability. 

The GFX100S II does a good job of identifying human eyes and faces (as did the GFX100S), birds, planes and cars. Unfortunately, it doesn’t do a very good job of correctly identifying the eyes of animals. The GFX100S II gets very close to identifying the eyes of animals, but often comes up just a little short with a fuzzy eyeball or an area near the eye in focus (typically the nostrils or nose).

“In the 44mm x 33mm Medium Format sensor category, there’s no other camera that even has subject detection; while I have hundreds of useless pictures of Ollie’s posterior in perfect focus, I’m very happy with this performance.”

I think Fujifilm’s engineers have something against my Ollie. The little guy (he’s grown to 32kg now and not so little anymore) consistently gets his anus in focus when he’s looking back instead of his eyes. If I switch subject detection off and use AF-S with a small box, it can easily focus on the eye. 

In the 44mm x 33mm Medium Format sensor category, there’s no other camera that even has subject detection; while I have hundreds of useless pictures of Ollie’s posterior in perfect focus, I’m very happy with this performance, however if you’re coming from a modern 35mm x 24mm Full Frame camera, there will certainly be disappointment. 

Subject Tracking AF

After a subject has been detected, there’s often a need to track its movement. This is where Fujifilm’s new autofocus system is lagging every camera brand. Even on my small sensor 24mm x 16mm APSC Fujifilm X-T5, the tracking performance is subpar; this carries over to the larger sensor GFX100S II. 

The poor tracking performance is compounded on the GFX100S II due to the larger and heavier glass that needs to be moved on the GF lenses. On many modern cameras, you can set the AF system to AF-C and let the camera track the subject regardless of whether it’s moving or not. 

In the GFX100S II, you need to be cautious when using AF-C mode and the subject is moving. To ensure the subject is sharp, it pays to take an image, release and refocus and then take another image. This gives the camera two chances to truly acquire focus on the moving subject. The green box (and green dot in the brackets) cannot be relied upon when the subject is moving, which leads to our next topic.

False Positives

All modern Fujifilm cameras suffer with false positives. The camera confidently shows a green box around an animal’s eye and is appearing to perfectly track it on the EVF or screen. It gives a sense of confidence, however that ends up being misplaced. 

The resulting image will show focus on a different part of the animal and not what was shown on the screen. I identified this issue two years ago in my X-T5 review, however the whole internet is finally talking about it now in mid 2024. I’m pleased to see this candid exposure as it may finally give Fujifilm the impetus it needs to fix this major issue.

“I’m pleased to see this candid exposure as it may finally give Fujifilm the impetus it needs to fix this major issue.”

I received a terrible amount of flak for raising that issue two years ago. No camera company is perfect. Every one of my cameras has had an issue at some time, so there’s nothing wrong with people identifying the flaws of various cameras. We should embrace and encourage this type of reporting. 

Fujifilm is clearly aware of the issues in their AF system and have been releasing firmware updates to address various issues being raised online. They haven’t yet addressed (as of September 2024) the false positives issue, but I’m confident they’re working on it. They’re losing customers every day to Nikon, Sony, Canon and Panasonic while this issue exists.

AF Summary

Just as with my review of the GFX100 II, whether you find the system amazing, adequate or frustrating will depend largely on your previous system, and therefore, your expectations. In the table below, I’ve provided my experience of using the different cameras to track various subjects. The percentage is how many tack-sharp images the cameras were able to produce. 

Subject Detection/Tracking	Fujifilm X-T5	Fujifilm GFX100S	Fujifilm GFX100 II	Fujifilm GFX100S II	Sony A7R5
Human Eye	80%	60%	80%	90%	99%
Animals	60%	N/A	60%	60%	95%
Birds	90%	N/A	90%	95%	99%
Planes	90%	N/A	90%	90%	Not tested
Cars	80%	N/A	80%	80%	Not tested
Bicycles/Motorcycles			90%	Not tested

If you’re coming from a modern Sony, Canon, Nikon or Panasonic camera, the GFX100S II AF will be frustrating to use. If you’re coming from another GFX or 44mm x 33mm Medium Format camera, the GFX100S II’s AF system will be impressive. If you’re coming from a modern Fujifilm 24mm x 16mm APSC camera, the GFX100S II’s AF system will feel very familiar. 

