I've had the incredible opportunity to get hands-on with the Fujifilm gfx 100sii in the weeks leading up to its launch. This allowed me ample time to not only snap some shots but also craft this blog to share my experience of using it from a landscape photographer who shoots a few other random bits and bobs’ point of view.

Before I started, I had very little information on the technical details, all I could see was what was in the camera and was assured it had the same new processor as the GFX100II.

Throughout my time testing this camera, I've only had access to what I could glean from within the camera settings. These include noteworthy improvements like an increase in frames per second for continuous shooting and the upgrade to the 4K frame and bit rates. As mentioned, Fujifilm informed me that the 100SII now boasts the X Processor 5, a significant leap from the 100S and its X Processor 4, bringing it on par with the GFX 100II in terms of processing power. Another noteworthy improvement is the addition of the Reala Ace simulation, but more important to me is the amazing new rubber grip on the outer of the camera, this is a massive step up from what its predecessor has.

For those unfamiliar with me, I'm a landscape photographer and workshop leader based in the UK, with over a decade of experience in the field. Most of my work revolves around landscapes and the great outdoors, making a camera system that excels in these environments paramount. My gear philosophy leans towards minimalism with a focus on practicality. In 2016, during my master's degree in photography, I transitioned to using the X series cameras and haven't looked back since. Then, in 2022, as I began to sell more prints and shifted my focus solely to landscape work, I made the switch to the GFX system. This decision has proven to be immensely rewarding, with the GFX serving as my primary camera ever since.

Currently, my go-to camera is the 50SII and I use it mostly with my Formatt Hitech filters and the 3-legged thing Winton Tripod. However, getting my hands on a newer version with more megapixels has been quite intriguing. When I entered the medium format realm in 2020, the 50SII offered the features I needed within my budget. I prioritized still photography and have been thoroughly satisfied with my choice.

Having experimented with the GFX across various genres over the past couple of years, I feel confident in assessing its performance. It's safe to say, I love it. While my 50SII mostly resides on a tripod for meticulously composed shots, I've also tested its capabilities in capturing moving subjects, such as British superbikes, boxing shows, waves, aircraft, and festivals. Although the GFX 50SII delivered commendable results, its autofocus occasionally lagged, especially in low-light conditions. Thus, I was eagerly anticipating testing the autofocus performance during my stepdaughter's music event in Norwich, and I was pleasantly surprised—it exceeded my expectations. The camera's rapid focus, honing in effortlessly on facial features such as the eyes and nose, mirrors the stellar performance of my X-T3 during my days shooting boxing events for event companies. Paired with its remarkable ISO capabilities and intricate details, it's a dream match for gig photography. It's tempting to rekindle my passion for capturing music events, reminiscent of my university days, with a collection of prime lenses at hand.

The images below were shot at a local event run by my stepdaughter called Soup
Left: ISO 3200, 100-200mm lens at 200mm, f/5.6 and 1/160th sec
Right: ISO 5000, 100-200mm lens at 171mm, f/5.6 and 1/250th sec

The gfx 100sii accompanied me on numerous photographic endeavours, including landscape and nightscape shoots. Despite the UK's recent unfavourable weather where I was able to test the renound weather sealing, I managed to seize some enjoyable shooting opportunities with this camera. Notably, the new grip design proved advantageous, providing a secure hold even in challenging conditions.

Two of my favourite shots were captured at Bamburgh and Dunstanburgh Castles during sunrise. With 100 megapixels, the level of detail retained is astonishing. For each shot, I have included the full-size image and shown how much detail is retained in the 100% crop.

Both images were shot with my 32-64mm lens and using my Formatt Hitech filters.
The 1st image of Bamburgh is a 60-second exposure, at f/22, with iso 200 at 34mm
The 1st image of Dunstanburgh and the rocks of death (as they are so slippery) is a 5-second exposure, at f/13, with iso 250 at 34mm

In addition to my landscape work, I organized a tulip-themed photo experience for charity, attracting 40 participants for an evening dedicated to macro photography and capturing models amidst the fields at sunset. This event served as a rigorous examination of the autofocus's low-light capabilities, and I can confidently attest that it exceeded expectations. Amidst assisting attendees with flash triggers and models braving the cold April winds, I managed to seize a few handheld shots while testing various lighting setups. Here are a select few, highlighting the remarkable detail preserved even at 80% zoom, at 100% zoom it just goes so close to his face you are just looking at individual hair follicles and does not look as interesting.
This was shot with the 100-200mm at f/5.6 and iso 250 at 200mm. With a Godox v1 flash and a 120cm Octobox to the left of the model on full power that I had picked up from Essential Photo.

The 1st shoot I did with the camera was photographing some working search and rescue dogs in Thetford Forest as they were undergoing some extensive training, as a SAR volunteer with Norfolk Lowland Search and Rescue (NORLSAR) I was fortunate enough to get access and to be able to grab a few on the fly portraits of the dogs with their owners

One of my recent photo excursions involved capturing the elusive Northern Lights. Their spectacular display on Friday, May 11th, beckoned me outdoors, and I was fortunate to be in the right place at the right time. However, my initial chosen spot was thwarted by rolling mist, prompting a swift relocation to another vantage point. Thankfully, I managed to capture the Northern Lights just in time. Here are the results of my endeavor, captured with the 23mm lens.

Reflecting on my experience with the camera, I find myself hard-pressed to identify any flaws. Transitioning to it was seamless, akin to my previous camera, mirroring the smooth shift from the X Series to the GFX series. Everything falls into place intuitively, exactly where you expect it to be. If there's anything to lament, it's the bittersweet parting as I return the camera. I've grown fond of the enhancements I've observed between my current setup and this one, witnessing technology's continuous evolution, thanks to Fujifilm's commitment to detail in their workhorse cameras.

I extend my gratitude to the team at Fujifilm for granting me this opportunity to acquaint myself with the camera. It's been an enjoyable journey, and I hope that my perspective, rooted in the landscape world and that of an average Joe, proves beneficial to others.