Fujifilm GFX 50S II Definitive Review | DA

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Hi, I'm Dustin Abbott and I'm here today to give you my definitive review of the newest medium
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format camera from Fujifilm. This is the GFX 50S Mark II. And so essentially what they have done
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is taken the sensor from the older 50S or 50R model and have placed it in the newly designed
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body for the GFX 100S. And so you've got the, you know, more traditional sized body, a very nice
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body, but with the older sensor and thus a lower price point attached to it. Now, the last medium
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format review that I did was of the larger both sensor GFX 100, but also the larger, you know
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integrated battery grip body style. And so this for me is a pleasant departure in terms of the
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ergonomics as I, unlike some people, I know some people really love the integrated vertical grip
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I don't necessarily, and so this camera feels great in my hand, and so I really enjoyed it from that perspective relative to the GFX100
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Though again, as noted, you can get this exact same body with the higher resolution sensor in it if you're willing to pay the price
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Today we're going to dive deeply into the aspects of the build and design, the autofocus performance
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and then talk in depth about the amazing image quality you can get from these medium format Fuji cameras
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and in this case at a very affordable price point to where it does become a true comparison to
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alternative to a full frame camera at about $4,000 US dollars. So is medium format for you
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The Fujifilm GFX 50S Mark II is the latest entry in Fujifilm's medium format lineup
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Like other GF cameras, the GFX 50S Mark II utilizes Fuji's 44 by 33 millimeter sensor size
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which is smaller than the larger medium format sensors found in Hasselblad and Phase I backs
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but is nearly 70% larger than traditional full-frame sensors. As the name suggests, this is Fuji's lower resolution 51.1 megapixel sensor
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though it has been housed in the GFX100S's body, a nice magnesium alloy body that is dust and weather-sealed
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and I find feels really great in the hand. The body dimensions are 150mm wide by 104mm tall and 86.4mm deep
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The body weighs 900 grams with battery and memory cards inserted, making it very usable for everyday use
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There is a 3.61 million dot viewfinder with a 0.77x magnification, unfortunately a little lower than the 0.85x magnification we once saw
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There's also a large 3.2-inch touchscreen that has a 2.36 million dot resolution
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It can be tilted in multiple directions, making it usable even when shooting in portrait orientation
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Touch capability is limited, however, with no main menu navigation. The Q menu can be navigated by touch, and there is some touch-to-focus capabilities
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though responsiveness is somewhat limited. There are a variety of physical controls on the camera
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though surprisingly fewer than some of their APS-C bodies like the X-T4
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I found I missed the dedicated exposure compensation dial. There's only one dedicated mode dial along with two wheels that can be programmed to different functions
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and can be clicked in for an additional function. Most buttons can be customized to your preference
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and I recommend that you spend some time setting up the controls to what works best for you
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A switch allows you to change between movie and still setup on the fly
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though video capabilities are somewhat limited here. I also like the dedicated switch that allows you to change between single AF, continuous AF, or manual focus
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The left side houses most of the ports and includes both mic and headphone jacks
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a USB-C and micro HDMI port, along with a flash sync port
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There's also a remote release port near the memory card compartment on the right side of the camera
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There are two UHS-II compatible SD card slots there, and on the bottom is a battery compartment that takes one NP-W235 battery
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which is rated here for 440 shots. The top LCD screen is large and easy to read
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and retains a passive display even when the camera is off. The 50S II has a very effective 5-axis in-body image stabilization system
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that is rated up to 6.5 stops. Autofocus is limited to 117 contrast AF points and video
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specs are weak, offering only 1080p at up to 30 frames per second. The trade-off is this is perhaps
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the cheapest MSRP ever seen on a new medium format body at only around $4,000. So as you can see
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a lot of good things when it comes to the build of the camera. Things are not so exciting, however
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on the autofocus front. Now, I will preface this by saying that I recognize that my experience is
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largely on full frame and APS-C cameras, you know, going back to DSLRs and then most recently
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mostly on mirrorless cameras. And so it is two different worlds and it can be a little bit
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disconcerting to see how far regressed autofocus is on medium format space relative to these other
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smaller format systems. And so you can't really do a direct comparison, though in this case
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unfortunately, this is a regression even compared to the last Fujifilm camera that I reviewed
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that had a phase detect autofocus system, whereas here we only have 117 contrast AF points
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And that really feels like a step backwards in a lot of ways. And so even when it comes to
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shooting more basic things, the autofocus system does feel a little bit clunky and very slow by
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by modern standards, I also found that it was just not up to challenging tasks
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So for example, here, just out snowshoeing with my wife, she is not moving very fast