“If you’re coming from a modern Sony, Canon, Nikon or Panasonic camera, the GFX100S II AF will be frustrating to use. If you’re coming from another GFX or 44mm x 33mm Medium Format camera, the GFX100S II’s AF system will be impressive.” 

For people upgrading from the GFX50S/II or 50R, the AF system will be a revelation and that’s perhaps the target customer of the new camera. As I was with the GFX100 II, I’m impressed overall, however when compared to my Sony A7R5, there’s still a lot of room for improvement. 

Size & Weight

From the very first moment I put my hands on the original 100S, I knew that it was going to be a camera that I would bond with. I got that camera in the depth of the pandemic and took it on many solo travels. It’s small size and light weight were the perfect combination for my travel needs. It was barely larger and heavier than a professional 24mm x 16mm APSC camera and on par with 35mm x 44mm Full Frame cameras.

When I sold that camera to fund the GFX100 II, I regretted every minute of it. The GFX100 II had the improved AF system, but beyond that, the additional capabilities such as the professional connectivity and faster CF Express Type didn’t provide me with sufficient benefit to offset the much larger size and incremental weight. I did however love the 9.44MP EVF.

“Deep in my heart I knew the GFX100 II would be short-lived in my camera cabinet as Fujifilm was bound to release my perfect camera at some point.”

I noted in the GFX100 II review that my ideal camera would be the 100S with the new AF system, so deep in my heart I knew the GFX100 II would be short-lived in my camera cabinet as Fujifilm was bound to release my perfect camera at some point.

I wasn’t perhaps expecting it to come so soon, but now that I have the GFX100S II in my hands, I’m in love again. It’s such a beautiful camera that fits perfectly in my hands. It’s easy to hold with small or large lenses, and it fits nicely into a Peak Design 6L sling or a 20L Everyday Backpack. 

Most importantly, the small size and weight encourage me to take the camera out more often than I did with the GFX100 II. I hated that I had spent so much money on a camera and then had it mostly sitting the cabinet collecting dust. The GFX100 II was just too big for me.   

Portability

Portability is massively important to the readers of this blog who use their cameras primarily for travel. The GFX100 II was a dramatic improvement compared to the original beastly GFX100, but it was a step back in portability for us GFX100S users. 

We don’t have to fret anymore as the GFX100S II uses the exact same body shell as the GFX100S. Even better, the Fujifilm engineers somehow managed to squeeze 17g of weight out of the body compared to its predecessor. 

“We don’t have to fret anymore as the GFX100S II uses the exact same body shell as the GFX100S. Even better, the Fujifilm engineers somehow managed to squeeze 17g of weight out of the body compared to its predecessor.”

While I can’t say that I feel this difference, every gram counts when you’re carrying the camera into and out of planes, trains and automobiles. This weight reduction, along with the lighter ipad Pro M4 has given me a useful 39g of weight savings.

Coming in at a similar size and weight to most 35mm x 24mm sensor Full Frame cameras is a real feat of engineering prowess. It’s especially remarkable when you compare the current GFX100S to the original GFX50S, with its humpback LCD and no IBIS.  

Build Quality

There’s no perceptible difference in build quality of the GFX100S II compared to its predecessor besides the new BISHAMON-TEX “leather” used for the grip and body. 

The Japanese inspired imprint looks and feels like something Leica would use. Compared to the GFX100 II, I really like how the GFX100S II is all black. I think this looks much sleeker and sexier than the dark grey used on the GFX100 II. 

My GFX100 II has a sticky AF switch (S/C/M) which makes it feel a bit cheap, so in some ways, the smooth operating AF switch on my new GFX100S II makes it feel better built. Go figure! The buttons and switches overall feel the same as the 100S, which served me well during all the travels I subjected it to. 

“I wish Fujifilm would take a page from other camera companies and make improvements to the doors used on the GFX cameras.”

I wish Fujifilm would take a page from other camera companies and make improvements to the doors used on the GFX cameras. The squishy rubber “hinges” feel and operate in a cheap way. Perhaps I shouldn’t complain because they likely contribute to keeping the GFX100S II small and light. 

