ON TRIAL – FUJIFILM GFX 50S II
Fujifilm makes digital medium format even harder to resist with its Mark II version of the 50S, which is smaller, lighter, much better featured and a lot more affordable than its predecessor. What’s not to like?
Fujifilm has already turned the digital medium format sector upside down, but the GFX 50S II really turns up the heat as it’s now right in the mix as far as competing with full-frame models is concerned. If you don’t need outright speed, then the 50S II is hard to resist thanks to the performance of its bigger sensor and its enhanced portability.
While it likes to call its GF mirrorless camera system “large format”, Fujifilm has always considered it as a competitor to full-frame camera bodies. Presumably using the word “large” drives home the difference in sensor size, but most photographers will also understand that medium format – which is what the ‘33x44’ sensors most definitely are – is bigger than 35mm, even if they never shot with film.
Does it matter? Probably not, because regardless of what they’re called, a medium format sensor delivers some key performance advantages, which is what is at the heart of Fujifilm’s intentions with its GF cameras.
Of course, since the original GFX 50S was launched in early 2017, a lot has happened in the full-frame mirrorless sector, particularly in terms of pro-level cameras. Competition has increased with the arrival of the Sony Alpha 1, Canon EOS R3, and Nikon Z 9. All three could technically be termed ‘sports cameras’ as the design emphasis is on speed, which is where the GF cameras certainly can’t keep up (Fujifilm currently competes here with the APS-C format X-T4).
However, when the design emphasis shifts to image quality – so-called
‘studio cameras’ – then the GFX 100S and the GFX 50S II are right in the mix, the former primarily courtesy of its resolution, the latter because of its price. And both – they share the same body – are also in the ballpark in terms of portability and handling.
In a nutshell, the GFX 50S II has the same 51.4MP, 32.9x43.8 mm CMOS sensor as the original 50S, but otherwise it shares just about everything else with the 100S. Fifty megapixels res puts the 50S II up against around eight full-frame models with resolutions in the range of 45MP to 61MP, which means pricing becomes more critical. Launched at $6,499, the 50S II is cheaper than five of the current full-frame bodies and about the same money as the Canon EOS R5, ignoring any discounting. Here then, it really can compete on sensor size – and hence, more specifically, pixel size, which is actually what’s more important. It’s also telling that, for the first time in the digital medium format world, there’s a ‘kit’ lens offering – the also new GF 35-70mm f/4.5-5.6 WR zoom – which indicates Fujifilm is gearing up its attempts to seduce potential converts to mirrorless away from their full-frame DSLRs. The kit price values the GF 35-70mm at a mere $800, so this really is a bargain entry point to digital medium format photography. There are run-out deals going around on the GFX 50R – which uses the same sensor – that represent a bit more of a saving again, but this model is now over three years old, so it doesn’t have all the later goodies that are packed into the GFX 50S II. That said, it does have even better compactness on its side
– it’s still worth considering if you’re contemplating a step (or maybe two) up in sensor size.
However, you won’t be surprised to learn that it isn’t quite all a free lunch as far as the 50S II is concerned. The key pluses are the smaller size and better handling, along with the addition of in-body image stabilisation. The main negative is that the sensor is now over five years old, which means contrast-detection autofocusing only and no 4K video. Issues? Well, maybe and maybe not. The AF system is still capable, but doesn’t have the speed of
hybrid phase/contrast detection and nowhere near the same tracking smarts. However, this isn’t meant to be a sports camera, so it’s likely many users will get by with what they’ve got. And, similarly, it’s likely many of these users won’t be buying the 50S II to shoot video – the Full HD res will be adequate for if, or when, they want to record the occasional clip (which could be never). You’ll be primarily buying this camera for the bigger sensor size and all the performance benefits this can deliver along with lenses designed for larger imaging circles.
