[Music] Hi I'm Dustin Abbott and I'm here today To give you my video review of the Fujifilm gfx 100 and this is their Mark 2 so this is the followup to their Flagship medium format camera comes Obviously in a new body style there's no Integrated vertical grip here it has a Gorgeous new wrapper in terms of the Textures and the finish of the materials On it it has a brand new sensor an Updated autofocus system a much deeper Pool of video Centric features and it Also on top of all of that has a price Slash from $10,000 down to $7500 so I think the question to be uh Asked and answered as a part of this Review is has Fuji brought enough to the Table with the gfx 100 Mar I to convince Some full-frame Shooters to jumps chip And to make the switch over to Fujifilm's medium format I think I can Help to answer that question today right After a word from our sponsor today's Episode is brought to you by Phantom Wallet the minimalist modern wallet that Is now even better with the new Phantom X that is crafted from aluminum right Here in Canada it is 22% smaller and 35% Lighter while still making it easy to Access your cards and money when you Need them thanks to their unique Fanning Mechanism you could even customize your Wallet due to its modular design with
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Really like it it feels modern and Contemporary uh and stylish all at the Same time really really great and so I Do love the fit and finish of this Camera one thing that I did note on the Original gfx1 100 is that when you got To the vertical grip portion it was like It wasn't the same camera it wasn't even The same materials the same kind of grip Or feel to it and obviously there is no Vertical grip here but what is here Feels much more integrated and it feels More premium at least in my hands now You get to the flagship full-size body Here it is a little bit bigger and Heavier than the S bodies and every Dimension and so this particular camera Is 152 mm wide it is 117.5 MM tall and that's kind of the Biggest area of differentiation from you Know say the gfx 100s or uh gfx 50 and The grip is deeper at 98.6 I will note On that however is that there's it's Only about a five um millim difference But I just find this grip so much more Comfortable in my my hand than what I Did the original gfx1 100 I have medium Large size hands typically a large when It comes to gloves and so but even with You know having you know larger hands And what people a lot a lot of people Around the world might have I found that With the original gfx1 100 it always Felt like I was just stretching a little
Bit to properly hold it whereas this It's contoured really really great Everything falls to hand really nice and That really stood out to me because I Just kind of curious as my wife's Reaction she has quite small hands I Gave the camera to her and and asked her To you know to hold it to take a few Shots of it and yes she commented that It was big but she says you know it Actually feels very nice and that really To me kind of stood out as making that Difference of showing that this is a a Camera that really has been Ergonomically designed really really Well now the weight comes in at 1,30 G That is the measurement by the way with The battery and memory cards inserted so That is the heavier of the two potential Measurements and so again yes heavier by You know roughly 100 gram than what say The gfx 100s was now our battery here Continues to come from the mpw 235 Battery that's in a lot of fujifilm's Cameras at this point it's rated at 540 Shots here or roughly an hour of either 8K or 4K 60 video before the battery is Exhausted a key Improvement here is that Rather than just having two SD card Slots like the other gfx B have had we Now have a CF Express type B along with A single uh SD card slot there as well Now that's going to really play a pretty Significant difference when it comes to
A few other things including buffer Depth and also the kind of video formats And codecs that this baby is able to Process that's a really important Upgrade another important upgrade in Terms of the ergonomics here is that we Do have a full-size HDMI port here Rather than a mini and obviously anytime You have a serious video rig which as We're going to see this is uh you Definitely want to have a fullsize HDMI Port so that is very welcome there as Well I really like the feel of the the Memory card door I'm not as crazy about The covers on the ports on the left side Of the camera mostly because they just Kind of dangle here and when you go to Put them back you have to kind of line Things back up it just doesn't feel as Good as when there's an actual kind of More hinged door that comes out that is Certainly my Preference another revamping here that I Really like is that if you view the Camera from the side you can see that There is an 11° tilt of the top plate That has the top mounted LCD screen then There's also a tilt moving forward that Allows both the buttons the shutter and The front wheel all to fall to hand or To finger very very nicely but it's Really quite clever the way that they've Done just a slight degree of tilt on This because what it does is it makes
