Introduction
The GFX 50S II is the fifth medium-format mirrorless camera that Fujifilm have released in the last few years, and is by far the most affordable, making medium-format available to a much wider audience.
As its name suggests, it has a 50 megapixel image sensor which physically measures 43.8×32.9mm, much larger than the 36x24mm sensor found in a 35mm full-frame camera – approximately 1.7x larger in fact.
The Fuji 50S II actually uses exactly the same sensor as the older 50 megapixel 50S and 50R models, despite costing substantially less than both at launch.
This is a back illuminated CMOS sensor with the same contrast-detect type autofocus system as the 50S and 50R, with no phase-detection AF sensors embedded in the sensor as on the 100 megapixel GFX 100 and 100S cameras.
Brand new to the Mark II edition is “Contrast Rapid AF”, an improved version of the contrast-based autofocus system that can focus in 0.272sec with the 35-70mm lens, just 0.1sec slower than the GFX 100S with the same lens and its more advanced PDAF system.
The native ISO range runs from ISO 100 to ISO 12,800, which is expandable to 50-102,400.
The GFX50S II does use the latest, most powerful X-Processor 4 image processor, though, a feature that is shared with the 100 megapixel models, which enables the new version to offer a whopping 79 upgraded functions when compared to the original 50S model.
Just like the GFX 100 and 100S, the 50S 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 6.5 stops.
The Fuji 50S II offers 1080p video recording with a frame rate of 30fps, a limitation of the sensor that it uses, rather than the 4K 30p video recording found on the GFX 100/S.
The 50S’s removable viewfinder and battery grip have both been sacrificed in the interest of making the Mark II version lighter, smaller and crucially cheaper (as it’s simpler to manufacture).
Other key specifications include a weather-resistant magnesium alloy body, 3.69M-dot OLED electronic viewfinder with 100% coverage and a magnification of 0.77x, 2.36 million dot tilting 3.2-inch LCD display, Face and Eye Detection AF, 3fps continuous shooting speeds, and dual UHS-II SD memory card slots.
The 50S II also offers shutter speeds from 60 minutes to 1/4000th sec using the mechanical focal plane shutter or up to 1/16000 sec via the electronic shutter, interval shooting and multiple exposure modes, built-in Wi-Fi and Bluetooth connectivity, and a USB-C port.
The Fujifilm GFX 50S II is available now priced at £3499 / $3999 body only or £3999 / $4499 with the new GF 35-70mm kit lens, in the UK and USA respectively, putting in on a par with the likes of the Canon EOS R5 and Sony Alpha A7R IV 35mm full-frame mirrorless cameras.
Ease of Use
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Externally the new GFX 50S II is identical to last year’s GFX 100S camera, with the same magnesium alloy, weather-resistant body, the same PASM control dial and top LCD panel, and the same rear LCD screen, electronic viewfinder and AF joystick on the rear.
The GFX 50S II is also taking on the 35mm full-frame market by being similarly sized to some DSLR and mirrorless models, despite having a larger, medium format sensor – and have we already mentioned that it’s very similarly priced to flagship full-frame models from Canon, Sony, Nikon and Panasonic, even with a lens included?
Despite having a medium format sensor, it’s clear that Fujifilm believes the GFX 50S II main rivals are 35mm sensor cameras, not the “traditional” medium-format market that mainly serves studio photographers.
With this new model, Fujifilm have aggressively reduced the size and the price of the GFX 50S II to take on the likes of the Sony Alpha A7R IV, Canon EOS R5, Nikon Z7 II and Panasonic Lumix S1R, not to mention DSLRs like the Canon EOS 5D IV and Nikon D850.
Fujifilm doesn’t have a 35mm camera range – instead it has the very popular APS-C X-series and the relatively new GFX medium-format series.
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So it’s attacking the popular full-frame market from two angles – smaller, lighter and cheaper cameras like the X-T4, and now a medium-format camera that is similar in size, weight and even cost to the latest flagship 35mm models.
We haven’t even mentioned the GFX 50S II’ medium format rivals, which with the exception of the now ageing Pentax 645Z are invariably larger and much, much more expensive than this camera.
As ever with cameras, there’s no one model that does it all, though, so don’t expect the GFX 50S II to rival smaller-sensor cameras for things like burst shooting speeds, video and auto-focus performance.
It is still very much a medium-format camera in theses areas, which is especially true with the 50S II because it continues to use the now ageing 50 megapixel sensor that made its debut in 2017’s 50S camera.
The Fuji 50S II weighs 900g and measures 150×104.2×87.2mm, making it slightly bigger and heavier than the original 50S, which weighed in at 740g and measured 148x94x91mm, although the figures for the GFX 50S are without the removable EVF being fitted, and crucially it doesn’t have IBIS either, unlike the 50S II.
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Just like the GFX 100S, Fujifilm aren’t releasing an optional battery grip for the GFX 50S II – it doesn’t even have the electrical contacts on the bottom of the camera body – so there will be no 3rd-party options available either.
Instead there is a metal hand grip accessory called the MHG-GFXS that enhances the in-hand feel of the camera, somewhat ironically by making it bigger.
So if you’re a fan of either fitting an optional battery grip to your camera for better battery life and improved ergonomics when shooting in portrait mode, sadly the GFX 50S II won’t meet your needs, and you’ll need to consider the older 50S or 50R models instead.
So Fuji’s engineers have included an in-body 5-axis stabilisation unit for the first time in a 50 megapixel model, one that’s actually even more effective than the unit inside the GFX 100S.
The GFX 100 offers 5.5 stops of compensation, the GFX 100S offers 6 stops of compensation, and the GFX 50S II offers a class-leading 6.5 stops of compensation, thanks to a slightly redesigned IBIS unit.
