The Fujifilm GFX 50S II Review | Should You Buy This?

A Deserving Spot in the Fujifilm Lineup

After months of testing this camera across varying conditions, I could see where this camera excels and, more than any other tool before, experience the walls that narrow the reach of this product. We're so used to technology hurdling forward, and in the imaging space, this unrelenting expectation of one camera that can do everything at all times. But — this is dumb thinking.

There are valuable sacrifices made in specific flagship cameras for maximization. They serve many creators, but it'd be foolish to have this as the sole strategy for creative technology. Specialization is necessary because it helps underrepresented creators in varying spaces and provides a different entry point for sharing their vision. This is the sh*t that gets lost in reviews when products are dissolved to speeds and feeds. We can all agree that context matters, right? The Fujifilm GFX 50s II deserves context. With one camp championing this as an incredibly affordable pro imaging solution while another is prematurely calling it a flop, it's easy to get caught in the noise and forget it's just a specialized tool for creating.

Design & Features

A few months ago, I was hired to shoot the cover for NOW! Magazine in Toronto, and the timing couldn't have been better. My Fujifilm GFX 100s had arrived, and I still had my review copy of the GFX 50s II from Fujifilm. This would be the perfect opportunity to test these cameras side-by-side and see how far the 50s II lags behind or if that gap is inconsequential in professional hands.

Adopting the exact shape and dimensions of the GFX 100s was an excellent move on Fujifilm's part. You don't have the garish LCD bump of the first GFX camera, and more importantly, the entire piece has a footprint of traditional DSLR solutions. It's big, but not too big. At 900g, the body felt very manageable in the studio and balanced nicely with higher-end GF glass. While it might vary for some photographers, I prefer this size for many of my commercial studio work, where you can quickly grasp the camera for optimal manipulation. On 8+ hour shoot days, not once did it feel laborious to pick up this camera.

However, this could be different from person to person as some may find this trickier to wield, where you might have a bit of the camera shakes at odd angles. Thankfully, the 50s II inherits 6.5 in-body image stabilization stops that work incredibly well for photography. Fujifilm may have shoddy results with image stabilization for video, but they're nailing it for photography. Time and time again, I could rely on this camera for sharp results at 1/30th of a second. I could even go as low as 1/10th of a second and get a great result with greater intention. Admittedly, you may not go that low in many situations, but it means that the shutter range you find yourself working in most often gets that much more reliable. If you plan on doing a lot of handheld portrait work, the stabilization in this camera will help you achieve the desired results.

Let's talk about the camera's use-case experience. The viewfinder is not removable or adjustable; it's a 3.69M OLED display. It doesn't give you that looking-through-a-window feeling that some premium, full-frame cameras adopt, but it's suitable for the working professional. You can also use the back LCD to compose your shots, which I did numerous times. It's a traditional three-way tilting display that makes it easier to capture low-angle photography. You don't have to perform these mental and physical gymnastics to line up the shot as you want with an LCD that flips to the side. Many passionate YouTubers will disagree with me, but this system is the best solution for professional photographers.

The 51.4-megapixel files are rich with detail and plenty of latitude for a professional creator. You can capture in various compressed and uncompressed modes. The 14-bit RAW files preserve a good amount of shadow detail, though I wouldn't say it has the night-vision level recovery some modern solutions provide. It may not offer the dynamic range of GFX 100s, but it isn't a slouch. I could comfortably shoot up to ISO 6400 without hesitation concerning noise performance. Noise is perfectly manageable, and the sharpness doesn't suffer significantly. You can go to 12,800 ISO in extreme situations and still get usable results, which may vary based on your threshold. While the sensor may be older, the results feel anything but old. These files are very robust and give you much room to direct your creativity.

With the addition of Nostalgic Negative and Eterna Bleach Bypass, you have 19 film simulations to take advantage of this camera. Still, most users may gravitate to Across, Astia, or Provia for most work. Regardless of where you plant your flag, it's nice to see that you can curate into six custom modes. Switching from my black-and-white recipe to color quickly has been huge in the field, where it helps me capture the best way for the environment. And as with any modern Fujifilm camera, the RAW file still has all the information. Your custom recipe is baked into the JPEG with the RAW file showing a representation of your film simulation before any changes are applied. All in all, these color options marry nicely to a medium format solution meant for pros, allowing you to build a unique workflow.