The top mounted plate more visible from More angles even as I'm sitting here Right now I can see the majority of the Information on that telep toop LCD plate Whereas if it was just flat and facing Up I wouldn't be able to see that so It's a really really clever use there And I will also note that they've kind Of reoriented and redesigned the you Know the graphical interface on the top Mounted LCD it's easier to read it has a Little bit more information there it's Sorted just a little bit better and of Course as has always been the case with These gfx bodies there is a static Display that remains even after the Camera is powered Off another uh upgrade here is that in Between that top LCD plate and then the Shutter button there are now three Function buttons along there those are Really important because we're one wheel At least one wheel short here we've got The front wheel that you can also click The rear wheel you can also click though I find that kind of interaction a little Bit imprecise because you know sometimes You're clicking sometimes you're Scrolling and so it's I don't love that But what we don't have is a third wheel On the back so for example by default The third the furthest right of these Three function buttons if you hold it Down and use the real wheel it will
Allow you to do exposure compensation You know it would just be nicer to Actually have another wheel where you Could just have that setup to Automatically do that likewise to change ISO here I'm having to click the front To change it to another function then Turn the dial or switch between two Different functions for that a third Wheel would be welcome and there's Plenty of real estate for it and so you Know obviously there smaller cameras Almost always have they have lots of Dials on them so it just seems odd that We're missing that on their Flagship Camera here to the left side of the Removable viewfinder we have our mode Dial and then beyond that we have a Switch that allows you to switch between Movie and stills and as is the case with Many cameras these days that are kind of Fully realized for hybrid when you make That switch it allows you to set up Everything customizable for movie Functions then everything customizable For still functions making that very Very useful you can have two complete Different setups now the removable Viewfinder here is really really Fantastic that's an area that has been Significantly up updated and improved Here it now has a 9. 44 million dot Resolution and I will note that's the Same resolution Point as my Sony Alpha 1
But it is a night and day comparison Between the two this viewfinder is just So much better so much more engaging it Has a full you know 1.0 times Magnification you look in there and it's Like looking at a movie screen inside And it is the best viewfinder that I've Seen to this point you know it's it's Getting you right into Optical Viewfinder territory but with all of the Overlay and information and Functionality of an electronic Viewfinder I love it now you also have The option of using the optional tilt Adapter and as you can see here that Allows you to either rotate it into Different positions uh side to side or To rotate it up into a vertical position For those that prefer that kind of Functionality that tilt adapter is Really expensive it's $57 it seems like a lot for what it Actually offers so you're going to Really really want to have that kind of Functionality to justify paying that Kind of money so the viewfinder is Fantastic the LCD eh not so much for a Couple of reasons number one it's Basically the same LCD that we've been Seeing for a while it's a 3.2 in 2.36 Million dots only H so so when it comes To the resolution here it is tiltable on Two axises I prefer articulating I know That some people prefer this format but
What I might kind of Chief complaint is Here is that for as long as I have been Reviewing Fuji cameras I have seen zero Improvements when it comes to the touch Functionality on their various touch Screens and they're just not up to the Competition's level and so that's an Area that really really needs Improvement the other thing is that this Is the first camera that I have seen That allows you to use the Fan1 accessory which is an an active Cooling fan you can mount on this to Allow you know long format video Recording but not having an articulating Screen where you can move the screen Fully out of the way makes for a Somewhat weird Arrangement here it also Means that you may have to compromise Even using the LCD screen depending on How you have it oriented to be able to Actually get that fan mounted so it's Not a great implementation there that Fan o1 accessory runs you about $200 one final thing that is a standout Here is that this is rated at BPA of of Eight stops of its inbody image Stabilization which is the highest Rating that I've seen and it is a Fantastic stabilizer it's huge on having Such a high resolution camera this is 102 megapixels here and to be able to Have great stability and be able to Shoot either video or you know slow
