The Fujifilm GFX 50S II is the corporate’s third 50 Megapixel medium format mirrorless digicam, and the primary to function in-camera stabilization.

In virtually each respect, the 50S II is a lower-res model of the GFX 100S, sharing extra with its excessive pixel-count sibling than it does with the unique GFX 50S. The means it advantages from all of the refinements Fujifilm has launched within the 5 years because the first GFX 50S was launched but in addition sees some options pared again.

It is also Fujifilm’s least costly medium format digicam so far, making the 44 x 33mm format extra accessible than ever.

Key specs

  • 51MP 44 x 33mm CMOS sensor
  • In-body stabilization providing as much as 6.5EV correction
  • 3.2″ rear touchscreen with two-axis tilt
  • 3.69M dot OLED viewfinder with 0.77x (equiv) magnification
  • High-panel standing LCD
  • Pixel-shift high-res mode offers 205MP photographs
  • Battery rated to 440 pictures per cost (CIPA)
  • Full HD video at as much as 30p, with headphone and mic sockets

The Fujifilm GFX 50S II will likely be accessible later this month at a really helpful value of $4000. Launched alongside the digicam is a 35-70mm F4.5-5.6 retractable zoom lens, which supplies 28-55mm equal protection. Fujifilm is asking for $1000 for the lens if purchased individually, but it surely provides solely $500 to the price of the 50S II, if purchased collectively as a package.



What’s new?

Picture Stabilization

The most important change in contrast with the earlier 50MP GFX fashions is the addition of picture stabilization. It barely wants saying how invaluable picture stabilization could be, particularly for increasing the vary of circumstances through which you will get the digicam’s full decision. At a stroke, it means you are more likely to see the digicam’s full profit when capturing hand-held.

This is not a very excessive instance, however in-body stabilization helps keep sharpness even when capturing shutter speeds at or beneath 1/equal focal size.

1/25 sec, GF 35-70mm F4.5-5.6 WR @ 35mm (28mm equal)

The GFX 50S II’s stabilization system will get a score of 6.5 stops of correction when subjected to the exams laid out by trade physique CIPA.

The picture stabilization mechanism additionally permits the digicam to supply a multi-shot pixel shift high-resolution mode that shoots and combines 16 photographs with fractional shifts of the sensor between each. There is not any try made to right for the movement of the digicam or within the scene, so a tripod and static material is required for this function.

Viewfinder

One space through which the 50S II loses out, in comparison with its forebear, is by way of its viewfinder. It makes use of an analogous 0.5″ sort 3.69M dot OLED EVF panel but it surely makes use of the smaller, lower-magnification optics from the GFX 100S, giving it ‘solely’ 0.77x magnification (in full-frame phrases). That is down from the 0.85x magnification of the unique 50S, however remains to be aggressive with the likes of Canon’s EOS R5, as an illustration.

The opposite space through which the 50S II falls behind its predecessor is that the viewfinder is built-in, quite than being detachable, which additionally means there is not any choice so as to add the EVF-TL1 tilt adapter between the digicam physique and viewfinder.

Updates because the GFX 50S

The unique GFX 50S acquired a sequence of firmware updates and have upgrades however these have not included all the small function enhancements Fujifilm has made throughout the 5 years since its launch. The GFX 50S II beneficial properties a sequence of small function additions that have not made it again to the older digicam.

  • Lossy Uncooked compression choice: This may increasingly appear to be an odd factor so as to add when there’s already a lossless compression choice but it surely permits smaller Uncooked recordsdata with little-to-no visible lack of high quality, which can swimsuit some photographers.
  • DR Precedence mode: This adjusts publicity to guard highlights (like the usual DR modes) and likewise brightens the shadows to maximise the quantity of dynamic vary proven within the photographs. ‘Sturdy’ makes use of DR 400 mode exposures and a giant shadow carry, ‘Weak’ makes use of DR 200 exposures and would not brighten the shadows a lot. ‘Auto’ seems to select between these two settings (by no means deciding on the ‘off’ setting). We discovered the outcomes a bit over-the-top, however solely the change in publicity has any influence on the Uncooked, so there is not any hurt attempting them in high-contrast circumstances.
  • Nostalgic Neg and Eterna Bleach Bypass movie simulations: These give the digicam a complete of 19 shade modes (in case you embody the variants of Acros and Black & White modes that simulate using a coloured filter in entrance of the lens).

