Fujifilm GFX100 II vs GFX50S II vs GFX50R: Ultimate Medium Format Showdown in 2025

Introduction: Fujifilm’s GFX series has opened the door to medium format digital photography for a broader range of photographers. Medium format sensors (approximately 44×33mm) are about 70% larger in area than full-frame sensors, offering the potential for greater detail, dynamic range, and that distinctive “large format look”. In this report, we compare three currently available GFX models – the 102 MP Fujifilm GFX100 II, the 51.4 MP Fujifilm GFX50S II, and the 51.4 MP Fujifilm GFX50R – in an ultimate medium format showdown. We’ll dive into detailed specifications, key features, strengths and weaknesses, pricing and market positioning, expert opinions, and real-world performance. We’ll also discuss firmware support, lens ecosystems, and what each camera is best suited for. Finally, we’ll look at rumors and announcements for upcoming GFX models heading into 2025 and beyond.

Whether you’re a landscape aficionado seeking maximum resolution, a portrait shooter chasing that medium format depth, or an enthusiast eyeing an entry-point into larger-than-full-frame photography, read on for an in-depth comparison of Fujifilm’s GFX lineup in 2025.

Technical Specifications and Key Features

Let’s start with a side-by-side look at core specifications and features of the GFX100 II, GFX50S II, and GFX50R:

• Sensor and Resolution: The GFX100 II uses a 102 MP 43.8×32.9 mm BSI CMOS II HS sensor, whereas the GFX50S II and GFX50R use a 51.4 MP 43.8×32.9 mm CMOS sensor (both share essentially the same older sensor design). All three sensors use a traditional Bayer filter array (no X-Trans here). The newer 102 MP sensor in the GFX100 II is backside-illuminated and has twice the readout speed of the older 50 MP chip, enabling advanced features. It also offers a native base ISO 80 (vs ISO 100 base on the 50 MP cameras) for extra dynamic range. In practical terms, all three deliver stellar image quality with huge resolving power – the 50 MP models already produce images that rival or exceed full-frame cameras, and the 102 MP GFX100 II raises the bar even higher.
• Processor and Performance: The GFX100 II is powered by Fujifilm’s latest X-Processor 5, while the GFX50S II uses the previous-generation X-Processor 4 and the 2018-era GFX50R runs on the older X-Processor Pro. The GFX100 II’s newer processor (combined with that faster sensor) unlocks big speed improvements: e.g. 8 fps continuous burst shooting (with mechanical shutter), versus roughly 3 fps on the GFX50S II and GFX50R. It also enables advanced AI-based subject detection AF (inherited from Fuji’s X-H series) and robust video capabilities (more on those below). Despite the GFX50S II’s older sensor and processor, Fujifilm did tweak its algorithms so it can shoot ~3 fps and has somewhat improved autofocus over the first-generation GFX50 models. In general, expect snappier operation and shorter lag on the GFX100 II, while the 50S II and 50R feel more sluggish (startup times, shot-to-shot time, menu responsiveness) due to their older internals.
• In-Body Stabilization (IBIS): One of the key innovations Fujifilm brought to medium format is IBIS. The GFX100 II features a sophisticated 5-axis IBIS rated up to 8 stops of shake reduction – an impressive feat on such a large sensor (reviewers called it “a true achievement” for Fujifilm). The GFX50S II also has 5-axis IBIS, rated to 6.5 stops improvement – at launch it was the highest stabilization ever in a medium format body. In real-world use, this is game-changing: one travel photographer spent three weeks handholding the 50S II without a tripod and “didn’t have to worry about camera shake” in any shots. By contrast, the GFX50R has no IBIS (it relies on optical stabilization in certain lenses or good old tripods). The lack of IBIS in the 50R means handheld shooters need to use faster shutter speeds or support, especially in low light – a clear disadvantage for the older model.
• Autofocus Systems: The GFX100 II inherits a PDAF (phase-detect) system across most of the frame, with Fujifilm’s latest AF algorithms and AI subject recognition. It can detect and track humans (face/eye), animals, birds, cars, motorcycles, bicycles, airplanes, trains – essentially the same suite of subjects as the pro APS-C X-H2S. In continuous AF-C mode, the GFX100 II is vastly more capable at tracking moving subjects than its predecessors. It’s easily the best autofocusing medium format camera available, with significantly improved speed and accuracy – “a no-regrets purchase” if you need the best AF in this class. Reviewers found the GFX100 II’s AF “excellent for most situations” and particularly improved for portraits, rarely losing track of a face or eye. By contrast, the GFX50S II and 50R use contrast-detect AF only (no on-sensor phase detect), which makes them notably slower to focus. Fujifilm did optimize the 50S II’s AF algorithm, but “without the distance-aware phase-detection AF of the 100MP models, it’s still pretty slow”. In single-shot AF for static subjects, all three can focus accurately (and face detection works on all), but for any kind of moving subject the older 50 MP bodies struggle. DPReview flatly noted that the GFX50S II’s autofocus is “significantly off-the-pace” compared to modern full-frame cameras. Its face/eye detect only works in single AF mode and is prone to losing the subject or even finding false faces, making it hard to depend on. In short: GFX100 II = fast and intelligent AF, while GFX50S II/R = slow AF, best suited for deliberate shooting or static scenes. (All models have AF-S, AF-C, and manual focus modes, with focus peaking and other assists for manual focus as needed.)
• Video Capabilities: In a surprising turn, Fujifilm has pushed the GFX100 II into serious video territory – so much that one review dubbed it a “medium format movie maker”. The GFX100 II can shoot up to 8K/30p video (with a modest 1.5× crop) or 4K/60p using the full sensor width. It supports various codecs (H.264, H.265, ProRes) and even offers ProRes RAW/Blackmagic RAW output via HDMI. Fujifilm also added helpful video features like waveform and vectorscope displays, anamorphic lens support, 4-channel audio, and more. Essentially, the GFX100 II is the most video-centric medium format camera ever, capable of producing gorgeous shallow depth-of-field footage (though with some rolling shutter trade-offs in 8K). By comparison, the GFX50S II is limited to 1080p video (Full HD up to 30p). It has a mic and headphone jack and a dedicated movie mode, so you can shoot decent 1080/30 footage, but “its video performance isn’t anything special” dpreview.com – Fujifilm intentionally capped it due to the older sensor’s readout speed. The GFX50R, being an even earlier model, also tops out at 1080p/30 video with no frills (and no IBIS to smooth footage). In short, if video matters at all, the GFX100 II is in a different league; the 50S II and 50R are effectively stills-only cameras by today’s standards.
• Electronic Viewfinder (EVF): The cameras differ in their viewfinders and viewing experience. The GFX100 II carries an outstanding 9.44-million-dot OLED EVF (0.5-inch panel) with 1.0× magnification – among the highest-resolution EVFs on any camera. Uniquely, this EVF is detachable (as on the original GFX100), meaning you can remove it for a slimmer form or use an optional tilt adapter. The GFX50S II, on the other hand, has a fixed 3.69M-dot OLED EVF (0.77× magnification) – perfectly adequate, but less detailed. The older GFX50R also has a 3.69M-dot, 0.77× EVF built into its corner in rangefinder style. Users report the GFX50R’s finder is decent but can feel a bit dim or tunnel-like compared to the larger, eye-filling EVF on the GFX100 II. All three offer 100% coverage and diopter adjustments; the GFX100 II’s finder additionally can refresh at 120 Hz with slightly reduced magnification (0.77×) for smoother tracking of action.
• Rear LCD and Top Displays: Each camera has a rear 3.2-inch LCD for composing and menus, but with different designs. The GFX100 II and GFX50S II both use Fujifilm’s 3-way tilting touchscreen (tilts up and down, plus a sideways tilt for vertical shooting) – handy for low-angle, high-angle, and portrait-orientation shots. The GFX50R’s 3.2-inch rear screen is a dual-axis tilt design (it tilts up and down, and slightly to one side for vertical orientation) – not quite as flexible, but still useful for odd angles. All three rear panels are 2.36M-dot resolution and support touch for focus and image review. As for the top deck: the GFX50S II and GFX100 II feature an informative top LCD panel that displays key settings (exposure, shots remaining, etc.), while the GFX50R, being more old-school, has no top LCD but instead offers dedicated analog dials (for shutter speed and exposure comp) on its top plate. This reflects their design philosophies: the 50R is reminiscent of a film camera experience, whereas the 50S II/100 II go for a modern DSLR-style interface (with PSAM mode dial on the 50S II and a sub-screen readout).
• Build Quality and Design: All three cameras are robustly built with magnesium alloy frames and extensive weather sealing. The GFX50R has 64 points of weather sealing and is rated to operate down to -10 °C (14 °F). The GFX50S II is similarly sealed at 60 locations and also freeze-proof to -10 °C. The GFX100 II is a flagship and fully weather-resistant as well (exact seal count not stated, but it’s made to pro standards). In terms of size/weight, the GFX50R is the most compact: it weighs about 775 g (1.7 lb) with battery, and its rangefinder-style body is notably slim at 66 mm (2.6″) thick – about 27% thinner than the 50S. It was designed as a more portable medium format, and indeed one street photographer said “you barely feel it on your neck” when walking around. The GFX50S II is a bit larger in a DSLR-style shape with a pronounced handgrip; it’s about 900 g (1.98 lb) body-only and roughly 150 × 104 × 87 mm in dimensions. Users report the grip and ergonomics on the 50S II are excellent – Fujifilm even reshaped the grip to reduce hand strain, and the body has a textured covering (the same Bishamon-Tex pattern used on X-H2/S) for secure hold. The GFX100 II, despite its high specs, manages to stay relatively compact: it weighs about 1030 g (2.27 lb) with battery, thanks to a single-grip design (unlike the original GFX100 which had a built-in vertical grip). One reviewer described the GFX100 II as “super sexy… modern look” yet comfortable, and at ~36 oz it “feels lightweight and compact enough to take anywhere” for a medium format camera. The GFX100 II’s chassis also features that Bishamon rubber armor for grip, and it retains a removable viewfinder (a nod to the original GFX100). All models feel solid and durable in hand, suitable for professional use in tough conditions.
• Memory Cards and Connectivity: The GFX100 II employs a dual-card system: it has one CFexpress Type B slot and one UHS-II SD slot. The CFexpress support allows writing the huge 102 MP files and 8K video at high speed (and is required for some video formats), while the SD slot provides compatibility and an overflow/backup option. The GFX50S II and GFX50R come with dual UHS-II SD card slots for redundancy or overflow – plenty fast for stills, though not as future-proof for video. In terms of connectivity, all three cameras include USB-C ports (for data transfer, charging, and tethered shooting to a computer) and a micro-HDMI output. The GFX100 II notably upgrades to a full-size HDMI port for sturdier connections to external monitors/recorders. The GFX100 II and 50S II both feature 3.5mm microphone and headphone jacks built in (useful on the 100 II for video, and on the 50S II mainly for those who might shoot some video interviews in 1080p). The older 50R has a mic input but no dedicated headphone jack (you’d need a USB-C audio adapter for monitoring, if at all). All models have a hot shoe for flashes and can use Fujifilm’s TTL flash system. Wireless: The GFX50R was the first in the series to add Bluetooth (for seamless pairing and low-power image transfer) in addition to Wi-Fi. The GFX50S II and GFX100 II also have both Wi-Fi and Bluetooth connectivity, enabling wireless image transfer to the Fujifilm Camera Remote app and even tethered shooting via wireless. The GFX100 II and 100S II go a step further with native Camera-to-Cloud support (Frame.io integration) – you can have images or video proxies automatically upload to cloud storage right after shooting. The GFX100 II can also record directly to an external SSD via USB-C for heavy video workflows. In short, for studio and production environments, the GFX100 II offers the most advanced connectivity options (including Ethernet via optional adapter or grip, and IPTC metadata support for newsroom use). The 50S II and 50R cover the basics of tethering and wireless, but aren’t as geared toward high-end connectivity out of the box.
• Unique Features: Fujifilm is known for film simulations and color science, and all GFX models include the company’s excellent Film Simulation modes for JPEGs (Provia, Velvia, Astia, Classic Chrome, Acros B&W, etc). The GFX100 II introduces “Reala ACE”, a new film sim designed for lifelike color (a modern take on the classic Fujifilm Reala film). All three cameras produce gorgeous straight-out-of-camera colors; in fact, one reviewer said Fujifilm’s JPEG color and dynamic range are among the “best out-of-camera results of any medium format camera” – great for quick proofs or for those who prefer minimal editing. Another special feature enabled by the high resolution and IBIS is multi-shot High-Resolution mode: The GFX100 II can do a 16-shot Pixel Shift Multi-Shot that produces a 400 MP image, as well as a new 4-shot mode that “cancels” the Bayer filter to get full color information at each pixel (yielding a 102 MP image with no demosaicing and improved tonal quality). The GFX50S II also has a Pixel Shift Multi-Shot mode (since it has IBIS) – it can combine 16 images into a ~205 MP photo with virtually no false color, which is fantastic for archival work or giant prints petapixel.com. (This requires using Fujifilm’s Pixel Shift Combiner software.) The GFX50R, lacking IBIS, does not support pixel-shift high-res mode. All cameras support 16-bit RAW capture for maximum color depth (though in practice the 50 MP models output 14-bit RAW files). The GFX100 II delivers 16-bit RAW in single-shot mode and 14-bit in continuous burst – but even in 14-bit, the files out of this sensor are among the best you will find right now in terms of dynamic range and flexibility. Dynamic range on all three is excellent: at base ISO, you can underexpose to save highlights and later boost shadows by 5–6 stops with minimal noise penalty. Photographers moving from full-frame often remark that the GFX files have an incredible ability to retain highlight and shadow detail, and a certain “medium format look” in tones and transitions. Each camera also offers interval timers, exposure bracketing, multiple exposure mode, and other creative features common to Fujifilm bodies.

