GFX100S II | FUJI X WEEKLY

Fujifilm Grain Comparison: GFX100S II vs. X-T5

Posted on January 3, 2025 by Ritchie Roesch

*Unfair Comparisons* – Buckeye, AZ – Fujifilm GFX100S II – Astia Summer

I’m planning to do a number of comparison tests between the JPEGs from the Fujifilm GFX100S II and my X-series models, like the Fujifilm X-T5. What’s different? What’s the same? I haven’t come to very many conclusions yet. There’s clearly a difference, but it seems so subtle it is tough to put a finger on what exactly is divergent.

For this article, I’m comparing the faux Grain between the GFX100S II and the X-T5. This isn’t a carefully controlled scientific test. When my wife (on the X-T5) and I (on the GFX100S II) captured these images, we did not intend for them to be used in any sort of comparison test. I chose these because they were made in the same location (White Sands National Park in New Mexico). They were captured with the new Kodak Gold Max 400 Expired Recipe, and reprocessed in-camera with the Astia Summer Recipe. I chose those two Recipes because of their Grain: Weak/Small and Strong/Large.

*Fujifilm X-T5 – Astia Summer – Grain Weak/Small*

*Fujifilm GFX100S II – Astia Summer – Grain Weak/Small*

*Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large*

*Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large*

You cannot tell much at all from the above photos. From examining the pictures more closely, I can state that the size of the faux grain is a little larger in the X-T5 JPEGs than the GFX100S II, but you can’t really tell without cropping in. So let’s crop in!

In the first set (identified simply by “Crop”), I’ve made the pictures roughly the same size. If you look carefully, the Weak/Small Grain is slightly more visible in the X-T5 pictures, but it’s not overtly obvious. In the second set (identified by “Bigger Crop”), I’ve tried to match the Grain, and I had to crop much more deeply on the GFX100S II pictures to do so. These are significant crops, and you’d have to print large to view them this big. I think if a Grain size Medium existed on GFX, that would more closely match Grain size Small on the X-series.

*Crop – Fujifilm X-T5 – Astia Summer – Grain Weak/Small*

*Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small*

*Bigger Crop – Fujifilm X-T5 – Astia Summer – Grain Weak/Small*

*Bigger Crop – Fujifilm GFX100S II – Astia Summer – Grain Weak/Small*

Below is a repeat, except for with Strong/Large Grain. I think if a Grain size Medium existed on the X-T5, it would more closely match Grain size Large on the GFX100S II.

*Crop – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large*

*Crop – Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large*

*Bigger Crop – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Grain Strong/Large*

Bigger Crop – *Fujifilm GFX100S II – Kodak Gold Max 400 Expired – Grain Strong/Large*

I don’t know that it makes any practical real-world difference, but the size of the Grain—whether Small or Large—is not identical on GFX as it is on X-series cameras. It’s not scaled the same. It’s smaller on GFX and larger on X-series, specifically when comparing the 100mp images from the GFX100S II to the 40mp images from the X-T5. There are also likely variances between the 26mp APS-C sensor and the 50mp GFX sensor.

The way to look at this, I suppose, is that film grain appears more fine on medium-format film than 35mm. The difference in silver grain between—say—120 film and Advanced Photo System Type-C film is much, much more significant than the difference in Grain between GFX and X. I think you’d expect the Grain to be more “fine” on GFX—and that’s what you find—but it isn’t nearly as much of a difference as with actual film.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm GFX100S II:
Amazon, B&H, Wex

10 Frames in New Mexico — Fujifilm GFX100S II XPan Photographs

Posted on December 30, 2024 by Ritchie Roesch

*Sand & Sky* – White Sands NP, NM – Fujifilm GFX100S II – Fujicolor PRO 160C Warm

The main reason why I purchased a Fujifilm GFX100S II camera a couple of weeks ago was for XPan photography. For those who don’t know, XPan cameras were a joint venture between Hasselblad and Fujifilm in the late-1990’s through the mid-2000’s, right at the pinnacle of film. XPan models were interchangeable-lens rangefinder cameras that used approximately two frames of 35mm film to capture panoramic pictures in a 65:24 aspect ratio.

