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Fujifilm creates GFX 100S II, $5000 compact medium format camera

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Fujifilm creates GFX 100S II, 00 compact medium format camera


Photo: Fujifilm

Fujifilm has announced the GFX 100S II, a faster version of its $5000 GFX model with a nicer viewfinder, subject recognition AF, pixel shift high-res mode, enhanced video capture tools and uprated image stabilization.

Fujifilm says the sensor isn’t the higher-speed chip included in the more expensive GFX 100II, but it’s still been able to squeeze up to 7fps shooting out of the S II, compared with 5fps from its predecessor. Image stabilization is now rated as giving 8.0EV of correction, rather than the 6.0 of the original 100S.

And, while it doesn’t have the removable, 9.44M dot viewfinder of the GFX 100II, it gains a 5.76M dot viewfinder, a major improvement from the 3.69M dot panel of the 100S. The viewfinder is also larger, with 0.84x magnification, rather than 0.77x in the previous version. It also refreshes faster and can operate at up to 120hz.

Photo: Fujifilm

Like the existing GFX 100S, the 100S II can shoot 4K video (UHS or DCI) at up to 30p, but its 10-bit 4:2:2 options now extend the maximum quality up to 720mbps. It can also output Apple ProRes 422 footage over its USB-C port to an external SSD.

Beyond this the camera’s video support tools are significantly enhanced, with tap-to-track autofocus in video mode, waveform and vectorscope displays and the newer F-Log2 profile. It’s also compatible with Atomos’ AirGlu BT Bluetooth timecode syncing system and can output a data stream over its HDMI socket that can be encoded as ProRes RAW or Blackmagic Raw with the appropriate Atomos or Blackmagic external recorder.

As well as subject recognition AF, the GFX 100S II gains the Reala ACE Film Simulation and camera-to-cloud function that allows direct upload of stills and video to Adobe’s Frame.io collaboration and sharing platform.

Vs GFX 100II

Compared with the more expensive GFX 100II, it lacks the nicer viewfinder and the ability to remove it and mount it on an articulating cradle. It also uses a smaller battery and SD cards, lacks an Ethernet port and full-sized HDMI socket, can’t be paired with a battery grip or fan unit and tops-out one frame per second slower. In return, the GFX 100S II is around $2500 less expensive.

The GFX 100S II inherits the grippier ‘bishamon tex’ pattern on its rubber surfaces, bringing it into line with the 100II. At 883g (oz), it’s a fraction lighter than the GFX 100S.

The GFX 100S II will be available from June at a price of $4999.95.

Press Release:

Lightweight, High Speed: Fujifilm Introduces FUJIFILM GFX100S II Mirrorless Digital Camera

VALHALLA, N.Y., May 16, 2024 – FUJIFILM North America Corporation, Electronic Imaging Division, today announces the latest addition to its GFX System mirrorless digital camera lineup, FUJIFILM GFX100S II (GFX100S II). This new camera harnesses the image quality and key functionality from the larger GFX100 II mirrorless digital camera, in a smaller, lighter GFX System body designed for image makers who want to expand their system and/or are seeking an entry point into large format photography.

“Our GFX System continues to revolutionize ultra-high-resolution, large format image making by taking it out of specialist studio environments and putting into the hands of passionate creatives across all genres, styles and applications,” said Victor Ha, vice president, Electronic Imaging Division and Optical Devices Division, FUJIFILM North America Corporation. “GFX100S II is the natural next step in the evolution of the product line that specifically caters to the needs of photographers who have wanted additional autofocus performance and responsiveness from their GFX100S cameras. We feel we’ve really delivered in that regard and done so in a way that allows it to keep its compact form factor, which means it can make an appearance in almost any creative setting.”

GFX100S II is equipped with a new, high-performance GFX 102MP CMOS II large format sensor1 approximately 1.7 times larger than a 35mm full-frame sensor, and paired with Fujifilm’s latest high- speed image processing engine, X-Processor 5, all housed within a compact body and weighing approximately 883 grams (31 ounces)2, making it the lightest digital camera in the GFX System.

GFX100S II offers rich tonal expression and three-dimensional rendering capabilities, made possible by the unique characteristics of the large format sensor, with AI-based subject detection. It features fast and highly precise autofocus (AF) and continuous shooting speed of up to 7.0 frames per second3. The in-body image stabilization (IBIS) function achieves a maximum of eight-stop4 five-axis performance, the best in the GFX System. In terms of video performance, users can create vibrant and smooth 4K/30P videos, allowing for high-quality video production as well.