Image Quality

There’s been a lot of chatter online about the GFX100S II using the same new sensor from the GFX100 II. I think this is not 100% accurate as Fujifilm notes the GFX100 II has a “High Speed” sensor while the GFX100S II does not. This could be more related to the processor than the sensor, but only Fujifilm would know for sure.

From a practical standpoint, there’s no difference in image quality between the GFX100S II, GFX100 II and the original GFX100/GFX100S. This is to say that image quality is superb with immense latitude for both highlight and shadow recovery. There’s nothing to complain about with this sensor and no shortcomings, considering the sensor size.

“One area that we do get a very, very small improvement is in the lower base ISO of 80 versus ISO of 100 in the 100S predecessor.”

One area that we do get a very, very small improvement is in the lower base ISO of 80 versus ISO of 100 in the 100S predecessor. The GFX100S II has an improved pixel structure that allows more light to the reach the pixel. It’s not a big difference, but the extra bit of exposure helps bring noise down a tiny amount, in situations where the subject can handle the extra exposure time.

Much has been made about the 16-bit colour in the GFX sensor range. Fujifilm states in their marketing, “Now, photographers can make 16-bit image with wider dynamic range and lower noise than ever before.” There’s very, very little difference between the 14-bit and 16-bit images, except for the extra storage space and slower camera response time. My recommendation is to stick with 14-bit and enjoy the speedier camera.

Jim Kasson has conducted testing at his incredible blog to show that the bit-depth changes based on the frames per second:

Single shot, 14-bit	14-bits
Single shot, 16 bit	16-bits
Continuous Low	14-bits
Continuous High 5 fps	14-bits
Continuous High 7 fps	12-bits

Video Quality

I rarely take any video and when I do, it’s always at 4k 30fps for normal videos and 24fps if I want a cinematic look. For in-depth video reviews, I’d highly recommend keeping an eye out for Gordan Liang or Gerald Undone for their reviews of the GFX100S II.

For my basic use, there’s not much difference between the GFX100S II and GFX100 II, however for professional videographers, there are significant differences. The GFX100 II is a beast of a video camera with 8k 24p, 4k 60p and several different mount and format options including 35mm anamorphic, Premista PL, 35MM and of course, GF mount. The GFX100 II can show the appropriately cropped or de-squeezed image in real time.

In comparison, the GFX100S II only supports up to 4k at 30fps and in-camera formats for GF mount and 35mm adapted lenses. There’s no option for Premista or 35mm anamorphic. Furthermore, the CFexpress Type-B card format on the GFX100 II provides much faster read and write access that enables the ability to record at 8k and other resolutions above 4k. The GFX100S II is limited by UHS-II speeds of about 300MB/s vs. the GFX100 II’s CFexpress Type-B’s 900-2000+MB/s.

“It’s not all bad news for videographers though. Several professional video features have made their way into the new camera.”

It’s not all bad news for videographers though. Several professional video features have made their way into the new camera. The GFX100S II now has vectorscopes and waveforms built in. Support for Blackmagic RAW, Apple ProRes, Flog-2, ATOMOS AirGlu, recording to external SSD and Frame.io have made their way over from the pricier GFX100 II. The cooling fan optional add-on however did not. 

The last item that will be important to videographers is the HDMI port. The GFX100S II continues with a Type-D micro-HDMI port versus the GFX100 II’s Type-A full-size HDMI port. It’s an unwritten rule in video, that when you most need it, there’s never a micro to full-size adapter around so make sure to keep one handy in your kit bag. 

For the travel adventurer, the GFX100S II provides more than enough video capability in a portable form factor. When you consider the excellent IBIS implementation, stable hand-held video at 4k 30fps can be achieved in a large variety of situations. However, if video is important to you, the GFX100 II or Fujifilm X-T5 would be better options to consider. 

Controls

Not much has changed from the original GFX100S and that’s a great thing. I felt that camera was near perfect for controls and buttons placement. The only criticisms I continue to have are the buttons feel mushy and not up to par with the competition from Canon, Sony or Nikon and the joystick remains vague and tough to trust.