Shutter speed handheld shots is really Impressive with that and it works Extremely well I'm very impressed by That now autofocus is typically the area Where I have my most complaints with any Fuji camera and has been particularly True with my reviews of the gfx cameras I recognize that it's taking different Standards and so some of you have tried To correct me by saying well it's you Know relative to other medium format Cameras uh autofocus is great the Problem is is that Fuji often marks the Gfx line as an alternative full-frame Cameras so through their own marketing Materials they are pitting this against Fullframe cameras and frankly They've not been at the level of Full-frame cameras and that is still True though I will say to a lesser Degree as has been the case with most of Fuji's recent cameras we have the same Basic contrast SL phase detect hybrid Autofocus system but what has largely Changed is the x-processor 5 that X-processor 5 uh is much faster it has Updated Focus algorithms but it also Enables things like the AI learning and VAR subject tracking there's a wide Range of subjects that you can Automatically track and you can one Thing you can do on the touchcreen is Actually click on a subject to actively Track it not just in Stills but also in
Video mode something that even the xh Line doesn't have at this point though I Suspect we may see that via firmware in The future so the autofocus is Definitely improved the one thing that I Have found is that the autofocus is Definitely improved with these most Recent Fuji cameras if you have a Detectable subject in the frame Something that the AI can identify it Really kind of steps up the game for the Autofocus whereas if you're shooting in Other environments the autofocus doesn't Feel a whole lot different because Frankly it's not a whole lot different I've heard some that have kind of Hyperbolically claim that autofocus is Now basically identical to an A7 R5 well As you can see here using the much more Expensive brand new 55mm f1.7 that I've Got here versus a really inexpensive vro 28mm f1.8 that I happen to be reviewing On the Sony a7r Mark 5 at the same time You can see that there is a marked Difference between the autofocus Confidence going back and forth in these Video captures here and so no it is not On A7 R5 level in any way shape or form I will say however it's getting fairly Close to the xt5 and that in itself is a Huge accomplishment what I found is that Ifaf Works quite good for a variety of Subjects particularly at a distance and If you're shooting with a lens that
Allows you to accomplish a really Shallow depth of field when the depth of Field is really thin I find that Probably 80% of the time autofocus if You look at it critically is actually on The either the eyelash or the eyelid and Not on the iris of the eye so it's not Quite as good as sophisticated as what I See on some other camera platforms but For most portrait work and at Portrait Distances it was great because it would Lock onto the eye and DEP the feel was Enough to where you know it wasn't just The eye but the face that would be in Focus and I got really well focused Results and painfree focus results I Didn't have to kind of fuss around with Autofocus it grabbed onto the eye I Could put subjects um you know in Between or I could put objects in Between myself and the subject and I Could still lock on to focus all quite Well I also noted that in backlit Situations autofocus worked quite well There was one situation where autofocus Just refused to focus on a closer Subject and I did have to manually focus But for the most part even in this other Shot here with a very thin depth of Field strong backlighting I was able to Get good Focus likewise I shot a photo Of a friend golfing again very strongly Backlit very directional Sun you know in Early Autumn and uh despite that I was
Able to get really good autofocus on his Face even though he was rotating into His golf shot so really really good Improvements there I also noted that in Low light situations autofocus remain Quite good it's rated down to a minus 6 EV obviously dependent on the maximum Apture of the lens you have attached but What I found is that even it's shooting At ISO 12,800 in very dim conditions Autofocus locked on without a lot of Hesitation I also note that we have a Upgraded burst rate here um up to either Eight frames with the mechanical shutter Or as many as 8.7 though with the caveat Of shooting in the electronic shutter And shooting with a crop factor there it Means that this can track action better And so for example in shooting the Sequences of my son going up for a layup Um for the most part Focus was pretty Good I estimate about an 80% success Rate as he moved throughout the action That's a big Improvement of what I've Seen from the gfx line before it wasn't Reactive enough for Nala moving towards The camera and I find that that often Could be a difficult scenario for some Cameras and it takes a reactive camera And lens combination to get good folks In that and this is not up to that level What it really helps for Action however Is that the buffer is hugely improved um With the original gfx1 100 you had a