Main Features

Large format sensor with 102MP

  • Improvement to the pixel structure in GFX100S II’s newly developed 102MP large format sensor has boosted the new sensor’s saturated electrons, enabling the use of ISO 80 as a standard sensitivity. At this setting and when shooting in 16-bit RAW, the camera can create images at greater dynamic range and with lower noise than with the previous GFX model.
  • The new sensor’s micro lenses provide light use efficiency at the sensor’s edges. GFX100S II is equipped with a total of 20 Film Simulation modes, including REALA ACE mode, which combines faithful color reproduction and well-defined tonal expression.
  • GFX100S II also includes the “Pixel Shift Multi-Shot” feature, which controls the in-body image stabilization function to shift the image sensor while creating photos. By creating a 16-shot RAW file, shifting the image sensor by 0.5 pixels for each shot, and using the dedicated software, “Pixel Shift Combiner”, to combine the 16 RAW files, it is possible to generate an image with approximately 400 million pixels. Additionally, the “Real Color” mode, which captures 4 RAW files with a one-pixel shift for each image, can generate images with a resolution of 102 million pixels while suppressing false colors, in only one-fourth of the imaging time and data volume compared to the previous GFX model.

Powerful IBIS mechanism in a compact body

  • The IBIS unit combined with gyro and acceleration sensors are designed to accurately depict even the slightest movement, along with the use of image information to detect shake and improve correction precision when creating an image. The camera’s IBIS mechanism also includes up to 8-stops of 5-axis stabilization performance, allowing creators who are working handheld to reliably, confidently, and comfortably create images even in low-light scenes without a tripod.
  • The camera has a height of approximately 104mm (4 inches) and a depth of approximately 87mm (3.4 inches), similar to previous GFX System models.
  • The body of GFX100S II incorporates Fujifilm’s BISHAMON-TEX textured exterior, designed to provide comfort and grip when holding the camera.

Evolved high-speed, high precision autofocus (AF) and continuous shooting performance

  • In addition to the evolved face and eye AF achieved through algorithm advancements, GFX100S II is equipped with AI based subject detection AF, developed with deep learning technology. It can detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones5, and it features an improved AF predictive algorithm compared to previous GFX System models, enabling it to handle high-speed motion tracking situations effectively.
  • With the new development of the 102 MP high-speed sensor and an exceptionally high readout speed along with a newly developed shutter drive, it achieves a continuous shooting performance of 7.0 frames per second.
  • GFX100S II is equipped with a high-magnification, high-resolution electronic viewfinder (EVF) with a magnification of 0.84x and 5.76 million dots that is designed to suppress image distortion and flow caused by shifts in the position of the eye.

4K/30P video recording capability

  • With the new sensor in GFX100S II, the standard ISO100 is available in video mode to deliver even higher image quality in video footage than on previous GFX System models.
  • GFX100S II is equipped with a tracking AF function during video recording. When using AF-C + Wide/Tracking AF, the user can easily track the intended subject, even in situations where multiple subjects are present.
  • The camera offers 4K video recording at 30 frames per second and is capable of recording in 4K/30P 4:2:2 10-bit on a compatible SD Memory Card (sold separately). GFX100S II is offers compatible recording using Apple ProResTM by connecting an external SSD via a USB Type C cable.6
  • GFX100S II is equipped with “F-Log2,” which offers a wide dynamic range of 13+ stops for recording, allowing for increased optimal flexibility in post-production, and it has the capability to record and output different video formats using different recording media and HDMI output. For example, users can record using “F-log2” onto any compatible recording media, while also simultaneously monitoring video via HDMI with any Film Simulation mode applied. This makes it easy to apply creative looks on set, but still retain flexibility for almost any post-production color workflow.
  • GFX100S II offers an accessory-free, native Camera to Cloud integration for Adobe’s Frame.io, which allows users to wirelessly connect any GFX100S III to an active internet connection, authenticate it to Frame.io, and automatically upload photos and videos just moments after they are created. This can drastically reduce the amount of time needed to reach the end of any post- production workflow. GFX100S II is the latest GFX System camera to integrate Frame.io’s Camera to Cloud technology, joining GFX100 II in offering the capability.

Optional accessories

Hand grip (MHG-GFX S)

This metal hand grip is designed to enhance grip and stability when image making with larger telephoto lenses and offers optimal convenience when using a tripod.

Pricing and Availability

FUJIFILM GFX100S II is expected to be available in June 2024 at a Manufacturer’s Suggested Retail Price of $4,995.95 USD ($6,749.99 CAD). The MHG-GFX S hand grip is available at a Manufacturer’s Suggested Retail Price of $149.99 USD ($195 CAD).

For more information, please visit https://fujifilm-x.com/en-us/products/cameras/gfx100s-ii/.