I should talk more about the joystick (or focus lever as Fujifilm calls it) because it’s become worse than the two previous GFX cameras. I think Fujifilm has tried a software fix to a hardware issue. They’ve made the joystick more difficult to engage to prevent the stray movements common on the GFX100S and GFX100 II.

“I should talk more about the joystick because it’s become worse than the two previous GFX cameras.”

Unfortunately, this means that I must think more about moving the focus point than should be required. I need to have intention to move the joystick so that it responds to where I want it to go. I did get accustomed to it after a few days, but when I go back and forth to my other cameras, the learning curve starts all over again.

In comparison to the GFX100 II, I miss the three buttons on top near the secondary display, however I quickly adapted to using the Q(uick) menu for additional settings that I need to frequently change such as what subject I want to hopefully track.

In the GFX100 II review, I noted I wasn’t a fan of the slanted top design of that camera, so I’m very happy that Fujifilm stuck with the tried and true sleek, flat-top design from the GFX100S. The slanted top looked sexy from the side profile, but I didn’t like the extra height or bulk.

I loved the large secondary display on the GFX100 II so I thought it would be something I would miss on the GFX100S II, however I’ve barely noticed the smaller size. All the information I need is there and is easily visible, so it’s been a non-issue. Perhaps if I was a videographer, I would feel differently as the larger screen provides more info on video settings on the GFX100 II.

The magic of the GFX lineup has always been how accessible Fujifilm made it. If you’re familiar with the Fujifilm 24mm x 16mm APSC cameras, you can easily adapt to the controls and menus of the GFX series cameras. It’s not a perfect transition however, especially if you want to keep both 24mm x 16mm APSC and 44mm x 34mm format cameras. 

Fujifilm continues to frustrate its loyal customers with constantly evolving buttons and dials layouts across its various cameras. On one camera, the Q button will be on the grip, on another it’s on back panel. The AF-ON button is placed aggravatingly in slightly different positions on each camera, sufficient that you need to think about its location when switching cameras.  

Fujifilm could take a page out of Porsche’s or Leica’s design and engineering book and spend some time studying and understanding the best positions, feel and materials of all the human interface components and then ensure every Fujifilm camera adheres to these principles.  

Performance

Fujifilm notes the GFX100 II has a High Speed (HS) sensor which allows it to shoot at 8fps with the mechanical shutter (MS) and a blackout-free EVF at 5.3fps when using the electronic shutter (ES). 

The GFX100S II unfortunately does not come with this HS sensor, so we’re left with a middle ground in performance between the GFX100S and GFX100 II. The camera can shoot at up to 7 fps with MS and a pseudo blackout-free EVF up to only 3 fps using the ES. I say pseudo because the preview image has significant rolling shutter.

The processor has seen a generation upgrade which helps the camera feel less laggy than the GFX100S. Key human interaction points such as how quickly an image appears when hitting the play button or moving the joystick have improved noticeably. 

Key Differences

	GFX100S	GFX100S II	GFX100 II
Processor	X-Processor 4	X-Processor 5	X-Processor 5
SD Card Slots	2 x UHS-II	2 x UHS-II	1 x CFexpress Type B, 1 x UHS-II
Electronic Shutter Speed	Maximum 1/16000s	Maximum 1/16000s	Maximum 1/32000s
Mechanical Shutter Maximum FPS	5.0fps	7fps	8fps
Electronic Shutter Maximum FPS	2.9fps	3fps	5.3fps
EVF	3.7MP 0.77x fixed EVF	5.7MP 0.84x fixed EVF	9.4MP 1.0x detachable EVF
Secondary Top LCD Monitor	4.57cm 303x230px LCD screen	4.57cm 303x230px LCD screen	5.31cm 320x219px LCD screen
Movie Maximum Resolution and Frame Rate	DCI4k 30p (17:9) FHD 60p (17:9)	DCI4k 30p (17:9) FHD 60p (17:9)	8k 24p (2.76:1) 8k 24p (17:9) 8k 30p (16:9) DCI4k 60p (17:9) FHD 120p (17:9)
Movie formats	Up to 17:9	Up to 17:9	Up to 2.76:1, in-camera anamorphic de-squeeze and GF, Premista, 35MM crop in-camera
Film Simulations	19	19 + REALA ACE	19 + REALA ACE
Remote Release Connector	2.5mm	2.5mm	3.5mm
USB Connector	Type-C USB3.2Gen1x1	Type-C USB3.2Gen2x1 10Gbps	Type-C USB3.2Gen2x1 10Gbps
HDMI Connector	Micro-connector Type-D	Micro-connector Type-D	Full-size HDMI Type-A
LAN Connector	N/A	N/A	RJ45 1000BASE-T
Vertical Battery Grip	N/A	N/A	VG-GFX100II optional grip available
Size	150.0mm x 104.2mm x 87.2mm	150.0mm x 104.2mm x 87.2mm	152.4mm x 117.4mm x 98.6mm
Weight including Battery and Memory Card	900g	883g	1030g
Wireless Protocol	IEEE 802.11b/g/n	IEEE 802.11b/g/n/ac	IEEE 802.11b/g/n/ac
IBIS	6-stops with 5-axis compensation	8-stops with 5-axis compensation	8-stops with 5-axis compensation
Base ISO	ISO100	ISO80	ISO80