Limit of 14 uncompressed raws uh that Was your buffer depth now uncompressed Raws were at 76 but it gets much much Bigger if you talk about other formats For example with jpegs it's unlimited You can shoot as long as you want to Until you run out of battery or card Space um when you're shooting lossless Or lossless compressed raws which is my Format of choice you can get at the Lowest case scenario you can get 302 before the buffer fills up and Higher figures if you're shooting in Other scenarios now there is a blackout In between shots however if you shoot There is a 5.3 frame per second blackout Free option that you know you might want To use though again 5.3 frames is not All that fast and so I found that I Could tolerate the 8 or the 8.7 frames Per second depending on what crop I was Using and so you know it's it's Definitely improved there though at this End of the day you wonder you know who's Actually looking to shoot action with The medium format I think it's less About that and more about really trying To create a hybrid camera that can do The things that a fullframe camera can Do now when it comes to the video AF Side of things as is commonly the case With food U's autofocus it's just not up To the level of the some of the other Major brands and so you know the video
AF Focus pools using the 55mm f1.7 they Were fairly good though you'll see a Little bit of of hunting and pulsing Settling and a little lack of confidence Likewise when I went to do my hand test That uh you'll see that most of the time It was a pretty successful transition But not quite quick enough to always for Me to have completed the action before It you know it didn't quite get there by The time I was moving on to something Else for the most part in real world Video I did fairly well there was one Situation as you can see in the Landscape setting I just got some Pulsing back and forth and so you know Video AF is still not fantastic it's Kind of like what I see on other Fuji Cameras which again speaks to the Progress that Fuji has made and that I Think that their gfx line is pretty much Catching up to the X line when it comes To autoo capabilities now noted in our Intro that video is massively improved Here there's obviously been a really Really uh large focus by Fuji in this Particular body that they're going to Make this a dedicated vide type body so We now have vastly improved specs for The what you're able to shoot you can Shoot up to 8 8K 30 though I will note That is with a fairly large 1.52 times Crop you can shoot 4K up to 4K 60 However using the full sensor and
There's tons of other options in between You know at at full HD you can shoot up To 120 for you know slow motion there's A lot of different framing options in Bit rates all the way up to 720 megabits Per second all of that is going to be 10bit internal though you can output 12p Put video or 12bit video over HDMI I Will also note that this does enable you To do different codecs not just you know Kind of the common h265 or um H 264 but You also have the option of doing Apple Pro res inside and so anyway some Definitely some options there another Interesting thing is that and by the way I will note you need to be using the CF Express type B if you want to shoot Apple Pro res and then some of those Highest bit rates going to require the Faster card which is why it's there to Be that Port is there to begin with now Another interesting option is that we Have over the USBC Port there is the Ability to record to an external SSD Drive which is really really interesting Not just for video but for Stills and so If you're wanting to record long format You have the ability to really record Long format when recording to an External SSD drive very very interesting Another thing that's really unique is That they have designed different crop Factors into the camera to allow you to Not just utilize GF Mount lenses but
Also Fuji's own premista Um like cine lenses C zooms and so That's a different crop factor and There's some different options there you Can go to a 35 mm crop and again you're Going to have to use adapters to use These but the ability to use you know All of these different lens choices Really kind of opens up you know what You can do with this camera and there's Even anamorphic options with a variety Of different sque squeeze ratios and Ability to view a d squeezed in camera Really really interesting stuff there That they've added to it they've also Got F log 2 which has up to over 14 Stops of dynamic range they've Implemented things like waveforms and Vector scope to just give you you know More visibility on controlling color and Luminosity in the frame just a lot of Interesting things and so as I said They've gone hard at the video Market But again you kind of Wonder is is there A market for this were there people that Were clamoring for that in the medium Format body and maybe there are and Maybe Fuji has read the room just right It's not necessarily the feedback I've Gotten in the past so I'm really Interested to see how the market reacts To this but of course if it does open up A whole new market to kind of a CNY side Of things for Fujifilm that's a whole