Additional News:

Membership in C2PA7 and CAI8 and efforts to develop a system to provide context and history for digital media In recent years, it has become an important global objective to work to rebuild trust online by proving the authenticity of photographs, videos and other online content. To further this effort and enable creative and business activities to continue to flourish, Fujifilm has joined two organizations, the Coalition for Content Provenance and Authenticity (C2PA) and the Content Authenticity Initiative (CAI). Fujifilm is collaborating with these organizations in their efforts to ensure that the originator of digital content can be verified online through Content Credentials.9 Through its association with C2PA and CAI, Fujifilm will assist efforts to develop a system to provide context and history of digital content by providing valuable information, such as the origin and record of content, to the digital file. Fujifilm is committed to ultimately applying this verification solution to its GFX and X series line-up10.

1 The new sensor has a diagonal length of 55mm (43.8mm in width x 32.9mm in height) which has approximately 1.7 times the area of a 35mm format sensor.
2 Including the battery and the user’s memory card.
3 When using the mechanical shutter
4 At CIPA standard compliant in pitch/yaw directions, with the FUJINON GF63mmF2.8 R WR lens mounted.
5 The ”Bird” Subject Detection setting is used to detect insects and the “Airplane” setting is used to detect drones.
6 Certain recording modes of the GFX100S II may not be fully compatible with certain types of SSDs. Consult https://fujifilm- x.com/en-us/support/compatibility/cameras/list-of-supported-memory-cards/ for a list of confirmed compatible SSDs.
7 An open, technical standards body addressing the prevalence of misleading information online through the development of technical standards for certifying the source and history (or provenance) of digital content. C2PA is a Joint Development Foundation project that publishes Content Credentials, the digital content verification system and standard.
8 A global community of media and tech companies, NGOs, academics, and others working to promote adoption of an open industry standard for content authenticity and provenance – called Content Credentials.
9 Content Credentials is essentially an “ingredient statement” for digital content that is designed to attach secure tamper-evident metadata to digital content, which can include important information such as the creator’s name, the date an image was created, what tools were used to create an image and any edits that were made along the way.
10 Scheduled to be deployed as needed through firmware updates. (Deployment schedule to be determined).

Fujifilm GFX 100S II specifications

Price
MSRP $4999
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 11648 x 8736
Image ratio w:h 1:1, 5:4, 4:3, 3:2, 16:9
Effective pixels 102 megapixels
Sensor size Medium format (44 x 33 mm)
Sensor type BSI-CMOS
Processor X-Processor 5
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800 (expands to 50-102400)
Boosted ISO (minimum) 40
Boosted ISO (maximum) 102400
White balance presets 7
Custom white balance Yes (3 slots)
Image stabilization Sensor-shift
CIPA image stabilization rating 8 stop(s)
Uncompressed format RAW + TIFF
JPEG quality levels Super fine, fine, normal
File format

  • JPEG (Exif v2.3)
  • HEIF (4:2:2 10-bit)
  • Raw (14/16-bit RAF)
  • TIFF (8/16-bit)
Optics & Focus
Autofocus

  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 425
Lens mount Fujifilm G
Focal length multiplier 0.79×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3.2
Screen dots 2,360,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.84× (1.06× 35mm equiv.)
Viewfinder resolution 5,760,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes

  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe or flash sync port)
Flash X sync speed 1/250 sec
Continuous drive 7.0 fps
Self-timer Yes
Metering modes

  • Multi
  • Center-weighted
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±5 (2, 3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264, H.265
Microphone Stereo
Speaker Mono
Storage
Storage types 2x SD UHS-II
Connectivity
USB
USB 3.2 Gen 2 (10 GBit/sec)
USB charging Yes
HDMI Yes (Micro (Type D))
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11 b/g/n + Bluetooth
Remote control Yes
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description NP-W235 lithium-ion battery & charger
Battery Life (CIPA) 530
Weight (inc. batteries) 883 g (1.95 lb / 31.15 oz)
Dimensions 150 x 104 x 87 mm (5.91 x 4.09 x 3.43)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None



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Pentax K-1 and K-1 II firmware updates include astrophotography features (depending on where you live)

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Pentax K-1 and K-1 II firmware updates include astrophotography features (depending on where you live)


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Yesterday, Ricoh quietly released firmware 2.50 for its Pentax K-1 and K-1 II DSLRs. However, the features you can expect to gain from this update may depend on your geography.

Ricoh’s English-language firmware pages for the K-1 and K-1 II state that firmware 2.50 delivers “Improved stability for general performance.”

However, astute Pentax users noted that Ricoh’s Japanese-language firmware pages (translation) indicate that the update also includes a limited feature called “Astronomical Photo Assist,” a collection of three new features designed for astrophotography: Star AF, remote control focus fine adjustment, and astronomical image processing.

Star AF is intended to automate focusing on stars when using autofocus lenses. Rather than manually focusing on a bright star and changing your composition, it promises to let you compose your shot and let the camera focus.