In summary, spec-wise the Fujifilm GFX100 II is a tour-de-force: huge resolution, fast shooting, advanced AF, class-leading EVF, 8-stop stabilization, and robust video – a true modern hybrid medium format camera. The GFX50S II modernized the original 50 MP formula by adding IBIS and refining the body, making medium format more accessible and hand-holdable than ever (albeit with slower performance). The GFX50R provides the same image quality as the 50S II in a uniquely compact, rangefinder-style package, but with more limited speed and features. Next, let’s evaluate how these differences translate into real-world strengths and weaknesses for each model.

Strengths and Weaknesses of Each Camera

To boil it down, here are the key strengths and weaknesses of the GFX100 II, GFX50S II, and GFX50R:

Fujifilm GFX100 II – Strengths:

• Unmatched Resolution & Image Quality: 102 MP BSI sensor produces incredible detail and dynamic range (16-bit RAW), delivering image quality “as good as it gets right now” in medium format. Great base ISO performance (ISO 80) and wide DR for landscapes, fine art, or huge prints.
• Advanced Autofocus & Speed: Phase-detect AF with AI subject tracking makes it the fastest-focusing medium format camera to date. Continuous bursts up to 8 fps mean it can handle some action; far more responsive than older GFX models.
• 8-Stop IBIS Stabilization: In-body image stabilization provides up to 8 EV of shake reduction – hugely beneficial for handheld shooting in low light or with high-res sensor. Combined with improved AF, it enables using the GFX100 II beyond tripod work (street, event, etc.).
• Robust Video Capabilities: 8K/30p and 4K/60p video with ProRes RAW support, anamorphic modes, and professional video tools (waveforms, etc.) make it a true hybrid camera. It’s the first medium format truly suitable for high-end video/cinema work.
• High-End EVF and Build: 9.44M-dot removable EVF (best-in-class clarity) and pro-build quality (weather-sealed, durable). Despite the tech, the camera is relatively compact and well-balanced; the grip and ergonomics are praised as excellent. Dual card slots (CFexpress + SD) support fast workflows.
• Extensive Feature Set: Extras like Pixel-Shift 400MP mode, new film simulations (Reala ACE), direct-to-SSD recording, and camera-to-cloud connectivity show Fujifilm packed in everything a modern creator might need. It’s regarded as “the ultimate medium format camera on the market” by reviewers petapixel.com.

Fujifilm GFX100 II – Weaknesses:

• High Cost of Entry: At ~$7,499 body-only, it’s a significant investment (though still cheaper than its 100 MP rival Hasselblad X2D at $8,200). The price plus the need for CFexpress cards and big storage (102 MP RAW files are huge) means a high system cost.
• Limited Lens Focusing Speed: Although the AF system is excellent, GF lenses (being large) focus slower than smaller-format lenses. This means that for fast-moving subjects, it’s not on par with pro sports cameras – the glass can be the bottleneck. Reviewers note that tracking is very good, but the lens focusing speed ultimately limits performance for, say, wildlife action.
• Video Rolling Shutter/Crop: The 8K video mode uses a 1.5× sensor crop and still exhibits noticeable rolling shutter due to the big sensor readout. In other words, while video quality is great, it’s not ideal for fast whip-pans or frenetic action (the X-H2S APS-C still outperforms it in rolling shutter and 120p capability). Also, 8K/30 and 4K/60 will heat up the camera in long takes (though Fuji provides an optional fan).
• Weight and Size (relative to smaller formats): While compact for a medium format, the GFX100 II with a lens is still a hefty setup – around 1.5–2 kg with a mid-range lens. It’s not as discreet or nimble as a full-frame mirrorless; some users may find carrying it (and large GF lenses) all day to be tiring.
• Battery Life: Improved to ~540 shots CIPA petapixel.com, but still only moderate. Medium format and IBIS drain batteries – a long day shoot will require spares. (No vertical grip option for more batteries, unlike some full-frame flagships, though USB-C PD can be used for power.)
• Other Quirks: The camera lacks a built-in flash (none of the GFX do) and, as with all Fuji GFX, the native ISO tops out at 12,800 (expandable but image quality will drop). These aren’t major issues, but worth noting for those coming from ultra-high ISO full-frames.

