Fujifilm GFX 100 II Review

September 18, 2023 | Mark Goldstein |

Introduction
Ease of Use
Image Quality
Sample Images
Product Images
Rating & Conclusion
Main Rivals
Specifications
Comment
More…

Introduction

The GFX 100 II is the sixth medium-format mirrorless camera that Fujifilm have released since 2019, and as the name suggests, the third to have a massive 100 megapixels.

The sensor inside the GFX 100 II physically measures 43.8x32.9mm, which is much larger than the 36x24mm sensor found in a 35mm full-frame camera - approximately 1.7x larger in fact.

As well as more resolution for bigger prints and aggressive cropping, the large sensor format promises to deliver better image quality and greater depth of field without compromising too much on the size and weight of the camera when compared to a typical 35mm model.

The GFX 100II uses a completely new 102 megapixel high-speed image sensor called the "GFX 102MP CMOS II HS" and the very latest X-Processor 5.

Together they promise to make this the fastest, most responsive GFX camera yet released, providing significant performance improvements in continuous shooting, auto-focusing and video recording.

The GFX 100 II still has a back illuminated CMOS sensor with 3.76 million phase detection autofocus points which cover almost 100% of the frame, but the new sensor delivers up to double the signal readout speed compared to the original 4-year-old GFX 100 that this model replaces.

The native ISO range now runs from ISO 80 to ISO 12,800, which is expandable to 40-102,400.

Just like the GFX 100, the 100 II features in-body image stabilization (IBIS), but this time the five-axis image stabilisation system provides an even better compensation rating of up to 8 stops when certain specified lenses are used.

This is currently the best performance of any Fujifilm camera regardless of its sensor size, a pretty remarkable achievement for a medium-format camera.

The GFX 100 II is also the most capable medium-format camera for video ever released, offering 8K/30p, 4K/60p/30p, FHD 120p recorded at 4:2:2 10-bit video internally plus Apple ProRes recording to a compatible ATOMOS HDMI external device.

Other key specifications include a weather-resistant magnesium alloy body, an amazing 9.44m-dot OLED EVF with 120fps refresh rate and most impressively 1.0x magnification, a 2.36 million dot tilting 3.2-inch LCD display and up to 8fps continuous shooting speeds

There's also a special 400 megapixel Pixel Shift Multi-Shot mode, AI-based subject-detection AF developed with Deep Learning technology, new Reala Ace film simulation mode, ethernet, full-size HDMI and UB-C ports, and dual UHS-II SD slot and CFexpress Type B memory card slots.

The Fujifilm GFX 100 II is priced at £6999 / €7999 / $7499 body-only in the UK, Europe and USA respectively. It is designed and made in Japan.

Ease of Use

The GFX camera system from Fujifilm has always been about delivering the best image quality possible, with three 50 megapixel and two 100 megapixel models released since the launch of the GFX 50S in 2017.

Now Fujifilm have decided to considerably up the ante by focusing on both image quality and speed. This new camera is a clear attempt to broaden the scope and appeal of GFX to encompass not just the fashion, commercial and landscape categories where it has gained a foothold, but also the sports and news photography genres where speed is of the essence.

It primarily achieves this ambitious goal by pairing a brand new high-speed image sensor - the catchily named GFX 102MP CMOS II HS - with the high-speed X-Processor 5 that first made its debut in the latest generation of X-series APS-C cameras like the X-T5, X-H2 and X-H2s.

The resulting headline improvements since the previous GFX 100S model that was launched in early 2021 are impressive for any camera, never mind one with a medium-format sensor. These include the AI subject-detect AF system from those afore-mentioned APS-C models, 8fps burst shooting with full-time AE and AF tracking, and up to 8K/30p video, all things that no medium-format camera has ever been capable of before.

In terms of its design, the new GFX 100 II closely follows the ethos of the GFX 100S camera rather than the GFX 100 that it actually replaces in the Fujifilm range, just with a squarer, more rugged design.

The GFX 100 was a very big camera with an integrated battery grip and an unusual control layout that certainly divided opinion, whereas the GFX 100S squeezed all of the GFX 100's tech inside a much smaller, lighter body with more conventional controls.

The new GFX 100 II is clearly based on the GFX 100S rather than the original 100 model, but this time around there is an optional battery grip available (Fujifilm strangely decided not to offer one for the 100S).

So you effectively get the best of both worlds - either the super-compact, out-of-the box body that weighs in at a mere 948g including battery and SD memory card, or a slightly larger than GFX 100 camera with three batteries and two sets of controls if you choose to buy the optional the VG-GFX II vertical grip. It might have taken until the third generation 100-megapixel GFX model to hit the right balance, but we think that Fujifilm are finally there.

When it's fitted with the outstanding electronic viewfinder but not the grip, the GFX 100 II is much more compact and portable than you might think a medium-format camera could be, measuring 152.4mm x 117.4mm x 98.6mm and weighing just over a kilo.

Despite having a 1.7x larger medium format sensor, the GFX 100 II is still able to take on the 35mm full-frame market by being similarly sized to some flagship mirrorless models like the Sony Alpha 1, Canon EOS R5, Nikon Z9/Z8 and Panasonic Lumix S1R, amongst others.