You can crop images from any model to the XPan ratio without much trouble, but composing it in-camera is different than doing it after-the-fact because you can better visualize the outcome. Also, I prefer straight-out-of-camera photography over sitting at a computer editing, but that’s just me. All GFX models, including the GFX100S II, have the 65:24 aspect ratio built-in; however, X-series cameras do not (in my opinion, Fujifilm should add the XPan ratio to all of their 40mp cameras via a firmware update). If you are serious about XPan photography and you use Fujifilm cameras, GFX is the preferable route.

*Sand Wall* – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film

Since the 65:24 aspect ratio cuts out about half of the resolution, having a high-megapixel sensor is important. With that said, you can’t truly appreciate XPan when viewing on a computer or your phone. XPan from a GFX100S II isn’t going to look any more impressive than (for example) an XPan crop from a Fujifilm X-T10. These pictures need to be printed to be appreciated, and that’s my goal. I plan to print a couple of these to see what they look like, and if I create any in the future that are worthy, I hope to make some really large prints that are two-feet tall by five-feet-five-inches wide. For that, the 100mp sensor of the GFX100S II is essential.

All of these photographs, which were captured yesterday and the day before in New Mexico, were made using a Fujifilm GFX100S II camera with a Fujinon 80mm f/1.7 lens. These pictures are camera-made JPEGs using a few different Film Simulation Recipes. Over the coming days and weeks I’ll be testing various Recipes to see what works best on GFX, and I’ll be sure to share the results with you, so stay tuned! In the meantime, I hope that you enjoy these 10 XPan images.

*Cars* – Tularosa, NM – Fujifilm GFX100S II – Fujicolor 100 Gold

*House Fire* – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer

*Yucca in the Sand* – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film

*Yucca and Grass*– White Sands NP, NM – Fujifilm GFX100S II – Velvia Film

*Sandscape* – White Sands NP, NM – Fujifilm GFX100S II – Fujicolor PRO 160C Warm

*Dune Brush* – White Sands NP, NM – Fujifilm GFX100S II – Fujicolor PRO 160C Warm

*Sunset Behind Brush* – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film

*Sand at Sunset* – White Sands NP, NM – Fujifilm GFX100S II – Velvia Film

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex

My new Fujifilm camera is…

Posted on December 17, 2024 by Ritchie Roesch

My latest camera purchased arrived in the mail a few days ago: a Fujifilm GFX100S II. Along with the camera I also got a couple of lenses to go with it: Fujinon GF 80mm f/1.7 and GF 30mm f/3.5. This was, by far, the most money that I’ve ever spent on gear, and it was with some apprehensiveness that I clicked the Proceed with Purchase button. Let me explain why I bought it.

My first GFX experience was with the GFX 50S, which I was able to borrow for a couple of weeks in early 2021. It was a dream-come-true to try, but I was not convinced that it was something I wanted to own. Not only was it pretty far outside of my budget, but it was big, heavy, and slow, and didn’t provide any major advantages to my photography over the X-series. If I was given one I wouldn’t say no, but I wasn’t about to shell out many thousands of dollars for it.

The next GFX experience came earlier this year when Fujifilm invited me to a retreat in the Catskill Mountains of New York. Some photographers, including myself, were loaned preproduction Fujifilm X-T50‘s to try out, and some were loaned preproduction GFX100S II’s. While I didn’t get a chance to use one myself, I did get to see the amazing images that other photographers created with it, including Bryan Minear. I’ll never forget when Bryan and I got completely drenched on an early-morning photo outing in the rain.

A few days later Fujifilm had a rooftop launch party for the GFX100S II and X-T50 in New York City (above Foto Care), and myself and Bryan were enlisted to help. We were placed together at a touch-and-try station for the GF 500mm f/5.6 lens. I didn’t know much about the gear, so I wasn’t particularly helpful. I did get to touch-and-try very briefly, though, but not enough to form any sort of opinions of the gear. I met a number of interesting and talented people, and had an amazing time, so I’m extremely grateful and honored for the opportunity.