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kind of trudging through heavy snow. And at the time she was having a problem with one of her poles so she was a little frustrated But even so you can see that I was unable to track even this slowest of action Likewise I was in a low situation using this very good GF 110mm F2 lens
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and so, you know, a large maximum aperture. And despite that situation, it was, you know, somewhat challenging conditions
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but at the same time, I was using a very inexpensive Viltrox 35mm F1.8 lens
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that was locking on focus instantly, tracking eye perfectly in this setting
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and unfortunately the Fujifilm combination, it just would not focus. As a byproduct, I ended up
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having to manual focus to get the shot simply because autofocus just would not get the job done
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You do have video capabilities on this camera though they are limited. More on that in just a
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moment. But when I tried to do my standard focus pull test, I essentially couldn't get it to change
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focus. And so as you can see, there is this painful process of not just 10 but probably 15
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seconds where it slowly tries to make a progression from one subject to one that's just about three
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foot further on less than a meter away and so a really really painful process and so autofocus
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unfortunately is not going to be a highlight now i was able to with patience and that's what you
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have to kind of treat this as i was able to get a lot of amazing images out of either the 110
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millimeter and then I was also testing the new kit lens a 35 to 70 millimeter lens here which is
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reasonably priced and fairly compact for medium format and I was able to get a lot of great photos
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with both of them but you just have to have a different kind of mindset when it comes to
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autofocus performance that you're going to be more deliberate and there are certain
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photography styles that just aren't going to work with a camera like this and so you kind of need
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to know what you're doing and so if you're a person that does portraits and you can take a a little bit more time, you know, good enough. And obviously for landscapes, things like that
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you shouldn't have a problem, but forget any kind of action, anything moving quickly. And I wouldn't
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even recommend this for those of you who shoot weddings or events where there is going to be
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someone moving. And even if you like medium format, it's probably worth spending the extra
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money to go up to, for example, the, you know, GFX 100S, which is going to give you a superior
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autofocus system to this. Not amazing by full frame standards, but better than the 117 contrast
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AF points that we find here. But the real reason why you buy into medium format is the amazing
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amazing image quality that you're able to achieve. Now, you're not going to get those images fast
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Here is what it looks like, you know, clicking the shutter. And so it's a slow rate and the buffer
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fills pretty quick even at that slow around three frames per second you're only going to get about
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11 raw images before the buffer fills so again not for action but the quality of the photos is
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amazing let's dive in and take a close look at that so we'll start by positioning the sensor here
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just to give you a little bit of a sense of how a medium format translates to the more familiar
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full frame if you're not familiar so in this case i have uh fuji sent me the gf 110 millimeter f2
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lens. And so that roughly translates to around an 85 millimeter focal length on full frame. It's
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more like 87 millimeters, so it's not a perfect fit. And so as you can see, for example, if we
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zoom in here on our subject, slightly higher magnification due to those extra few millimeters
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relative to the Sigma 85 millimeter f1.4 that I have mounted on the Sony Alpha One. So it is
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convenient, however, that both of these sensors are 50 megapixels. However, one other thing that
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I want to just draw your attention to. The native medium format sensor is a 4-3 crop compared to a
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3-2 crop for full frame. So when you start to compare two different systems, you don't have a
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purely apples to apples comparison, obviously. We're going to see that a few other times
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so just bear with me as a part of this. So you can see, however, that we have roughly the same
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amount of magnification and angle of view. Like I said, just slightly higher due to the, you know
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the slightly longer focal length of the lens, but you can see that they are roughly similar
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And so give also a fairly similar depth of field, even though we've got f2 here and we've got f1.4
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here. So again, that's another difference between the sensors. Now, obviously, because you're that
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physical aperture still f2, it takes more shutter speed to achieve a similar exposure value. Whereas
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on full frame it's a larger maximum aperture so that the depth of field is very similar however
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you can see that you get because the physical aperture is larger you get a lot more light there
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thus you get a higher shutter speed so let's go to our basic comparison here and so this is the
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setup that we'll look at for both dynamic range and high iso performance here and so with both
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lenses I'm shooting at an aperture of f5.6 that does help us to achieve more of a parity when it
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comes to shutter speed, same base ISO, but the sensors are not tuned identically, and
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so we have got a slightly different baseline exposure for both cameras, and that's pretty
