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It’s only been a few years since Fujifilm set out on its mission to push its own vision of exactly what a medium-format camera should be. After decades of medium-format being synonymous with boxy, heavy cameras for high-end professional users, the Fujifilm GFX 50S and GFX 50R brought medium-format (almost) to the masses. Both had bodies of a size that rivalled DSLRs and even some mirrorless cameras, at a price that significantly undercut the competition.
Fujifilm is certainly not alone in revolutionising medium-format cameras. Industry stalwart Hasselblad was the first to create a more compact medium-format system with the Hasselblad X1D 50C, although Hasselblad’s system didn’t come close to touching the relative affordability of Fujifilm’s cameras.
2019’s GFX 100 changed the body of the GFX series to include a vertical grip, which was somewhat against the philosophy of making mirrorless medium-format cameras more compact, but it was an answer to the question of how far Fujifilm could push the specs of a medium-format camera with its introduction of in-body image stabilisation.
The new Fujifilm GFX 100 II returns to the design ethos of the original GFX camera, but pushes medium format even further. Is it enough to finally convert full-frame photographers to
