When Fujifilm dropped the price of their flagship medium format camera by $2,500 while simultaneously upgrading it to 102 megapixels, photographers everywhere took notice. But does the GFX100 II actually deliver on its promises, or is it just clever marketing?
After spending weeks with this camera in real-world shooting scenarios—from outdoor portraits to studio work and video production—I've discovered some surprising truths that Fujifilm's spec sheet doesn't tell you.
What Makes the GFX100 II Different?
The Fujifilm GFX100 II sits in a fascinating position in the camera market. It's not trying to compete directly with Sony, Canon, or Nikon's full-frame offerings. Instead, it occupies its own space: a medium format sensor (larger than full-frame) that promises better image quality at a price point that won't require a second mortgage.
At $7,500, it's positioned as the "affordable" medium format option, though that's still a serious investment for most photographers.
The Build: Surprisingly Comfortable
Here's something that might surprise you: this camera isn't as massive as you'd think. Sure, it's bigger than your average mirrorless camera, but it's roughly the same size as older DSLRs like the Canon 5D Mark IV from 2016. In hand, it feels substantial and well-built—exactly what you'd expect at this price point.
The materials scream quality, and paired with Fujifilm's GF lenses (which are admittedly chunky), the balance feels natural. Even after hours of shooting, the weight didn't become a dealbreaker, though your neck might disagree if you're used to lighter mirrorless systems.
The Image Quality: Absolutely Stunning
Let me be direct: the stills from this camera are phenomenal. Those 102 megapixels aren't just a numbers game—they translate to images that are razor-sharp with color rendering that's quintessentially Fujifilm.
The new Reala Ace film simulation might just be the best thing Fujifilm has ever created. Straight out of camera, the colors are gorgeous, and that's before you even touch the raw files.
Speaking of raw files, they're massive—about 110 megabytes per shot. But here's the thing: that file size comes with incredible editing flexibility. You can crop aggressively and still have a print-worthy image. It honestly feels like cheating to start with color this good and have this much resolution to work with.
The Lens That Makes It All Worth It
The 55mm f/1.7 lens released alongside this camera deserves special mention. With a full-frame equivalent of roughly 44mm, this lens showcases exactly why you'd shoot medium format in the first place.
Most GF lenses don't go wider than f/2.8, which actually gives you similar depth of field to full-frame cameras. But this 55mm at f/1.7? It creates that dreamy, shallow depth of field that only medium format can deliver. If you're investing in this system, this lens should be at the top of your list.
The Catches: What They Don't Tell You
Now for the reality check. Despite all the impressive specs, there are some genuine limitations you need to know about before buying.
The Controls: A Mixed Experience
Fujifilm decided not to include a directional pad on this camera. You're stuck with just a joystick for menu navigation, and it's slower and less precise than dedicated buttons would be. This became particularly annoying when shooting outdoors in winter with gloves on—trying to navigate multiple menu pages with a tiny joystick is frustrating.
There's also a puzzling limitation with custom buttons: you can't assign different functions based on whether you're in photo or video mode. So if you set a button to display waveforms (video-only), that button becomes useless when shooting stills. It's a software limitation that feels unnecessary.
The Electronic Shutter Problem
Here's a surprise that caught me off guard: when using the electronic shutter outdoors, I frequently got jello-like distortion in images—even when the subject wasn't moving quickly and I was holding the camera stable.
This reveals something important: the X-Processor 5 in this camera is being pushed to its absolute limits by that 102-megapixel sensor. For any important work or fast-moving subjects, stick to the mechanical shutter. It's a workaround, but it's necessary.
Video Capabilities: The Complicated Truth
This is where things get interesting—and a bit disappointing if you had high hopes for medium format video.
The Dream vs. Reality
The ideal scenario would be shooting open gate (using the full sensor) at 8K resolution. Unfortunately, that's not possible. The camera does shoot 8K, but with a significant crop that actually gives you a smaller field of view than full-frame cameras.
The only mode that uses most of the sensor is 4K, but it's pixel-binned, which means the image quality isn't as sharp as the cropped modes. When I shot an interview in 4K fog log 2, the depth of field looked fantastic, but the actual detail and noise handling didn't match modern full-frame cameras.
The best-looking video actually comes from the 35mm mode (essentially full-frame) at 4.8K. So ironically, this medium format camera delivers its best video quality when you treat it like a full-frame camera.
The Positives
Despite these limitations, the video isn't bad—it's actually quite good by full-frame standards. The fog log 2 implementation is solid, and unlike some other Fuji cameras, the base ISO is a more manageable 800, making it easier to expose in bright conditions.
The autofocus in video is impressively sticky for such a large sensor, even if it doesn't quite match the best full-frame competition. And this is the first Fujifilm camera to support SSD recording, which is a game-changer for managing large video files.
The Viewfinder: An Unexpected Star
One of the best surprises about this camera is the electronic viewfinder. It's massive, incredibly sharp, and honestly one of the best EVFs I've ever used. It's compatible with Fujifilm's tilting adapter, which is perfect for low-angle shooting.
This might seem like a small detail, but when you're spending hours looking through a viewfinder, quality matters enormously. I wish every camera had an EVF this good.
Who Should Buy the GFX100 II?
This camera makes perfect sense for specific types of photographers:
You'll love it if you:
- Shoot studio photography or large-format prints
- Need maximum resolution and cropping flexibility
- Want medium format quality without spending $15,000+
- Appreciate Fujifilm's color science and film simulations
- Do hybrid work where video is secondary to stills
Think twice if you:
- Primarily shoot fast action or sports
- Need the absolute best autofocus performance
- Want true medium format video (not full-frame equivalent)
- Require lightweight, compact gear for travel
- Are on a tight budget—$7,500 is still substantial
The Verdict: Glass Half Full
Fujifilm didn't create the "poor man's IMAX camera" that video creators hoped for, but they did deliver exactly what they promised: an affordable medium format hybrid camera with exceptional still image quality and solid video capabilities.
The stills from this camera are arguably the best quality-per-dollar of any camera on the market. The video experience has limitations, but within those boundaries, it's genuinely good. At $2,500 less than its predecessor, the value proposition is compelling.
The biggest limitation isn't the camera itself—it's the processor. The X-Processor 5 is clearly working overtime to handle that 102-megapixel sensor. When Fujifilm eventually upgrades to a faster processor in future models, the potential of this format will be fully unleashed.
Final Thoughts
The GFX100 II represents something important in the camera industry: proof that medium format doesn't have to be slow, unwieldy, or prohibitively expensive. Is it perfect? No. But perfection isn't always the goal.
This camera delivers extraordinary image quality at a price point that makes medium format accessible to more photographers than ever before. The video capabilities, while not revolutionary for the format, are a legitimate bonus rather than an afterthought.
If you're a photographer who's been curious about medium format but held back by concerns about autofocus, speed, or price, the GFX100 II might be exactly the camera that changes your mind. And that alone makes it worth celebrating.
Have you shot with medium format cameras? What's holding you back from making the jump? Share your thoughts in the comments below.