Fujifilm GFX50S II – Strengths:

• Affordable Medium Format Entry: With a current price around $3,300 (body), the GFX50S II is the most affordable new digital medium format camera on the market. It offers huge value – 51.4 MP of large-sensor goodness for roughly the cost of a high-end full-frame body. Fujifilm specifically positioned it to be a “perfect mix of accessibility and professional features” at a mid-$3k price point.
• Excellent Still Image Quality: The tried-and-true 50 MP sensor may be older, but it produces gorgeous images with 14+ stops of dynamic range and that medium format look. At base ISO, it “will deliver the best results this side of Fujifilm’s 100MP models”. Colors are beautiful (19 Film Simulations available), and the camera outputs very clean images up to moderate ISOs. For landscape, studio, portrait and fine art photography, the 50S II’s image quality is superb, essentially matching the GFX50R and original GFX50S.
• IBIS and Handheld Shooting: The inclusion of 5-axis IBIS (6.5 stops) is a game-changer compared to the first-gen 50S/50R. You can shoot handheld at slower shutter speeds and in available light with confidence. This greatly expands use cases – the 50S II isn’t confined to a tripod, making medium format more flexible for field work (travel, walk-around, etc.).
• Compact, Refined Body: The 50S II inherited the smaller form factor of the GFX100S – it’s much more compact than the original GFX50S. Weighing ~900 g, it’s lighter and smaller than it looks (only about the size of a full-frame DSLR). The ergonomics are well thought out, with a comfortable deep grip and a top-mounted info display. It’s fully weather-sealed (dust/moisture) and solidly built for professional use. In short, it’s a medium format camera you can carry on a hike or wedding shoot without feeling overburdened.
• User-Friendly Features: The camera offers conveniences like a 3-way tilting touchscreen, updated menus, and improved autofocus algorithm over the older generation. While not fast, AF is reliable for static subjects. It also has a Pixel Shift Multi-Shot mode for 200 MP images when ultimate resolution or artifact-free color is needed petapixel.com. Fujifilm’s interface (Q menu, customizable buttons, etc.) makes accessing settings easy. For those on a budget, Fuji even sold it in a kit with the compact 35-70mm lens at a favorable bundle price, making medium format even more approachable.

Fujifilm GFX50S II – Weaknesses:

• Slow Autofocus & Limited Tracking: The contrast-detect AF system is slow, especially in continuous mode. There is no phase detect – so focusing on moving subjects (kids, pets, sports) is unreliable. Eye/face detect works only for static poses and can hunt or lose the subject easily. In AF-C, the camera often can’t keep up with even moderate motion. This essentially confines the 50S II to slower-paced photography – landscapes, posed portraits, architecture, still life, etc. It’s “not the fastest camera on the market” (as DPReview gently put it), so action shooters will be frustrated.
• Limited Video Functionality: Unlike its 100 MP siblings, the GFX50S II has no 4K video at all – maximum is 1080p/30. While Full HD footage from it is usable, this is a clear drawback for anyone wanting a hybrid stills/video camera. Competing full-frames at similar price shoot 4K or even 8K. The 50S II’s older sensor simply can’t output faster readouts. If you need serious video, this camera isn’t the right choice (and even casual vloggers might find 1080p limiting in 2025).
• Lower EVF and LCD Resolution: The 3.69M-dot EVF (0.77×) is decent but not class-leading – some users coming from higher-res viewfinders might notice the difference in clarity. Likewise, the rear LCD, while usable, is not a fully articulating screen (no selfie or front-facing ability, and not a true vari-angle). These are minor points, but part of the cost saving compromise compared to the pricier models.
• Performance Lag: Operations like startup, image review, and buffer clearing are on the sluggish side. The camera shoots 3 fps max, and the buffer depth is limited if shooting uncompressed RAW (you might get ~8 frames before it slows). The single UHS-II bus for both SD slots can bottleneck write speeds for bursts. In practice, this isn’t a sports camera, so many users won’t mind, but it does feel less responsive than modern full-frames or the GFX100 II.
• Lens Lineup Expense: While not a fault of the camera per se, it’s worth noting that GF lenses are large and costly, which affects the overall system “weakness” for budget-minded buyers. There are only a couple of affordable GF lenses (the 35-70mm zoom and 50mm f/3.5). Others, like the 110mm f/2 or 23mm f/4, are excellent but run $2,500+. And if shallow depth of field is your goal, the faster lenses (80mm f/1.7, 110mm f/2) add significant cost and weight. This means the total system price climbs quickly beyond just the body – something to consider when choosing the 50S II as an “affordable” medium format. (We will discuss the lens ecosystem more later.)

Fujifilm GFX50R – Strengths:

• Compact Rangefinder Form Factor: The GFX50R’s biggest appeal is its rangefinder-style design – it’s significantly thinner and lighter than the GFX50S/SII series, making it one of the most portable medium format digital cameras ever. Weighing ~775 g, it’s about the size of a pro full-frame DSLR minus the mirror box (or roughly akin to a Leica SL in bulk). The EVF is positioned at the far left, allowing you to keep one eye on the scene. Many photographers love that it “delivers superior image quality in a compact and lightweight body reminiscent of [Fuji’s] renowned medium format film cameras”, perfect for street and documentary work petapixel.com. If you’ve dreamed of a medium format camera you can casually carry on a shoulder strap all day, the 50R achieves that.
• 51.4 MP Large Format Sensor: It shares the same sensor as the 50S II (and original 50S), so the image quality is identical to those – which is to say, excellent. You get the high resolution, dynamic range and look of the 44×33mm sensor at a now relatively low price (since the 50R has been discontinued and can be found used at bargain prices). One street photographer who evaluated it for city shooting was “blown away” by the image quality and ended up buying one, calling the GFX50R “a marvel of engineering, ergonomics, size, image quality, and price.” It produces gorgeous 14-bit RAW files and beautiful JPEGs with Fuji’s film simulations. If ultimate image quality for large prints is your goal and you prefer a rangefinder-style body, the 50R checks those boxes.
• Simplicity and Film-Like Shooting Experience: The 50R’s control scheme will appeal to fans of Fuji’s X-Pro and X100 series. It has dedicated shutter speed and exposure comp dials on top, and aperture rings on most GF lenses – so you can shoot in a tactile, classic way (even without looking at menus). Many users describe the 50R as encouraging a “slower, deliberate way of shooting”, much like using an old film medium format camera – which for certain genres (street, travel, portraits) can be a creatively rewarding approach. It’s not a camera that begs to rush; instead it yields best results when you take your time, and in doing so it “makes photography feel special” (to quote DPReview on the 50S II). This ethos is a strength if you are seeking a different experience than the frenetic pace of modern 20 fps cameras.
• Build and Handling for Enthusiasts: The 50R is well-built (mag-alloy, weather-sealed) and yet relatively straightforward in layout. It introduced Bluetooth for easy pairing, which was novel at release. Its battery life (~400 shots) is decent thanks to the large NP-T125 pack. And it can use all the same GF lenses and accessories (TTL flashes, etc.) as the rest of the system. The camera’s slim body balances nicely with smaller GF primes (63mm, 50mm, 45mm); with a pancake lens like the 50mm f/3.5, it’s almost discreet. For photographers who love travel and street photography, the 50R offers a unique combination of medium format quality in a package you can actually travel with.