In complete Fujifilm says there have been 79 small changes within the digicam’s habits and operation because the introduction of the unique 50S.

GFX100S options not current / Video

As a result of the GFX 50S II makes use of the identical sensor as the unique mannequin, there are a handful of options it would not achieve from the GFX 100S. The obvious is decision but it surely additionally falls behind by way of video. Whereas the 100S can shoot 4K video, the 50S II solely gives 1080p seize, and might’t match the 10-bit seize of its higher-res twin.

So, whereas it beneficial properties the flexibility to file to the capability of a reminiscence card, and choices resembling linear focus response for video shooters that depend on handbook focusing, there are no main enhancements in video high quality.


The way it compares

Fujifilm has priced the 50S II $500 decrease than it launched the 50R for, regardless of the brand new digicam gaining picture stabilization: a significant improve for lots of the kinds of capturing it does properly. This places it a lot nearer in value to the likes of Canon’s EOS R5 and different high-res full-frame digicam our bodies.

There are nonetheless variations by way of prices of lenses however lots of the Fujinon lenses do properly in justifying their larger costs.

Fujifilm GFX
50S II
Fujifilm GFX 50R Nikon Z7 II Canon EOS R5
MSRP $4000 $4500 $3000 $3900
Sensor measurement 44 x 33mm 44 x 33mm 36 x 24mm 36 x 24mm
Decision 51.1MP 51.1MP 45.4MP 44.8MP
Picture stabilization In-body
(lens IS combines for pitch/yaw)
Lens solely In physique
(lens IS takes over pitch/yaw)
In-body
(lens IS combines for pitch/yaw)
Burst fee Three fps Three fps (EFCS) 10 fps 12 fps (Mech)
20 fps (Elec)
Shutter velocity vary 60 min – 1/4000
(EFC or Mech)
60min –
1/16,000 (Digital)
inc auto-switching mode
60 min – 1/4000
(EFC or Mech)
60min –
1/16,000 (Digital)
inc auto-switching mode
15 min – 1/8000 30 sec – 1/8000
Flash sync 1/125 1/125 1/200 1/250 (EFCS)
1/200 (Mech)
Uncooked choices Compressed
Lossless Comp
Uncompressed
Lossless Comp
Uncompressed
Compressed
Lossless Comp
Uncompressed
(all 12 or 14-bit)
Twin Pixel Uncooked
Lossless Comp
Compressed (14, 13 or 12-bit, relying on mode)
High-panel show 1.8″ 69.7K dot Reminiscence LCD
(303 x 230)
None OLED (Res not printed) 16.4K dot Reminiscence LCD
(128 x 128)
EVF 3.69M dots
0.77x Magazine
(equiv)
3.69M dots
0.77x Magazine (equiv)
3.69M dots 0.8x Magazine 5.76M dots
0.76x Magazine
Rear show 3.2″ 3.69M dots
2-way tilt
3.2″ 3.69M dots
2-way tilt
3.2″ 2.1M dots
Tilting
3.2″ 2.1M dots
Totally-articulated
HDR choices None None None 10-bit HEIF stills
(PQ)
10-bit video (PQ)
Card Sorts 2 x UHS-II SD 2 x UHS-II SD 1x CFe Sort B
1x UHS-II SD
1x CFe Sort B
1x UHS-II SD
Battery life
(LCD / EVF)
440 / unspecified 400 / unspecified 380 / 360
(440 / 420 energy save)
490 / 320 (energy save)
Dimensions 150 x 104 x 87mm 161 x 97 x 66mm 134 x 101 x 70mm 139 x 98 x 88mm
Weight 900g / 31.7oz 775g / 27.3oz 705g / 24.9oz 738g / 26.0oz