Remote control fine adjustment allows users to adjust focus without touching the lens and requires Pentax’s optional O-RC1 remote. Astronomical image processing will enable users to make in-camera adjustments to astrophotography images, including shading correction, fogging correction, background darkness, star brightness, celestial clarity, and fringe correction.

Astronomical image processing on the K-1 and K-1 II will enable users to make in-camera adjustments to astrophotography images, including shading correction, fogging correction, background darkness, star brightness, celestial clarity, and fringe correction.

According to Ricoh, Astronomical Photo Assist is a premium feature that must be purchased and costs ¥11,000 for an activation key (about $70 at current exchange rates).

Although these astrophotography features appear to be Japan-only for now, a Ricoh representative tells us, “Ricoh Imaging Americas confirmed that the premium firmware features for the PENTAX K-1 and PENTAX K-1 Mark II will eventually be available to US customers.”

Firmware update 2.50 for both the K-1 and K-1 II is available for download from Ricoh’s website.



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On this day 2017: Nikon launches D850

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On this day 2017: Nikon launches D850


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As part of our twenty fifth anniversary, we’re looking back at some of the most significant cameras launched and reviewed during that period. Today’s pick was launched seven years ago today* and yet we’re only quite recently stepping out of its shadow.

The Nikon D850 is likely to be remembered as the high watermark of DSLR technology. We may yet still see impressive developments from Ricoh in the future (we’d love to see a significantly upgraded Pentax K-1 III), but the D850 was perhaps the green flash as the sun set on the DSLR as the dominant technology in the market.

Click here to read our Nikon D850 review

Why do we think it was such a big deal? Because it got just about everything right. Its 45MP sensor brought dual conversion gain to high pixel count sensors, meaning excellent dynamic range at base ISO and lower noise at high ISOs. Its autofocus system was one of the best we’ve ever seen on a DSLR: easy to use and highly dependable, with a good level of coverage. And then there was a body and user interface honed by years of iterative refinement, that made it easy to get the most out of the camera.

None of this is meant as a slight towards the other late-period DSLRs but the likes of Canon’s EOS 5DS and 5DSR didn’t present quite such a complete package of AF tracking, daylight DR and low-light quality as the Nikon did. With its ability to shoot at up to 9fps (if you used the optional battery grip), the D850 started to chip away at the idea that high megapixel cameras were specialized landscape and studio tools that would struggle with movement or less-than-perfect lighting. And that’s without even considering its 4K video capabilities.

In the seven years since the D850 was launched, mirrorless cameras have eclipsed most areas in which DSLRs once held the advantage. For example, the Z8 can shoot faster, autofocus more with more accuracy and precision, across a wider area of the frame and do so while shooting at much faster rates.

But, even though it outshines the D850 in most regards, the Z8 is still based around what we believe is a (significant) evolution of the same sensor, and its reputation still looms large enough for Nikon to explicitly market the Z8 as its “true successor.”

Nikon D850 sample gallery

Sample gallery
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*Actually seven years ago yesterday: we had to delay this article for a day to focus on the publishing the Z6III studio scene: the latest cameras taking precedence over our anniversary content.



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Nikon Z6III added to studio scene, making image quality clear

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Nikon Z6III added to studio scene, making image quality clear


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Photo: Richard Butler

We’ve just received a production Nikon Z6III and took it into our studio immediately to get a sense for how the sensor really performs.

Dynamic range tests have already been conducted, but these only give a limited insight into the image quality as a whole. As expected, our Exposure Latitude test – which mimics the effect of reducing exposure to capture a bright sunrise or sunset, then making use of the deep shadows – shows a difference if you use the very deepest shadows, just as the numerical DR tests imply.

Likewise, our ISO Invariance test shows there’s more of a benefit to be had from applying more amplification by raising the ISO setting to overcome the read noise, than there was in the Z6 II. This means there’s a bigger improvement when you move up to the higher gain step of the dual conversion gain sensor but, as with the Z6 II, little more to be gained beyond that.

These are pushing at the extreme of the sensor’s performance though. For most everyday photography, you don’t use the deepest shadows of the Raw files, so differences in read noise between sensors don’t play much of a role. In most of the tones of an image, sensor size plays a huge role, along with any (pretty rare) differences in light capturing efficiency.

Image Comparison
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As expected, the standard exposures look identical to those of the Z6 II. There are similar (or better) levels of detail at low ISO, in both JPEG and Raw. At higher ISO, the Z6III still looks essentially the same as the Z6II. Its fractionally higher level of read noise finally comes back to have an impact at very, very high ISO settings.

Overall, then, there is a read noise price to be paid for the camera’s faster sensor, in a way that slightly blunts the ultimate flexibility of the Raw files at low ISO and that results in fractionally more noise at ultra-high ISOs. But we suspect most people will more than happily pay this small price in return for a big boost in performance.



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