Fujifilm GFX50R – Weaknesses:

• No IBIS or Fast AF: Being a first-generation GFX, the 50R has no in-body stabilization, and its autofocus is the older contrast-detect system. This means in low light you’ll often need a tripod or to raise ISO/use flash. The lack of IBIS also means it can’t do Pixel Shift multi-shot high-res. Autofocus on the 50R is slow and best suited to single-shot mode; continuous AF is very limited. Forget tracking moving subjects – it’s not built for that. In practice, you use the 50R much like a manual focus film camera for anything that moves (some street shooters prefocus at a distance or use zone focusing techniques). If you require speedy focus or stabilization, the 50R will feel frustrating compared to the newer bodies.
• Limited Viewfinder and Controls for Some Uses: The corner-mounted EVF, while great for keeping an eye on your scene, has a lower magnification than the GFX100 II’s finder and can feel small when critically focusing. Also, unlike the GFX50S (original) which had a removable EVF and optional tilt adapter, the 50R’s EVF is fixed in place – no option to angle it for waist-level shooting. The rear screen tilts up/down but not fully articulating. Additionally, because there’s no top LCD, you rely on the analog dials or EVF/LCD to check settings. These are not problems, but they illustrate that the 50R’s design is optimized for a specific style – if you’re expecting a mini-DSLR feel, you won’t get it here. It’s more akin to using a giant rangefinder, which not everyone will prefer for every task (e.g. vertical shooting can be awkward without a portrait grip, which the 50R doesn’t have available).
• Discontinued and Fewer Upgrades: Fujifilm has discontinued the GFX50R (it was a special one-off in 2018), so you can only buy it on the used market as of 2025. While Fuji did issue firmware updates for it (even as recently as 2024, to improve lens compatibility) fujirumors.com, it’s not likely to receive significant new features going forward. Being discontinued isn’t inherently a “weakness” (the camera still works as well as ever), but future support will mainly be limited to minor firmware tweaks or none at all. Meanwhile, the newer GFX models might get additional enhancements. Also, since it’s older, the 50R lacks some quality-of-life features introduced later (no on-sensor level gauge in early firmware, etc., though many were added eventually). Buyers should be aware it’s a last-generation body being used in a current system.
• Lens Balance and Grip: The 50R’s slim, flat-bodied design can be a bit unbalanced when using the larger GF lenses. For example, mounting the 250mm telephoto or even the 32-64mm zoom makes the setup a bit front-heavy, with a relatively shallow right-hand grip to hold onto. It’s not unusable by any means, but compared to the deeper grip of the 50S II/100 II, the 50R is less comfortable with big lenses during extended shooting. In essence, the 50R is ideal with the smaller lenses (45, 50, 63, 35-70 zoom); if you plan to use the heavier GF glass often, one of the DSLR-style bodies might handle better.

Use Cases and Recommendations

Each of these GFX cameras excels in certain areas. Here are some use-case recommendations and scenarios where one might be preferable over the others:

• Landscape and Architecture Photography: All three models will deliver stunning landscape images, but the GFX100 II is the top choice if maximum resolution is desired. Its 102 MP sensor plus 16-bit color and base ISO 80 can capture breathtaking detail and dynamic range in scenes like mountains, cityscapes, and interiors. It also offers the 400 MP pixel-shift mode for ultimate detail in static scenes (e.g. art reproduction or architecture with no moving elements). The GFX50S II comes in second here – 51 MP is still plenty for big prints, and its lighter body/IBIS make it easier to hike with and use handheld at golden hour. The GFX50R can of course produce beautiful landscapes as well (many users love it for panoramic stitches, etc.), but lacking IBIS, you’ll likely use a tripod for best results. If you shoot a lot of architecture, note that Fujifilm’s new tilt-shift lenses (GF 30mm and 110mm) are fully compatible with all three bodies. The GFX100 II’s higher resolution might give more leeway for perspective correction in post, but any will work – it’s more about your shooting style (50R for a lightweight kit vs 50S II/100 II for more technical work).
• Portrait and Fashion Photography: Both the GFX100 II and GFX50S II are excellent for portraiture, with a nod to the GFX100 II if you need extremely high detail (e.g. for commercial or editorial shots that might be heavily cropped or printed large). The GFX100 II’s improved autofocus (face/eye detect that really works) is a big advantage for shooting moving subjects or candids during a portrait session – it can lock onto an eye and track it, whereas the 50S II might lose focus if your subject moves slightly. The 100 II also has faster flash sync speeds when using electronic shutter (and can do 1/4000s with leaf-shutter lenses if needed) for overpowering sunlight. However, the GFX50S II is perfectly capable for portrait/studio work too – many portrait photographers adore the 50 MP sensor’s rendering and have adapted their workflow to its slower AF (often using single-shot AF or even manual focus with focus peaking for precision). Both cameras produce that gorgeous medium format bokeh and tonality, especially with lenses like the GF 110mm f/2 or 80mm f/1.7. If budget is a concern, the 50S II offers almost the same still image result for portraits at less than half the price of the 100 II. The GFX50R can also be used for portraits, especially environmental portraits or posed shots. Its rangefinder style actually makes it less intimidating for subjects in candid portraits, since you’re not always hiding behind the camera. Just note you won’t have eye-AF that reliably follows movement, so it’s best for portraits where you can take your time to focus (or use zone focus and wait for the subject to enter the focus plane). In studio settings with controlled conditions, all three will shine; if you’re doing fast-paced fashion shoots, the GFX100 II’s responsiveness and 8 fps bursts give it an edge.
• Street and Documentary Photography: Here the GFX50R was practically designed for this purpose – Fujifilm even said it’s “perfect for photographers who specialize in street, documentary or portrait photography.” petapixel.com The 50R’s unobtrusive form, quieter shutter, and ability to sync with leaf shutter lenses (some photographers adapt old leaf shutter medium format lenses to shoot flash in the streets) make it a unique tool for this genre. It slows you down in a good way, encouraging a methodical approach. Photographers have likened using the 50R to using a film rangefinder – you might prefocus to a distance and capture subjects as they intersect that plane, leveraging the deep depth of field of a 45mm or 63mm lens at f/8 for zone focusing. The GFX50S II can also be used for street photography (especially with the small 35-70mm or 50mm lens), but it’s bulkier in appearance and its SLR-like shape is a bit more conspicuous. The IBIS in the 50S II is handy for twilight or night street scenes though, and you could use autofocus for static scenes. The GFX100 II is arguably overkill for street photography – it’s larger and heavier to lug around casually, and while its AF and speed are great, 102 MP files are probably not needed for street snaps (plus storage will fill up fast). That said, some street shooters do use the GFX100/100 II for the unique look – shallow depth of field even for wider street views and the ability to crop heavily. If you’re deeply committed to medium format street work and don’t mind the weight, the GFX100 II will give you more keeper shots thanks to better AF; but for most, the 50R remains the street photographer’s medium format camera of choice (especially now that it can be found under $2,000 used, making it almost an enthusiast bargain).
• Studio and Commercial Photography: In a controlled studio environment (product photography, advertising, macro, etc.), any of these cameras will perform well, but the GFX100 II offers the most flexibility. The high resolution is beneficial for detailed product shots or when clients may want to crop or up-size images. The ability to tether via USB-C (all support tethering, but the GFX100 II’s USB is faster and it has that camera-to-cloud feature) can streamline studio workflow. Also, the GFX100 II’s electronic shutter can silently capture images at up to 1/16,000s if you need to use wide apertures under bright lights without an ND filter. The GFX50S II is also an excellent studio camera – 50 MP is usually more than enough for catalog and commercial work, and it syncs well with studio strobes (flash sync up to 1/125s with mechanical shutter, or higher with HS/FP flash modes). If your studio work involves a lot of focus stacking or macro, the 50S II’s IBIS can help eliminate small vibrations for the sharpest results. The GFX50R, while capable of equal image quality, is a bit less suited to studio workflow simply because its handling is oriented toward portability rather than tripod use. It lacks a vertical grip or convenient way to shoot in portrait orientation on a tripod (you’d need an L-bracket). Still, for many studio scenarios (product table, etc.) the 50R will do just fine – you might treat it like a digital back, shooting tethered. One caveat: if you do overhead flat lay shots or work on a copy stand, the 3-way tilting screen of the 50S II/100 II is very useful, whereas the 50R’s tilt might not fully help when the camera is pointing straight down.
• Weddings and Events: Medium format is less common for fast-paced events, but some wedding photographers do use the GFX system for its image quality. Here, the GFX100 II clearly stands out: its improved AF, 8 fps bursts, and dual card slots (for instant backup) make it the only one realistically able to keep up with parts of a wedding day. You’ll get stunning bridal portraits and detail shots, and with subject-detect AF the hit rate on candids is much better than previous GFX bodies. The downside is the GFX100 II’s weight – carrying two of them all day with lenses would be tough, so many might mix one GFX100 II for portraits with a smaller X-series camera for action shots. The GFX50S II could be used by a patient shooter for weddings (especially for posed or low-motion segments, like couple’s portraits or decor and venue shots). It will deliver gorgeous files in those scenarios. But for fleeting moments or dance floor action, its AF and 3 fps limit will miss shots; plus it only has SD cards (which are reliable but slower for clearing buffers). The GFX50R is probably the least suited to fast events – it’s more for the documentary photographer who doesn’t mind missing a few moments and is focusing on the artful storytelling shots. If one were to shoot an event with the 50R, they’d likely treat it as a secondary camera for specific scenes (e.g. capturing the venue architecture or doing a photo-booth style setup), rather than the main “action” camera. In summary, for paid event work where you can’t afford misses, the GFX100 II is the only model that comes close to the required responsiveness, and even then it’s wise to have a backup system for truly fast action.
• Wildlife and Sports: These are generally not the forte of medium format – Fujifilm’s own X-T and X-H APS-C cameras or Canon/Nikon/Sony full-frames are better suited. However, if one really wanted to use a GFX for wildlife or sports in a pinch, the GFX100 II again would be the only candidate. Its 8 fps burst and advanced AF give it a fighting chance, and it supports lenses up to 250mm (which is ~198mm equivalent – not nearly the reach sports shooters want, but you could crop heavily from 102 MP or use the GF 1.4× teleconverter to get to 350mm). Still, this is more of a theoretical scenario – the GFX system lacks long telephoto lenses and the AF, while great for medium format, is not on par with pro sports cameras in tracking fast erratic movement. The GFX50S II and 50R are not recommended for wildlife/sports unless the subject is relatively still (e.g. an animal resting, or sports like posed shots, etc.). If your primary interest is fast action, you’re better served by a smaller format system; you might reserve the GFX for the staged portraits or environmental shots in those contexts.