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This is the third GFX and third ever medium format camera to feature in-body image stabilization. The Fuji GFX 50S II uses a familiar 5-axis system which provides up to 6.5 stops of image stabilization (when using the GF 63mm F2.8 R WR lens).
The first two 50 megapixel GFX cameras didn’t have IBIS built-in, instead relying on the lens to provide it, which not all GFX lenses do. With the GFX 50S II, any lens that you attach to it will automatically benefit from up to 6.5 stops of compensation. Furthermore, the same system is used to help suppress shutter shock, which given the resolution on offer is a very welcome benefit.
Pixel Shift is a special Multi-Shot function that uses the IBIS unit to enable the GFX 50S II to create 205 megapixel images. The camera’s IBIS unit is used to shift the image sensor by up to a 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 software.
Fuji also redesigned the focal plane shutter unit in order to reduce the size of the 50S II, but it still offers the same fastest shutter speed of 1/4000th second and the longest exposure time of 60 minutes. There’s also an electronic shutter which provides an even faster shutter speed of up to 1/16000 sec, which is useful for shooting in bright conditions at wide-open apertures, for example.
The third major design decision that has helped to make the GFX 50S II so small, in addition to the new IBIS and shutter units, is the adoption of a smaller battery.
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The Fujifilm GFX 50S II uses exactly the same NP-W235 battery as the X-T4 APS-C sensor camera and the GFX 100S, rather than the physically larger TP-125 battery used by the GFX 100 and the GFX 50S, and it’s incorporated into the bottom of the handgrip, again allowing the designers to make the 50S II smaller.
The NP-W235 offers a CIPA-rated battery life of up to 455 shots on a single charge in normal mode, versus 400 shots for the TP-125, so it actually out-performs the bigger battery.
The Fuji GFX 50S II is a very well-built camera, as you’d probably expect for £3.5K, 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.
In terms of its ergonomics and control layout, the 50S II is the best realised GFX model yet, and the one that we’ve most enjoyed using, primarily because it handles just like a premium full-frame DSLR or mirrorless camera.
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The front of the Fujifilm GFX 50S II is adorned with the white Fujifilm logo positioned above the lens. To the left of the lens mount, if viewing the camera front-on, is a small black button that can be customised, which by default accesses the Performance Boost functions. On the bottom-left of the lens is a circular button for releasing the lens.
Thanks to the adoption of the NP-W235 battery and its placement, the 50S II has a very large grip that I could comfortably fit even my pinky finger around whilst operating the shutter button with your forefinger and gripping the back of the camera with your thumb, which makes it exceptionally easy to hold for extended amounts of time. Even short periods of one-handed use are possible – how many medium format cameras can you say that about?
Just like they recently did with the X-S10 APS-C camera, Fujifilm have made the very-unlike-Fuji decision to somewhat simplify the design of the GFX 50S II by not including the traditional shutter speed and ISO speed dials that adorn most of its cameras.
Instead, there’s a traditional shooting mode dial on the left, complete with no less than 6 (!) Custom mode settings and the usual PASM modes, and a large, monochrome top-panel LCD screen on the right, a combination that’s just like the one on the GFX 100S.
In front of the shooting mode dial is the brand new shooting mode switch, which toggles between Movie and Still. This is a welcome simplification of the way in which you chose these modes on previous GFX cameras, although you do lose top-panel access to the Drive modes, which are now instead accessed by the new Drive button on the rear of the camera.
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The 1.8″ top-panel LCD screen cleverly replaces the usual physical ISO and Shutter speed dials by displaying three “virtual” controls instead, with ISO on the left, shutter speed on the right and exposure compensation on the bottom.
Depending upon which shooting mode you’re in, as you use the front and rear control dials to change these settings, the virtual display is updated in real-time.
It can also be toggled using the small unmarked button to the bottom-right of the top LCD screen to alternatively display either a histogram or the Fuji GFX 50S II’s current key settings, including the shutter speed, aperture, exposure compensation, sensitivity, shooting mode, white balance and film simulation mode.
It’s not quite as convenient as having actual dials, but is a clever idea nonetheless, especially as when set to the key settings mode, the LCD screen stays on when the camera is turned off, which acts as a quick reminder of your last used settings even before you turn the camera back on.
There’s also no handy exposure compensation dial, however, instead replaced by a tiny dedicated button on top of the camera next to the shutter button that’s rather awkwardly used in conjunction with the rear control dial.
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Completing the top of the camera is a small button for illuminating the top LCD panel, an unmarked, re-configurable Function button that by default toggles Face Detection on and off, and an On/Off switch that surrounds the shutter release button – this isn’t threaded for a traditional shutter release cable, though, as on some X-series cameras.
The Fujifilm GFX 50R is equipped with a 43.8×32.9mm CMOS sensor with a resolution of 51.4 megapixels and no optical low pass filter that delivers 8256×6192 pixel still images.
The sensor is essentially the same as the one found in the Fujifilm GFX 50S, 50R and Hasselblad X1D cameras.
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 50R has a traditional Bayer colour filter array in front of the sensor. The pixel count isn’t really higher than that of the highest-resolution 35mm full-frame DSLRs – the Canon EOS 5DS and 5DS R – but the pixel pitch is greater, promising a wider dynamic range and a better signal-to-noise ratio.
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The Fujifilm GFX 50S II has the same contrast-detect type autofocus system as the original 50S, with no phase-detection AF sensors embedded in the sensor as on the GFX 100/100S cameras, so if auto-focus speed is paramount then one of the GFX 100 models is the best option.
Having said that, Fujifilm have added a new Rapid AF option to the Mark II 50S, which speeds up the contrast-based focusing and also makes it more accurate by using the new IBIS unit to control sensor motion blur.