Most recently, when Bryan and I cohosted a photowalk in Ann Arbor last month, he let me try out his GFX100S II camera with the Fujinon 80mm f/1.7 lens attached. It was a beast, but also produced amazing images. It was that experience that pushed me over the edge to want one. Prior to this, I would have said that there’s no way I’m buying one, I can’t afford it. Instead, I began looking at what it would take to buy one. I had already began saving for the next camera purchase, so I was already partway along the path, but, you know, GFX is quite expensive.

It might seem like I just suddenly wanted one, like I was smitten with G.A.S., which is partially true. Actually, I’ve been thinking about it for some time now. Specifically, I have had an interest in creating 65:24 XPan panoramas, and the GFX cameras are especially excellent for that. I also want to explore square photographs, and GFX is quite good for that, too. My hope is to make large prints of these images, if I should capture any worthy of being printed.

Above: Me, as photographed by Bryan Minear using a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio, in Ann Arbor, Michigan.

There’s also the benefit of figuring out which Film Simulation Recipes work best with the camera, and what modifications, if any, need to be considered. I haven’t made much headway with that just yet, but hopefully over the coming weeks I can publish some findings. I’ve had a number of requests for GFX Recipes, but, without any GFX gear, that’s tough to do. I should be able to make some big strides regarding this now that I have a GFX100S II in my hands.

I’m not a big fan of the heft, or the non-tactile controls, but the images are incredible! However, for everyday use, there’s no way that you can tell it’s GFX, and not X-series. In fact, I published a few pictures on Fuji X Weekly that were captured with the GFX100S II, and nobody noticed. You have to crop deeply and/or print very large to really appreciate it, I think. Those who truly “need” GFX are a small group, and I’m not one of them …yet, anyway. I’m making plans where I hope the GFX100S II proves to be a necessity for what I’m creating, so we’ll see if it does.

Above: Vultures circling a desert ridge; photo by Ritchie Roesch with a Fujifilm GFX100S II & Fujinon 80mm f/1.7 with the XPan aspect ratio and Kodachrome 64 Film Simulation Recipe.

I had to sell a couple of items to afford the camera (and to make room on the shelf for it). Even then, it was a stretch to pay for it. I had some trepidation when I ordered it, but I think it might eventually be worthwhile. Now I’ve just got to get it to the places I want to take it to—mostly, National Parks—in order to create the images that I imagine capturing with it.

I’ll try not to bombard you with GFX articles. I plan to keep this website primarily focused on X-series gear, and only sprinkled with with GFX content. But I can’t guarantee that. I might end up absolutely loving the camera, and speaking more about it than I initially intend. Or maybe it will mostly collect dust, as I choose smaller, lighter, more fun gear. Time will tell. But, for this first post, I will share with you some of my first pictures captured with the new camera.

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Reggie’s Portra*

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Nostalgic Film*

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Pacific Blues*

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 + 1970’s Summer*

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodachrome 64*

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Gold 200*

*Fujifilm GFX100S II + Fujinon 80mm f/1.7 + Kodak Tri-X 400*

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm GFX100S II:
Amazon, B&H, Wex
Fujinon GF 80mm f/1.7:
Amazon, B&H, Wex

Report: We Now Know What 2 (of the 3) upcoming Fujifilm cameras will be

Posted on November 27, 2023 by Ritchie Roesch

Fujifilm will announce three upcoming cameras in the first part of 2024. Fujirumors is reporting what the second upcoming Fujifilm camera will be. We already know what the first one will be, so now the first two are known. There will be a third camera announced, which we don’t know anything about, and we’ll get to that in a moment.

The first upcoming camera will be the X100V successor, which has been rumored for some time now. Not much is known about it, other than it will have a new lens. A lot of people think that Fujifilm will name it X100R (a.k.a. X100Roku), but I think they’ll steer clear of any association with the video streaming service, and name it X100Z instead.