Lighten The Load
As we noted with the GFX 100S, the 50S II is a remarkably compact package for a digital medium format camera, that has sensor-shifting IBIS and features such as a tilt-adjustable rear screen. Of course, the mirrorless configuration helps, but Fujifilm has done well to shoehorn everything into a body that’s quite a bit smaller than either the Canon EOS-1D X Mark III or the Nikon D6 pro-level DSLRs, as well as both the EOS R3 and Z 9 mirrorless cameras. It’s marginally smaller than Panasonic’s Lumix S1 series models, and – believe it or not
– a lot smaller than the Olympus OM-D E-M1X which, in comparison, has a titchy M43 sensor.
The 50S II’s sensor is, of course, the same Sony-made imager also used by Hasselblad and Pentax, and – for the record – is 1.7x bigger than full frame. Fujifilm’s input is in the design of the microlens array to optimise sensitivity and further enhance the signal-to-noise ratio (and, of course, the subsequent processing of the image data). The pixel size is 5.3 microns, which gives a claimed dynamic range of 14 stops. The native sensitivity range is equivalent to ISO 100 to 12,800, with extensions down to ISO 50 and up to ISO 102,400.
In the Mark II camera, the sensor is mated with Fujifilm’s current X-Processor 4 quad-core engine, which is a bit hobbled here speed-wise by the sensor’s vintage, but delivers a number of improvements in key areas like colour reproduction and noise reduction.
The maximum continuous shooting speed is 3fps – which is 2fps slower than the 100S – but the burst lengths are longer than were the case with the original 50S. Additionally, the new camera adds the option of capturing compressed RAW files that yield burst lengths similar to those for best-quality JPEGs. As before, RAW files can also be captured with lossless compression or uncompressed. JPEGs can be captured in one of two image sizes, with a choice of three compression levels and a total of seven aspect ratios. RAW files can be converted in-camera to JPEGs or 8-bit TIFFs. The camera’s dual memory card slots are both for SD devices with UHS-II and Video Speed Class V90 support… neither of which will be challenged by the camera’s frame rate specs.
The provision of IBIS is a big plus over the 50S and it operates over five axes to give up to 6.5 stops of correction for camera shake. This is particularly welcome since currently only four GF mount lenses have OIS. As an aside, the new 35-70mm zoom brings the number of G-mount lenses to 13, with another three coming over the next year or so, including a much anticipated tilt/shift lens.
As on the 100S, Fujifilm also employs sensor shifting to drive a ‘Pixel Shift Multi Shot’ function, capturing a total of 16 RAW frames with half-pixel shifts between each. This not only quadruples the resolution to 205MP, but also records full RGGB colour at each pixel. It requires that subjects be static and the camera mounted on a tripod to avoid any blurring caused by movement. The images are merged post-camera using Fujifilm’s free Pixel Shift Combiner software, creating a DNG file. The latest version will detect issues with camera shake or subject movement so you don’t go ahead with generating a dud image, but it won’t correct for them.
Fully Featured
The GFX 50S II inherits all the in-camera processing functions of the 100S, which means there are a number of new additions compared to the first 50S model… and a feature set now quite similar to that of the X-T4.
The number of Film Simulation profiles increases to 19 (versus 15 previously) and there's also the additional processing parameter for Clarity, plus the unified Highlight/ Shadow Tone Curve adjustment (both of which were introduced on the X-Pro3). The two B&W profiles – Monochrome and ACROS (named after Fujifilm’s fine-grained B&W film) – have the new
The GFX
50S II, like the 100S, handles pretty much like a scaled-up version of Fujifilm’s X-T3 or X-T4.
‘Monochromatic Colour’ adjustment that tints in either the warm-to-cool or magenta-to-green ranges (plus there are the usual B&W contrast control filters in yellow, red or green).
The most recent Film Simulation profiles are Nostalgic Neg – designed to replicate the look of colour prints in old photo albums (different from Classic Neg) – and Eterna Bleach
Bypass (introduced with the X-T4) that simulates the bleach bypass film processing technique for lower colour saturation but with higher contrast.