The top LCD is excellent, where you can view critical settings or a histogram at a glance. Though I would've preferred at least one higher-performing card slot, having two UHS-II SD card slots may be best for the ecosystem where users only need one type of card and reader for their workflow. And using the same battery as the X-T4 and GFX 100s has led to a rating of over 400 shots per charge. In my workflow, we could get through a full day of work with some juice left on a second battery. It's also worth noting that this camera supports USB-C charging, so if you're capturing tethered, that battery will charge while you catch. In one environment, I was momentarily shocked at how this camera still had plenty of life after nearly 2000 shots until I realized it had been charging via the tether cable.

In any case, all of these items make for a great professional imaging solution that should impress many photographers. However, there are still some areas where this camera underperforms, and these items ultimately dictate whether this camera is right for you.

Drawbacks & Challenges

If you're asking me, the decision on whether this camera is right for you has to do with what it can't do, not what it can do. Including an older sensor that isn't back-side illuminated and relies on contrast-based focusing means that a camera like this is challenging to use in fast-paced environments. If you rely on accurate and fast autofocus for your work, this may be why you skip this camera altogether. There's also a bit of this shutter lag that is common in the medium format world, and sure, this is faster than the solutions you'd historically find in this space, but at three frames per second combined with that lag, you have to be honest with your skillset. Can you nail the shot on command, or will you need something faster to give you more latitude to get the picture and succeed?

The menu system isn't the most complex on a modern camera but isn't the easiest to navigate. I've repeatedly mentioned this: Fujifilm needs to revisit the UI for its camera menus. As the feature set grows, the Fujifilm menu system begins to feel crowded and can use a refresh.

Next, the flash sync speed of 1/125th second is good but might be challenging to work around if you don't have compelling light conditions. The lower the quality of lights you're using, the trickier this can become. Whether or not this is an issue for you will ultimately come down to what lights you rely on for your work.

Lastly, this camera can capture full HD video but don't look at this camera for video work. I'm sure someone out there will fight for recognition of GFX solutions in video workflows, but at this time, I'm taking the opposite argument. These cameras are phenomenal photography tools that don't take them seriously for video production. And you know what, that's perfectly fine! As I mentioned earlier, specialization helps solve specific problems and improve accessibility across the board. Before pulling the trigger on the GFX 50s II for your work, you should consider these essential items. None of these make this camera a failure, especially when considering the asking price. All it does is narrow the scope of the potential audience. Our job as creators is to find out if we see ourselves in that audience.

The Competitor

The Fujifilm GFX 50s II boldly drives the cost of digital medium format photography down even further, where photographers into architecture, travel, portraits, still life, and fine art — to name a few — can consider this a serious upgrade. Making a decision here is easier when you know the speed of your working environment. This format gives you a powerful stance with stunning image quality so long as you're not finding yourself in fast-paced environments. If you're shooting action, sports, or street, this camera is not something I'd recommend. I look at this camera, and it feels like a win-win between Fujifilm's engineering and operations teams.

They've brought together a series of available parts to create an even more affordable imaging solution that provides value for a specific group of photographers.

The 50s II is a welcome addition to the camera market, but it enters it with more splash than a bang. The price tag and sensor will pique the interest of those looking to upgrade their current solution, but one must manage expectations. Whether it was a nighttime fashion shoot or a daytime stroll, there were several instances where the camera couldn't execute other solutions. If you often find yourself in challenging environments, this may be a camera that leaves you wanting more.

Final Thoughts

I've debated this camera and am ultimately impressed. In this climate, having these specs in this package at this price is impressive, and creators finally win. I've primarily referenced professional creators in this review, but the offering here is something enthusiasts will also consider. It's a product that deserves its spot in the Fujifilm lineup.

I've been able to create some remarkable work with this sensor and files that feel future-proof. It's an empowering feeling that many photographers strive to have. A camera like a Fujifilm GFX 50s II is fascinating because it addresses the concerns around accessibility and professional creative tools.

Suppose you create images for a living, and the environment you capture allows you to slow down and control the process. In that case, the Fujifilm GFX 50s II will elevate your experience while being rewarding throughout. Ultimately, it comes down to knowing your craft and creative process. The better you understand those, the easier it'll be to decide whether this camera is right for you.