The “new lens” part of the upcoming X100-series model is curious, because the X100V, which was the fifth iteration of the series, was the first with a new lens. So why will the X100Z (or whatever Fujifilm names it) have a new lens? The leading theories are:

The current lens cannot fully resolve 40mp, and the new camera will have the 40mp X-Trans V sensor, so a new lens is necessary to take full advantage of the high-resolution sensor. In my opinion, this makes the most sense, although (if it is the reason) I would be slightly surprised that the current lens cannot resolve 40mp.
Fujifilm will increase the maximum aperture to f/1.8 or f/1.7 to better compete against the Leica Q3.
The new camera will have IBIS, and a lens redesign is necessary to accommodate.
Fujifilm has improved the leaf shutter, which requires a redesign of the lens.
Fujifilm will eliminate the IR hotspot on the lens, and in turn will sell a full-spectrum version.

There could be some other reasons, but those are the ones I have heard. I highly doubt it will be the last one, although it would be cool if it was. Most likely it is to resolve more resolution, but nobody knows at this point, so it could be anything.

The second upcoming camera will be the GFX100S II. Wait, what? Seriously?!

So, yeah, the GFX lineup will have the 100 II and 100S II. I’m not sure what will be different about the two models, other than the 100S II will be less expensive than the 100 II, so perhaps a little less feature-rich and slightly smaller. Honestly, I couldn’t be less excited about this, but it’s probably because I’m not in the GFX system.

I’m not entirely shocked that the upcoming camera will be the GFX100S II, but it is still a head-scratcher. First, once released, it will mean that 8 out of the last 12 Fujifilm cameras will have been PASM models (2/3rds of them). The only four non-PASM cameras will have been the X-E4 (which has been discontinued and is selling for ridiculous prices), the X-T30 II (which was basically just a firmware update and has been discontinued, although you can still find it if you search hard enough for it), the X-T5, and the X100Z (or whatever Fujifilm calls it). It will also mean that 4 out of the last 11 Fujifilm releases will have been GFX models; however, the GFX50S II has already been discontinued, and presumably the GFX100S will be discontinued very soon. I do think that the GFX system needs a divergent option, as it would seem like the GFX100 II and GFX100S II will be pretty similar to each other. A GFX100R, which would be the successor to the long-discontinued GFX50R, seems like the most obvious choice, but I don’t think Fujifilm plans to release another GFX camera with traditional tactile controls.

My best guess is that the third camera will be the X-Pro4, and that it will be announced sometime in May. I have no inside information (I never do, I get it from Fujirumors like everyone else…), but based on past releases, this makes the most sense to me. I hope that I’m right, because there’s a lot of pent-up demand and eagerness for this camera. If it’s not an X-Pro4, a lot of people will be disappointed.

So where does that leave the X-T40 (or X-T30 III or X-T50 or whatever Fujifilm will name it)? It could and should still happen, but I think Fujifilm is trying to move out of that market segment. They’re focusing more on premium products, and less on lower-tier, as they believe the bottom of the market is continuously drying up. Either Fujifilm makes that series more premium (and in turn more expensive)—kind of like what they did with the X-S20—or they do a very modest update, and it might be the last model in the series. Or it could be that the X-T30 II was the last one. My hunch is that there will be at least one more, perhaps released sometime in the second half of 2024. It certainly could be the third camera and not the X-Pro4—I think a lot of people would be shocked (in a negative way) if that were the case.

Where does this leave the X-E5? I think this line is done. The X-E4 was the last. I truly hope I’m wrong about this, though, because I love the X-E cameras. If one does come, most likely it will be in 2025 and not 2024. Since there’s so much demand for the X-E4 and not much supply, it would make a lot of sense to expedite a successor, but I don’t think that Fujifilm is currently doing so.

What about the X80? The Fujifilm X70 was discontinued in December of 2016, and there has been demand for a successor ever since. I’ve noticed that the demand for an X80 has been building recently, growing larger and more vocal. Certainly the recent sales success of the Ricoh GR III should cause Fujifilm to consider it. I don’t, however, believe that Fujifilm has any current plans to release an X80. If they did, I’d be first in line to buy one!