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typical here. You can also see by looking at them at large, this is using their native white balance or
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white priority here, you can see that there is a slight tendency towards magenta here
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on the Fuji compared to as typical with Sony, just a slight tint towards the green
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And so if we just take a look here at kind of a neutral color in this, you know, kind
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of this metal kind of platinum looking type finish here, you can just see just a little
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bit different, a little more pink tones, magenta tones here, a little bit more green tones
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in the actual Sony. and both of these are focused somewhere in this vicinity and you can see that you know surprisingly
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i would say that the sigma combination here gives us a slightly sharper performance maybe not what
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you would expect considering how much more expensive the 110 millimeter f2 is and it's a
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very good lens so abandoning the sony for a while let's check out how we do in terms of iso performance
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here so again our base iso on the left and then we have iso 400 the first full stop on the right
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And so here I would say that they basically look identical, same degree of contrast
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I don't see any extra visible noise even in the shadow area
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Now if we move on to ISO 800, we can see that while there still isn't a lot of visible noise here
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we can see that we have lost a little bit of inkiness in the shadows
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just not quite as dark as what they were at the base ISO
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now here at ISO 1600 we can see just the early beginnings of a little bit of noise there in the
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shadows again nothing that is all fatal and if we bounce back out and we look at the lens or the
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image globally here you can see that basically color saturation levels are similar only difference that I can really tell is that our black levels are just not quite as inky So here at ISO 3200 is where we really start to first see our bit of kind of pattern noise there
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As we go up into the shadow, the shadows are still pretty consistent. I don't see any kind of uneven pixels there to draw the attention to
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but you can see in this kind of transition area, we're just starting to see some noise artifacts that are coming in there
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We'll take a quick look inside here at the mirror, and you can see while everything is a smooth gradation here
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you can see there's a little bit of noise that's there, even on this lever on the front of the Spotmatic
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You can just see a little bit of noise information there. Now, if we move on up to 6400
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you can see just more of that pattern noise that is showing up just in more places in general
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And so we can see that I don't really see it on the timer face
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If we look back here on the color swatches, however, you can definitely see that pattern noise that is there
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There isn't that kind of smooth transition that we see at the base ISO
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And so if you look at these kind of areas of transition where the black box separates them
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where here you have a smooth kind of transition, here you've lost that smoothness
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and instead it's more noise-oriented. Again, looking at the image globally, and it looks quite good, though
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Now, our maximum base ISO is 12,800. So looking into our noise area, noise pattern is obviously much rougher here
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And it's become obvious even in just the color on the front of the timer
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You can see a little bit on the timer face there. We look up here into the color swatches and you can just see it's even just a little bit more blotchy in some of these areas here
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And if we look into the actual shadow area, you can now see some of those uneven pixels that are not given an even kind of dark density to that
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and so you've lost a little bit of that smoothness. Again, however, if you look at the image globally
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I think there's just a tiny shift towards magenta in the overall image colors
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but by and large, we still have a fairly similar looking image on a global level
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So I would say usable right up to 12,800 in certain applications
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So let's check back in with the Sony sensor at 12,800. So the first thing that I noticed is despite the fact that the Fuji stops here
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and the Sony goes on, I wouldn't say that the actual look of the noise is any rougher on the Fuji
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than what it is on the Sony. And if anything, I think that the Fuji colors are still a little bit brighter
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whereas the Sony image looks slightly dingier by comparison. Taking a look here inside the actual SLR
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you can see that the roughness of the noise is roughly similar here between the two
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And so overall, I mean, I would say that the Fuji is doing quite a good job
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even though it's at its maximum here. And you can see in this shadow information
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I think that the Sony maybe retains a little bit more consistent black level out there
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And if we look over here in the color swatches, one thing that I do note that the Sony has
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and I think we'll particularly notice it, yes, if we move over to here, as you can see that there's just more of a pattern
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that kind of a grid pattern that emerges on the Sony sensor, whereas the medium format sensor
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just looks a little bit cleaner in that regard. So let's take a look at dynamic range next
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We're going to look at overexposure here and the ability to recover highlight information
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So here's what we're going to start as, as kind of our base for this
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And then this shows, for example, the first kind of full stop
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It may be a hair over a full stop of overexposure. And then we're going to recover those highlights as we move ahead
