Fujifilm just released the GFX 100S II, and on paper, it looks like a minor update to the original 100S. Same body, similar controls, familiar design. But after hands-on testing, I'm convinced this "minor update" is actually the more compelling choice than the flagship GFX 100 II for most photographers.
Let me explain why the lighter, simpler, and yes—cheaper option might be the smarter buy.
The Body: Familiar Territory (And That's Good)
The GFX 100S II is essentially identical to the original 100S with one welcome exception: the new textured rubber grip from the GFX 100 II. It provides noticeably better purchase, especially with heavier lenses.
Everything else is reassuringly familiar:
- Twin UHS-II SD card slots
- USB-C port
- Micro HDMI (yes, still micro unfortunately)
- PC sync terminal
- Headphone and mic jacks
- Remote control port
Why This Body Size Matters
At approximately 900 grams, the 100S II remains the lightest GFX body. It's noticeably more compact than even the already-reduced GFX 100 II, and dramatically smaller than the original GFX 100.
For landscape photographers hiking to locations or portrait shooters working handheld all day, this size and weight advantage is genuinely significant. The rubber weather sealing on the battery door and card slot provides decent protection (though not to the same standard as the 100 II).
The battery: Same NP-W235 we've seen before. If you're in the GFX ecosystem, you already have spares.
The Display Upgrades That Actually Matter
This is where the "minor update" narrative falls apart. Fujifilm upgraded the displays in ways that fundamentally improve the shooting experience.
The EVF: From Good to Exceptional
Original 100S: 3.69 million dots 100S II: 5.76 million dots
This isn't just a spec bump—it's transformative. With a 100-megapixel sensor, you need maximum EVF resolution for composition and critical focus confirmation. Zooming in to check focus, reviewing details, identifying camera shake—all of this benefits dramatically from the higher-resolution viewfinder.
For landscape work where critical sharpness matters, or portrait sessions where you're confirming eye focus, this upgrade alone justifies consideration.
The Rear LCD: Practical Versatility
The 2.36 million dot rear screen retains the excellent tilting mechanism:
- Vertical articulation for waist-level shooting or above crowds
- Additional hinge for low-angle work or vertical compositions close to the ground
This dual-articulation system is perfect for landscape photographers getting low to rocks and water, or architectural shooters working at unusual angles.
The Top LCD: Always Watching
The top-mounted LCD panel displays your exposure triangle, film simulations, and settings at a glance. You can switch between:
- Traditional digital readout
- Analog dial simulation (mimicking mechanical controls)
- Live histogram display
That always-on histogram still slightly bothers my OCD (feels like I forgot to turn the camera off), but existing GFX users are probably accustomed to it by now.
Performance Improvements That Change Shooting
7fps Burst Shooting
The 100S II shoots 7 frames per second even with dual SD cards, with approximately 24 shots before buffer fills. This is a meaningful upgrade over the original 100S.
Is it competitive with dedicated sports cameras? No. But it makes the camera noticeably more capable for:
- Portraits where expressions change quickly
- Wildlife at moderate distances
- Any situation requiring a sequence of shots
The GFX 100 II still edges ahead at 8fps with CF Express cards and a larger buffer, but the gap has narrowed significantly.
8-Stop IBIS: Steady as a Rock
The in-body image stabilization system now delivers 8 stops of compensation—matching the flagship GFX 100 II exactly.
For medium format shooting, where lenses are often longer and heavier, exceptional IBIS is crucial. Eight stops means you can handhold shots at shutter speeds you'd normally need a tripod for, opening up creative possibilities and practical flexibility.
Combined with an optically stabilized lens, the stability is genuinely impressive.
The Sensor: Familiar Excellence
Fujifilm calls this a "new" sensor, though it's clearly related to the 100-megapixel sensors in other GFX cameras. Manufacturers often claim "new sensor" when making minor variations or optimizations to existing designs.
The Bit Depth Question
This is important: we need production firmware and raw file support to fully test, but there's a potential concern carried over from the GFX 100 II.
Confirmed:
- 16-bit files in single-shot mode (excellent)
- 14-bit files in continuous shooting (still very good)
Unconfirmed: The GFX 100 II had controversy where files would drop from 14-bit to 12-bit without notification in certain scenarios, reducing dynamic range unexpectedly. We don't yet know if the 100S II exhibits the same behavior.