In essence, each camera appeals to a slightly different user: The GFX100 II is for the professional or serious enthusiast who wants no-compromise image quality and is willing to pay for the latest tech – it’s a medium format that can credibly do a bit of everything (landscapes, studio, portrait, even some action and video). The GFX50S II is for those who want maximum bang for buck in image quality – perhaps a landscape or portrait photographer who doesn’t need speed, and finds 51 MP plenty. It’s also a great choice as a second body for a GFX100 series shooter on a budget. DPReview summed it up by awarding the 50S II a Silver Award and noting “it’s not the fastest camera, but it can make photography feel special and will deliver the best results short of Fujifilm’s 100MP models if you’re shooting the kinds of photos it’s strongest at.” Those “strongest” areas are indeed landscapes and studio work, as they said. Meanwhile, the GFX50R is a bit of a cult classic now – perfect for the purist who wants a digitally-enabled medium format rangefinder experience. It’s the camera you take on a photowalk to slow down and savor each frame. As one user put it, they treated the GFX50R as a replacement for their 6×7 film cameras, embracing the slower workflow and using adapted vintage lenses – and it “does the job for the medium format fix” in the digital age.

Lens Ecosystem and Accessories

An important part of the GFX system’s appeal (and cost) is the lens ecosystem. Fujifilm’s GF-mount lenses are designed to resolve very high detail for these 50 MP and 100 MP sensors, and the lineup has been steadily growing. When the GFX50R was announced in 2018, Fujifilm had 7 GF lenses available (from 23mm up to 250mm) and had just revealed plans for more, like a 50mm and 45-100mm zoom. Fast forward to 2025, and there are now around 17 Fujinon GF lenses in the system, covering focal lengths from ultra-wide 20mm (equivalent) to 198mm (equivalent) without converters, plus teleconverters and extension tubes. This range includes:

• Primes: 23mm f/4, 30mm f/3.5, 45mm f/2.8, 50mm f/3.5 “pancake”, 63mm f/2.8, 80mm f/1.7 (ultra-fast portrait lens), 110mm f/2 (classic portrait lens), 120mm f/4 Macro, and the new 55mm f/1.7 (standard lens with very shallow DOF). These cover everything from sweeping wide angles to tight portraits. Notably, the 80mm and 110mm offer full-frame-equivalent depth of field similar to f/1.35 and f/1.6 on 35mm – giving extremely creamy bokeh.
• Zooms: 32-64mm f/4 (standard zoom), 45-100mm f/4, 100-200mm f/5.6 telephoto, and the newer 20-35mm f/4 ultra-wide zoom. There’s also the compact 35-70mm f/4.5-5.6, a collapsible kit zoom introduced with the 50S II that is lightweight and surprisingly sharp – a great walkaround lens (and very affordable, especially in kit bundles). These zooms make the system versatile for field work; for example, the 32-64mm f/4 is a workhorse for many landscape photographers.
• Specialty Lenses: Fujifilm has recently introduced tilt-shift lenses for the GFX, such as the GF 30mm f/5.6 T/S and GF 110mm f/5.6 T/S. These are high-end tools for architecture, product photography, and other applications where controlling perspective and plane of focus is crucial. The arrival of native tilt-shifts (in 2023) significantly expanded the system’s capabilities for professionals – previously one had to adapt technical camera lenses. Fuji has also announced a GF 500mm f/5.6 (super-telephoto) in development, which would cater to those needing more reach (likely niche, but shows Fuji’s commitment to filling out the lineup).

Overall, Fujifilm’s lenses are optically excellent, often praised for edge-to-edge sharpness (important given the big sensor) and well-controlled aberrations. A source notes that the G mount lenses were “engineered to keep pace with 100MP+ sensors”, designed to prevent light fall-off and deliver stunning corner sharpness. This means even if Fuji releases higher resolution GFX bodies in the future, the existing lenses should be able to resolve that detail.

Lens Ecosystem Pros: There is now a lens for most needs – from ultra-wide landscape to portrait to macro. The inclusion of fast aperture options (80mm f/1.7, 110mm f/2) allows for that medium format shallow depth-of-field look in portraits and detail shots. The zooms cover convenient ranges with excellent quality (many shooters report the zooms are prime-sharp). The addition of tilt-shift lenses puts the GFX system on the map for high-end architectural photographers who previously might have used technical cameras or adapted lenses. Fujifilm has also worked with other manufacturers for some specialty glass – for example, the Laowa 17mm f/4 Zero-D was one of the first third-party GF mount offerings, providing an ultra-wide prime that wasn’t in Fuji’s lineup.

Lens Ecosystem Cons: The cost and size of GF lenses are considerable. Most lenses are $1,500 and up (often $2k+), and they are large to accommodate the sensor’s image circle. There are only a couple of “budget” options (the 50mm f/3.5 and 35-70mm zoom). This means building a kit can be expensive – often each lens costs as much as a decent camera body. Additionally, the selection of lenses, while broad, isn’t as exhaustive as full-frame systems. For example, there’s no native fisheye, no super-bright wide (nothing like an f/1.2 wide angle), and the longest focal length is effectively 277mm (250mm + 1.4× TC). So for wildlife or very distant subjects, the system is still limited. That said, Fujifilm has concentrated on the needs of landscape, studio, and portrait photographers, which comprise the core GFX user base.

Third-Party and Adapted Lenses: Until recently, third-party autofocus lenses for GFX were virtually non-existent (the system is relatively niche). However, companies like Laowa (Venus Optics) and TTArtisan have produced a few manual-focus GF mount lenses. Many GFX users also adapt legacy medium format glass: because the GFX has a short flange focal distance (26.7mm), you can mount lenses from old medium format film systems (via dumb adapters) easily. Popular choices include Mamiya 645 lenses, Pentax 67 and Pentax 645 lenses, Hasselblad V-system lenses, etc. These won’t resolve as crisply as modern GF lenses in most cases, but they often have unique character and can be had for much less money on the used market. For instance, someone might use a $100 vintage medium format lens on the 50R to get a filmic rendering – and indeed, users have reported joy in experimenting with adapted glass on GFX bodies. You can even adapt some large format (4×5) lenses onto the GFX for creative tilt/shift via specialized adapters or DIY setups. There are also smart adapters for using full-frame DSLR lenses – for example, adapting Canon EF lenses with a “speed-booster” or just a plain adapter (in crop mode). Techart makes an adapter that allows using Contax 645 lenses with autofocus on GFX (since those were AF lenses). So, while native options are best for convenience and quality, the GFX system is quite flexible for gear tinkerers. Many have used the GFX50R with vintage lenses to great effect, saying it “was nice to adapt glass and experiment” on this body.

Flash and Accessories: Fujifilm’s GFX cameras use the same hot-shoe and flash system as their X-series. You can use Fuji’s TTL flashes (like EF-X500) or third-party systems (Godox, Profoto, etc. all support Fuji TTL/HSS). For studio, most will use radio triggers and traditional strobes – no issues there; the GFX cameras have flash sync speeds of 1/125s (50S II, 50R mechanical shutter) and 1/180s (100 II mechanical shutter) and can do higher sync via electronic shutter if needed or using HSS (high-speed sync) with capable flashes. There are a few grips and adapters: the GFX100 II and GFX100S II have an available screw-on fan unit (to cool during long video takes). Fujifilm also offers metal hand grips/brackets for the 50S II and 50R to improve handling. Notably, there is no vertical battery grip for the 50S II or 100 II (Fujifilm kept them small; only the original GFX100 had an integrated vertical grip). However, the battery life is decent and you can charge via USB-C or use power banks for extended shooting.

In summary, the GF lens ecosystem has matured nicely, covering most focal lengths with high-quality glass. A reviewer of the 50S II noted that given the sensor’s capabilities, “lenses are a legitimate trade-off for the slower focusing… but the GFX100 series has shown it needn’t be this slow – all [GF] lenses are snappier on the GFX100 models”. This implies that if you pair lenses with the newer bodies, you get the best performance out of them (whereas on the 50R/50S II some lenses felt slow). So investing in good GF glass is wise if you plan to stay with the system long-term, as it will carry forward to future bodies and likely perform better on each new generation. For those on a tight budget, starting with one or two native lenses and supplementing with adapted legacy lenses is a viable strategy – you enjoy the core medium format quality and can play with cheaper glass for creative effects.

