It has been three whole years since GFX 100S was released and I have been using it regularly. It is small and lightweight for a large format camera, and the overwhelming image quality of the 102 million megapixels allows you to feel the presence of the scene and even the atmosphere of being there. It is a camera that makes you think, “I want to use this camera to capture the important scenes!” GFX100 S II has changed its processor from the conventional X-Processor 4 to X-Processor 5, which has evolved high-speed continuous shooting performance and AF performance, further expanding its possibilities.
This time, I was shooting on a highland plateau during the harsh winter season, and the temperature was minus 15 degrees Celsius. Without gloves at all times, I was in danger of frostbite. Under such conditions, the grip fitted securely without slipping even when wearing gloves that didn’t have a non-slip surface, and the operation was easy, allowing me to concentrate on shooting all the way through without having to remove my gloves even once.
In addition, the lens lineup gradually increased, and by combining the camera with compact zoom lenses, it became even more compact and lightweight, making it possible to actively carry the camera even in the harshest environments.
Although the weather was very rough the day before, it recovered early the next morning, and the temperature dropped to minus 15 degrees Celsius in the morning on a plateau at an altitude of 2,000 meters. I had checked the situation on a live camera the evening before, so I was predicting hoarfrost, but I was nervous as I drove to my destination. Unfortunately, the hoarfrost on the hill with a nice view had been blown away by the strong winds, but when I got myself together and drove further, I found that there was a lot of hoarfrost in the back, just as I had expected, and I was able to take a photo at a spot with an open view to the east.
I felt that the AF was very effective even in the dim light before sunrise. By setting the white balance to sunlight and the film simulation to Velvia, I was able to depict the blue tones of pre-sunrise hours, creating a fantastic depiction of the subtle gradation of colors in the burnt sky.
When the morning sun hit, the hoarfrost trees sparkled pink. The ability to select an aspect ratio of 4:3, 2:3, 16:9, or 64:24, depending on the situation, is another advantage of having 102 million pixels.
The light gradually spread over the whole area, and the larch covered in hoarfrost shone, creating a very delicate depiction.
The weather in the mountains was unstable, and as clouds gradually appeared, I hurriedly switched to handheld shooting before the sky turned completely white, and photographed the hoarfrost while looking up at the sky. The image stabilizer has also been improved compared to previous models, and together with 8 stops of image stabilization effect, it is now easier to take handheld shots.
Although the early morning cold was quite severe, I was able to capture a variety of shots with confidence due to the camera’s low-temperature resistant performance.
I also visited there on a day when the weather was not so good, and the thick hoarfrost and mist created a truly magical sight.
There was still little snow overall, and the low bamboo bushes in the foreground had not yet accumulated any snow, so I framed this shot with green color. I was surprised at how each branch of the frost was resolved one by one, and how detailed the depiction was.
Next, the art on the lake’s surface shows various expressions during the harsh winter. Nature is truly a great artist, and shows us amazing forms.
This year’s winter was mild, with early mornings dropping to minus 3 degrees Celsius. The lake was covered with a thin layer of ice, which gradually melted as the sun shone and light hit the surface, revealing rainbow-colored patterns. However, it is not visible to the naked eye, but can be seen by attaching a C-PL filter to the lens and adjusting the reflection.
The film simulation was set to Velvia because I wanted the colors of the water reflected on the surface of the water and the iridescence of the ice to appear as vivid as possible.
These are air bubbles trapped in ice and are called ice bubbles. Gases generated from fallen leaves at the bottom of the lake freeze in the water before reaching the lake surface, becoming trapped in the ice and forming countless bubbles. This creates a fantastical landscape as if time has stopped.
This photo was taken handheld using a macro lens. By shooting from a low angle, I was able to see the overlapping layers of bubbles and get a three-dimensional effect.
At waterfalls in the dead of winter, the droplets from the falls grow into icicles when the temperature continues to drop below freezing. This is also a work of art created by nature.
I wanted to express the dynamic flow of the waterfall with as fast a shutter speed as possible, so I raised the ISO sensitivity to 1600 and shot with a shutter speed of 1/500 or higher.
The western sky is open, so when the setting sun shines through, the icicles and waterfalls glow orange. Noise did not bother me at all even at high sensitivity, and the tones of the rocks in the shadows were rendered smoothly.
GFX100S II can now use ISO 80 as a regular sensitivity. I wanted to use a shutter speed of 1/8 to depict the expression of a flowing waterfall, so I set it to ISO 80, but I was surprised that the shadows were not crushed, and the details of the rocks were captured. I was able to shoot with a wider dynamic range and lower noise than previous models, and I could feel the clarity of the images. The gradation in the shadows can be clearly seen in the viewfinder, allowing for efficient framing.
Also, as it was dust- and drip-proof, I was able to shoot with confidence, even when I was exposed to spray from a waterfall depending on the direction of the wind.
The sun was already hidden behind the mountain range, and I used a telephoto lens to capture the rocks and streams glowing in the afterglow. The film simulation was set to Velvia to pick up the subtle colors of the reflections.
During a blizzard, I tried to capture the snowy landscape while including the formation of the lake surface.
Not only was it able to capture the fine details of the snow on the branches, but it was also able to capture the trajectory of the snow falling on the dark surface of the water.
Finally, I wanted to capture the full moon setting in the western sky and the Northern Alps, so I drove up to a high plateau before dawn. It was still dark and the moon was high in the sky, so I decided to capture only the pre-dawn city lights and the Northern Alps, so I increased the ISO sensitivity to 1600 and took a shot with a shutter speed of 10 s.
It is nice to know that even when shooting at high sensitivity and long exposure time, the image quality is not affected at all. The AF worked overwhelmingly well even in dim light, and the Northern Alps, which are almost invisible to the naked eye, were illuminated by the moonlight and looked mysterious.
The sky was brightening, and the full moon was shining in the western sky before sunrise, setting over Venus Belt.
By setting the aspect ratio to 64:24, I was able to capture the mountain range in the Northern Alps.
Afterwards, the mountains of the Northern Alps were beautifully dyed in a rose color, and I was able to photograph them with the setting moon.
GFX100S II is a camera that can be used actively even in harsh winter conditions and that will raise the spirits of the photographer. You can feel more excitement through the viewfinder than you can see with your eyes. In addition, the smoothness of the gradation in the shadows is clearly visible, preventing unnecessary framing. The AF performance has also improved, so I’m happy that I can shoot without stress. I usually shoot using a tripod, but the in-body image stabilizer has also evolved, and I feel that it has the potential to expand the range of expression. When you think of large format, you may imagine it to be “heavy and difficult to handle … “, but this is a camera that I would like people like that to try out.