There’s now the full complement of Effects processes – Grain, Smooth Skin, Colour Chrome and Colour Chrome Blue – plus a proper multiple exposure facility (for up to nine shots rather than just two, with various exposure adjustment options) and flicker detection/correction. As you may have guessed, Colour Chrome Effect Blue differs from the standard Colour Chrome Effect by only adding contrast and saturation to the blue tones rather than to all colours.
In addition to the standard Fujifilm dynamic range expansion processing options, there’s also Dynamic Range Priority processing designed to adjust contrast for more detailing in highlights and shadows. There are three settings – Auto, Weak and Strong – with the latter two based on the selected dynamic range expansion setting, which means the minimum ISO is also raised (to 320 and 640 respectively) in order to give more ‘headroom’ for adjustments. The Auto setting selects either one or the other, according to the contrast range present in a scene.
Carried over from the previous model are the Lens Modulation Optimiser – to correct for diffraction blur when using smallest aperture settings – an intervalometer (with the
Fujifilm is emphasising imaging performance over speed here, on the understanding that many photographers don’t need 30fps, 20fps, or even 10fps.
option of exposure smoothing), and noise reduction for both high ISO and long exposures. Finally, the 50S II adds focus to its list of auto bracketing modes, joining those for exposure (across two, three, five, seven, or nine frames), the Film Simulation profiles, dynamic range, ISO, and white balance. Focus bracketing can be set to record up to 999 frames over intervals of up to 10 seconds and with the amount of focus shift adjusted from between one to 10 steps.
Auto Mate
Back in the days of 120/220 rollfilm, medium format cameras tended to be largely manual in operation, but both Fujifilm and Pentax pursued the idea that they could have the same level of automation as 35mm models to increase the appeal. Fujifilm went the furthest, culminating in some very interesting compact 6x4.5cm format cameras with fixed lenses, built-in flashes and full automation, including focusing… part of the ‘G’ series heritage that’s undoubtedly in the digital era system’s DNA.
The GFX 50S II is an even more concerted effort to target a wider range of users, and they’ll find that – operationally – it’s no different from using a full-frame or crop sensor mirrorless camera. Exposure control is via 256-segment TTL metering using the imaging sensor, and with the options of multi-zone, centre-weighted average, fully averaged or spot measurements. The spot metering can also be linked to the active focusing point or zone. The mechanical shutter is, not surprisingly, the same new, more compact unit that Fujifilm developed for the 100S, which includes a dedicated shock absorber arrangement to minimise vibrations. It’s rated to 150,000 cycles and has a speed range of 60-1/4000 second with flash sync up to 1/125 second. As usual, it’s supplemented by a sensor-based electronic shutter that increases the fastest speed to 1/16,000 second, and operates both silently and without vibrations. There’s also the option of a hybrid ‘first curtain electronic shutter’ that also uses the sensor, but ends the exposure with the mechanical shutter’s second set of blades, primarily to enable the use of electronic flash while also reducing noise and vibrations. The auto exposure modes are supplemented by an AE lock, up to +/-5.0 EV of compensation and the auto bracketing mentioned earlier.
White balance control options include the additional White Priority and Ambience
Priority auto modes that were introduced with the X-T4 and are available on the 100S. These supplement the standard auto correction and are designed for shooting under incandescent (a.k.a. tungsten-type) lighting, to either correct for, or preserve, the warmer tones. Alternatively, there’s a choice of seven presets (including one for underwater), and up to three custom measurements can be made. Fine-tuning is available, along with manual colour temperature setting over a range of 2,500 to 10,000 Kelvin and, again, auto bracketing.
As noted at the beginning, as it’s also sensor-based, the autofocus system is carried over from the original 50S. This means it uses contrast-detection exclusively and isn’t in the same league as the latest hybrid speedsters when it comes to tracking. However, the latergen processor delivers new AF algorithms (borrowed from the 100S and optimised to include the more recent G-mount lenses), so the Mark II camera’s system is faster than before and has improved performance in a number of areas.