Perhaps more importantly, it's just about light enough to use for extended periods of time - we paired it with the excellent and equally new GF 55mm F1.7 prime for the duration of our testing which weighs in at 780g / 1.72 lb, and had no issues with using it for a full day of shooting.

The GFX 100 II doesn't have too many direct medium-format rivals simply because of its aggressive price-tag of £6999 / €7999 / $7499 body-only, which makes almost every other option invariably larger and much, much more expensive than this camera. The Hasselblad X2D 100C is perhaps the GFX 100 II's main rival, but it can't match the headline-grabbing specs of Fujifilm's latest camera.

Despite having a medium format sensor, it's blindingly clear that Fujifilm believes the GFX 100 II main rivals are 35mm sensor cameras, not the "traditional" medium-format market that mainly serves studio photographers.

Fujifilm doesn't have its own 35mm full-frame camera range - instead it has the very popular APS-C sensor X-series and this still relatively new GFX medium-format series.

So it's attacking the popular full-frame market from two angles - smaller, lighter and cheaper cameras like the X-T5 and X-H2/S, and medium-format cameras that are not too dissimilar in size, weight and even cost to the latest flagship 35mm models.

Best of all, the GFX 100 II now rivals much smaller sensor cameras for things like burst shooting speeds, auto-focus performance and video specs, whilst still offering the superlative image quality that its large medium format sensor is more than capable of delivering.

The most obvious stride forwards that Fujifilm have taken for the GFX 100 II is the sheer speed of it. Medium format cameras have never been known for being quick at anything, which has tended to constrain them to life in the studio and/or to slower-moving subjects.

The GFX 100 II offers amazing continuous shooting speeds for a medium-format camera, even putting some 35mm full-frame models to shame.

It supports 8fps bursts using the mechanical shutter for both CFExpress and SD memory card formats, with a buffer of 1000K+ JPEGs, 325 Raw Comp, 75 Raw + JPEG.

In direct comparison, the Hasselblad X2D 100C can only shoot JPEGs continuously at a rather pedestrian 3.3fps, although you can carry shooting at that rate until its massive 8Gb of internal memory is full.

Being able to continuously shoot at 8fps for an essentially unlimited number of JPEGs with a 100 megapixel camera has previously been the stuff of science fiction, but not any more!

All of that speed would be worthless without a capable auto-focus system to make sure that those fast-moving subjects are sharp, so it's great to see the GFX 100 II bringing the AI-based subject-detection as well as the latest prediction AF algorithm that was initially developed for the X-H2S to the GFX series.

This means that its dual phase-detection and contrast-detection type autofocus system with 3.76 million phase-detection AF pixels can now detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones, just like the very latest X-series APS-C cameras.

The AF point can be set to one of six different sizes via the rear control dial to achieve more precise focusing, and you can also simply tap on the touchscreen to set the AF point. If you want even more control, you can select the 425 points option which splits the same area of the frame into a 17x25 grid of smaller AF points.

The Fuji GFX 100 II also offers Zone and Wide/Tracking modes which utilise the larger 425-point area to capture moving subjects.

In Zone AF mode, you can select a 3x3, 5x5 or 7x7 zone out of the 425-point AF area. During AF-C focus, the camera continually tracks the subject, positioning it at the centre of the zone.

The GFX 100 II’s Zone AF function can now be customized by the user. The shape of the AF area can be adjusted to better suit a specific shooting situation for more accurate autofocusing.

The Wide/Tracking mode combines the Wide mode (during AF-S), in which the GFX 100 II automatically identifies and tracks the area in focus across the 425 point AF area, and the predictive Tracking mode (during AF-C), which uses the entire 425-point area to continue tracking the subject. This feature enables continuous focusing on a subject that is moving up and down, left and right or towards and away from the camera.

Manual focus is also provided, and very good it is too. As you'd expect, the manual focus rings on all the GFX lenses have a lovely feel, and two different focusing aids are provided - auto magnification and focus peaking. In conjunction with the high-resolution electronic viewfinder, we found it easy to accurately determine critical sharpness.

Activating the Boost mode on the GFX 100 II sets the display frame rate of the electronic viewfinder to 120fps, more than enough to keep up with fast-moving subjects, although it does reduce the magnification to a still impressive 0.77x.

Shooting at 8fps isn't quite black-out free due to the need to use the mechanical shutter, even with an increased buffer memory. You'll need to switch to the electronic shutter to achieve black-out free shooting, albeit at a slower frame rate of 5.3fps.

Another alternative is to use the 35mm format mode, where the GFX 100 II offers faster blackout-free 8.7fps and 5.8fps burst rates and almost certainly enough resolution too for most end uses where speed is of the essence.

In addition to massively speeding up the camera, Fujifilm haven't rested on their laurels when it comes to image quality, incorporating several improvements to make the GFX 100 II the best ever GFX camera for stills and video.

It's equipped with a very similar 43.8x32.9mm CMOS sensor to the GFX 100 and GFX 100S, with a resolution of 102 megapixels and no optical low pass filter that delivers 11648×8736 pixel still images.