Whack of new customers at the end of the Day however this is definitely a hybrid Camera that's like the xh2 or you know a Sony Nikon or Canon option that can just Do both video and stills really really Well speaking of doing things really Really well something that those other Brands can't do the way that this camera Can do is when it comes to the sensor Performance and the image quality this Is a brand new 102 megapixel sensor with A lower base ISO ISO 80 which opens up More dynamic range it opens up the Ability to unlock dr200 and dr400 at Lower base points it makes the D the the Overall ISO range a little bit larger Instead of starting at a base of 100 or Starting at the base of 80 so it's Really really interesting that this Looks on paper like the same sensor but It's a newly designed sensor from the Ground up now the the native resolution Here is 11,648 by 8,736 pixels so yeah those are big files However I will note that if you're using The lossless compressed raw format which Is what I typically choose those files For Stills are usually under 100 Megapixels or excuse me 100 megabytes Per image so big but not you know Ridiculously so there's actually a lot Of file options here there's jpeg Options there's a lot of different raw
Options uncompressed lossless compressed Raws you can shoot an HF format you can Shoot in DCF or our Tiff format just a Lot of different ways not only to Capture video but also to capture Stills And obviously with that huge resolution There is almost endless cropping options Here here you can actually own fewer Lenses on a camera like this because Frankly you can crop down and get just a Variety of different shots out of one Image so let's dive into a deeper dive Into the sensor performance things like Dynamic range like ISO performance how It holds up in some dedicated test so Here is our base setup kind of our still Life that we will use as a part of these Test and so I just want you to take a Moment to look at number one we'll take A look here at Shadow information as you Can see the shadow is really consistent Dark there and you can see very little Noise here if we take a look uh in this Section here we can see good contrast we Can see uh that there's no noise inside Of there and then as we look at these Color swatches we can see the way that They're supposed to look shooting at Base ISO which is ISO 80 now typically I Jump right to ISO 1600 which is five Stops from base ISO in this case however Since base ISO is 80 five stops up is is 1250 so just taking a quick look as we Compare at 100% magnification the areas
For example on here where we can see Where there could be additional noise That is introduced now we can see that The Shadows are not quite as dark so There's just a little bit of uneven Pixelation there but without having them Side to side side by side you probably Wouldn't pick up on it likewise here we Can see the contrast looks the same Color fastness is very good there's not Any kind of real noise that is there and Our color swatches everything looks fine And normal in this area here which is Where I start to see noise quite often There's really not much to see so very Very clean at five stops up so how about If we jump up to 5,000 which is the Equivalent of 6,400 on most cameras it Was at this stage where for example the 5dsr was just complete garbage it was Just noise everywhere it was it was Unusable we can see in this case though With the modern advances and also a Medium format you can see that while There's a little bit B of extra noise There it still looks really really Fantastic we have quite a consistent Look overall in the shadows though not As dark and we can see that what noise Is here is extremely fine no issues with It at all detail still looks great color Fastness looks great not really much to Complain about here now here I have the Minimum native ISO and the maximum
Native ISO side by side so we've got 80 We've got 12,800 you can see that Looking at the images as a whole they Look very very similar I would say there Is just a very very slight drift towards Magenta um as far as the color balance But overall you can see that the images Don't really look a whole lot different And if we zoom into a 100% magnification We can see that contrast still looks Quite good obviously detail is good not Quite as good but still looks quite good There is obviously some additional noise In here but it's very very fine noise Nothing radically bad we can see that There is some uneven pixelation in in Terms of the Shadow area some lighter Pixels there but by and large it still Looks very clean even at 100% Magnification here's an image shot at 12,800 and in particularly with using One of the across um monochromes here I Think the image really looks actually Really great and I certainly even at a Pixel level you can see that the detail There is really really nice and if we Look towards the out the area here you Can see some very fine noise that is There but overall looks really nice and Clean uh you can see that there's really Not a whole lot to be concerned about There I think that is 100% usable now You can go onto an expanded range beyond That all the way up to
102,400 but I you know I I would go up Probably another stop Beyond this but Within the native range I would not Hesitate to use any of these settings to Me that's a great looking image right There now for testing dynamic range what We're going to do is starting with the Highlights we're going to move up uh Adding overexposing in this case just by One stop and then taking that stop back Out in postprocessing so this is the Same image on the right it's just had a Minus one uh applied to the exposure and So you can see that that brings us back Down to normal what we're going to look For as we progress is the ability to Preserve places where textures start to Get blown out for example here in this Dial you can see that some of the Texture information was lost it's been Regained in post so that is our ability In postprocessing to to be able to Correct for these things which is a Byproduct of dynamic range now obviously At this one stop overexposure no Problems we can get all of our color Swatches back get all of the Highlight Places back no problem at all so here at Two stops of over exposure you can see That some things are really blown out Here at this point and so let's take a Look here at the front of the the Pentax Face you can see that's really blown out In this dial that we looked at before
