Fujifilm GFX 50S II

Medium format AF digital mirrorless camera

Production details

Production details
Announced:September 2021
Production type:Mass production
System: Fujifilm G (2017)

Specification

Imaging plane
Maximum format:Medium format 44x33
Mount and Flange focal distance:Fujifilm G [26.7mm]
Imaging plane:43.8 × 32.9mm CMOS sensor
Resolution:8256 × 6192 - 51 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:3600 - 1/4000 + B
Sensor-shift image stabilization:Yes
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:819g
Dimensions:150x104.2x87.2mm

Manufacturer description

Valhalla, N.Y. – September 2, 2021 – FUJIFILM North America Corporation is pleased to announce the introduction of “FUJIFILM GFX50S II” (GFX50S II), the latest addition to the GFX System of mirrorless digital cameras equipped with a large format*1 sensor.

GFX50S II is equipped with a 51.4MP large format sensor with incredible image- resolving power, capturing every detail in sharpness across the frame. Light is recorded to the pixel which is 1.7 times that of a full-frame sensor*2 to achieve a wide dynamic range and a high signal-to-noise ratio. The resulting image reproduces deep tonality and texture from shadows to highlights, and delivers image clarity with minimal noise even when taken in low light. One of the strengths of the large format sensor is its ability to produce a very shallow depth of field, which, when complemented by the edge-to-edge sharpness of Fujifilm’s GF lenses, accentuate the main subject against a blurred background for added three-dimensional definition.

“GFX50S II offers the perfect mix of accessibility and flexibility,” said Victor Ha, senior director of marketing and product development for FUJIFILM North America Corporation, Electronic Imaging Division. “With professional features that include 19 Film Simulation modes, advanced autofocusing, and a vast range of exposure controls, GFX50S II provides limitless opportunities for creativity.”

Product features:

Superior image quality delivered with the use of a unique 51.4MP large format sensor

  • GFX50S II uses a specialized design with uniquely small, light-collecting micro lenses on the sensor which create a wide gap between adjacent pixels, thereby maximizing light resolution per pixel for exceptional image sharpness.
  • Having a large, light-receiving area per pixel results in excellent ISO sensitivity, dynamic range and tonality, controlling highlight / shadow clipping while conveying the subject’s texture, definitions and even the atmosphere of the scene in precise detail.
  • The ability of the large format sensor to produce a very shallow depth-of-field renders background out of focus beautifully, adding definition to the subject and drawing attention to the particular area on the image that the photographer intended.

Variety of Film Simulations

  • GFX50S II comes with 19 Film Simulation modes, including “Nostalgic Neg.,” originally launched in Fujifilm’s GFX100S, and characterized by high saturation and soft tonality. Photographers can use Film Simulation presets, designed for various subject types and scenes, while checking how they affect the final image in Live View.

Compact 5-axis In-Body Stabilization delivering up to 6.5-stops of Vibration Reduction

  • GFX 50S II features a five-axis image stabilization mechanism that provides up to 6.5 stops*3, the highest in the GFX System. Made possible with the use of aII features a five-axis image stabilization mechanism that provides up high-performance gyro sensor and accelerometer that can detect motions at high accuracy, the gyro sensor has been structured for detection accuracy and precise image stabilization.
  • This camera presents new opportunities in the way conventional medium- format digital cameras are used. Rather than being mounted on a tripod for slow and careful shooting, GFX50S II can produce superior image quality even when shooting hand-held, thanks to its image stabilization capabilities.

Fast and high-precision autofocus (AF) from the high-speed processing engine and latest algorithm

  • GFX50S II’s fast and high-precision AF system is assisted by the powerful large format high resolution sensor, Fujifilm’s high-speed image processing engine “X-Processor 4”, and an image stabilization mechanism, operated with Fujifilm’s latest algorithm. During the contrast detection process for AF, the built-in powerful image stabilization mechanism controls sensor motion blur to provide speed and accuracy to the AF performance.
  • GFX50S II features more accurate AF in Face / Eye Detection compared to a previous model (GFX50S). The ability to quickly attain focus despite using the large format sensor with a shallow depth of field assists users greatly when shooting portraits with movement.

Innovative compact and lightweight body for advanced mobility

  • The use of the compact and powerful in-body image stabilization (IBIS) mechanism and shutter unit has been combined with optimized layout of various devices to achieve a logic-defying compact body for a large format camera, weighing approximately 37.1 ounces (900g) and measuring 4.1 inches (104.2mm) high and 3.4 inches (87.2mm) deep.
  • The grip has been shaped so that the camera sits comfortably in the hand, ensuring comfort by significantly reducing the hand strain commonly experienced when using a large zoom lens.
  • The casing is made of highly rigid magnesium alloy. Provided thickness around the base of the lens mount has made the camera body highly durable. GFX50S II features more accurate AF in Face / Eye Detection compared to a previous model (GFX50S). The ability to quickly attain focus despite using the large format sensor with a shallow depth of field assists users greatly when shooting portraits with movement. II is also weather-resistant at 60 locations, offering dust and moisture-resistance and the ability to operate in temperatures as low as 14 a weather-resistant FUJIFILM XF or GF lens.

Easy operability for a smooth shooting experience

  • The top panel features the Mode dial, typically seen in many digital cameras, so that users can handle the camera in a familiar fashion. It offers six customizable positions, C1 – C6, allowing users to register their choice of functions to each of the positions and activate them quickly for a smooth photo shoot, with the ability to instantly switch between the still and video modes for added convenience.
  • The use of a flat-shaped Focus Lever reduces physical discomfort even after extended use. It responds with enhanced sensitivity when moving the focus point, allowing users to attain focus at the intended location quickly.
  • For exceptional visibility, the customizable 1.8-inch sub LCD monitor is found on the top panel, displaying key EXIF settings such as shutter speed, aperture, ISO sensitivity and exposure. Additional information displayed includes the number of frames remaining when shooting stills and the remaining filming duration when recording video. On the rear panel is a 3.2-inch main LCD monitor with 100% coverage. It can tilt in three directions to enable high- and low-angle shooting, in situations in which the electronic viewfinder (EVF) cannot be easily used.

“Pixel Shift Multi-Shot” function to capture and generate 200MP images free of false color

  • GFX50S II features the Pixel Shift Multi-Shot function, capable of creating 200MP images almost entirely free of false color presentation. The ability to reproduce a photo’s colors, texture and even its atmosphere in the finest of details makes the camera a perfect choice for archiving. Large artworks and historical artifacts, previously difficult to photograph in detail because of their size, can be captured in precise details in edge-to-edge clarity.
  • This function uses the camera’s IBIS to shift the image sensor by 0.5 pixel to incrementally record 16 RAW images and combine them into a single Digital Negative (DNG) RAW file in the software “Pixel Shift Combiner,” producing an ultra-high-definition 200MP image. The high pixel count leads to an astonishing level of tonality and three-dimensional definitions for edge-to-edge clarity.
  • The image sensor is shifted in high precision to ensure that each pixel records image data in red, green and blue, almost completely eliminating false color and recording the subject in accurate color.
  • The function can be configured to produce 51.4MP images, which are easier to handle, free of false color.
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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.