Latest news with #Fuji
Yomiuri Shimbun
4 days ago
- Entertainment
- Yomiuri Shimbun
Rubik's Cube Featuring Aomori Apple Varieties Debuts Nationwide; Challenging Puzzles Already Rolling off Shelves
Courtesy of the Aomori prefectural government An Aomorikku Cube puzzle toy Aomorikku Cube, Rubik's Cube puzzles designed with apple skin coloration, sales have begun outside Aomori Prefecture. Instead of solid colors, each side of the cube is patterned on a different variety of apple produced in the prefecture. The Aomori prefectural government sold the toys in the prefecture from autumn last year, quickly selling out. Many people voiced their desire to buy the puzzle, so the prefectural government has begun selling them again to promote apples, a prefectural specialty product. This year marks the 150th anniversary of the beginning of apple tree planting in the prefecture. When the Aomorikku Cube is solved, each surface shows an image patterned after a different apple variety. The designs are: Fuji, Jonagold, Sekai-ichi, Kogyoku, Chiyuki and Mutsu. All of them are red and look very similar. People need to align the pieces of each surface while paying attention to features of the apple varieties, making it very challenging. In October last year, the toys began to be sold in stores at 11 locations in the prefecture. They caught on right away and the initial run of 1,000 toys sold out in about 2 months. According to the prefectural government's tourism policy division, many people from inside and outside of the prefecture voiced a desire to buy them even after they initially sold out. The prefectural government decided to sell the toys again starting May 1, this time selling them outside the prefecture as well. In Aomori prefecture, the toys are available in multiple locations, including a store in Misawa Airport. Outside the prefecture, such retailers as Aomori Hokusaikan Tokyo Store, the prefecture's antenna shop in Chiyoda Ward, Tokyo, and A La Ringo Kobe Factory Shop in Hyogo Ward, Kobe, sell them. They sell for ¥3,300 each, including tax. By May 23, some shops reported their stock of the toys was low. An official of the prefectural government's tourism policy division said, 'We want people to become familiar with the features of apple varieties and hope the toys will prompt them to visit the prefecture to try the apples for themselves.'
Engadget
22-05-2025
- Engadget
Fujifilm's X Half is an $850 digital camera with an analog film aesthetic
Fujifilm has already released one unusual camera this year in the GFX100 RF medium format compact, but it's latest model may be the most offbeat yet. The $850 X Half is an 18-megapixel digital compact camera, but it uses half of a 1-inch sensor to shoot 3:4 vertical photos. To drive home the retro vibe, it has a rear screen dedicated to displaying the camera's 13 film simulation modes and can only shoot JPEG and not RAW images. The name comes from "half-frame" cameras popular in the '60s, like the famous Olympus Pen F, that use a 35mm film frame sawed in half (18mm x 24mm in size). The backside-illuminated sensor on Fujifilm's X Half is, well, half that size in both dimensions (8.8mm x 13.3mm) or a quarter the area. It's also the smallest sensor on any recent Fujifilm digital camera, as the X-series uses the APS-C format and GFX models medium format. In fact, the X Half has the same 3:4 vertical ratio as Fuji's Instax Mini instant cameras — so you can make prints using an Instax Mini printer via the new dedicated X Half smartphone app. The X Half naturally uses Fujifilm's film simulation and grain effect modes. Among the new ones are "light leak" for a blown-out quality that happens when film get exposed to light inadvertently, "expired film" and "halation," an effect caused by light bouncing off film emulsion layers. To really get you into that analog film mood, you can switch to the new Film Camera Mode that limits your view to the optical viewfinder, makes you pull a frame advance lever for each new shot and only lets you see the photos once they're "developed" through the X Half app. It even produces a "contact sheet" layout for 36, 54 or 72 images. Another feature is 2-in-1 images that let you combine two still images or movies into one composition in-camera for extra artistic possibilities (using the film advance lever again). That also means the X Half can shoot video as well as photos, with a vertical or square size (up to 2,160 x 2,160) that looks ideal for social media — especially with film simulations applied. Also exuding nostalgic vibes is the "Date Stamp" function that lets you imprint dates in the bottom right of images, just like on old-school Kodak-style film camera. On top of the main rear 2.40inch LCD 3:4 monitor, the X Half has an optical rather than an electronic viewfinder, adding another analog touch (and the accompanying parallax distortion errors). The camera itself is small enough to slide into a pocket and weighs just 210 grams (7.4 ounces). Other features include a built-in flash, massive 880 frame battery life and SD UHS-I card slot. The X Half looks like it could be coveted by social media users or anyone looking for a fun party or vacation camera. However, it's expensive considering that you can just get an Instax (or regular film camera and a lot of film) for a lot less. Fujifilm has definitely captured the photography zeitgeist before with models like the X100 VI, though, so I wouldn't be surprised if it becomes a hit. The X Half is now on preorder for $850 (in black, charcoal silver and silver) with shipping set to start on June 12.