Also, the latest X-Processor 4 inside the 50SII benefits from having the latest algorithm that improves the AF’s refresh rate, resulting in more accurate autofocus in Face / Eye Detection compared to the previous model.
Depending on the lighting conditions, the GFX 50S II is faster than the original 50S model but still a little on the slow side to auto-focus, taking about 1/3 second to lock onto the subject and also prone to hunting in low-light environments.
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 17×25 grid of smaller AF points.
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The Fuji GFX 50S II also offers Zone and Wide/Tracking modes which utilise the larger 425-point area to capture moving subjects.
In Zone mode, you can select a 3×3, 5×5 or 7×7 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 Wide/Tracking mode combines the Wide mode (during AF-S), in which the GFX 50S 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.
The GFX 50S II offers a continuous shooting rate of 3fps, the same rate as the 50S, but the buffer depth is much greater – for unlimited JPEGs or 31 compressed Raw files if you use a UHS-II SDXC card and the electronic shutter, making it one of the faster medium format cameras on the market. If you prefer to use the mechanical shutter, the rate drops to 2.2fps for unlimited JPEGs or compressed Raws.
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The GFX 50S II offers exactly the same basic video mode as the 50S and 50R, supporting either Full HD (1920×1080 pixels) or 720p recording at 29.97, 25, 24, and 23.98 fps in the H.264 compressed MP4 format. There’s no 4K recording on this camera – you’ll need to step up to the 100 megapixel GFX 100/100S models for that feature.
The Mark II does offer an improved maximum recording time of 2 hours, though, versus 30 minutes on the original model.
There are both 3.5mm Mic and 3.5mm Headphone ports on the left-hand flank of the camera when viewed from the rear, with USB-C, HDMI and an X-Sync flash socket below them.
The GFX 50S II can be powered and charged via the USB-C connection, which is useful if you’re out and about and have a compatible powerbank to plug the camera into.
Two memory card slots are located on the right-hand flank of the camera when viewed from the rear. The GFX 50S II offers compatibility with Ultra High Speed UHS-II SDXC memory cards, which has the main benefit of increasing the data writing speed in continuous mode to about twice that of a conventional UHS-1 card.
Also located on the right of the camera body is the Remote socket, hidden under it’s own flap.
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The Fuji GFX 50S II features both built-in wi-fi and Bluetooth 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 50S II via a 2.4Ghz wi-fi connection using a smartphone or tablet and the Fujifilm app, and transfer images and video from one device to the other.
With its focal-plane mechanical shutter, the Fujifilm GFX 50S II has a top shutter-speed limit of 1/4000th second in all shooting modes. This allows you to select a faster aperture even in bright conditions or when shooting with flash during the day, although there’s no built-in ND filter.
The GFX 50S II also has an electronic shutter in addition to the mechanical one, which provides a much faster top shutter speed of 1/16,000th second. This allows you to continue shooting wide-open with fast aperture lenses in the brightest of conditions without having to resort to fitting a glass ND filter or using external flash and lights.
There are some important caveats with the electronic shutter – the ISO range is restricted to 100-12800 and you can’t use an external flashgun, but overall it’s a great feature that makes the GFX 50S II more versatile.
Rather than a traditional optical viewfinder, the Fuji GFX 50S II employs the same 3.69M-dot OLED electronic viewfinder that the GFX 100S uses, which is 0.5 inch in size with 100% scene coverage and 0.77x magnification.
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Unlike the original GFX 50, this electronic viewfinder is fixed in place and not removable. The EVF can actually be completely removed from the main camera body on the 50S model, whereas it’s fixed in place on the new GFX 50S II. It offers the same 3.69M-dot resolution but has greater 0.85x magnification.
The optional EVF-TL1 tilt and swivel adapter can also be used with the 50S’ viewfinder to change the angle of the viewfinder to a maximum angle of 90° when shooting horizontal landscapes and ±45° when shooting in the portrait position.
So the viewfinder on the 50S is more versatile and higher-resolution than the one on the newer model, at the cost of great complexity and an accompanying increase in price.
The size of the rear LCD screen is 3.2-inches and the resolution is an impressive 2.36m-dots, exactly the same as the screen on the GFX 50S and 100/S. It can also be usefully tilted up and down by about 90 degrees when in landscape mode and upward when shooting in portrait mode via a simple press of a button on the side.
The Fujifilm GFX 50S II has an intuitive touchscreen interface, allowing you to either move the AF point or simultaneously move the AF point and focus on the subject.
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On the right-hand side of the screen is a small icon which if you press it allows you to choose between using the screen to set the AF point, or to have it focus as well. If you prefer, you can turn off this functionality altogether, but it is quicker than using the joystick to set the AF point.
One drawback to leaving the touchscreen AF on is that we kept inadvertently moving the AF point when changing lenses or using the EVF. In image playback, you can simply drag left and right to go through the sequence of images and pinch/double-tap to zoom in and out, although you still can’t use the main menu system via the touchscreen.
Unlike the GFX 100 with its rather unfamiliar design, the rear panel of the 50S II will feel more welcoming to anyone who has ever handled a Fujifilm X-series camera before.
There’s the aforementioned Drive button and a Delete button located to the left of the EVF and an AF Mode dial (S/C/M) on the right, with a small AF On button for back-button focusing and the rear control dial alongside that.
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The tiny Quick Menu button is set into the rear thumb rest. This provides quick access to lots of frequently used shooting settings including the ISO speed, White Balance, File Size and File Quality, with either the focus joystick, front control dial or the touchscreen used to quickly change between them.
Instead of a traditional 4-way controller with a centred Menu/OK button, the Fujifilm GFX 50S II has a vertical column of buttons, starting with the new, tactile 8-way joystick which is primarily used for setting the AF point and then the AE-Lock button.
