FUJIFILM GFX 100S II.

MEDIUM-FORMAT CAMERA.

January 14, 2025.
In the spring of 2024, Fujifilm introduced a new medium format camera: the Fujifilm GFX 100S II. Let's now take a closer look at this interesting device.

IMAGE SENSOR.
The Fujifilm GFX 100S II is equipped with a CMOS II type image sensor, measuring 4.4 x 3.3 cm. The number of effective pixels is 102 000 000 and by taking photographs with microshifts using the stabilization mechanism and then composing them we obtain 406 Mpx photographs. The sensor is not equipped with an image-damaging AA (OLPF) filter. The aspect ratio is 4 : 3, i.e. 11 648 x 8736 pixels. The camera allows you to save RAW files even in 16-bit color depth. As already mentioned, the sensor is mechanically stabilized in 5 axes, which allows you to extend exposure times by up to 8 EV. There is also an ultrasonic vibration element for removing adhered dust particles. The crop factor compared to 36 mm image sensors is 0.79, i.e. the angle of view of the GF lens at a focal length of 32 mm corresponds to 25.3 mm for a 36 mm film or sensor.



406 MPX.
If the basic 102 Mpx were still not enough, no problem. The camera can create 406 Mpx photographs using sensor microshifts, i.e. approximately 4 x 3 meters at 150 dpi. However, since the biggest large-format printers capable of printing in best photographic quality can handle a maximum width of 1.5 m, we will convert the photographs to 2 x 1.5 meters at almost 300 dpi. This is the resolution used, for example, in offset printing of high-quality books; for printing large-format photographs, 150 - 200 dpi is usually sufficient. The conversion (not to be confused with resampling) further increases the drawing of details and the photographs are then even more spatial, plastic and lively.

However, high quality and large dimensions are directly related to the data volumes of the photographs. For interest - the size of one uncompressed 102 Mpx photograph in 16-bit RAW is approximately 200 MB. A 406 Mpx DNG, created by composing after merging 16 individual images (i.e. a total of 1.6 Gpx), is approximately 1.4 GB. And one 406 Mpx 16-bit TIFF in Pro Photo RGB will require a respectable 2.3 GB of space for storage. Of course, the values ​​​​given may vary slightly depending on the content of the photograph.


FINALLY WITHOUT BAYER MOSAIC.
However, that's not all. The camera can also eliminate the harmful effect of the Bayer mosaic on the quality of the photographs. I won't go into technical details now, in simple terms, the image sensor "sees" in black and white and for color vision, a three-color mosaic is placed in front of it, called Bayer, according to its perpetrator. These are red, green and blue squares (RGB), placed in front of individual pixels. So if, for example, a 100% red ray of light falls on a red filter, everything is fine. But this rarely happens. Usually, light rays of various wavelengths (i.e. colors for us) happily fall into squares, that are colored completely differently. Therefore, it is necessary the resulting color to calculate. This, again in simple terms, leads to color shifts, the creation of false shades and other problems. However, the Fujifilm GFX 100S II camera has a function where, by micro-shifting the sensor, it gradually reaches the ideal state in which all the "colors" of the object, or more precisely, rays of light of all wavelengths, that are reflected from the photographed object, fall on all the colored squares. Thanks to this, the individual colors no longer have to be calculated and are therefore displayed accurately, qualitatively and faithfully in the resulting photograph.

This function can also be used either independently, i.e. to create and then merge 4 sub-images into one 102 Mpx, or automatically, together with composing to create 406 Mpx photographs. Here, a total of 16 sub-images are needed.

Anyone who reads my articles knows, that I was quite critical of the flat composition of images on the ►Olympus OM-D E-M1 camera, where I worked with it for the first time. I also had the chance to try it on the Sony A7RIV and V, but I was still not satisfied. The results were quite decent on the Panasonic Lumix S1R and the Nikon Z8 did very well. But only the Fujifilm GFX 100S II, in cooperation with the Fujifilm Pixel Shift Combiner software, can create composite images of such quality, that they can be used in full resolution without compromise. Admirable and very inspiring.


16 BIT RAW.
When photographing single images and composite photographs, we can choose 16-bit in addition to 14-bit RAW. The manufacturer recommends this to fully utilize the potential of the image sensor. In addition to more accurate and pure colors, we also get a larger dynamic range. For me, of course, 16-bit is the only option.