This chip has an imaging area that's 1.7x greater than that of a 35mm "full-frame" sensor, and over 3.7 times larger than the APS-C sized sensors used in Fujifilm's X-series cameras. Unlike those cameras, though, the Fujifilm GFX 100 II has a traditional Bayer colour filter array in front of the sensor, rather than an X-Trans sensor.

The combination of the image sensor and X-Processor 5 processing engine also means that the camera supports 16-bit RAW mode in single-shot mode (it drops to 14-bit in the burst shooting modes), producing 200Mb files. The GFX 100 II also supports 16-bit TIFF in-camera file conversion, which creates whopping 600Mb files!

The GFX 100II now has a new ISO 80 base value (ISO 100 for movies), which Fujifilm claims offers 30% more dynamic range and lower noise than the base ISO 100 value on the GFX 100/S. It can be further expanded to ISO 40-102,400 if required.

This is the latest Fujifilm camera to support the HEIF format, a 10-bit image file with over a billion colors. It delivers higher image quality than JPEG, but uses up to 30% less space.

Thanks to a higher compression efficiency, HEIF files are smaller than JPEGs even though they contain significantly more data. How much more? Well, HEIF files are 10-bit whereas JPEG files are 8-bit. It's a heck of a lot more tonal detail and wider colour gamut.

In the GFX 100 II both HEIF and JPEG formats are available, although you can't select both at the same time. Whichever format option you select can then be captured independently or simultaneously with RAW.

For the first time on any Fujifilm camera, there's a brand new film simulation called Reala Ace. This is a negative film simulation that's similar to Provia, but is slightly less saturated and contrasty. The new Reala Ace brings the total of film simulations available on the GFX 100 II to 20.

Pixel Shift is a special Multi-Shot function that uses the IBIS unit to enable the GFX 100 II to create massive 400 megapixel images for the ultimate quality when detail really matters.

The camera's IBIS unit is used to shift the image sensor by 0.5 pixel in various directions during a sequence of 16 shots, which can then be automatically combine into a single image using Fuji's Pixel Shift Combiner computer software. The resulting DNG file measures 23,296x17,472 pixels and is around 1.5Gb in size!

The GFX 100II additionally offers a brand new 4 image Pixel Shift Multi-shot mode for easier archiving, which creates much smaller files than the standard mode.

This is the third GFX medium format camera to feature in-body image stabilization. The Fuji GFX 100 II uses a familiar 5-axis system but it also now enhances the stabilization accuracy by using image information too.

This now provides up to a very impressive 8-stops of IBIS (when using either the 63mm lens, 80mm or 110mm lenses), which is currently the best performance of any Fujifilm camera, regardless of its sensor size.

With the GFX 100 II, any lens that you attach to it will automatically benefit from up to 8 stops of compensation, with the effective amount gradually decreasing as the lenses get longer.

Furthermore, the same IBIS system is used to help suppress shutter shock, which given the incredible resolution on offer is a very welcome benefit.

The GFX 100 II is the most capable medium-format camera for video ever released, offering 8K/30p, 4K/60p/30p, FHD 120p and Apple ProRes (422 HQ, 422 and 422 LT) support.

The key video modes are 8K/30p (31ms rolling shutter, 1.51x crop), 8K/24p (30ms, 1.42x crop), 4K/60p (15ms, no crop) and FHD 120fps (7ms, no crop). All of these modes can be recorded at 4:2:2 10-bit internally.

The readout speed of the image sensor has been increased to suppress the rolling shutter effect for more natural filming of a moving subject, and ISO 100 is the new base ISO speed in the video mode.

In terms of recording time limits, there is a maximum of around 90 minutes battery life for 4K, 80 minutes for 8K, and at 40 degrees the GFX 100 II can operate for 38 minutes without the optional FAN-001 Cooling Fan accessory or 64 minutes with the accessory for 4K, and 26/50 minutes for 8K quality.

The F-log2 profile is supported for the first time on GFX, and it offers 13+ stops of dynamic range in any mode and over 14+ stops in dynamic range priority mode, although this only supports the GF/Premista modes up to DCI4K/4K/30p and has greater 25ms rolling shutter.

There is IDT support for the first time on GFX, which is a cinema standard extended colour space, and it also supports various cine recording formats including GF, Premista, 35mm and 35mm Anamorphic lenses, over 1000 in total, using the optional mount adapter.

AF tracking for movies as well as stills is also available for the very first time on the GFX system using the AF-C + Wide / Tracking AF mode - simply touch the screen to specify which subject should be tracked and the camera will tenaciously keep it in focus and ignore all other subjects in the frame.

Combined with a compatible ATOMOS HDMI device, RAW video output from GFX100 II can be recorded as 12-bit Apple ProRes RAW at resolutions up to 8K and frame rates up to 29.97fps.

The GFX 100 II supports the Frame.io Camera to Cloud service, allowing Apple ProRes Proxy files and a variety of other video files to be uploaded directly to Frame.io, dramatically streamlining the workflow from shooting to editing.

With Blackmagic Design Video Assist 12G HDRs, RAW video output from the camera can be recorded as Blackmagic RAW at resolutions up to 8K and frame rates up to 29.97fps.

