Fujifilm GFX100 II Mirrorless Medium Format Camera Body

Some background: I've shot exclusively on Canon for the past 5 years and, for the most part, will continue to do so. I'm immensely pleased with the R5 and R3's ability to become a sort of transparent bridge between me and my subject. I like to not think too hard about my camera when I'm taking pictures and Canon excels at creating that intuitive experience.With that in mind, I've always enjoyed Fujifilm cameras for the opposite reason. Used at a casual, leisurely pace, I get a great deal of joy from both their modern and retro-style bodies and connecting with the camera in an analog way. But not all of that is fun and games and Fuji has consistently suffered from little quirks that break my immersion from taking photos and make me focus too much on the camera itself. Whether it's the awful shutter lag with the X-pro3, the not-so-great AF and slow UI of older models, or poorly-built bodies (to name a few)... Fujifilm has always delivered brilliant images through bodies that (for me) just can't quite keep up with the competition for serious work. But when I rented the GFX100S last year, I knew they were getting close. I thought, "If Fuji made something a little bit faster, I'd buy one today."Well, a year later, Fujifilm did that, and I bought it.For me, Fujifilm IQ and the advantages of medium format are self-explanatory, so I will skip over a lot of what this system has going for it and just say that this is the first medium format camera that I will comfortably use alongside my full-frame Canon systems. It is fast enough, the autofocus is good enough, and the high-ISO performance is clean enough. Is it class-leading in the MF world? Yes. Does it keep up with the full-frame competition? Not really, but it's close enough for me. In terms of speed, it's a lot like using the live view mode of a DSLR.There are still a few Fujifilm oddities, such as contrast-shifts when focusing during AF-C, inconsistent color between the rear LCD and the (otherwise industry-leading) viewfinder, etc. But all-in-all, the bottom line for me is that medium format is worth it if it can keep up, and this camera (mostly) can. Pared with the Fringer adapter, it also makes a nice Full Frame system, if you have EF glass to spare.I find that the biggest thing going against its overall speed is the sensor readout time. In Single Drive Mode, the sensor blacks out for about 1/3 to 1/2 a second per exposure, which sucks if you like to fire off a few shots in succession and want the full 16 bit resolution. To avoid this, you can switch over to CL or CH modes and get a near-instant readout, but realize that you will drop down to 14 bit in doing so. Realistically, this has no real-world bearing on IQ, but it's worth noting.I have a lot of expectations for any camera that costs $7500 and Fuji has mostly satisfied them. My go-to setup right now is the GFX 100 II for the big money shots and the R3 when I need to be nimble. The two are very opposite in terms of their intended functions and thus compliment each other quite well. If you are looking to compliment your full-frame or APS-C setup with something genuinely new, then the GFX 100 II is a great option.

I love this camera. I owned the GFX 100s for two years and photographed over 150 sessions with it. I have owned this camera since the day it was released I've enjoyed the improved AF, Amazing EVF, and better buffer.

This is an excellent upgrade to the GFX 100. The autofocus and ibis are with it just by itself. Evf and speed as well as so many other things are icing.

This is a fabulous update to the original GFX 100. BUT…. for some of us landscape photographers Fuji pulled a bone headed move with the remote release port.. Why-O-Why did you think moving the remote release port “back” to the left side of the camera was a good idea?Don’t you realize the GREAT thing you did with the GFX 100, and the X-H cameras by putting it on the right side? Was that an accident?Still photographers, especially those doing serious landscape and other tripod mounted work, often use Arca Swiss compatible “L-Plates” that go across the bottom of the camera an up the left side so that the camera may be oriented either horizontally in clamp, or vertically. The left side of such plates blocks the port hatch, making access to the remote port impossible. Stupid stupid stupid. And, by the way, if one does use the left side port for remote release, the whole hatch has to be open, exposing the other connections to the elements completely unnecessarily. Dumb move Fuji.