Underneath those controls in the Menu/OK button which accesses the seven different Shooting and Set-up menus, the Disp/Back button which is used for changing the LCD display or going back, and finally the Playback button.
The base of the camera features a screw tripod thread that’s inline with the centre of the lens mount and the battery compartment.
Image Quality
All of the sample images in this review were taken using the 51.2 megapixel SuperFine JPEG setting, which gives an average image size of around 25Mb.
The Fujifilm GFX 50S II produced images of outstanding quality during the review period.
This camera produces noise-free images at ISO 50 up to ISO 3200, with some noise appearing at ISO 6400. The faster settings of ISO 12800 and 25600 are still usable, although we’d suggest avoiding ISO 51200 and higher if possible.
The RAW files were also excellent, exhibiting more noise 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 all situations. The Dynamic Range settings subtly improve detail in the shadows and highlights, while the Film Simulation modes hark back to a bygone era.
Noise
There are 12 ISO settings available on the Fujifilm GFX 50S II. Here are some 100% crops which show the noise levels for each ISO setting for both JPEG and Raw files.
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ISO 50 |
ISO 50 |
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ISO 100 |
ISO 100 |
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ISO 200 |
ISO 200 |
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ISO 400 |
ISO 400 |
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ISO 800 |
ISO 800 |
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ISO 1600 |
ISO 1600 |
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ISO 3200 |
ISO 3200 |
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ISO 6400 |
ISO 6400 |
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ISO 12800 |
ISO 12800 |
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ISO 25600 |
ISO 25600 |
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ISO 51200 |
ISO 51200 |
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ISO 102400 |
ISO 102400 |
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File Quality
The Fujifilm GFX 50S II has 3 different JPEG file quality settings available, with SuperFine being the highest quality option, and it also supports Raw. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.
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SuperFine (26.5Mb) (100% Crop) |
Fine (15.1Mb) (100% Crop) |
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Normal (9.12Mb) (100% Crop) |
Raw (111Mb) (100% Crop) |
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Long Exposures
The Fujifilm GFX 50S 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 100.
Dynamic Range
The Fujifilm GFX 50S 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.
Film Simulations
The Fujifilm GFX 50S II offers 19 different film simulation modes to help replicate the look of your favourite film stock from the past, including the relatively new Nostalgic Negative Film Simulation, which is characterized by high saturation and soft tonality and said to be reminiscent of American New Colour Photography which emerged in the 1970s.
Pixel Shift
Pixel Shift is a special Multi-Shot function that can be used to create 205 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 the sequence of 16 shots.
You then need to download the new 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.
Multiple Exposure
The Fujifilm GFX 50S II’s Multiple Exposure drive mode allows you to take two consecutive photos and combine them into one.
Sample Images
This is a selection of sample images from the Fujifilm GFX 50S II camera, which were all taken using the 51.4 megapixel Superfine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.
Sample RAW Images
The Fujifilm GFX 50S II enables users to capture RAW and JPEG format files. We’ve provided some Fujifilm RAW (RAF) samples for you to download (thumbnail images shown below are not 100% representative).
Sample Movie & Video
This is a sample movie at the quality setting of 1920×1080 pixels at 30 frames per second. Please note that this 15 second movie is 100Mb in size.
Product Images
Conclusion
When the 100 megapixel GFX 100S was launched in 2019, we said that medium-format photography had never been quite so compact, portable, easy-to-use or versatile.
That statement is just as true with the introduction of the 50S II, with one important caveat – you now need to add “affordable” to that list of superlatives.
By cunningly bringing together the proven 50 megapixel sensor from the 50S/R models with the same body and design as the 100S, Fujifilm have managed to create a relatively tiny medium-format camera that costs the same as a high-end 35mm full-frame model, something that’s never been done before.
The new GFX 50S II is similarly sized to some 35mm DSLR and mirrorless flagships from other brands, yet it still squeezes in a 1.7x larger sensor and an IBIS unit into its relatively svelte dimensions.
Sure, the GF lenses are larger and heavier than their 35mm counterparts, which in turn makes the overall GFX system heavier than full-frame, but the fact that we’re even comparing the two systems in this regard at all is pretty remarkable.
The 50mp sensor is getting slightly long in the tooth from a focusing and video point of view, and continuous shooting is nothing to write home about, but on the flip-side it continues to deliver the proven Fuji image quality that we’ve come to love, whether that’s shooting JPEGs or Raw.
This is truly a medium format camera that is equally at home in the studio or out in the field, thanks to its amazingly compact design, massive resolution, very effective stabilisation system, and full weather-proofing.
And thanks to its frankly astonishing price tag, medium format has never been quite so tempting financially either – at £$2000 less than the original GFX 50S cost on launch 4 years ago, it’s clear that Fujifilm are going all out to tempt full-framers to make the leap up to medium-format.
For many photographers who don’t need the eye-wateringly fast burst shooting rates, complex AF systems or cutting-edge video specs of cameras like the Sony A1 and Canon EOS R5, and instead prioritise image quality over out-and-out speed, the new Fujifilm GFX 50S II will in many ways be a better fit, without having to pay the premium that stepping up to medium format has traditionally demanded.
| Ratings (out of 5) | |
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| Design | 5 |
| Features | 4 |
| Ease-of-use | 4.5 |
| Image quality | 5 |
| Value for money | 5 |
Main Rivals
Listed below are some of the rivals of the Fujifilm GFX 50S II.
The EOS R5 has been the hottest full-frame camera on the block ever since Canon pre-announced it back at the start of 2020, thanks to its headline grabbing twin features of a 45 megapixel sensor and 8K video recording. We’ve seen it a few times since then, but now we can finally bring you our final Canon R5 review, complete with full-size sample photos and videos!