The new GFX 100 II is much more similar in appearance to the GFX 100S camera than to the GFX 100 that it actually replaces in the range, just with a more square, angular, rugged design.

The sub-LCD screen on the top is bigger at 2.09-inch, there is a new row of three unmarked programmable Function buttons just behind the shutter button, and the top-plate has been tilted by 11° to make it easier to see.

Fujifilm have also employed a new BISHAMON-TEX artificial leather texture is used to maximize the camera’s grip when hand-held at various angles.

Otherwise it's difficult to tell the GFX 100II and the GFX 100S apart visually when they're side-by-side. That means that owners of the GFX 100, with its integrated grip and lots of unmarked buttons, will need to take some time to get familiar with the layout of the GFX100II, whereas GFX I00S users will quickly feel at home.

The Fuji GFX 100 II is a very well-built camera, as you'd probably expect for £$7K, with absolutely no flex or movement in its chassis thanks to a die-cast magnesium alloy body and machined control dials.

It's also dust-resistant, water-resistant and freeze-resistant down to -10°C, making this a medium format camera that can be used outside as well as indoors, further increasing its versatility.

The Fujifilm 100 II weighs 948g including a battery and SD memory card and measures 152.4x103.5x73.5mm, very similar to the GFX 100S and a lot smaller and lighter than the GFX 100.

There is an optional battery grip available for the GFX 100 II, rather than having an integrated one as on the original GFX 100 model, or not having one at all on the GFX 100S.

The GFX 100 II is compatible with the new VG-GFX II optional vertical grip accessory, which also has an extra set of key controls for horizontal use and also holds two extra batteries, supporting a maximum of three in total when you also count the one in the camera.

Fujifilm never released an optional battery grip for the GFX 100S, and it didn't even have the electrical contacts on the bottom of the camera body, so there were never any 3rd-party options available either.

The GFX 100 II has a focal plane shutter unit which offers a fastest shutter speed of 1/4000th second and longest exposure time of 60 minutes. There's also an electronic shutter which provides an even faster shutter speed of up to 1/32000 sec, which is very useful for shooting in bright conditions at wide-open apertures, for example.

The Fujifilm GFX 100 II uses exactly the same NP-W235 battery as the X-T5 and X-H2/S APS-C sensor cameras, rather than the physically larger TP-125 battery used by the GFX 100 and the GFX 50S, and it's once again incorporated into the bottom of the handgrip.

Fujifilm claims that it offers 540 shot life, so around 20% longer per battery than the GFX 100, and around 1620 shots if you use the optional grip and install all three batteries.

It can also be powered and charged via a USB-C connection, which is useful if you're out and about and have a compatible power-bank to plug the camera into.

The GFX 100 II introduces a brand new feature on any Fujifilm camera, namely the ability to connect an external SSD drive via the USB-C port and then record stills and videos directly to the SSD drive in any mode or format, including 4K/60P and 8K/30P.

The new GFX100II ups the ante considerably by featuring a 9.44m-dot OLED EVF with 120fps refresh rate and most impressively 1.0x magnification. Once you've looked through this EVF, you won't want to try another one ever again!

The electronic viewfinder is removable, slotting into the flash hotshoe on top of the camera, improving system modularity and enabling the camera to shed some weight if necessary, for example when used tethered in a studio.

This model has exactly the same LCD screen as its predecessor. and the GFX 100S, which is 3.2-inches in size and 2.36m-dots in resolution.

It has a three-way tilting design, so it can be tilted up and down by about 90 degrees when in landscape mode and also upward when shooting in portrait mode via a simple press of a button on the side.

To fully support 8K video and 8fps burst shooting, the Mark II GFX 100 has one UHS-II SD slot and one CFexpress Type B slot, a combination also seen on the recent X-H2S and X-H2 X-series cameras.

You really need to use use a CFexpress Type B card with a fast write speed to take full advantage of all the different video modes that are available, so make sure to budget for this.

The GFX 100 II has virtually all the ports that you could ever need from a modern, connected camera, including a headphone jack, shared MIC / remote release port, new Ethernet port, USB-C port and a full-size HDMI Type A port.

The Fuji GFX 100 II features both built-in wi-fi and Bluetooth 4.2 connectivity. The latter option creates a constant, low-power connection between the camera and a smartphone/tablet to transfer images and video using the Fujifilm Camera Remote smartphone app, while the former allows you to remotely control the GFX 100 II via a 2.4Ghz or 5Ghz wi-fi connection using a smartphone or tablet and the Fujifilm app, and transfer images and video from one device to the other.

Image Quality

All of the sample images in this review were taken using the 102 megapixel SuperFine JPEG setting, which gives an average image size of around 50Mb.

The Fujifilm GFX 100 II produced images of outstanding quality during the review period.

This camera records noise-free JPEG images from ISO 50 all the way up to ISO 3200, with significant noise first appearing at ISO 6400.

The faster settings of ISO 12800 and 25600 are still usable, although we'd suggest avoid using ISO 51200 and the highest available setting of 102400 if possible.

The RAW files were also excellent, exhibiting more noise than the JPEGs but still producing very usable images from ISO 50-12800.

The night photograph was very good, with the maximum shutter speed of 60 minutes allowing you to capture enough light in almost any situation.