There’s a total of 425 measuring points, arranged in a 17x25 pattern to give reasonable frame coverage, but you can opt for a 9x13
points pattern (i.e. 117 points) that makes for faster selection.
The area modes start with single point – adjustable to one of six sizes – and work up to Zone AF (in clusters of 3x3, 5x5 or 7x7 points), and finally Wide that uses the whole AF detection area. There’s also an ‘All’ setting that allows you to quickly cycle through the three area modes using the rear input wheel. Face/eye detection and auto tracking are provided, the latter working from a nine-point zone so it can detect when a subject moves. Eye-detection can be set to either left or right eye priority, but you don’t get the 100S’s AF-C Custom menu that allows for focus tracking to be better matched to the type of subject movement.
Also missing are Fujifilm’s fancy digital versions of the traditional split-image rangefinder and the microprism collar to assist with manual focusing. These are fun, but the conventional magnified image and focus peaking display (now with an additional colour – yellow) work just as well. Low-light sensitivity now extends down to -3.5 EV at
ISO 100 and f/1.7.
In The Hand
Many rollfilm medium format cameras were real clunkers – especially SLRs, with their big and noisy reflex mirrors – but the GFX 50S II, like the 100S, handles much like a scaled-up version of Fujifilm’s X-T3 or X-T4. The handgrip is comfortable to hold and it feels well balanced, even with a fairly heavy lens like the GF 120mm f/4.0 Macro that came with our test camera.
Given the newer, more compact and lighter body, there are quite a few differences compared to the previous model, making it much more conventional in both its handling and operation. For example, housing the battery in the handgrip – rather than at the camera’s rear – helps with both the balance and shedding bulk, but the biggest change is the loss of the interchangeable viewfinder arrangement. The smaller body certainly eliminates the need for it in terms of creating a more compact package for storage, but the extra engineering required no doubt added a manufacturing cost that’s become harder to justify over time… especially as it’s likely very few users ever removed the standard EVF module. Nice idea, though.
The 50S II’s fixed EVF, however, has all the same basic specs as the detachable unit, so it has a 1.3cm OLED-type EVF with 3.69 million dots resolution and 100% vertical/horizontal scene coverage. The magnification is 0.77x (35mm equivalent) and it refreshes at 85fps.
The monitor is the same 3.2inch TFT LCD panel as on the
GFX 100S, with 2.36 million dots resolution and Fujifilm’s three-way tilt adjustment, which facilitates an upward tilt when the camera is in the vertical position. It has some touchscreen capabilities, but not a full implementation. However, what’s provided is undoubtedly useful – AF point/area selection (with or without auto shutter release), ‘touchpad’ AF point selection when using the EVF, the replay/review functions, and the Quick Menu screen. The Quick Menu can be configured with up to 16 function tiles with a quick tap taking you there in an instant. There’s also the option of four ‘Touch Function’ actions on the monitor’s touchscreen that are then executed by up, down, left, or right swipes. The defaults for these are a full set of histograms (up), a dualaxis level indicator (down), white balance settings (right) and the Film Simulation profiles (left)… otherwise, you can select alternatives from a total of seven menu pages. A total of eight external controls are customisable and, again, there’s a very long list of assignable functions.
The 50S II’s external control layout centres on a main mode dial with front and rear input wheels, a joystick navigator and an extra-large (1.8 inches to be precise) top panel display that Fujifilm calls the “sub monitor”. It can be set to display black-on-white or white-on-black and has built-in illumination. You can cycle between an info display (mostly showing the exposure settings), a pair of nifty ‘virtual’ dials and a real-time histogram. The virtual dials are for shutter speeds and ISO – adjusted via the rear and front input wheels respectively – and this display also includes the exposure compensation scale and the fitted lens’s maximum aperture. It works pretty well in practice, although traditionalists may still prefer the real ones on the original 50S. Alternatively, you can assign ISO setting to one of the multi-function buttons or use the Quick Menu which is, ahem, quicker. There’s a dedicated button for engaging exposure compensation so, overall, whatever you’re graduating from, you really shouldn’t have too much difficulty getting to grips with the
50S II. And, if you’re stepping up from an X-T series APS-C camera (or even an X-Pro body), you’ll feel right at home.