You can see however though that we have Basically been able to recover all of That information so at two stops this is Nice and clean you can see that some of The colors were starting to blow out but You can see that we've been able to Recover them in post without any kind of Issue now at three stops of overexposure Which you can see is extremely Overexposed our ability to recover Everything is now lost you can see that Some of the colors they're not 100% back You can see for example here on this Kind of pink color that while we have Kind of a darker frame where there's a Little bit of Shadow there where it's Been fully recovered you can see that in The center of it a lot of that color Swatch has been lost and then likewise Here you can see that some of that Texture information it just hasn't come Back it doesn't look as it should in the Timer face here some of the color there Has not been brought back either now one Of the things that is interesting about Fuji's cameras is that they have opening Up at ISO 160 in this case so one full Stop up uh we have the ability to open Up what's called Dr 200 so in this case What happens is that the shadow Information is sampled from ISO 160 but It would sample the Highlight Information from one stop down and so in This case ISO 80 and so going to that
Base ISO for the Highlight so as we can See even though it's Overexposed three Stops as before we can now recover all Of these things much much better because We're basically recovering the Equivalent of like a TW stop uh of Overexposure rather than three stops Because it's it's samp from one stop Down as far as that and so we can see For example in this color rather than Just having kind of The Fringe we can Retain that full color we can see here That we've got that texture information Back without the loss of highlights now If we move on to ISO 320 it opens up Dr400 which is the upper limit there so Now rather than now we're taking the Shadow information from ISO 320 but We're going two stops back to the iso 80 Base ISO for the highlights now it's Still three stops of overexposure but What we can see here is that if we take A look at some of these blown out High Highlights we can see that now there's Even more of that texture information That has been brought back it just looks Cleaner in general just a little bit More consistent even in terms of the Color consistency here on the timer face What that also means is that we could Overexpose even a stop higher and Basically get the equivalent of this Equivalent here um shooting at the Dr 400 type setting so it's always
Something that I enable and if I happen To think I'm going to need extra dynamic Range I will adjust up my ISO and so That I bring back that flexibility now Testing for shadow recovery is actually Really really simple here I'm going to Jump all the way to five stops which is The maximum I test out to you can see Everything is deeply crushed in Shadow By that point but you can also see with The recovery result on the right that it Is a Flawless recovery here when it Comes to recovering Shadow information We can see looking into this area right Here for example all of this has come Back detail looks great contrast looks Great there's no noise there in the Shadows likewise inside of here all of That information comes right back out Looks nice and clean we can look here in The spine of the color swatches and we Can see everything is recovered nicely There's no color blotching uh there's Very little noise that is there it just Looks really really fantastic quite an Amazing result in fact if we put the Base ISO result here which is just Perfectly exposed not been touched at All on the left side and that fully Recovered result you can see the Difference in the shutter speed getting Us to five stops of underexposure you Can see putting them side by side that They actually look remarkably similar as
Before at the limits I think that There's just a little bit of a shift Towards magenta but if we pop in here to A pixel level we can see that detail Looks really remarkably good there no Problems there that texture information Looks good and what additional noise is Here is just really really fine it's not Going to be any kind of real issue even The contrast here in the shadows looks For the most part really remarkably good This is an incredible recovery result For be underexposing to that degree so Having good dynamic range is very useful For giving you options when you post Process so for example in this image it Was low directional Autumn sun and and So my the my golfer buddy here was very Strongly back lit here and so I was Working out of the Shadows so that's not Obviously all that effective but we can See that because of the good dynamic Range I was able to bring that exposure Up on his face and and on his body and You can see now that I have a perfectly Clean result with plenty of detail there I've recovered all that information but I still have the flexibility of having a Nice exposure to the rest of the image This case on the right obviously I've Been able to bring up the shadow Information I've been able to show you a Little bit more of what's going on Outside the question is whether or not