Fujifilm didn’t push performance too much in their marketing of this camera and it makes sense because there are only four areas where we see a real performance increase:

1. The responsiveness in general has improved across all aspects of the camera from the way the joystick responds, to how quickly the menus scroll, to how fast an image appears when pressing the play button. 
2. The camera can now shoot at 7fps (vs. 5fps for the previous generation camera).
3. The new processor enables the AI Autofocus system which has much better stickiness for subject tracking; whether this is due to the processor or the AI system is impossible to differentiate, but it’s clear that there’s a tangible improvement in how the system can reliably track a subject.
4. The EVF has taken a nice step forward with higher resolution and less times that it becomes “crunchy” during high processor intensity operations. Anyone that uses a Sony camera knows how annoying this issue can be, when the AF system is consuming processor cycles and deprioritizes EVF framerate or resolution to work within the processor’s capacity limits. 

Besides the above, the GFX100S remains largely the same as its predecessor. When comparing it to the GFX100 II, regarding performance, there’s little difference in day-to-day usage. 

Connectivity

I’ve added this as a new section to my camera reviews because camera companies have had sufficient time to make their cameras operate in a highly connected world. In 2024, companies like Leica and Sony have shown that it’s not only possible, but actually be very reliable and convenient. Rumours have been swirling that DJI will soon announce a mirrorless camera and I can only imagine how great their camera-to-mobile device connectivity will be. 

The GFX100S II has three main connectivity options to move data from the camera to another device. It has Wi-Fi, Bluetooth and USB-C. Wifi and Bluetooth can be used to move images to the Fujifilm X mobile app. Wifi can also be used to send images to the app, to a device (via the Fujifilm X app) or to Frame.io. The USB-C connection can send images to a device but cannot send to the Fujifilm X app. It sounds confusing, but in practical use, it kind of works.

“The Wi-Fi connection has always been unreliable on Fujifilm cameras, but I’ve had better luck with the GFX100S II since a recent update to the app.”

The Wi-Fi connection has always been unreliable on Fujifilm cameras, but I’ve had better luck with the GFX100S II since a recent update to the app. I haven’t had the usual disconnects while downloading images. One setting I’d highly recommend changing is to ensure the Wifi is set for 5GHz rather than 2.4GHz. This setting can be found in Bluetooth/SMARTPHONE Setting > WIRELESS COMM. FREQUENCY SETTING.

While I can reliably download images from the camera via the X app, the GPS coordinates (which likely uses Low Energy Bluetooth to connect to the phone) only update after I’ve opened the X app on the phone and wait for the two to connect. My Fujifilm X-T5 does not require opening the app and somehow maintains a connection with the phone in the background. If you know what may be causing this, please leave a comment below; having GPS coordinates makes things so much better so I’d love to fix this issue.

Conclusion

For my travel photography needs, the GFX100S II comes as close to a perfect camera as any currently on the market. It has the incredible 102MP 44mm x 33mm sensor and IBIS, housed in an excellent body with ideal size, weight and shape. Even the grip material has improved visually and tactilely.  