12 bits per channel = 68 719 476 736 = 68.7 billion colors.
14 bits per channel = 4 398 046 511 104 = 4.4 trillion colors.
16 bits per channel = 281 474 976 710 656 = 281.5 trillion colors, 64x more than 14 bits.

TIFF.
Do you remember my dissatisfaction when, for unknown reasons, Nikon cameras stopped being able to save photographs in TIFF format? If not, check out ►here. It's not possible with the Fujifilm GFX 100S II either, but it's not a problem. You can convert any RAW photograph to TIFF format in the camera and save it. The widest color space is Adobe RGB and photographs can be saved in up to 16-bit color depth per channel (i.e. 48 bits in total). Excellent.


THE CAMERA BODY AND CONTROLS.
The camera is made in Japan. The camera body is very high quality, it is made mainly of magnesium alloy. Of course, it is thoroughly sealed against dust and moisture. I was very pleasantly surprised, how well the camera fit in my hand. As if I had ordered it custom-made. A special surface material called Bishamon-Tex, created and manufactured by Fujifilm, further helps to ensure a firm grip. The slightly rough surface structure is very pleasant to the touch. The controls are tasteful and discreet, but everything you need is here. The only exception is (as usual) for the photographer completely useless switch called Stills / Movie, which was promptly rendered harmless with black insulating tape. Only on the Fujifilm and Hasselblad cameras we can find a remarkable option to quickly switch the wheel function by simply pressing it. No less pleasing is the absence of an unnecessary red button. The rear monitor can be tilted not only horizontally, up and down, but also to the right, i.e. upwards when photographing in portrait mode, while the displayed information is also rotated by 90 degrees and remains perfectly legible and clear.

MEMORY CARDS.
The camera stores photographs on one or two SD type memory cards. I use Lexar Professional 2000x Gold Line 32 GB (card 1) and 64 GB (card 2) in backup mode.




BATTERIES AND CHARGER.
Fujifilm NP-W235 batteries have a very good capacity of 2350 mAh (yes, hence the number in the name). We can use them without restrictions, for example, in Fujifilm X-T5 or X-H2 cameras too. Batteries for Fujifilm are manufactured by Panasonic Energy. The date of manufacture is indicated on each battery. To charge the batteries the Fujifilm BC-W235 charger is used. It has a backlit display that shows, among other things, the charging process by 5%. Excellent is the ability to charge two batteries simultaneously.

EVERYTHING FOR PRECISION WORK.
Since I started photographing with the Fujifilm X-H1 (since early June 2019, I still use the device), I have been used the precise, large four-channel histogram and the no less precise and clear two-axis spirit level, which is strikingly similar to the artificial horizon on the dashboard of aircraft. Likewise, the ability to turn on the blinking of overexposed areas in the electronic viewfinder or on the rear monitor and see overexposed areas before pressing the shutter release button. In addition, the histogram and spirit level can be assigned to their own buttons, I used the two unmarked ones on the right side of the large top display. Among other things, it can also display a monochrome histogram and exposure data in the form of two circles, reminiscent of the original mechanical wheels, e.g. on the GFX 50S.

BIG MOUNT.
A large sensor requires a big mount. That in the Fujifilm GFX cameras has an outer diameter of 7.7 cm and an inner diameter of 6.5 cm. The image sensor is 2.67 cm from the rear plane of the mount. The mount contains a total of 12 contacts for transmitting information between the camera and the lens.

CONCLUSION.
The Fujifilm GFX 100S II is designed for the most demanding photographic work at the highest level and without any compromises. From large-format fine-art photography to top-notch documentation to commercial work. Here, its large resolution, bit depth and the ability to create up to 406 Mpx photographs are fully utilized. It is necessary to accept slightly larger dimensions, weight (I like both of them) and, last but not least, compared to e.g. some 36 mm gear, a noticeably smaller selection of lenses, mostly a bit slow, but nevertheless top-notch in terms of image quality.

© Martin Mojzis, 2024 – 2025.
Photographs and graphics with the MM sign: © Martin Mojzis, 2024 – 2025.
Lexar memory card graphics: © Lexar.
Other photographs, graphics and diagrams: © Fujifilm.

Photographs created with this photographic camera: ►Railway technique in Zdice.

►Fujifilm GFX 50S: New medium format camera. January 24, 2017.

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