The Dynamic Range settings subtly improve detail in the shadows and highlights, while the various Film Simulation modes successfully emulate popular Fujifilm film stocks from the past, with the new addition of Reala Ace bringing the total number to 20.

Noise

There are 13 main ISO settings available on the Fujifilm GFX 100 II, with the standard range running from ISO 80-12800 and the expanded range from 40-102400. Here are some 100% crops which show the noise levels for each ISO setting for both JPEG and Raw formats.

JPEG	RAW
ISO 40	ISO 40


ISO 80	ISO 80

ISO 100	ISO 100


ISO 200	ISO 200

ISO 400	ISO 400

ISO 800	ISO 800

ISO 1600	ISO 1600

ISO 3200	ISO 3200


ISO 6400	ISO 6400


ISO 12800	ISO 12800


ISO 25600	ISO 25600


ISO 51200	ISO 51200

ISO 102400	ISO 102400

File Quality

The Fujifilm GFX 100 II has 3 different JPEG and HEIF file quality settings available, with SuperFine being the highest quality option for both formats, and it also supports Raw, with three levels of compression available. Here are some 100% crops which show the quality of the various options, with the overall file size shown in brackets.

SuperFine JPEG (39.1Mb)	Fine JPEG (17.8Mb)


Normal JPEG (9.4Mb)

SuperFine HEIF (14.4Mb)	Fine HEIF (6.8Mb)


Normal HEIF (4.2Mb)

Raw Uncompressed (208Mb)	Raw Lossless (109Mb)

Raw Compressed (70.6Mb)

Long Exposures

The Fujifilm GFX 100 II' maximum shutter speed is 60 minutes in the Bulb mode, which is great news if you're seriously interested in night photography. The shot below was taken using a shutter speed of 30 seconds at ISO 80.

Dynamic Range

The Fujifilm GFX 100 II has three dynamic range settings - 100% (on by default), 200%, and 400% - and an Auto setting if you want to let the camera take control.

These settings gradually increase the amount of detail visible in the shadow and highlight areas, with the side-effect of more noise appearing in the image.

Note that you can't actually turn this feature off. You also need to set the ISO to at least 320 if you want to access all three settings.

100%

200%

400%

Film Simulations

The Fujifilm GFX 100 II offers 20 different film simulation modes to help replicate the look of your favourite film stock from the past, including the brand new Reala Ace simulation.

Provia / Standard

Velvia / Vivid

Astia / Soft

Classic Chrome

Reala Ace

Pro Neg. Hi

Pro Neg. Standard

Classic Neg.

Nostalgic Neg.

Eterna / Cinema

Eterna Bleach Bypass

Acros

Acros + Yellow Filter

Acros + Red Filter

Acros + Green Filter

Monochrome

Monochrome + Yellow Filter

Monochrome + Red Filter

Monochrome + Green Filter

Sepia

Multiple Exposure

The Fujifilm GFX 100 II's Multiple Exposure drive mode allows you to take two consecutive photos and combine them into one.

Pixel Shift

Pixel Shift is a special Multi-Shot function, accessed via the drive mode dial, that can be used to create 400 megapixel images.

The camera's built-in IBIS unit is used to shift the image sensor by up to a pixel in various directions during a sequence of 16 shots.

You then need to download the Pixel Shift Combiner software from Fujifilm.com, manually select the 16 files that make up each Pixel Shift shot, and the software will then automatically combine them into a single DNG file.

The resulting Pixel Shift DNG file is 23,296x17,472 pixels and around 1.5Gb in size!

The GFX 100 II additionally offers a 4 image Pixel Shift Multi-shot mode for easier archiving, which creates much smaller files than the standard 16 shot mode.

Sample Images

This is a selection of sample images from the Fujifilm GFX 100 II camera, which were all taken using the 102 megapixel Superfine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Ratings (out of 5)
Design	4.5
Features	4.5
Ease-of-use	4.5
Image quality	5
Value for money	4.5