It has a significantly improved EVF and processor compared to its predecessor, while maintaining all-day battery life, important to any device used for travel. If you run down the battery, the USB-C connection makes it easy to top-up in between destinations.  

Finally, the autofocus has improved to an extent that it provides something unique and special in the 44mm x 33mm sensor market; with subject detection AF and decent tracking capabilities, the GFX100S II has no direct competitors in this regard.  

In summary, Fujifilm nailed this camera and has again produced something that no other company has been able to. Fujifilm’s 44mm x 33mm sensor Medium Format competitors are operating in another era from the past. If you care about image quality and portability, you’ll love the GFX100S II. 

The question that always comes up after publishing these reviews is, “is this camera right for me?” Let me try and help answer that with a series of questions to ask yourself.

Do you photograph sports or wildlife? Is autofocus tracking important to you?

If yes, you’d be better off with a top tier 35mm x 24mm sensor Full Frame camera like the Sony A7R5, Canon EOS R5 or Nikon Z8. While Fujifilm has made incredible strides regarding autofocus, the large and heavy glass in the Fujinon lenses, combined with inherent weaknesses in Fujifilm’s AF algorithms means the GFX100S II cannot compete with the best of the 35mm x 24mm market.

You’d trade resolution and the 4:3 format for autofocus performance and speed, but if your goal is sports and wildlife, there’s no amount of resolution or aspect ratio that can make up for an out-of-focus image.

Are you a landscape photographer that wants to have total flexibility in how to position the camera and view the composition through the EVF?

If this sounds like you, you’d be better off with the GFX100 II, with its optional articulating EVF add-on. For my landscape photography friends, this one capability makes all the difference in the world; the ability to position the camera at waist level and look down through the EVF is a game-changer for them. I know that they’ll never go back to a fixed EVF camera.

Is video a critical part of your requirements, either for yourself or for your clients?

If yes, the GFX100 II would be a much better fit for you as it provides far better video capability including higher resolution options, higher speed sensor read-out and in-camera de-squeeze options.

Is getting the absolute best image quality while having a portable setup important to you?

If yes, the GFX100S II or the Hasselblad 102C would be ideal cameras for you. The GFX100S II has a far better autofocus system and overall scope of capability than the Hasselblad, but one cannot deny how beautiful the 102C looks.

Are you looking for one camera that does everything very well while excelling at image quality, portability, autofocus and 4k video?

The GFX100S II is the camera for you. It does everything very well, while excelling in image quality, portability and autofocus (within the 44mm x 34mm sensor class). It also has reasonable 4k video capability for the few times that you need to capture motion video.

To conclude this review, I want to again highlight how amazing this camera is. While I enjoyed using my GFX100 II, I never felt totally connected with it; the extra size and weight made it a real decision whether to take it out and that hindered its ability to jive. 

“I can highly recommend this camera to anyone looking to step up to the ultimate in image quality. There are so few sacrifices now in using the GFX100S II that I can see a broad cross-section of photographers finding great utility and joy from this camera.”

I’ve completely fallen in love with the GFX100S II in the same way I did the original GFX100S. It’s the perfect combination for me and I’ve taken it out far more than I ever did the GFX100 II. When pointing it at people or scenes, it doesn’t feel or look much different than using a 35mm x 24mm camera, and that makes all the difference in the world.

I can highly recommend this camera to anyone looking to step up to the ultimate in image quality. There are so few sacrifices now in using the GFX100S II that I can see a broad cross-section of photographers finding great utility and joy from this camera. 

If you can’t swing the full price of the latest camera, a phenomenal bargain would be to get a second-hand GFX100S. You’ll have to sacrifice subject detection and AF-C autofocus capabilities, but you still get that excellent 102MP sensor. 

Speaking of second-hand values, in my Leica journey story, people loved knowing how much it cost to own the M10. I owned the GFX100 II for ten months, bought it for CNY53,900 and sold it for CNY44,000 to a professional studio photographer through the xianyu.com app. 

Therefore, the GFX100II cost me CNY9,900 (USD$1,394) to own over ten months; this works out to a rather reasonable CNY990 (USD$139) per month.  

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