The displays are also largely borrowed straight from the current X-mount cameras, so the live view screen can be extensively customised, checking items from a list that runs to 30 in all. These include status icons and read-outs, a level indicator, a guide grid (either 3x3 or 6x4), a real-time histogram, a highlight warning, a focusing distance scale, an exposure compensation scale and the audio channel level meters. You can also designate a number of key icons to be displayed in a larger size, and independently in the EVF or the monitor. When focusing manually, there’s an additional Dual Display option that comprises the live view screen accompanied by a small additional panel at the lower right of the finder, which shows the manual focus assists separately (or, if you prefer, they can be switched around).
The image replay/review screen cycles through displays that comprise the main image alone, accompanied by the basic capture date or with an overlay of RGB/brightness histograms and a highlight warning. From here you can also access a thumbnail display accompanied by much more capture info, plus a brightness histogram, and then a page overlaid by yet more capture details, including the basic
lens specs. The main thumbnail page also provides a highlight warning and a focus point indicator. Pressing the rear command dial instantly zooms in on this point for checking the focus and it’s then possible to scroll around the image using the joystick controller.
The body is a magnesium alloy casting with weather sealing at 60 points and insulation to allow for operation in subzero temperatures down to -10º Celsius. Additionally, the body is a full 1mm thick around the lens mount to deal with the stresses and strains created by the bigger and heavier G-mount lenses (of which there are a few). The 50S II uses the same 2,200mAh NP-W235 battery pack as the 100S, also shared with the X-T4, and is good for around 455 shots. In-camera recharging is available via the camera’s USB-C port, another convenience over the original model is the addition of Bluetooth LE wireless connectivity to supplement Wi-Fi (it arrived on GFX cameras in late 2018 with the 50R).
Speed And Performance
Using a 64GB Panasonic SDXC UHS-II V90 speed memory card, the GFX 50S II captured a sequence of 61 JPEG/large/ superfine files in 20.250 seconds, which equates to a shooting speed of 3.01fps. The camera would have gone on shooting at this speed, but we simply chose to stop the time test arbitrarily. The test files were sized at around 30MB.
While the contrast-detection autofocus system may be a bit whiskery, it still works well enough in the context of how the 50S II will most likely be used… it certainly isn’t designed to be a sports camera. Fujifilm is really competing with itself here because it’s been setting the standards for autofocusing performance in digital medium format cameras since the 50S. The 50S II is faster than the previous model and certainly very responsive.
The coverage allows for reliable tracking across the frame, provided the subject isn’t moving too erratically. Likewise, the eye/face detection, which is also pretty reliable as long as it isn’t challenged by the subject looking away or being blocked, only works in the single-shot AF mode. OK, so that’s a few limitations compared to the latest systems in the smaller-format mirrorless cameras, but it can be worked around, especially with more formal styles of portraiture.
However, the image quality is what makes any of the AF shortcomings much easier to forgive, and is where the GFX 50S II makes a compelling statement with its bigger sensor.
The level of detail is simply sublime thanks to exceptional sharpness, but it’s matched by smoother and cleaner tonality derived from its higher signalto-noise ratio and a dynamic range in the order of 14 stops. The dynamic range also delivers exceptional exposure latitude so you can choose to shoot at a lower ISO and underexpose
You’ll be primarily buying this camera for the bigger sensor size and all the performance benefits this can deliver, along with lenses designed for larger imaging circles.