The new 100-megapixel medium-format Fuji GFX 100S is smaller, lighter and more versatile than the flagship GFX 100, and crucially, significantly cheaper too. So much so that it steps on the toes of high-end 35mm full-frame cameras like the Sony Alpha 1, Canon EOS R5 and Nikon Z7 II. Does the GFX 100S really prove that medium-format is “More than full-frame”, and is it really better than the GFX 100? Find out now by reading our in-depth review, complete with a huge gallery of full-size sample images and videos…
The Fujifilm GFX 50R is a rangefinder-style medium-format mirrorless camera with a 50 megapixel sensor, 3.2-inch tilting touchscreen LCD, electronic viewfinder, ISO range of 50-102400, dual memory card slots and 3fps continuous shooting. Oh, and it only costs £3999 / $4499, making it the cheapest medium format camera on the market. Read our detailed Fujifilm GFX 50R review now…
The Fujifilm GFX 50S is a new medium-format mirrorless camera, offering a 50 megapixel sensor, a 3.2-inch tilting touchscreen LCD and a removable electronic viewfinder in a body that’s no bigger than a 35mm full-frame DSLR. Read our in-depth Fujifilm GFX 50S review now…
The Hasselblad X1D II 50c is a modern medium-format mirrorless camera with a 51 megapixel sensor, large 3.6-inch touchscreen LCD and an improved electronic viewfinder, all housed in a beautifully crafted body. Read our in-depth Hasselblad X1D II 50c review now…
The Leica SL2-S is an impeccably built full-frame mirrorless camera, offering a 24.6 megapixel BSI sensor, DCI 4K/60p video recording, 25fps burst shooting, a class-leading EVF, IBIS worth 5.5 stops, ISO 100,000 and dual UHS-II SD memory card slots. Read our in-depth Leica SL2S review to find out what this £3,975 / $4,895 camera is capable of…
The Nikon Z7 II full-frame mirrorless camera is the 2020 update of the original Z7 model, principally improving the autofocusing, buffer and video and adding a second memory card slot. Are these changes enough for it to compete with its main rivals like the Sony A7R IV and the Canon EOS R5? Find out now by reading our in-depth Nikon Z7 II review, complete with full size sample photos and videos…
Panasonic have enjoyed a lot of success with their Micro Four Thirds camera range, and now they’ve turned their attention to the full-frame market with the release of the exciting new Lumix S1R. This is a 47 megapixel full-frame mirrorless camera with 187 megapixel high resolution mode, class leading electronic viewfinder, 6-stop IBIS, and a robust weatherproof body. Read our in-depth Panasonic S1R review now to find out more about this impressive camera…
The Sony Alpha 1 camera, or Sony A1 for short, is the best camera that Sony have ever released, and currently the best all-round camera on the market. It’s also one of the most expensive, so read our in-depth Sony A1 review complete with full-size sample JPEG and Raw photos and movies to find out if it’s truly the One for you…
Traditionally, you’d have to make a tough choice between resolution and speed when it comes to high-end cameras, but with the new flagship A7R IV mirrorless model, Sony are attempting to offer the best of both worlds. Can it really succeed as a camera that suits all kinds of photographers? Read our in-depth Sony A7R IV review to find out…
Review Roundup
Reviews of the Fujifilm GFX 50S II from around the web.
In almost every respect, the 50S II is a lower-res version of the GFX 100S, sharing more with its high pixel-count sibling than it does with the original GFX 50S. The means it benefits from all the refinements Fujifilm has introduced in the five years since the first GFX 50S was launched but also sees some features pared back.
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Fujifilm’s upgrade to its relatively affordable 50MP GFX camera doesn’t look very impressive on paper – no 4K video, only 3fps continuous shooting speed – but some significant changes both inside and out have made this the first 50MP stabilized shooter from Fujifilm, with the cheapest price tag for a medium format camera. Along with its impeccable image quality, it’s easy to fall in love with this camera. However, its relatively sluggish autofocus (as compared to other mirrorless cameras), meager 3fps burst rate and lack of 4K video could deter some users.
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It’s just five years since Fujifilm revolutionised medium format digital with the launch of its GFX 50S. This camera provided 51.4MP resolution and mirrorless architecture for £6,200 body-only, which was a ground-breaking price at the time. Since then, the GFX system has gone from strength to strength, with the GFX100S that appeared earlier this year offering 102MP for £5,500, in body that’s similar in size to a full-frame DSLR. Now with the GFX50S II, Fujifilm has brought the price of entry even lower, to just £3500 body-only, or £3900 with the new matched GF 35-70mm F4.5-5.6 WR kit zoom.