This is something we'll test thoroughly with production units, but it's worth being aware of.
Autofocus: Finally Catching Up
The 100S II inherits the 425-point autofocus system from the GFX 100 II, representing a significant upgrade over the original 100S.
Subject Detection Features
You get Fujifilm's latest AF algorithms including:
- Advanced face and eye detection
- Subject tracking (people, animals, birds, vehicles)
- Improved continuous AF performance
Reality check: GFX cameras still aren't quite at the speed of Fujifilm's APS-C models for fast action. But the improvement is substantial, and Fujifilm is clearly pushing GFX toward being more versatile beyond purely static subjects.
For portrait work, commercial photography, and moderate-speed subjects, the AF is now genuinely capable rather than merely adequate.
Film Simulations: The Complete Suite
The 100S II includes Fujifilm's latest film simulation modes—all of them. If you're invested in Fujifilm's color science (and many photographers buy GFX specifically for this), having the complete collection is valuable.
Video: Scaled Back But Functional
Here's where the 100S II makes deliberate compromises compared to the GFX 100 II.
What You Get
- 4K recording up to 30fps
- 10-bit 4:2:2 color
- H.264 or H.265 codecs
- Waveforms (my favorite exposure tool, thankfully included)
What You Don't Get
- 8K recording
- Multiple crop modes
- Anamorphic support
- High-speed frame rates
- Advanced video-specific features
The verdict: If you need a medium format camera primarily for video or serious hybrid work, the GFX 100 II is unquestionably better. But if video is occasional or supplementary to your photography work, the 100S II handles it competently.
For quick BTS clips, client review footage, or occasional video projects, 4K 30fps with 10-bit color is perfectly serviceable.
Real-World Test: 500mm Portrait Challenge
I wanted to push this camera in an unusual way, so I shot portraits with Fujifilm's new 500mm lens (equivalent to roughly 400mm in full-frame terms).
Powered by a Westcott FJ400 battery strobe through a softbox to compete with harsh sunlight, the 100S II handled this ridiculous portrait setup beautifully. The IBIS kept shots sharp despite the massive focal length, and the autofocus tracked reliably.
If it can handle this absurd scenario, normal shooting situations are absolutely no problem.
The Value Proposition: Why This Makes More Sense
You can view the GFX 100S II two ways:
Pessimistic view: "It's just a minor update to the 100S. Same body, slightly better specs."
Realistic view: "The meaningful upgrades—EVF, IBIS, autofocus—make this dramatically more capable while remaining lighter, simpler, and more affordable than the flagship."
When the 100S II is the Better Choice
- Portrait photographers who primarily work in controlled environments
- Landscape shooters who value light weight for hiking and don't need video features
- Commercial photographers shooting products, architecture, or studio work
- Anyone prioritizing image quality over burst speed or video capabilities
- Photographers on a budget who want flagship sensor performance without flagship complexity
When to Choose the GFX 100 II Instead
- You need serious hybrid photo/video capabilities
- 8fps burst shooting and maximum buffer are essential
- You want the interchangeable EVF system (though admittedly, compelling options are limited)
- Weather sealing must be maximum spec
- Budget isn't a primary concern
The Interchangeable EVF Reality Check
The GFX 100 II's interchangeable electronic viewfinder seemed like a great idea. In practice? There aren't many compelling alternative EVF options yet, and the feature hasn't been fully realized.
Meanwhile, the 100S II's fixed 5.76 million dot EVF is now excellent enough that the interchangeable system feels less essential. Sometimes simpler is genuinely better.
Used Market Opportunity
With the 100S II's release, expect excellent deals on used GFX models: the GFX 50, 50S, 50R, and original 100S will all see price drops.
If you're considering medium format, this is a great time to explore the used market. Just make sure you're buying from reputable sources with proper inspection, warranties, and return policies.
Who Should Buy the GFX 100S II?
Perfect For:
- Landscape photographers who hike to locations
- Portrait and wedding photographers working primarily handheld
- Commercial shooters who don't need extensive video features
- Existing GFX users upgrading from earlier models
- Photographers wanting medium format image quality without flagship complexity or price
Skip It If:
- Video is equally important to stills (get the 100 II)
- You need absolute maximum burst shooting performance
- You regularly shoot fast-moving sports or wil