As you would possibly anticipate, the smaller-sensor cameras provide quicker capturing charges and faster flash sync speeds (since their shutters need not journey to date), however in most respects, the Fujifilm gives a aggressive spec and a sensor that is 70% bigger. The digicam itself is a little bit bigger too, however not unbearably so, which means that for some kinds of capturing it seems to be like a reputable technique to achieve entry to a greater-than-full-frame world.

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Physique and dealing with

The GFX 50S II makes use of the identical physique because the GFX 100S, which implies it is barely smaller and lighter than its predecessor. It additionally means the one devoted dial on the digicam is an publicity mode dial. The lack of a devoted shutter velocity dial frees up house for a bigger top-panel show, which could be set to point out a histogram, a illustration of digital shutter velocity/aperture dials or a customizable settings show.

The GFX 50S II has a pair of UHS-II SD slots behind a detachable door, which has rubber flanges for environmental sealing.

There are two well-placed command dials on the entrance and rear edges of the digicam, which once more could be personalized. Each dials could be pressed inwards to cycle between capabilities which were assigned to them. There’s additionally an AF joystick, which is bigger and flatter than the one on the outdated 50S, and that we discovered to be each extra comfy to make use of and simpler to maneuver with precision.

As you would possibly anticipate, there’s loads of scope for personalisation. Eight bodily buttons and 4 directional swipes of the rear touchscreen could be re-purposed to provide fast entry to your favored settings. The digicam’s fast ‘Q’ menu may also be modified to incorporate the choices of your selection within the order that makes probably the most sense to you.

We discovered the publicity comp button to be a little bit awkwardly positioned, so personalized it to behave as a swap (quite than needing to be held down), to make the rear command dial a full-time Exp Comp dial.

The digicam retains a rear display screen that may tilt in two axes, which means you may tilt it for waist-level capturing in each the panorama and portrait orientation. It stays our favourite structure for a photo-focused digicam.

The physique’s magnesium alloy development has a distinctly dense feeling which, on a digicam this measurement, means it finally ends up feeling fairly weighty compared with different mirrorless cameras. Which you understand this weight as an indication of strong, high-quality development or as a hindrance to journey is more likely to rely on how you propose to make use of the digicam.

Battery

One other space through which the GFX 50S II extra carefully resembles the 100S is using a smaller, NP-W235 battery. Regardless of its smaller measurement, it might probably ship 16Wh of energy, quite than the 14Wh of the older NP-T125 unit used within the older digicam. This helps the Mark II to ship a battery life score of 440 pictures per cost, utilizing commonplace CIPA check strategies. As typical, it’s normal to get as many as double this quantity in day-to-day use.

The GFX 50S II comes with an exterior charger, and may also be charged over USB.

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Picture High quality

Our check scene is designed to simulate quite a lot of textures, colours and element sorts you will encounter in the true world. It additionally has two illumination modes to see the impact of various lighting circumstances.

The picture high quality of the GFX 50S II is, as you would possibly anticipate, very spectacular. There’s a degree of element that is not matched by many different cameras. And its bigger sensor helps give barely cleaner tones than most full-frame cameras. This massive-sensor benefit begins to slide away as the ISO ranges rise, presumably as a result of it is squaring up towards newer sensors: it is gone completely at tremendous excessive ISOs.

JPEG shade response is superb and, due to a big selection of pretty delicate Movie Simulation modes and respectable processing, the Fujifilm arguably gives among the finest out-of-camera outcomes of any medium format digicam, which could be helpful even in case you solely plan to make use of them as proofs or as an preliminary information in your edits.