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Specifications
| Model name | FUJIFILM GFX50S II | |
| Lens Mount | FUJIFILM G mount | |
| Image sensor | 43.8mm×32.9mm Bayer array with primary color filter | |
| Number of effective pixels | 51.4 million pixels | |
| Sensor Cleaning System | Ultra Sonic Vibration | |
| Image Processing Engine | X-Processor 4 | |
| Storage media | SD Card (-2GB) / SDHC Card (-32GB) / SDXC Card (-2TB) / UHS-I / UHS-II / Video Speed Class V90*1 | |
| File format of still image | DCF | Compliant with Design rule for Camera File system (DCF2.0) |
| JPEG | Exif Ver.2.32*2 | |
| RAW | 14bit RAW (RAF original format) | |
| TIFF | 8bit / 16bit RGB (In-camera Raw Conversion Only) | |
| Number of recorded pixels | ［L］〈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〉 4000×3000 〈3:2〉 4000×2664 〈16:9〉 4000×2248 〈1:1〉 2992×2992 〈65:24〉 4000×1480 〈5:4〉 3744×3000 〈7:6〉 3504×3000 |
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| Sensitivity | Still Image | Standard Output: AUTO1 / AUTO2 / AUTO3 / ISO100~12800 (1/3 step) Extended Output: ISO50 / ISO25600 / ISO51200 / ISO102400 |
| Movie | Standard Output: AUTO / ISO200～6400 (1/3 step) | |
| 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 | 6.5 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: 4sec. to 1/4000sec. A mode: 30sec. to 1/4000sec. S/M mode: 60min. to 1/4000sec. Bulb: up to 60min. |
| Electronic shutter | P mode: 4sec. to 1/16000sec. A mode: 30sec. to 1/16000sec. S/M mode: 60min. to 1/16000sec. 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: 4sec. to 1/16000sec. A mode: 30sec. to 1/16000sec. S/M mode: 60min. to 1/16000sec. Bulb: up to 60min. *The Electronic Shutter may not be suitable for fast-moving objects or handheld shooting. Flash can not be used. |
|
| Electronic Front Curtain Shutter | P mode: 4sec. 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 1/500sec. |
|
| Electronic Front Curtain Shutter + Electronic Shutter | P mode: 4sec. to 1/16000sec. A mode: 30sec. to 1/16000sec. S/M mode: 60min. to 1/16000sec. Bulb: up to 60min. *Electronic front curtain shutter works until 1/500sec, 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. |
|
| Movie | FHD: 1/4000sec. to 1/24 sec. *Cannot choose slower shutter speed than framerate. |
|
| Synchronized shutter speed for flash | 1/125sec. or slower | |
| Continuous shooting | CH Electronic Front Curtain Shutter Approx. 2.2fps (JPEG: Endless, Compressed RAW: Endless, Lossless compressed RAW: 35 frames, Uncompressed RAW: 10 frames) CH Approx. 3.0fps (JPEG: Endless, Compressed RAW: 31 frames, Lossless compressed RAW: 13 frames, Uncompressed RAW: 8 frames) *Recordable frames depends on recording media. *Speed of continuous shooting depends on shooting environment and shooting frames. |
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| 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 | Yes | |
| Focus | Mode | Single AF / Continuous AF / MF |
| Type | TTL Contrast AF | |
| Low-light Performance | Contrast: -3.5EV *Low light priority AF-S ON / GF80mmF1.7 attached | |
| AF frame selection | Single point AF: 13×9 / 25×17 (Changeable size of AF frame) Zone AF: 3×3 / 5×5 / 7×7 from 117 areas on 13×9 grid Wide/Tracking AF: Yes (AF-S: Wide / AF-C: Tracking) All: Yes |
|
| Face/eye detection | Yes | |
| Flash | Sync. Mode | 1st Curtain / 2nd Curtain / AUTO FP (HSS) When SHOE MOUNT FLASH is set TTL (TTL AUTO / STANDARD / SLOW SYNC. ) / MANUAL / MULTI / OFF |
| Hot shoe | Yes (Dedicated TTL Flash compatible) | |
| Viewfinder | EVF: 0.5 inch OLED Color Viewfinder, Approx. 3.69 million dots Coverage of Viewing Area vs. Capturing Area: Approx. 100% Eyepoint: Approx. 23mm (from the Rear End of the Camera’s Eyepiece) Diopter Adjustment: -4～+2m-1 Magnification: 0.77x with 50mm Lens (35mm Equivalent) at infinity and Diopter set to -1.0m-1 Diagonal Angle of View: approx. 38° (Horizontal angle of view: approx. 30° ) 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 |
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| 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 | 1.80 inch Monochrome LCD Monitor Aspect Ratio: 4:3 Dots: 303×230-dot |
|
| Movie recording | File format | MOV: MPEG-4 AVC/H.264, Linear PCM (Stereo sound 24bit / 48KHz sampling) |
| Movie compression | Long GOP | |
| File size Frame rate Bitrate Recording time |
[Full HD(16:9)] 1920×1080 29.97p/25p/24p/23.98p 50Mbps Up to 120min. *For recording movies, use a SD memory card with UHS Speed Class 1 or higher. *Recording time can become short depending on the temperature and/or shooting conditions. |
|
| Film simulation mode | 19 modes (PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, 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%: ISO200 or more, DR400%: ISO400 or more |
| Movie | 100％ / 200％ / 400％ ISO restriction: DR100%: No limit, DR200%: ISO400 or more, DR400%: ISO800 or more |
|
| White balance | Auto | White Priority / Auto / Ambience Priority |
| Custom | Custom1 – 3 | |
| Color temperature selection | 2500K～10000K | |
| Preset | Fine / Shade / Fluorescent Light-1 / Fluorescent Light-2 / Fluorescent Light-3 / Incandescent Light / Underwater | |
| Clarity setting | ±5 steps | |
| Self-timer | 10sec. / 2sec. | |
| Interval timer shooting | Yes (Setting : Interval, Number of shots, Starting time, Interval timer shooting exposure smoothing) | |
| Wireless transmitter | Standard | IEEE802.11b/g/n (standard wireless protocol) |
| Encryption | WEP / WPA / WPA2 mixed mode | |
| 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 Gen1x1) |
| HDMI output | HDMI Micro connector (Type D) | |
| Others | ø3.5mm, stereo mini connector (Microphone) ø3.5mm, stereo mini connector (Headphone) ø2.5mm, Remote Release Connector Hot shoe Synchronized terninal |
|
| Power supply | NP-W235 Li-ion battery (included) | |
| Battery life for still images*3 | Normal Mode: Approx. 455 frames *Auto power save ON *When GF63mmF2.8 R WR is set |
|
| Actual battery life of movie capture*3 | Full HD: Approx. 80min. (59.94p) *Face detection is set to OFF |
|
| Continuance battery life of movie capture *3 |
Full HD: Approx. 140min. (29.97p) *Face detection is set to OFF |
|
| Dimensions | Width: 150.0mm Height: 104.2mm Depth: 87.2mm (Minimum Depth) 44.0mm |
|
| Weight | including battery and SD memory card: Approx. 900g excluding battery and SD memory card: Approx. 819g |
|
| Operation Environment | Operating Temperature | -10°C～+40°C |
| Operating Humidity | 10% – 80% (no condensation) | |
| Starting up period | Approx. 0.4sec. | |
| Accessories included | Li-ion battery NP-W235 AC power adapter AC-5VJ Plug adapter USB cable Shoulder strap Body cap Hot shoe cover Cable protector Owner’s manual |
|
*1 *Please see the Fujifilm website (https://fujifilm-x.com/support/compatibility/cameras/) to check memory card compatibility.