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So on the left, we have the overexposed image I just showed you. And now in post, I have pulled those highlights back
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And so what we're particularly looking for is in areas that are, you know, particularly bright
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kind of blown out is the ability to recover those highlights without losing that information
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And so we can see it up here in color swatches. And you can just see that, for example, color saturations that get lost through overexposure
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our ability to kind of pull those back by pulling back down the exposure in post
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These are things that are really important to me on a practical level and down here in the face of the book, things like that
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We'll see if we can recover that information as we move ahead. So here we have at least two stops of overexposure
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And to me, even though this is the actual full stops from our base ISO, I would say from the recovery result that we're maybe a little bit more than two stops, more like two and a half stops
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But looking here in the timer face, we do see that we have lost maybe a little bit of information
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You can just see that as you move away from the shadow of the edge, some of the color consistency has been lost
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In the face of the Spotmatic, you can see that some of the texture of the metal has been lost in that face
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And so we're losing a few things. We can also see these outlining to where our colors are not recovering
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Color swatches are not recovering in a fully natural way. It affects some colors more than others, as you can see
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Now, interestingly, at our higher level of overexposure here, which is now getting close to four stops
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we really had a weird kind of white balance color shift here to a very blue-looking image
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And so I'm going to just pull that back to the color balance closer to what we have been seeing there
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and you can just see that at this stage there is information that has been irreparably lost
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a lot of information at this point are you know in our our timer face here basically all of the
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proper color other than maybe right in that area has been lost on the spotmatic there's lots of
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blown out looking spots here and we can see in our color swatches there are colors that have been
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just lost yellow most notably all together outside of just that little outline there and so you know
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there's a limit to how far you can go with your highlights and pull them down. Though this is still
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may not look like it, but it's still a fairly good performance right here. Now because of the
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difference in base ISO, we don't necessarily have a perfect comparison here. I'm going to use the
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two second overexposure and 1.6 second. So there's maybe a third stop variance between the two
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It's very hard to equalize these because the sensitivity of the actual sensor is not identical
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We can see if we compare to the Sony, however, that while the Sony image may be ever so slightly less bright
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that we see a fairly similar result. And so, you know, there's same kind of blown out areas
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I think the Sony is maybe a little bit better at recovering those highlights
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A little less texture information has been lost. When it comes to the color swatches, you can see that they're much more consistent
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which, by the way, I found to be a Sony strength by and large. And so, you know, here we've lost, you know, some
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But the color saturation levels have recovered a little bit better in the Sony versus the Fuji result
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So here we're going to do the opposite. We're going to go in the other direction and we're going to take a look at underexposure and recovering shadow information
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So that difference in sensor sensitivity, while it maybe favored the Sony going the other direction
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here it's actually going to favor the Fuji going the other direction
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That just the nature of these comparisons that aren perfect So we can see in recovering this shadow information we been able to do that at one stop without any kind of additional noise it just recovered the information that was lost no problem if we take that to four stops we can continue to see a very
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good looking result basically no additional noise that's been brought in here on the you know the
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face of the slr everything has been recovered from those deep shadows very cleanly if you look in
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this zone right here in between the timer and the camera, that is a completely crushed area
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And you can see that that shadow information has recovered from that very effectively without
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any kind of visible noise. We can take it all the way to five stops of underexposure and still come away with a very
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impressive result. This has always been one of the advantages of medium format and the larger pixels
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And so you can see here, there is a little bit of visible noise there, but even in these
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areas that are completely crushed before. You can see information has been brought back. It looks
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natural. There's no color shift that's taking place. This is a very, very effective result
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and we're going to see it has real-world applications. So let's check back in with
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the Sony at this point. As I noted, the difference in the kind of the base sensitivity, now it is
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maybe a negative for the Sony in that we have a faster shutter speed here, and so a little bit
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more crushed shadows but we can see in recovering those shadows that there's no question that the
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medium format sensor is much smoother in recovering that shadow and much more rough noise that's
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looking there if we pop over here and we look on the inside of the mirror of the slr you can just