We suspect the 50S II has the identical microlens design as earlier 50MP Fujifilm fashions, with gaps left between pixels to extend the separation between pixels that emphasize (exaggerate?) sharpness. This comes with the chance of moirĂ© in very high-frequency patterns, but it surely’s no any worse than its friends, and it appears to wash up properly in JPEGs, so should not be disastrous.

Dynamic vary

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By way of dynamic vary, the sensor performs very properly. An ISO 100 file pushed by 6 stops exhibits solely a little bit extra noise than an ISO 6400 picture shot on the similar publicity (the distinction stemming from digital, learn, noise). It is a fairly good consequence, which supplies the choice in low gentle, excessive distinction conditions, of dropping the ISO setting to retain highlights, quite than amplifying them to the purpose the place they clip. You are able to do this within the information that brightening the remainder of the picture will not reveal a lot further noise.

The digicam’s DR400 mode used the publicity related to ISO 400 however with the extent of amplification usually used for an ISO 100 shot, serving to to guard the highlights of the sundown. The foreground was then brightened and warmed, to raised symbolize my reminiscence of the scene.

ISO 400 (DR400) | 1/210 sec | F8 | Fujifilm GF 35-70mm F4.5-5.6 WR @ 70mm

At base ISO, in case you scale back the publicity to seize further highlights, you may dig element out of the very deep shadows if you need to. There will be a noise price due to the discount in publicity, however whereas the outcomes aren’t fairly as clear as on the GFX 100S, you may dig very deep into the recordsdata with out being swamped with noise. This efficiency is best than most full-frame cameras, but it surely’s value noting that the Nikon Z7 II’s ISO 64 setting can at all times be shot with 2/3EV extra publicity (with the identical shutter velocity and depth of discipline because the GFX), and delivers comparable outcomes, proper down into the deepest shadows.

Picture stabilization

What our check scene would not present is the influence of picture stabilization. It is one factor to have the ability to get peak sharpness (or one thing very shut) with the digicam mounted on a heavy tripod however fairly one other to repeatably achieve this in the true world. We spent three weeks touring with the 50S II, sans tripod, and have not needed to fear about digicam shake in any of the captured photographs. The 50S II’s stabilization would not increase picture high quality, per se, but it surely considerably expands the circumstances through which you will get one of the best out of the digicam.

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Autofocus

Autofocus is the GFX’s most vital shortcoming. Fujifilm says using a more recent processor makes it faster than earlier 50MP fashions however with out the distance-aware phase-detection AF of the 100MP fashions, it is nonetheless fairly sluggish. Given the leaps ahead in autofocus velocity, monitoring efficiency and ease-of-use happening elsewhere available in the market, the GFX 50S II feels considerably off-the-pace.

There’s an argument to be made that the higher-resolving capabilities of medium format lenses are a official trade-off for the slower focusing that comes from having to maneuver extra glass, however the GFX 100 sequence has proven it needn’t be this sluggish. Some GF lens designs are quicker than others, however they’re all extra snappy on the GFX 100 fashions.

The digicam’s eye detection AF can place the main target completely on the attention, but it surely solely does so in S-AF, so will not refocus in case your topic is shifting. It is also rather more susceptible to shedding its topic than most rival methods, which makes it tough to rely on.

F2.8 | 1/160 sec | ISO 1250 | Fujifilm GF 45mm F2.Eight R WR [Standard/Provia]

The opposite concern is the dependability of the face/eye detection system. The GFX 50S II can detect faces and eyes but it surely solely appears to take action when your topic is going through you pretty immediately and tends to lose the topic if they appear down, or away or shut their eyes. It is also unusually susceptible to discovering faces within the scene the place none exist, which is more likely to immediate some individuals to easily disengage the mode altogether. It will possibly additionally solely detect eyes when in single-acquisition AF, which implies it will not try and refocus in case your topic strikes.