*2 Exif 2.32 is a digital camera file format that contains a variety of shooting information for optimal printing.
*3 Approximate number of frames or movie recording time that can be taken with a fully-charged based on CIPA Standard.
News
The new Fujifilm GFX 50S II is the most affordable GFX branded medium-format camera ever, offering a 51.4 megapixel sensor for just £3499 / €3999 / $3999, putting in on a par with the likes of the Canon EOS R5 and Sony Alpha A1 full-frame mirrorless.
Paired with the equally new GF 35-70mm F4.5-5.6 WR kit zoom, the 50SII costs less than £4000 / €4500 / $4500 with a lens, making medium-format more accessible than ever before.
The new Mark II GFX 50S uses the same 51.4 CMOS sensor as the original 50S model, but pairs it with the latest X-Processor 4, which enables the new version to offer a whopping 79 upgraded functions.
Externally it’s identical to last year’s GFX 100S camera, with the same magnesium alloy, weather-resistant body, the same PASM control dial and top LCD panel, and the same rear LCD screen, electronic viewfinder and AF joystick on the rear.
The GFX 50S II also benefits from 6.5 stops of IBIS, a feature that was missing on the original 50S, and the subsequent addition of a 205 megapixel Pixel Shift Multi Shot mode.
Brand new to the Mark II edition is “Contrast Rapid AF”, an improved version of the contrast-based autofocus system that can focus in 0.272sec with the 35-70mm lens, just 0.1sec slower than the GFX 100S with the same lens and its more advanced PDAF system.
Video is restricted to 1080/30p rather than 4K, a limitation of the sensor that the 50SII uses, and it’s no speed demon with a fastest continuous shooting speed of 3fps.
The 50S’s removable viewfinder and battery grip have both been sacrificed in the interest of making the Mark II version lighter, smaller and crucially cheaper (as it’s simpler to manufacture).
We’ve got a gallery of full-size Fujifilm GFX 50S II sample photos (JPEG and Raw) and a gallery of Fujifilm GFX 50S II hands-on photos for you to enjoy.
Wondering what the differences are between the new and old models? Then check out our in-depth Fujifilm GFX 50S II vs GFX 50S Head-to-head Comparison to find out.
Fujifilm Press Release
Fujifilm announces FUJIFILM GFX50S II
A compact and lightweight body equipped with powerful image stabilisation and high resolution 51.4MP large-format sensor
FUJIFILM Corporation (President: Teiichi Goto) is pleased to announce that the “FUJIFILM GFX50S II” (GFX50S II) will be released in late September 2021 as the latest addition to the GFX Series of mirrorless digital cameras equipped with a large format sensor*1.
The GFX50S II packs the 51.4MP large-format sensor to boast an incredible image-resolving power, capturing every detail in sharpness across the frame. Light is recorded to the pixel which is 1.7 times that of a full-frame sensor*2 to achieve a wide dynamic range and a high signal-to-noise ratio. The resulting image reproduces deep tonality and texture from shadows to highlights, and delivers image clarity with minimal noise even when taken in low light. One of the strengths of the large format sensor is its ability to produce a very shallow depth of field. It is complimented by GF lenses’ edge-to-edge sharpness to accentuate the main subject against a blurred background for added three-dimensional definition.
The camera is innovatively designed for added groundbreaking mobility so that users can explore its exceptional image quality in a broad range of shooting fields. It integrates the high-speed image processing engine “X-Processor 4” and the latest algorithm with an autofocus system with an enhanced refresh rate to seize a decisive shutter opportunity. Another powerful feature is its five-axis in-body image stabilization(IBIS) mechanism that provides up to 6.5 stops of anti-shake advantage*3, the highest in the history of the GFX Series, to compensate for camera shakes during hand-held shooting and minimize motion blur in low light or in outdoor settings where a tripod cannot be used.
Despite carrying an impressive array of key devices, the camera comes in a compact form factor, weighing approximately 900g. Enjoy exceptional image quality in great portability, afforded by its size equivalent to full-frame cameras. The GFX50S II brings the premium world of large-format image quality closer than ever before with its advanced AF, high-performance In-Body Image Stabilization (IBIS) and compact lightweight body, superior to conventional medium-format cameras in every sense.
*1 An image sensor that measures 55mm diagonally (43.8 mm x 32.9 mm) and is approx. 1.7 times bigger than a 35 mm full-frame sensor
*2 When compared to a 50 megapixel full-frame camera
*3 When mounted with the FUJINON Lens GF63mmF2.8 R WR
Product Features
Superior image quality delivered with the use of a unique 51.4MP large-format sensor
- The GFX50S II is equipped with a 51.4MP large format sensor, which delivers incredible image resolution when combined with a GF lens.
- The camera uses a specialized design that uses smaller light-collecting micro lenses on the sensor to create a wider gap between adjacent pixels, thereby boosting light resolution per pixel for added image sharpness.
- Having a larger light-receiving area per pixel results in excellent ISO sensitivity, dynamic range and tonality, controlling highlight / shadow clipping while conveying the subject’s texture, definitions and even the atmosphere of the scene in precise details.