Firmware Support and Fujifilm’s Kaizen Updates

One area where Fujifilm has garnered goodwill is in firmware support for its cameras. Fujifilm often employs a “Kaizen” philosophy (continuous improvement), delivering substantial firmware updates that add features or improvements to existing models over time. This has been true in the GFX line as well:

• Continuous Improvement: For example, the original GFX 50S received major firmware updates that improved autofocus performance and added new capabilities. One notable update enabled a 35mm format mode – allowing photographers to set the camera to use only a central 36×24mm area (approx 30 MP) to mimic full-frame, useful when adapting 35mm lenses to the GFX. This kind of feature was not there at launch but came via firmware, showing Fujifilm’s attentiveness to user requests (adapting full-frame lenses to GFX was popular, and Fuji facilitated it with this mode). Fujifilm also added new film simulations and other tweaks through updates on GFX models.
• Recent Firmware for New Models: The GFX100 II, despite being new, has already seen significant updates. In early 2024, Fujifilm released a “Kaizen” firmware (v2.0+) that further improved the GFX100 II’s autofocus tracking speed and fixed some initial bugs. They even improved Wi-Fi connectivity stability in that update. A tech press headline noted, “Fujifilm starts its Kaizen updates, with major firmware for the GFX100 II… improving AF and adding features.” This demonstrates Fuji’s commitment to making the GFX100 II even better post-launch. Fujifilm has publicly scheduled additional Kaizen firmware through 2024 for various models, so GFX100 II owners can likely expect more enhancements (perhaps things like improved subject detection algorithm, etc., as seen on X-series updates).
• Updates for All GFX Models: Impressively, in mid-2024 Fujifilm issued firmware updates for every single GFX camera – from the 50R and original 50S to the 100S and 100 II. These updates often include compatibility for new lenses (for instance, making sure the cameras communicate properly with the new tilt-shift lenses and the upcoming GF 55mm, etc.), as well as bug fixes. Fuji even addressed an issue with updating certain lens firmwares (50mm and 35-70mm) by releasing camera body firmware to prevent a potential error fujirumors.com. This level of cross-model support – updating older bodies years later – is relatively rare in the industry, and Fuji is applauded for it by its users.
• User Feedback and Bug Fixes: Fujifilm does listen to user feedback for improvements. If there’s a quirk or feature missing, Fuji often tries to add it if hardware allows. For example, users asked for better focus bracketing options and Fuji delivered via firmware on some models. They also fix bugs (like unusual freezing issues) promptly – as referenced in a FujiRumors post complaining about a lens firmware issue that eventually got fixed.
• Fujifilm Professional Services (FPS): On the support side, Fujifilm has a program called FPS for professional photographers using GFX and X-series. Members (usually those who own multiple bodies and lenses) get priority repair service, discounted or free check-ups, and a hotline to Fujifilm support. This shows Fujifilm’s intention to provide ongoing support to working pros in the GFX system. While details of FPS weren’t heavily advertised, it’s something to consider if you’re a pro investing in these cameras – Fuji does have an infrastructure to support you with faster turnaround and loaner equipment when needed.
• Longevity: While the GFX50R is discontinued, it’s reassuring that Fuji even included it in the mid-2024 firmware round. That update (ver. 2.00 for 50R, etc.) likely included minor improvements and compatibility updates. Owners of older models like the GFX50S and 50R can still benefit from these refinements years later. Of course, as time goes on, updates will taper off. But at least through the first 3–4 years of a model’s life, Fuji tends to issue multiple meaningful updates.

In short, Fujifilm’s support for the GFX line has been strong. The company seems committed to the system for the long term, evidenced by the continuous firmware enhancements and the expansion of the lens roadmap. Fuji’s philosophy of adding value after purchase (instead of saving every feature for a new model) means your GFX camera might actually improve over time. For example, the GFX100 (original) gained a dramatic boost in AF performance and a 400MP multi-shot mode via firmware well after launch, delighting its owners. We expect a similar “value addition” approach will continue for the GFX100 II and GFX100S II especially, as Fujifilm refines their flagship medium format features.

On the flip side, firmware updates do require some tech-savvy (downloading and copying to SD card, etc.), but Fuji provides clear instructions. It’s recommended to keep your GFX camera’s firmware up to date to enjoy the latest improvements. As of 2025, the GFX100 II stands at firmware 2.x with improved AF, the GFX100S II and 50S II have gotten initial bug-fix updates, and even the 50R/50S had recent maintenance updates fujirumors.com.

In terms of reliability, these cameras are generally very robust. Early units of the GFX50S II had a quirk or two (one bug where the camera could freeze under a rare combination of settings was fixed in firmware). The GFX100 II is relatively new but its build and the simpler electronics (no complex mechanical mirror or such) mean there are few moving parts to fail aside from the shutter (rated for many actuations). Fujifilm’s medium format cameras, being premium, likely go through stringent quality control.

All things considered, buyers can be confident that Fujifilm will continue to support the GFX system with updates and service. Owning a GFX camera is a bit like joining a club where the manufacturer actually cares about your experience after you’ve bought the product. As one Fujifilm-centric publication noted, users were pleased to see Kaizen updates “back” in action for Fuji, breathing new life into cameras like the GFX100 II and X-H2S. This ongoing support increases the longevity of your investment – you won’t feel like your camera is outdated just because a successor came out, since Fuji often trickles down some features when possible.

Market Positioning and Pricing (2025)

When considering these cameras, it’s important to note how Fujifilm has positioned them in the market and their pricing as of 2025:

• Fujifilm GFX100 II: This is the flagship of Fujifilm’s medium format lineup. It launched in late 2023 at a MSRP of $7,499 USD (body only), which undercuts its direct competitor (the Hasselblad X2D 100C was $8,199). Even though $7.5k is a high price to pay, in the realm of medium format the GFX100 II is considered aggressively priced for what it offers – recall that the original GFX100 in 2019 was $10k, and a 100 MP Phase One digital back can cost as much as a car. Fujifilm clearly aimed the GFX100 II at professionals and high-end enthusiasts who might otherwise consider a Hasselblad or even contemplate switching from full-frame for more resolution. With its feature set (fast shooting, video, etc.), the GFX100 II is also positioned to lure some full-frame users who need hybrid capabilities but want medium format quality. Essentially, Fuji is saying: here’s a 100 MP camera that does it all, for well under the five-figure barrier. By 2025, the price has generally held around $7499 (though occasionally one might find slight sales or kit bundles). It’s a low-volume, high-end product, so don’t expect drastic price drops until a successor is on the horizon. The value proposition is strong if you need its capabilities – as PetaPixel concluded, the GFX100 II “represents good value” because it’s such a significant upgrade over previous models and the “ultimate medium format camera” you can buy now petapixel.com.
• Fujifilm GFX50S II: Fujifilm explicitly marketed the 50S II as the most affordable entry into medium format. At launch (Fall 2021) it was priced at $3,999, and notably there was a kit with the GF 35-70mm lens for $4,499. This undercut any digital medium format ever – for context, the older 50 MP GFX50S had been $6,500 in 2017, the Hasselblad X1D was $9,000 (body), etc. As of 2025, the GFX50S II body can be found for roughly $3,299 (often on sale around $3,299–$3,499 new), and even lower on the second-hand market. At ~$3.3k, it sits in the same price bracket as many high-resolution full-frame cameras (the Sony A7R V, Canon R5, Nikon Z7 II, etc., all around $3.5k or less). This is intentional: Fujifilm wants to entice photographers who might spend that kind of money on a 45–61 MP full-frame to consider jumping to the larger sensor for a different kind of image output. They pitched the 50S II as offering “a perfect mix of accessibility and flexibility with professional features”. In practice, a landscape or portrait photographer comparing, say, a Nikon Z7 II (45 MP) at $3k and a GFX50S II (51 MP) at ~$3.3k might very well be tempted by the Fuji if they value image quality over speed. The low price was achieved by reusing the GFX100S body design and the older sensor, but that trade-off is fine for the target market. Market positioning: The GFX50S II is often described as an “entry-level” medium format, but it’s also positioned as a step-up camera for those who have maxed out what they want from full-frame. It targets professionals who don’t need fast action – like fine art photographers, studio shooters, wedding photographers for portraits, etc. – as well as wealthy enthusiasts who want medium format for personal work. It’s also a logical second body for existing GFX100-series owners who want a backup or a lighter carry-around body that still uses all the same lenses.
• Fujifilm GFX50R: The GFX50R was launched at $4,499 in late 2018 petapixel.com. It was, at that time, the cheapest 44×33mm medium format digital camera ever released (earning headlines as the “cheapest medium format ever” in rumors). Fujifilm’s strategy was to broaden the GFX system’s appeal by offering a second body that was smaller and cheaper than the GFX50S. Over its life, the price of the 50R saw discounts – by early 2021 it was often on sale for ~$3,500 new, and when discontinued, final stock cleared out at even lower prices. In 2025, since it’s no longer in production, the GFX50R is available used. Typical used prices range around $1,800 to $2,500 depending on condition (many good copies hover around ~$2k). Some have snagged it for even less; one user mentioned getting one for about $1,700, which is an incredible deal for a medium format camera. That means if you’re on a tight budget, a second-hand GFX50R paired with a couple of lenses might be the least expensive path into the Fuji medium format world (cheaper than a new 50S II). The market positioning of the 50R was always a bit niche: it was aimed at rangefinder aficionados, travel/street shooters, and those who wanted a smaller backup body. It didn’t sell in the huge numbers that Fuji’s X-series did, but it certainly cultivated a dedicated following. Now, in 2025, its position is more legacy/enthusiast – it’s the quirky option one might choose for the experience, or as a very affordable way to get 51 MP medium format files (for example, a portrait photographer might keep one as a secondary camera to shoot alongside their main gear, just to get that medium format look occasionally without breaking the bank).
• Value vs. Full-Frame: Fujifilm has consciously placed the GFX cameras to compete in price (and size) with high-end full-frame systems. For roughly $3K–$7K, you can either get a top-of-the-line full-frame (like a Sony A1 or Nikon Z9 around $5-6K, or a high res DSLR around $3K) or a GFX. Fuji is betting that some photographers will choose the larger sensor for the same money, prioritizing image quality over certain performance aspects. The GFX100 II at $7.5K, for instance, might be compared to a Canon EOS R3 ($6K) plus a high-res body, or a Nikon Z8+Z7II combination. If someone doesn’t need 30 fps bursts or extreme AF but does need maximum detail, the GFX100 II is a compelling alternative in that price range. Similarly, the GFX50S II undercuts some flagship full-frames; at $3.3K it’s cheaper than a 61 MP Sony A7R V and delivers a different quality of image (albeit with slower operation). Fujifilm has basically elbowed medium format into the territory of full-frame in both cost and portability, which is a big part of the GFX series’ success.
• Competitive Landscape: The main competition in medium format is Hasselblad. The Hasselblad X1D II 50C (50 MP, released 2019) is around $5,750 new (and was about $10K with a lens at first launch of the X1D series). The newer Hasselblad X2D 100C (100 MP, released 2022) is ~$8,199 body-only. Hasselblad offers a different philosophy – superb build, a very minimalistic interface, but fewer features (e.g. no AI AF, limited video – actually no video at all on X2D). Fujifilm has clearly undercut Hasselblad on price: the GFX50S II with lens can be had for nearly half the cost of a X1DII body, and the GFX100 II is $700 cheaper than an X2D while offering more functionality. This pricing dynamic positions Fujifilm as the value choice in medium format. Even Leica’s medium format (the Leica S3, 64 MP 45×30mm sensor DSLR) is ~$19,000 – in an entirely different league of pricing. Thus, Fuji pretty much owns the “relatively affordable medium format” market. Reviewers often mention that “if you care about image quality most, good luck finding a better camera than the GFX100S II (or 100 II)” at its price, because you’d have to spend a lot more to even attempt to match it (e.g. moving to Phase One digital backs).
• Cost of Ownership: It’s worth noting that while bodies like the GFX50S II are priced on par with high-end full-frame, the lenses and accessories can make the total system cost higher. A Sony or Nikon user might get a 24-70 and 70-200 for maybe $4K combined; equivalent GF lenses (32-64 and 100-200) cost closer to $5K combined. So, when budgeting, one should consider the system as a whole. That said, if you only need a couple of primes for your work (say a 23mm and 110mm for landscapes and portraits), the system cost might be manageable. Also, the resale value of GFX gear is holding fairly well – the system is still young and in demand, so one can often recoup a good portion of the cost later if they choose to sell (the 50R’s drop was an exception due to being discontinued).
• Target Users: Fujifilm targets the GFX100 II at working professionals (commercial shooters, studios, high-end wedding photographers, cinematographers for the video features, etc.) as well as well-heeled enthusiasts who want the best. The GFX50S II targets enthusiast and semi-pro photographers – people like fine art landscape photographers, veteran 35mm shooters looking to step up, or pros who want a medium format tool without spending too much. The GFX50R, when it was sold, targeted a smaller niche: perhaps film medium format shooters migrating to digital, or X-Pro2/Leica M users who wanted a larger format for certain projects. Now it serves as an entry used option or a unique tool for specialists.

In conclusion, Fujifilm has made medium format more accessible than it’s ever been. As of 2025, you can get into a 50 MP GFX system for as little as ~$2k used (50R) or ~$3.3k new (50S II), and the entire system cost for a basic kit might be well under $5k – something unheard of a decade ago. On the high end, $7.5k for the 100 MP flagship is still a bargain in the medium format world, considering its capabilities are approaching those of cameras that traditionally cost two or three times as much. Fuji’s strategy appears to be paying off: GFX cameras are reportedly gaining adoption, to the point that Fujifilm’s GFX sales have started to encroach on full-frame territory, attracting photographers who value the look and detail of the larger format (as Fuji execs have hinted in interviews). By dominating the price-to-performance ratio in medium format, Fujifilm has essentially created a new category: “medium format for the masses” (masses being relative – it’s still a premium segment, but vastly larger than the old medium format digital market).

Future Outlook: Upcoming GFX Models and Rumors (2025 and Beyond)

Fujifilm is not stopping with the current lineup – there are exciting developments on the horizon for GFX. Here’s a look at official announcements and credible rumors for 2025 and beyond:

• Fujifilm GFX100S II: In mid-2024, Fujifilm introduced the GFX100S II, which can be seen as the “little sibling” to the GFX100 II. It carries the same 102 MP CMOS II HS sensor and X-Processor 5 (thus inheriting the faster readout and base ISO 80) in the compact body style of the GFX100S. The GFX100S II is the lightest medium format body at just 883 g, yet it still achieves 8 stops of IBIS, up to 7 fps continuous shooting, and adds the subject-detect AF and other improvements that debuted on the 100 II. It shoots 4K/30p video (no 8K, due to likely heat constraints in the smaller body). Essentially, it’s a GFX100 II’s sensor and brains condensed into the smaller form factor – an extremely attractive proposition at a lower price. The GFX100S II launched at $4,999 USD in June 2024 fujifilm.com, which is a remarkably aggressive price for a 102 MP camera. This camera is positioned to replace the original GFX100S, sitting between the 50S II and 100 II. It offers a huge jump in autofocus and speed for those who found the old 100S limiting, and it’s likely to become the volume seller among 100 MP models given its price point. Early hands-on reports praise that it “gives the same image quality, stability, and shoots quickly enough for most people” in an even lighter package. With the GFX100S II now in the lineup, Fuji has two 100 MP options: one ultra-compact (100S II) and one feature-packed (100 II). This suggests Fuji is doubling down on 100 MP as the new standard, which brings us to the next point.
• Fate of 50 MP Models: A big question is whether Fujifilm will continue with new 50 MP bodies or if the older 51.4 MP sensor will be phased out. That 50 MP sensor (originally made by Sony and dating back to 2014 in Phase One cameras) was reportedly discontinued by Sony in 2021, meaning no new supply. Indeed, many in the Fuji community speculate “there won’t be a new 50 MP edition; Fuji is clearly doubling down on 100 MP sensor models.” For now, the GFX50S II (2021) remains in the lineup as the entry model, but it might be the last camera using that sensor. We haven’t heard of a “GFX50S III” in rumors. Instead, Fujifilm might wait until a next-generation smaller medium format sensor appears (perhaps something like a 60–70 MP with modern tech) to create a future entry model. Another angle: with full-frame cameras now hitting 60 MP (Sony) or even 100 MP rumored, Fuji may feel 50 MP is less enticing and focus on offering 100 MP at various price points. So, it’s quite possible that in a couple of years the “50S II” will eventually be succeeded by a detuned 100 MP model rather than another 50. For now, though, the 50S II stays as the most budget-friendly GFX.
• Fixed-Lens GFX “GFX 100RF”: One of the most intriguing rumors for 2025 is that Fujifilm will release a fixed-lens GFX camera, tentatively referred to as the “GFX 100RF.” This would be analogous to Fuji’s popular X100 series, but in medium format! According to reliable rumor sources, this camera is expected around March 2025 mirrorlessrumors.com. The rumor says it will have a 100 MP sensor (presumably the same 102 MP as the GFX100S II/100 II) and a built-in 35mm f/4 lens (which on 44×33mm gives about a 28mm equivalent field of view) mirrorlessrumors.com. The lens is described as a “pancake” style and there’s mention of a zoom lever, implying perhaps it might have a built-in converter or a step zoom function. It’s also said to have no IBIS (likely to keep size down) mirrorlessrumors.com. If these rumors hold true, the fixed-lens GFX would be a compact medium format camera aimed at travel and street photographers who want the ultimate image quality in a simpler package. Think of it as a supercharged X100 – a medium format rangefinder-like camera with a fixed wide lens for documentary work. The absence of IBIS suggests Fuji is going for minimal size, possibly even weather-sealed and very rugged. The idea of not having interchangeable lenses might also help reduce dust on sensor and make it a grab-and-go MF camera. This could be Fujifilm’s way of reviving the spirit of the 50R (rangefinder style) but in a new form. Price is unknown, but it could be aimed to be cheaper than the GFX100S II – maybe somewhere around the $4k mark – to entice a broader base. (As a historical parallel, Fuji made a fixed-lens 6×4.5 film camera, the GA645, in the 1990s – so there’s precedent in medium format). The rumored name “100RF” likely stands for 100 MP RangeFinder. If it materializes, this would be the world’s first fixed-lens digital medium format camera and certainly create buzz among enthusiasts. It indicates Fuji’s confidence in expanding GFX to new niches.
• GFX Cinematic Camera (GFX Eterna): Fujifilm made a surprise development announcement in late 2024: they are working on a dedicated cinema camera for the GFX system, code-named “GFX Eterna.” This will be Fujifilm’s first-ever filmmaking camera and is slated for release in 2025. The GFX Eterna will use the same 102 MP, 43.8×32.9mm sensor (the HS sensor) as the GFX100 II and GFX100S II, paired with X-Processor 5. However, it will be built into a body tailored for video production – likely with a cinema-style form factor (think modular, with lots of mounting points, active cooling, etc.). Fujifilm named it “Eterna” after their cinema film stock, emphasizing it’s for filmmakers to capture true-to-life visuals. The GFX Eterna is expected to shoot 4K/8K video but with optimizations for cinematography. For instance, Fuji mentioned it will work with Premista cinema lenses (Fujifilm’s own line of large-format cine zooms) and they are developing a G-mount to PL-mount adapter so cine users can use standard PL cinema lenses on it. They also announced a new GF 32-90mm motorized power-zoom lens alongside it (32-90 actual, equivalent ~25-71mm) specifically for cinema use. The significance of GFX Eterna is huge: it shows Fujifilm wants to push the GFX into high-end video production, where the medium format look (with its shallow depth and color depth) could offer a unique aesthetic in digital cinema. The camera was even shown as a prototype at InterBEE 2024 in Japan. By combining large sensor and professional video features (e.g. the GFX100 II already has waveform, 4-channel audio, etc.), the GFX Eterna could carve a niche in Hollywood or for indie filmmakers wanting a different look. It’s basically medium format video becoming a real option. Fujifilm’s statement is that they aim to “revolutionize film production” with it, which is bold. The GFX Eterna will obviously be a specialized (and likely pricey) piece of kit, probably aimed at rental houses, studios, and serious cinematographers. Nonetheless, trickle-down benefits might come to the stills cameras (e.g. improved video firmware, or simply the cachet of “movie medium format” could boost the system’s profile).
• Other Rumored Cameras: Fujifilm rumor mills have also mentioned a mysterious “X-Half” camera (an APS-C camera with a 1” sensor? Not directly GFX-related), and importantly the next X-Pro. It’s noted in a rumors summary that X-Pro3’s successor is not due till 2026 mirrorlessrumors.com – meaning Fujifilm’s 2025 focus is not on rangefinder APS-C but rather on the stuff listed above. In the GFX realm, aside from the fixed-lens GFX and the Eterna cine camera, no other new GFX bodies have been strongly rumored for 2025. Fuji launched four cameras in 2024 (X-S20, X-T5, GFX100S II, etc.) and plans at least four in 2025 mirrorlessrumors.com, per rumor. We’ve identified GFX100RF, X-E5 (an APS-C rangefinder likely), “Half-frame” (which is that 1” sensor camera), and GFX Eterna as those four mirrorlessrumors.com. Notably, the rumor list explicitly mentions “at least 4 new cameras and NOT one camera in 2025” – the “NOT” camera being X-Pro5 which is delayed mirrorlessrumors.com. So reading between lines, 2025’s GFX highlights should be the fixed-lens camera and the cinema camera.
• New Sensors or Tech: As of 2025, the 102 MP CMOS II HS is Fuji’s latest sensor. Looking beyond, there have been whispers (very speculative) about even higher resolution sensors (e.g. a 150 MP 44×33mm sensor exists from other brands, and Sony has shown 127 MP APS-H sensor tech – but no sign of that in Fuji yet). Also, Fujifilm has shown interest in stacked BSI sensors (like the 26 MP stacked in X-H2S) – could a stacked medium format sensor come? If Sony (who makes these sensors) develops one, it could yield something like 100 MP with global shutter or ultra-fast readout. No concrete rumors of that yet, but it’s a possibility for 2026+ that would again revolutionize the GFX line (imagine 100 MP at 30 fps or no rolling shutter). Another area is global shutter or different sensor tech like curved sensors – a Fuji manager once mused about the potential of curved sensors for large format, but that’s very exploratory. Right now, Fuji’s medium term plan seems to be maximizing the use of this current 102 MP platform across different camera types (stills, hybrid, cine, fixed-lens). That sensor, by the way, is proving versatile and likely has economies of scale – so it’s a smart move.
• Medium Format vs Full Frame Future: Some industry analysts note Fujifilm doubling down on GFX is partly to carve a unique space since Fuji doesn’t produce full-frame cameras. With other brands hitting high megapixels and even talking about computational tricks, Fuji will want to keep GFX well ahead in pure IQ. Thus, future GFX bodies might emphasize things like 16-bit RAW, even better dynamic range (perhaps via dual-gain designs or whatever), and specialty modes like that 4-shot real color mode Fuji introduced. We might see firmware adding new film simulations to GFX via updates (e.g. a nostalgic neg or something new – Fuji often debuts film sims on X-series, but maybe GFX will get exclusives too).
• Lens Roadmap: On the lens front, beyond the power zoom announced for the cine camera, Fuji’s latest roadmap (as of 2023) included a GF 500mm f/5.6 in development and suggestions of possibly faster telephotos. With the introduction of tilt-shifts, Fujifilm signaled they are catering to the top-end pros. Perhaps in late 2025 or 2026, we could see a second generation of some lenses optimized for faster AF motors (since one critique is some current GF lenses focus slowly). No firm rumors yet, but it wouldn’t be surprising if Fujifilm updates a lens or two (for example, a GF 63mm f/2.8 Mark II with linear motors for speed, or a new portrait lens).

In summary, the future of Fujifilm GFX looks very dynamic. We have on the horizon a compact 100 MP fixed-lens camera that could make medium format street photography a mainstream reality, and a dedicated cinema camera that brings medium format to high-end video production. Meanwhile, the recent launch of the GFX100S II shows Fujifilm’s commitment to trickling down its latest tech to more affordable models, ensuring that the medium format system stays fresh and competitive. Fuji has effectively created a medium format ecosystem with multiple body styles and use-cases, something no other brand has done at this scale. As one commentator noted, “Fujifilm is clearly putting out a variety of 100 MP models” and not looking back – meaning GFX is now all-in on that sensor for future growth.

For current or prospective GFX users, this is great news: your system will continue to grow and be supported. And if you’re thinking of jumping in, the roadmap suggests there will be even more ways to do so – whether you’re a travel shooter who might love a fixed-lens MF camera, or a videographer eyeing that luscious large format look for motion, or just waiting for the right price/performance point to go 100 MP. 2025 will be an exciting year for medium format. Fujifilm’s gamble on GFX appears to be paying off, and they are doubling down with innovative products that could further erode the walls that once separated medium format from the wider photographic market. In Fujifilm’s own words regarding the GFX expansion: “it aspires to become a driving force in shaping a new era of filmmaking… [and] photography” – a bold vision, but given their track record over the last five years with the GFX, not an implausible one.

Sources:

• Fujifilm GFX100 II initial review – DPReview
• PetaPixel GFX100 II Review – Chris Niccolls – PetaPixel.com
• DPReview Fujifilm GFX50S II Review – DPReview
• Fujifilm press releases and specs – Fujifilm X/GFX Global petapixel.com
• Reddit r/FujiGFX discussion on future 50MP – user comments
• MirrorlessRumors summary of 2025 Fuji roadmap – MirrorlessRumors.com mirrorlessrumors.com mirrorlessrumors.com
• PetaPixel news on GFX Eterna cinema camera – Jeremy Gray – PetaPixel.com
• DigitalCameraWorld on Kaizen firmware – digitalcameraworld.com
• DPReview GFX50R article – PetaPixel / James Maher (experience using 50R)
• Hasselblad X2D vs GFX pricing table – DPReview
• YMcinema on GFX50S II price – ymcinema.com (affordable MF at $3300)

(Note: All source citations formatted as per the prompt, linking to relevant lines for verification.)