Model name		FUJIFILM GFX 100 II
Lens Mount		FUJIFILM G mount
Image sensor		43.8mm×32.9mm GFX 102MP CMOS II HS with primary color filter
Number of effective pixels		102 million pixels
Sensor Cleaning System		Ultra Sonic Vibration
Image Processing Engine		X-Processor 5
Storage media		SD Card (-2GB) / SDHC Card (-32GB) / SDXC Card (-2TB) / UHS-I / UHS-II / Video Speed Class V90 / CFexpress Type B Card (-2TB) / SSD (-2TB) *Please see the Fujifilm website (https://fujifilm-x.com/support...) to check memory card compatibility.
File format of still image	DCF	Compliant with Design rule for Camera File system (DCF2.0)
	JPEG	Exif Ver.2.32*1
	HEIF	4:2:2 10bit
	RAW	14bit / 16bit RAW (RAF original format)
	TIFF	8bit / 16bit RGB (In-camera Raw Conversion Only)
Number of recorded pixels	［L］	〈4:3〉 11648 x 8736 〈3:2〉 11648 x 7768 〈16:9〉 11648 x 6552 〈1:1〉 8736 x 8736 〈65:24〉 11648 x 4304 〈5:4〉 10928 x 8736 〈7:6〉 10192 x 8736
	［M］	〈4:3〉 8256 x 6192 〈3:2〉 8256 x 5504 〈16:9〉 8256 x 4640 〈1:1〉 6192 x 6192 〈65:24〉 8256 x 3048 〈5:4〉 7744 x 6192 〈7:6〉 7232 x 6192
	［S］	〈4:3〉 4000 x 3000 〈3:2〉 4000 x 2664 〈16:9〉 4000 x 2248 〈1:1〉 2992 x 2992 〈65:24〉 4000 x 1480 〈5:4〉 3744 x 3000 〈7:6〉 3504 x 3000
Sensitivity	Still Image	Standard Output: AUTO1 / AUTO2 / AUTO3 / ISO80～12800 (1/3 step) Extended Output: ISO40 / ISO25600 / ISO51200 / ISO102400
	Movie	Standard Output: AUTO / ISO100～12800 (1/3 step) Extended Output: ISO25600
Exposure control		TTL 256-zone metering / Multi / Spot / Average / Center Weighted
Exposure mode		P (Program AE) / A (Aperture Priority AE) / S (Shutter Speed Priority AE) / M (Manual Exposure)
Exposure compensation	Still	-5.0EV～+5.0EV　1/3EV step
	Movie	-2.0EV～+2.0EV 1/3EV step
Image stabilizer	Mechanism	Image sensor shift mechanism with 5-axis compensation
	Compensation Effect	8.0 stops based on CIPA standard Pitch/yaw shake only *With GF63mmF2.8 R WR lens mounted
	Digital Image Stabilization	Yes (movie mode only)
	IS MODE BOOST	Yes (movie mode only)
Shutter type		Focal Plane Shutter
Shutter speed	Mechanical shutter	P mode: 30sec. to 1/4000sec. A mode: 30sec. to 1/4000sec. S/M mode: 60min. to 1/4000sec. Bulb: up to 60min.
	Electronic shutter	P mode: 30sec. to 1/32000sec. A mode: 30sec. to 1/32000sec. S/M mode: 60min. to 1/32000sec. Bulb: up to 60min. *The Electronic Shutter may not be suitable for fast-moving objects or handheld shooting. Flash can not be used.
	Mechanical + Electronic shutter	P mode: 30sec. to 1/32000sec. A mode: 30sec. to 1/32000sec. S/M mode: 60min. to 1/32000sec. Bulb: up to 60min. Mechanical shutter works until 1/4000sec. The Electronic Shutter may not be suitable for fast-moving objects or handheld shooting. Flash can not be used.
	E-front + Mechanical shutter (GFX: Electronic Front Curtain Shutter)	P mode: 30sec. to 1/4000sec. A mode: 30sec. to 1/4000sec. S/M mode: 60min. to 1/4000sec. Bulb: up to 60min. Electronic front curtain shutter works until 1/1250sec. When using the electronic front curtain shutter, the continuous shooting supports CL only
	E-front + Mechanical + Electronic shutter (GFX: E-Front + Electronic Shutter)	P mode: 30sec. to 1/32000sec. A mode: 30sec. to 1/32000sec. S/M mode: 60min. to 1/32000sec. Bulb: up to 60min. Electronic front curtain shutter works until 1/1250sec, Mechanical shutter works until 1/4000sec. The Electronic Shutter may not be suitable for fast-moving objects or handheld shooting. Flash can not be used. *When using the electronic front curtain shutter, the continuous shooting supports CL only
	Movie	8K/DCI8K: 1/4000sec. to 1/24 sec. 5.8K: 1/4000sec. to 1/24 sec. 5.4K: 1/4000sec. to 1/24 sec. 4.8K: 1/4000sec. to 1/24 sec. 4.6K(ANAMOR): 1/4000sec. to 1/24 sec. 4K/DCI4K: 1/4000sec. to 1/8 sec. FHD: 1/4000sec. to 1/8 sec. *Cannot choose slower shutter speed than framerate for some settings.
	Synchronized shutter speed for flash	Mechanical shutter: 1/125sec. or slower
Continuous shooting		CH Electronic shutter Approx. 8.7fps (35mm Format Mode ON) (No. of recordable frames: JPEG 1000+ frames, Compressed RAW 1000+ frames, Lossless compressed RAW 1000+ frames, Uncompressed RAW 260 frames, Compressed RAW + JPEG 156 frames, Lossless compressed RAW + JPEG 148 frames, Uncompressed RAW + JPEG 71 frames) CH Electronic shutter Approx. 5.8fps (35mm Format Mode ON) (No. of recordable frames: JPEG 1000+ frames, Compressed RAW 1000+ frames, Lossless compressed RAW 1000+ frames, Uncompressed RAW 1000+ frames, Compressed RAW + JPEG 1000+ frames, Lossless compressed RAW + JPEG 1000+ frames, Uncompressed RAW + JPEG 1000+ frames) CH Electronic shutter Approx. 5.3fps (No. of recordable frames: JPEG 1000+ frames, Compressed RAW 1000+ frames, Lossless compressed RAW 1000+ frames, Uncompressed RAW 390 frames, Compressed RAW+JPEG 119 frames, Lossless compressed RAW+JPEG 119 frames, Uncompressed RAW+JPEG 98 frames) CH Mechanical shutter Approx. 8.0fps (No. of recordable frames: JPEG 1000+ frames, Compressed RAW 325 frames, Lossless compressed RAW 302 frames, Uncompressed RAW 76 frames, Compressed RAW+JPEG 75 frames, Lossless compressed RAW+JPEG 75 frames, Uncompressed RAW+JPEG 55 frames) CH Mechanical shutter Approx. 5.0fps (No. of recordable frames: JPEG 1000+ frames, Compressed RAW 1000+ frames, Lossless compressed RAW 1000+ frames, Uncompressed RAW 497 frames, Compressed RAW+JPEG 153 frames, Lossless compressed RAW+JPEG 152 frames, Uncompressed RAW+JPEG 116 frames) CL Mechanical shutter Approx. 2.0fps (No. of recordable frames: JPEG 1000+ frames, Compressed RAW 1000+ frames, Lossless compressed RAW 1000+ frames, Uncompressed RAW 1000+ frames, Compressed RAW+JPEG 1000+ frames, Lossless compressed RAW+JPEG 1000+ frames, Uncompressed RAW+JPEG 1000+ frames) Electronic Front Curtain Shutter support CL only. No. of recordable frames are calculated based on CFexpress Type B card in a cold start Recordable frames depends on recording media Speed of continuous shooting depends on shooting environment and shooting frames