The newest cameras from different manufacturers can lock onto the face nearest your chosen AF level after which persist with that individual tenaciously, even when they appear away or are obscured by one other topic. That is merely not the case right here, and we regularly discovered it was extra dependable to manually place the best AF level, quite than attempting to depend on Eye AF: a course of that takes longer and requires your topic to carry their pose for you.

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Video

The GFX 50S II’s video is not one among its biggest strengths but it surely’s completely usable and features a respectable array of assist instruments, together with headphone and mic sockets.

The usage of the older 50MP sensor means the GFX 50S II would not achieve the 4K video capabilities of the GFX 100S, regardless of how a lot different {hardware} they share. So, whereas the 50S II has a devoted Nonetheless/Film swap, mic and headphone sockets and the touchscreen-led ‘Film Optimized Management’, its video efficiency is not something particular.

Video tops out at 1080/30p, although there are each 23.98 and true 24p choices in case you desire. The digicam additionally gives digital stabilization, which mixes with the in-body and in-lens correction to permit hand-held capturing with motion.

The digicam’s 1080 footage is not unhealthy in any respect, even in contrast with cameras which can be excellent at Full HD, and there is no main loss in high quality for making use of the digital IS (and the 1.1x crop that comes with it). However most of its rivals, and its huge brother, will fortunately shoot 4K footage (that usually downsamples to provide excellent 1080), so we really feel the 50S II’s video in all probability is not a significant a part of the digicam’s attraction to would-be patrons.

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Conclusion

What we like What we do not
  • Among the finest picture high quality accessible
  • In-body stabilization extends circumstances through which you will get most decision
  • Movie Simulations give enticing processing choices
  • Comparatively small and lightweight
  • Twin-tilt LCD is superb for portrait orientation capturing
  • Least costly digital medium format digicam ever
  • Properly-thought-out video options
  • Matched card slots imply you solely want one sort of card
  • USB charging is handy
  • Face/eye detection not as reliable as in rivals (and no eye detect in C-AF)
  • Autofocus is not the quickest
  • ‘Fast AF’ mode drains battery quicker
  • Video is barely Full HD (no 4K)
  • Publicity Comp wants its personal button, even if you wish to use a dial
  • Multi-shot mode very delicate to motion of the digicam or topic

This overview was created primarily based on expertise utilizing a pre-production GFX 50S II working f/w v1.0. Whereas it’s doable that there could also be minor variations between this pattern and a ultimate delivery digicam, we’re assured that they won’t considerably have an effect on our findings. As such, in session with Fujifilm, we’ve opted to provide the GFX 50S II a rating, and we’ll revisit our findings if mandatory as soon as a ultimate manufacturing digicam turns into accessible

The GFX 50S II takes a well-known sensor and mounts it in Fujifilm’s most refined GF physique. This mixture supplies the corporate’s first picture stabilized 50MP mannequin whereas additionally changing into the bottom priced digital medium format digicam ever launched. Clearly, this will likely be a tantalizing prospect for anybody who’s dreamt of going past the 135 format.

And it makes a really highly effective mixture, particularly when mixed with the surprisingly succesful 35-70mm F4.5-5.6 zoom lens. It is no greater than some full-frame DSLRs and makes an outstanding studio or panorama digicam. Its strong construct and direct management make it a really satisfying digicam to shoot with and the tip outcomes maintain as much as the closest scrutiny.

The GFX 50S II will not make you a greater panorama photographer, however it might probably take advantage of any pictures you’re taking.

ISO 200 (DR200) | 1/150 sec | F11 | Fujifilm GF 35-70mm F4.5-5.6 WR @ 56mm [Standard/Provia]

Nonetheless, its comparatively sluggish contrast-detect autofocus and a quite flighty face/eye detection implies that the GFX 50S II is way much less adept at portraiture, particularly in case your type tends in the direction of the spontaneous/candid. Its sluggish AF and three fps most capturing fee primarily rule it out for sports activities and motion work, which high-res full-frame cameras more and more do properly at.