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see a lot of pattern noise there from the recovery that simply isn't there on the medium format and
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if we look at this little spot in between here you can see it's recovered smoothly with just the
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information over here color consistency and it's a little bit blotchy looking and if we kind of look
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into our shadow information you can see it's a little more uneven here with the sony whereas
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here on the medium format fuji it is just smoother and that's true if we look up here in the color
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swatches again you can see some of that a little bit of that blotchiness you can see it along here
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whereas it's a smoother recovery on the medium format. A definite strength for this Fuji sensor
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Now here's the real world advantage of this. Now I've recovered these shadows more than I probably would
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in terms of what I actually prefer, the look of the image, but I wanted to just illustrate a point
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So first of all, we've got blown out areas in this very high contrast scene in Loki's fur
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You can see, however, that being able to recover those highlights has allowed me to restore information
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And so that you have the details that were lost and a much more natural looking, you know, kind of face image
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But very interestingly here in these shadow areas, you can see information that is recovered that was, you know, basically crushed out
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But what you're not seeing here is noise that has been introduced into these areas, color blotchiness, any of those things
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And so it gives us a tremendous amount of versatility in how we're going to process this image
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I mean, even if you look at this area, all along this stool leg, all that information has been recovered, even right over to where his paw is
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Look at how much better that looks than this looks in terms of that recovery
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And so that real-world dynamic range and then also the very smooth way that you can recover images and retain those very smooth gradations of color and luminosity is certainly an advantage for a medium format sensor
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I'm going to show you one more example here. And in this case, we have an overexposed scene, and it's mostly because it was a really tough scene
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You've got very bright luminosity on the snow, along with shadowed areas from the footprints
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but then also you've got the forest here and some very dark areas on that
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And so the important thing here was to recover the highlight information on the snow
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so where it looks natural and you can see a natural, all of those footprints in the snow
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you can see that I've been able to do that really without any kind of problem
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And so we have on the right an image that hasn't lost, you know, the proper exposure in the forest, which looks good
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But now we've been able to pull back that foreground to where it is natural looking
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And, you know, that's that's, again, the advantage of having great dynamic range and those those beautiful gradations of luminosity and color in a medium format sensor
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So at the end of the day, the GFX 50S Mark II is a camera for a certain type of photographer
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As always, medium format has always been a more niche format relative to the more popular, more consumer, more mainstream formats
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And so these days, if you're coming from full frame, you really have to be more about the final image and maybe actually prefer a more deliberate, slightly more og process
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Because that's what you're going to have to do to unlock the kind of image quality you're going to get out of this
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But at the end of the day, I do think that there is something special about the images that come out of the GFX 50S
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In some ways, it's not as dramatic a difference as what I saw from the GFX 100
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That, you know, 102 megapixel sensor is something that's still unrivaled on full frame
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whereas at the 50 megapixel or 51 megapixel point, you know, obviously you have got full frame sensors
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like the Sony A7R Mark IV that actually have a higher resolution point than this
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But at the same time, there is something unquestionably special about the larger pixels that you get in medium format
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But you're going to have to get to unlock that image quality. You have to, you know, basically reprogram yourself to think and to shoot in a medium format kind of style
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Now, what is also attractive here is obviously you've got that great embody and stabilization
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You've got a very functional body here, but you've also got a reasonable price point
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and, you know, there was a time and still today, there are some medium format backs
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that cost into the tens of thousands of dollars. And so when you're talking about a $4,000 price point
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that may still seem expensive to some of you and I completely get that. But if you're thinking of it
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from a medium format perspective, I mean, that's like disposable camera type level price
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relative to what many people are accustomed to paying. And so if you are intrigued by the idea of medium format
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I think that at the very least, the GFX 50S Mark II is maybe a nice gateway to check it out at a fairly low risk point and to
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see if medium format is actually for you. As I said, it's not for everyone. Maybe it is for you
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I'm Dustin Abbott. And if you look in the description down below, you can find linkage to
27:45
my full text review and also to the image gallery. Check out some of those amazing photos with a
27:50
little more detail. Beyond that, there are buying links. If you'd like to purchase one for yourself
27:54
Link is to follow. Check out our new channel to follow myself or Craig on social media
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Fujifilm GFX 50S II Definitive Review | DA

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