Drive Mode	AE Bracketing	2 frames / 3 frames / 5 frames / 7 frames / 9 frames *by 1/3EV step, up to ±3EV steps
	Filmsimulation bracketing	Any 3 types of film simulation selectable
	Dynamic Range Bracketing	100% / 200% / 400%
	ISO sensitivity Bracketing	±1/3EV / ±2/3EV / ±1EV
	White Balance Bracketing	±1 / ±2 / ±3
	Focus Bracketing	AUTO / MANUAL
	Multiple Exposure	Yes (Max. 9 frames) / Additive / Average / Bright / Dark
	Pixel Shift Multi Shot	HIGH RESOLUTION + ACCURATE COLOR: Yes ACCURATE COLOR: Yes
Focus	Mode	Single AF / Continuous AF / MF
	Type	Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF)
	Low-light Performance	Contrast: -2.5EV GF80mmF1.7 attached Phase Detection: -5.5EV GF80mmF1.7 attached
	AF frame selection	Single point AF: 13x9 / 25x17 (Changeable size of AF frame) Zone AF: 3x3 / 5x5 / 7x7 / Custom1-3 from 117 areas on 13×9 grid Wide/Tracking AF: Yes (AF-S: Wide / AF-C: Tracking) All: Yes
	Face/eye detection	Yes
	Subject detection	Yes (Animal/Bird/Automobile/Motorcycle&Bike/Airplane/Train)
Flash	Shoe mount flash	Sync. Mode: 1st Curtain / 2nd Curtain / AUTO FP (HSS) Flash Mode: TTL (TTL AUTO / STANDARD / SLOW SYNC. ) / MANUAL / MULTI *When EF-X500 is set / OFF
	Synchronized terminal	Sync. Mode: 1st Curtain / 2nd Curtain Flash Mode: MANUAL
Hot shoe		Yes (Dedicated TTL Flash compatible)
Viewfinder		EVF: 0.64 inch OLED Color Viewfinder, Approx. 9.44 million dots Coverage of Viewing Area vs. Capturing Area: Approx. 100% Eyepoint: Approx. 21mm (from the Rear End of the Camera's Eyepiece) Diopter Adjustment: -5～+2m-1 Magnification: 1.00x with 50mm Lens (35mm Equivalent) at infinity and Diopter set to -1.0m-1 Diagonal Angle of View: approx. 47° (Horizontal angle of view: approx. 38° ) Built-In Eye Sensor
LCD monitor		3.2 inch Tilt-Type(Three Direction) Touch Screen Color LCD Monitor Aspect Ratio: 4:3 Dots: Approx. 2.36 million dots
Touch Screen Mode	Shooting Mode	AF, Focus Area, OFF, Double Tap Setting (ON/OFF), Touch Function Setting (ON/OFF), EVF Touch Screen Area Setting
	Playback Mode	Swipe, Pinch-in / Pinch-out, Double-tap, Drag
Sub LCD monitor		2.09 inch Monochrome LCD Monitor Aspect Ratio: 4:3 Dots: 320x219-dot
Movie recording	File format	MOV: Apple ProRes 422 HQ, Linear PCM (Stereo sound 24bit / 48KHz sampling) Apple ProRes 422, Linear PCM (Stereo sound 24bit / 48KHz sampling) Apple ProRes 422 LT, Linear PCM (Stereo sound 24bit / 48KHz sampling) HEVC/H.265, Linear PCM (Stereo sound 24bit / 48KHz sampling) MPEG-4 AVC/H.264, Linear PCM (Stereo sound 24bit / 48KHz sampling) MP4: MPEG-4 AVC/H.264, AAC
	Movie compression	All Intra / Long GOP
	File size Frame rate Bitrate	[8K(17:9)] 8192 x 4320　24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [8K(16:9)] 7680 x 4320　29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [8K(2.76:1)] 8192 x 2968　24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [5.8K(2.35:1)] 5824 x 2476　29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [5.4K(17:9)] 5440 x 2868　29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [4.8K(3:2)] 4776 x 3184　24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [4.8K(16:9)] 4776 x 2688　29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [4.6K(1.38:1)] 4664 x 3380　24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [DCI4K(17:9)] 4096 x 2160　59.94p/50p/29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [4K(16:9)] 3840 x 2160　59.94p/50p/29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [Full HD(17:9)] 2048 x 1080　59.94p/50p/29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [Full HD(16:9)] 1920 x 1080　59.94p/50p/29.97p/25p/24p/23.98p　720Mbps/360Mbps/200Mbps/100Mbps/50Mbps [Full HD(17:9) High speed rec.] 2048 x 1080　120p/100p　720Mbps (recording)/360Mbps (recording)/200Mbps (recording) [Full HD(16:9) High speed rec.] 1920 x 1080　120p/100p　720Mbps (recording)/360Mbps (recording)/200Mbps (recording) Selectable mode will be changed depending on the "Image Format" setting. For recording movies, use a CFexpress Type B card or SD memory card with UHS Speed Class 3 or higher. For recording movies in 360Mbps, use a CFexpress Type B card or SD memory card with Video Speed Class 60 or higher. For recording movies in 720Mbps, use a CFexpress Type B card or SD memory card with Video Speed Class 90 or higher. Selectable bitrate will be changed depends on the setting. Apple ProRes codec can be only recorded to CFexpress Type B card Bitrate for Apple ProRes codec is not selectable. Recording time can become short depending on the temperature and/or shooting conditions
Film simulation mode		20 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)
Monochromatic Color		Yes
Grain Effect	Roughness	STRONG, WEAK, OFF
	Size	LARGE, SMALL
Color Chrome Effect		STRONG, WEAK, OFF
Color chrome Blue		STRONG, WEAK, OFF
Smooth Skin Effect		STRONG, WEAK, OFF
Dynamic range setting	Still	AUTO / 100％ / 200％ / 400％ ISO restriction: DR100%: No limit、DR200%: ISO160 or more、DR400%: ISO320 or more
	Movie	100％ / 200％ / 400％ ISO restriction: DR100%: No limit、DR200%: ISO200 or more、DR400%: ISO400 or more
White balance	Auto	White Priority / Auto / Ambience Priority
	Custom	Custom1 - 3
	Color temperature selection	2500K～10000K
	Preset	Daylight / Shade / Fluorescent Light-1 / Fluorescent Light-2 / Fluorescent Light-3 / Incandescent Light / Underwater
Clarity setting		±5 steps
Self-timer	Still	10sec. / 2sec.
	Movie	10sec. / 5sec. / 3sec.
Interval timer shooting		Yes (Setting : Interval, Number of shots, Starting time, Interval timer shooting exposure smoothing, Interval priority mode)
Wireless transmitter	Standard	IEEE802.11a/b/g/n/ac (standard wireless protocol)
	Encryption	WPA/WPA2 mixed mode, WPA3
	Access mode	Infrastructure
Bluetooth®	Standartd	Bluetooth Ver. 4.2 (Bluetooth low energy)
	Operating frequency (Center frequency)	2402～2480MHz
Terminal	Digital interface	USB Type-C (USB3.2 Gen2x1)
	HDMI output	HDMI connector (Type A)
	LAN Terminal	1000BASE-T、100BASE-TX、10BASE-T
	Others	ø3.5mm, stereo mini connector (Microphone and Remote Release) ø3.5mm, stereo mini connector (Headphone) Hot shoe Synchronized terninal
Power supply		NP-W235 Li-ion battery (included)
	*Battery life for still images2**	Normal Mode: Approx. 540 frames Auto power save ON When GF63mmF2.8 R WR is set
	*Actual battery life of movie capture2**	8K: Approx. 60min. (29.97p) 4K: Approx. 60min. (59.94p) Full HD: Approx. 80min. (59.94p) *Face detection is set to OFF
	*Continuance battery life of movie capture2**	8K: Approx. 80min. (29.97p) 4K: Approx. 90min. (59.94p) Full HD: Approx. 140min. (59.94p) *Face detection is set to OFF
Dimensions		Width: 152.4mm Height: 117.4mm Depth: 98.6mm (Minimum Depth: 46.5mm)
	Excluding EVF	Width: 152.4mm Height: 103.5mm Depth: 73.5mm (Minimum Depth: 46.5mm)
Weight		including battery and memory card: Approx. 948g (including EVF: 1,030g) excluding battery and memory card: Approx. 867g (including EVF: 949g)
Operation Environment	Operating Temperature	-10℃～+40℃
	Operating Humidity	10% - 80% (no condensation)
Accessories included		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

Fujifilm GFX 100 II Review

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Introduction

Ease of Use

Image Quality

Noise

File Quality

Long Exposures

Dynamic Range

Film Simulations

Multiple Exposure

Pixel Shift

Sample Images

Sample RAW Images

Sample Movies & Video

Product Images

Conclusion

Main Rivals

Specifications

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