Fuji GFX 100S II.Small, but crazy.
When I first saw the new GFX100S II, I couldn’t believe it was a new model. It looks exactly the same as its predecessor: GFX100S. Same size. Identical button layout. “Why change something that’s already good?” I thought. But when I held it in my hands, I felt that something was different…
“We’d like you to take it for tests to Lapland,” they said at Fujifilm.
I’ve been traveling to the north of Finland for several years – always in winter, when temperatures drop to -30. For me, it’s a place of power where I recharge my batteries, but for cameras, it’s a real testing ground – facing tasks that can be extremely challenging. I like to attach myself to things, so I try to take care of them and use them with sensitivity so that they serve me well. The GFX100S II passed its test surprisingly well, confirming that Fujifilm’s medium format is the best solution for me.
Good grip in hand
The first and most important thing any photographer notices is “How does the camera feel in hand?” Without this “feel,” there won’t be any chemistry. The ergonomics of the GFX100S II is excellent. The body has a shape that perfectly, almost intuitively, fits into the hand. The coating of the latest model has a characteristic, slightly rough texture reminiscent of traditional Japanese patterns. Thanks to it, the grip is very secure, and the camera feels like it’s sticking to the hand. This feeling remains even when I wear gloves (and sometimes even thick mittens!). Ergonomics are, therefore, a big plus for the new model, especially since it translates not only to comfort but also to work efficiency.
Stabilization in low light
A good grip is especially important when working in low light and for extended periods. These conditions are standard in Lapland. In February, the sun is still low, the sky is often covered by clouds, and hurricane winds constantly sweep through the icy wilderness. When standing on my own feet is barely possible, holding the camera steady becomes a real challenge. The grip alone is not enough – Japanese technology comes to the rescue.
This year, the weather conditions in Lapland were exceptionally unfavorable, forcing me to experiment with camera settings, sometimes exceeding limits I would normally consider unbreakable. Such as shooting handheld at ISO 12800. Normally, I wouldn’t use such settings. But here, I was enchanted by a small detail by the window of the cabin – a piece of wood prepared to be immediately lit in the fireplace. The difficulty was that it was illuminated only by the faint flame of a candle. However, the photo turned out perfectly, preserving the intimate character of the scene.
Hot – cold – hot – cold
Cold is deadly for equipment. Our Lapland trip was exceptionally demanding in this regard. In the morning, when we dig ourselves out of warm sleeping bags before venturing into the icy land, we layer on additional protective clothing. The camera remains exposed. Even hiding it in multiple bags and covering it with a case won’t change that – its temperature quickly evens out with the surrounding temperature. The cold can be so piercing that sometimes it’s hard for a person to utter a few words. We’re all a bit “frozen.” In such conditions, high responsiveness from the equipment is hard to expect. But surprisingly, the Fuji GFX100S II was always ready, responsive to every call! A quick turn of the power dial, a gentle touch of the shutter button – and the focus is precisely where it should be.
I always shoot in RAW to get the best possible quality. I know that processing such a large amount of data is a lot of work for the camera, especially at -20 degrees, with wind and snow clogging every crevice of the camera. Shooting the Northern Lights takes hours, and the exposure time reaches to several seconds. The auroras are an unpredictable phenomenon. Sometimes they appear in an unexpected part of the sky for a few seconds. The photographer must make quick decisions. I was impressed by how the camera responded to my needs and how quickly the processor processed each photo.
Surgical precision of autofocus
The landscape of Lapland looks like a white desert with no points of reference. Everything is white and slightly blurry, covered with a delicate powder of wind-blown snow. That’s what I like about this place, and here is where my mind rests. After a while, my senses sharpen, and I begin to notice details. White takes on different shades, and the snow is covered with various textures. These are the objects I want to be sharp. As a photographer, I expect the camera to be an extension of my body – to see and record what I see. It should learn with me. The GFX system is perfect in this regard, and the latest model is close to perfection. Perhaps it’s the use of AI assistance or the addition of new algorithms, such as object tracking, or the use of tools like the MF Assistant with focus preview. All of this made focusing on what I wanted to keep sharp a breeze.
Monochromatic harmony with many shades
I love the GFX system because it allowed medium format to break free from the confines of the photo studio. Thanks to the compact size of this camera, I can carry it under my arm just like I used to carry a regular Full Frame DSLR. My favorite places gain a plasticity and depth that were previously unattainable for me. The same happened in Lapland. This landscape is simply unphotographable for most ordinary cameras. It’s only possible with devices with the right sensitivity and a very wide tonal range. Like the GFX100S II.
A few words about video
It’s evident that Fuji is inevitably moving towards film. And in my opinion, it’s the good direction in today’s times. I only use this medium as a hobby, but during my trip to Lapland, I noticed that I increasingly switched my camera to “Movie” mode to capture what a photo couldn’t convey or to remember funny moments shared with my husband (who was also the cameraman documenting our trip). I must admit that I use the auto mode for filming, and I was thrilled at how easy and intuitive it was on the new GFX100S II.
It’s incredibly convenient that all video settings – file format, bitrate, and codec – can be changed in one place – the “Movie Settings List.” But that’s not the most important change. Those who are involved in daily video editing and correction will certainly appreciate the tools typical of colorists implemented in the camera. Waveform, vectorscope, or parade are much better tools for controlling the image than a regular histogram. I also liked the stability of handheld filming and decent parameters in really low light conditions.
Conclusion
The summary will be brief – GFX100S II is a powerful tool in a compact body. It passed this extreme test with flying colors.