The 50S II’s basic problem is that there is no such thing as a inherent magic or particular ‘look’ to medium format (even in case you transfer as much as the bigger 52 x 44mm ‘~645’ format). The identical logic that attracts an equivalence between smaller sensors works simply as successfully for big sensors: gentle and geometry work the identical manner, regardless. So, whereas the GFX’s 70% larger-than-full-frame sensor supplies a roughly 2/3EV profit over the smaller format (on the similar F-number and shutter velocity), there are full-frame cameras that may claw again a few of that benefit. The distinction is that the most recent full-frame cameras can focus quicker, shoot faster, are significantly better at Face/Eye AF and price much less cash.

It is exhausting to argue with the degrees of element the GFX 50S II is able to, even when shot hand-held utilizing a collapsible ‘package’ zoom. Observe the seagull.

ISO 100 | 1/220 sec | F9 | Fujifilm GF 35-70mm F4.5-5.6 WR @35mm [Classic Chrome]

That mentioned, the bigger lenses wanted for bigger sensors will discover it simpler to resolve any given frequency within the scene. This, mixed with the 50S II’s microlens design, which boosts obvious sharpness (at the price of some aliasing), means the GFX 50S II delivers actually impressively sharp photographs. And that is on prime of tonal high quality and dynamic vary on the higher restrict of what full-frame can obtain.

Finally, in comparison with some full-frame rivals, the GFX 50S II is not probably the most rational selection, even for panorama and studio shooters. However its sluggish awkwardness, in contrast with a do-everything full-framer, has a sure attraction. And it so incessantly delivers nice picture high quality that I absolutely acknowledge how somebody might find yourself loving it. Should you’re buying together with your head, and you’ve got the additional funds, the GFX 100S makes much more sense (a more recent, extra environment friendly sensor, extra decision and higher autofocus), however the 50S II buys you into a variety of wonderful lenses and incessantly makes pictures really feel particular. And what is the value of that?


In comparison with

If you wish to absolutely expertise the profit {that a} 44 x 33mm sensor gives over full-frame, the Fujifilm GFX 100S is a stronger candidate. Its 100MP decision actually exhibits off what the Fujinon GF lenses can do, and its on-sensor section detection means the entire expertise is that bit faster. A more moderen, extra environment friendly sensor delivers a slight bump in picture high quality past the pixel rely, and it reads out quick sufficient to ship a way more succesful video digicam. It might be dearer than the 50MP mannequin, however the profit over its rivals is way clearer.

The Nikon Z7 II is the digicam that represents the most important problem to the GFX 50S II, as a result of its ISO 64 mode lets it tolerate 2/3EV extra publicity than the Fujifilm. You’ll be able to shoot the Nikon with an aperture 2/3EV wider, and get the identical depth of discipline and the identical quantity of sunshine per the entire picture. This provides immediately comparable high quality by way of noise, dynamic vary and tonal high quality all through the picture (in observe, in addition to in precept). Nikon’s Z-mount lens lineup incorporates some spectacular choices and the Nikon’s AF velocity, video capabilities and normal responsiveness make it a way more versatile various, at a decrease price.

The Canon EOS R5 cannot fairly match the Fujifilm for picture high quality at base ISO, so the panorama and studio shooters will achieve one thing by choosing the Fujifilm’s greater sensor (it is a comparable story for Sony’s a7R IV). However portrait shooters are more likely to admire the Canon’s wonderful Eye AF system, which is faster to make use of and much more reliable than the GFX’s. Once more, velocity, video capabilities (together with 8K seize) and normal flexibility are all on Canon’s aspect, in case you’re prepared to cede that additional margin of base ISO picture high quality.


Scoring

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Pattern gallery

All photographs had been shot utilizing a pre-production GFX 50S II.

Please don’t reproduce any of those photographs on an internet site or any e-newsletter/journal with out prior permission (see our copyright web page). We make the originals accessible for personal customers to obtain to their very own machines for private examination or printing (together with this overview). Please chorus from utilizing them for any business functions.

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