That produces a better image sometimes Seeing what's outside a window is really More distracting than just having a kind Of a blown out area where the light is Coming into the scene and so having more Dynamic range is very useful and I would Say we have somewhere close to 12 and a Half stops here for editing but it's not Always the right choice to make Sometimes leaving some mystery in the Shadows or in the highlights is worth Doing in other shots however the ability To draw out Shadow information and Highlight information produces a much Nicer in result so here on the left you Can see the kind of the Native result Because of that great dynamic range I Was able to bring out the full potential Of the sky which looks quite lovely There's nice gradations of color some Details from the clouds that we can't See here on the left side then also in The shadow information I've been able to Just kind of pull them up to taste to Where I'm exposing some of the Information and the color there while Leaving a little bit of contrast with Some shadow area and those are the kind Of options that having great dynamic Range enables for you now Fuji is known For having great color to begin with and That is certainly truest when you're Talking about their medium format where You just have really really beautiful
Colors that the camera can capture for Portraits here you can see that the Overall colors of the environment are Very very rich while the colors of my Subject look really great they pop out And as you can see if we pop in there And look at a pixel level you can see Skin tones look really nice and Obviously there's a huge amount of Detail even at F1.7 from the new 55mm f1.7 and of Course part of what makes medium format So special is its ability to have just Incredibly shallow depth of field and uh You know in this case obviously if I Zoom in here and look at Nala you can See that you know the the the depth of Field here is is measured in just Millimeters very very tiny but then the Bleed off to the background is just Really really gorgeous and finally I'll Note there is one new film simulation Here and this one is called reala Ace And so it is a new one just debuting Here on the gfx 100 Mark II and so this Image has been processed with it you can See that it you know results in a really Nice looking image just another addition Another option to give you a nice film Type look to an image and it shows up Really nicely in this so in conclusion Obviously that's an amazing sensor and This thing can produce beautiful Beautiful images and I will have a
Review soon of the 55mm f1.7 it's a Great lens by the way one of my Favorites that I've used on this Platform thus far but this is definitely The most advanced and complete Fujifilm Medium format camera that we have seen To date and I would say it's the most Robust hybrid larger format camera that The world has ever seen it's able to do More things around a large sensor than Really what we've seen before it feels Really really great in the hand and for The most part the ergonomic are great I Would still love to see that third wheel But outside of that I think that Fuji's Done a lot of really good things and in Many ways it's not dissimilar to using The xh2 a camera that I use often and I Really really like it's obviously very Expensive at $7,500 but at the same time you have to Ask the question what other line has had A 25% price discount for their most Recent model obviously in many cases Prices Trend up not down and so I really Do think that Fujifilm is working hard To make their medium format more Accessible to the masses it is very Close to acting like a full-frame Alternative for many photography types Not for all of them this is still not Nearly as good as an action camera as a Lot of full-frame Alternatives but at The same time it also provides the kind
Of images for Landscapes or portraits Weddings those kind of things that full Frame just can't match and because it Does have these expanded capabilities it Can even handle some action in those Settings in a way that just wasn't Really the case before and so kudos to Fujifilm for building a better camera Here and this is one I think that is Going to be really intriguing to those Already shooting fujifilm's medium Format and I think there's enough going On here for those that have been kind of On the fence about whether they want to Switch over to medium format from full Frame there might be just enough here to Tip you over the edge I'm Dustin Abbott And if look in the description down Below you can find linkage to my full Text review there's also linkage there To an image gallery if you want to look At some photos and buying links as well If you haven't already please like And Subscribe thanks for watching have a Great day and let the light [Music] In