- The ability of the large format sensor to produce a very shallow depth-of-field renders background out of focus beautifully, adding definitions to the subject and drawing attention to where the photographer intended.
Variety of Film Simulations
The GFX50S II comes with as many as 19 Film Simulations, including “Nostalgic Neg.,” developed for the launch of the GFX100S and characterized by high saturation and soft tonality. Use Film Simulation presets, designed for various subject types and scenes, while checking how they affect the final image in Live View.
Compact 5-axis In-Body Stabilization delivering up to 6.5-stops of Vibration Reduction
- The GFX50S II features a five-axis image stabilization mechanism that provides up to 6.5 stops of advantage*3, the highest in the history of the GFX Series. This has been made possible with the use of a high-performance gyro sensor and accelerometer that can detect motions at high accuracy. The gyro sensor has been structured to boost its detection accuracy for precise image stabilization.
- This camera revolutionizes the way conventional medium-format digital cameras are used. Rather than being mounted on a tripod for slow and careful shooting, the GFX50S II can produce superior image quality hand-held with image stabilization.
Fast and high-precision AF thanks to the high-speed processing engine and latest algorithm
- The GFX50S II’s fast and high-precision AF system is assisted by the powerful devices such as large-format high resolution sensor, high-speed image processing engine “X-Processor 4” and image stabilization mechanism, operated with the latest algorithm. During the contrast detection process for AF, the built-in powerful image stabilization mechanism controls sensor motion blur to add speed and accuracy to the AF performance, ensuring to capture the decisive photo opportunity in any conditions.
- The GFX50S II uses the X-Processor 4 and the latest algorithm that improves AF’s refresh rate. This results in more accurate autofocus in Face / Eye Detection compared to a previous model.*4 The ability to quickly attain focus despite using the large-format sensor with a shallow depth of field, assists users greatly when shooting portraits with movements.
*4 FUJIFILM GFX 50S
Innovative compact and lightweight body for advanced mobility
- The use of the compact and powerful in-body image stabilization (IBIS) mechanism and shutter unit has been combined with optimized layout of various devices to achieve a logic-defying compact body for a large-format camera, weighing approximately 900g and measuring 104.2mm high and 87.2mm deep.
- The grip has been shaped so that the camera sits comfortably in the hand, ensuring comfort by significantly reducing hand strains when using a large zoom lens, for example.
- The casing is made of highly rigid magnesium alloy. Added thickness around the base of the lens mount, which is subject to greater load in particular, has made the camera body highly robust. The GFX50S II is also weather-sealed at 60 locations to offer dust- and moisture-resistance and ability to operate in temperatures as low as -10℃. The camera’s exceptional portability is coupled with its robustness in all shooting situations to expand the world of ultra high-resolution photography.
Easy operability for a smooth shooting experience
- The top panel features the Mode dial, typically seen in many digital cameras, so that users can handle the camera in a familiar fashion. It offers six customizable positions C1 – C6, allowing users to register their choice of functions to each of the positions and activate them quickly for a smooth photo shoot.
- There is a selector on the top panel to instantly switch between the still and video modes for added convenience.
- The use of a flat-shaped Focus Lever reduces physical discomfort even after extended use. It responds with enhanced sensitivity when moving the focus point, allowing users to attain focus at the intended location quickly.
- The 1.8-inch sub LCD monitor with excellent visibility is found on the top panel, displaying key EXIF settings such as shutter speed, aperture, ISO sensitivity and exposure. Additional information displayed includes the number of frames remaining when shooting stills and the remaining filing duration when recording video. The display can be customized for added convenience.
- On the rear panel is a 3.2-inch main LCD monitor with 100% coverage. It can tilt in three directions to enable high- and low-angle shooting, for which the electronic viewfinder (EVF) cannot be easily used.
“Pixel Shift Multi-Shot” function to capture and generate 200MP images free of false color
The GFX50S II features the Pixel Shift Multi-Shot function, capable of creating 200MP images free of false color presentation. The ability to reproduce a photo subject’s colors, texture and even its atmosphere in the finest of details makes the camera a perfect choice for archiving. Large artworks and historical artifacts, previously difficult to photograph in detail because of their size, can be captured in precise details in edge-to-edge clarity.
- This function uses the camera’s IBIS to shift the image sensor by 0.5 pixel to incrementally record 16 RAW images and combine them into a single Digital Negative (DNG) RAW file in the software “Pixel Shift Combiner,” producing an ultra-high-definition 200MP image. The high pixel count leads to an astonishing level of tonality and three-dimensional definitions for edge-to-edge clarity.
- The image sensor is shifted in high precision to ensure that each pixel records image data in red, green and blue, completely eliminating false color and recording the subject in accurate color information.
- The function can be configured to produce 51.4MP images, which are easier to handle, free of false color.
Product name, release date and price
|
Product name |
Release date |
Recommended retail price |
|
Digital camera “FUJIFILM GFX50S II” |
Late September 2021 |
3,999US$
£3,499 |
|
Digital camera & lens kit
“FUJIFILM GFX50S II”
“GF35-70mmF4.5-5.6 WR” |
Late September 2021 |
£3899
4,499US$ |
The GFX 50S was officialy discontinued in February 2021 and the 50R model will also follow suit with the release of the new 50S II.
Expect to see the Fujifilm GFX 50S II available in-store from September 23rd 2021.
Image Gallery
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Hands On
Want to see exactly what the new Fujifilm GFX 50S II medium-format camera looks like in the flesh?
Check out our hands-on gallery of photos of the Fujifilm GFX 50S II camera.
A gallery of hands-on photos of the new Fujifilm GFX 50S II camera.
Image Gallery
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