Stuff.tv
22-05-2025
- Stuff.tv
An hour with the Fujifilm X-Half left me nostalgic for analogue film
Fujifilm has done more to make compact cameras cool that just about any other camera brand, but the new X-Half might just make them sub-zero. Sitting somewhere between modern mirrorless camera and retro toy, it's is a true love letter to a niche form of analogue film – just one that was written in the digital age. The underlying hardware might not be much to shout about, but for sheer fun factor it's going to take some real beating. No prizes for guessing which camera Fuji took design inspiration from; the X-Half looks just like an X100VI that shrunk in the wash. You can get one in the same Silver or Black colours, as well as a new Charcoal option. It's about as big as a disposable film camera (if you're old enough to remember one of those) and almost as light. Chalk some of that up to the polycarbonate construction, which avoids feeling cheap. That's appreciated, as this isn't a pocket change camera. It'll set you back $850/£699, or only a little less than the interchangeable lens X-M5. It's not like you're getting high-end hardware for your cash, either. There's a 1in sensor at the X-Half's heart, which is half the size of Fuji's APS-C norm. Pixel count maxes out at 18MP, and it's paired to a 10.8mm, f/2.8 fixed focal length lens with no image stabilisation or even a filter thread. The rest of the camera is pretty basic, with just an exposure compensation dial on the top plate. Aperture and manual focus controls are built into the fixed lens. There's a cold shoe for accessories (though I'm not sure which ones would actually prove useful) and an LED flash. A single SD card slot handles storage. Fuji says the battery is good for up to 880 shots, and charges over USB-C. The focus is very much on the shooting experience here. You can only take JPEGs (no RAWs), so the firm's trademark film simulations are baked in once you press the shutter button. There's a second screen on the back of the camera dedicated to showing which simulation is active; it looks like a window highlighting an analogue film canister inside the camera. There's an optical viewfinder for composition, but it doesn't have the fancy hybrid gubbins as seen on the X100 VI; just a green LED to indicate when the single-zone autofocus has locked onto a subject. With the sensor oriented for 3:4 vertical shooting, the X-Half fully embraces the niche half-frame format – named because each shot is half the width of an image shot on 35mm film – for the social sharing era. The rear touchscreen is even styled to match, with a refreshing lack of buttons next to it. Everything is controlled with swipes and taps. The UI has been simplified greatly, too, so there aren't hundreds of menus to sift through – just the essentials. A film winder next to the shutter button is the icing on the cake. Pulling it takes a 2-in-1 diptych, or side-by-side shot, while pushing it in previews the last shot. You can mix and match stills with video in a single diptych, too. I wish the winder had a ratcheting feel, but the way it springs back after every pull is very satisfying. The shutter has the soft click of a film camera, rather than the heavy thunk of a mirrorless digital one. Even more fun is the Film Camera mode, which lets you take 36, 54 or 72 shots before 'developing' them – along with a contact sheet – via the X-Half smartphone companion app. Image previews are disabled until you complete the 'roll', and you can also apply a handful of analogue effects like light leak and expired film. You've got to remember that the optical viewfinder is offset from the lens, though; the few shots I framed precisely didn't line up after developing. Whichever mode you're in, the shots the X-Half takes are full of Fuji's signature colour science. There's real warmth and contrast on display, and I was pleasantly surprised at how crisp some of my test shots came out; the lens may be more 'characterful' than Fuji's usual optics, but that doesn't mean it's bad. There may be fewer film simulations here than you'll get on the firm's regular X-series cameras, but the big hitters are all present and correct, including two of my favourites, Classic Chrome and Reala Ace. Each gives your shots a distinctive feel, and I liked being locked into one for an entire 'roll' at a time. I don't shoot in portrait very often, so being forced into it here meant not relying on my usual compositions, and thinking more about framing each shot. It's a world away from today's multi-talented mirrorless cameras, which can tackle pretty much any conditions. Walking around East London with the camera gripped between thumb and forefinger felt freeing, too; I wasn't constantly reviewing each shot, but looking for my next subject or location. I'll have to withhold judgment on how well the 1in sensor holds up in low light, although outright image quality isn't the ultimate goal here; like an analogue film camera, a lot of the appeal is how imperfect images still convey the mood and intention of the photographer. Having spent an hour with the X-Half, I'm convinced its limitations are part of the charm. This is a fun camera that makes you think about composition rather than the minutiae of ISO values and the like; and with no option for RAW editing later, what you shoot is what you get. That will surely make it a hit with social media sharers who want to get their pics live ASAP. At $850/£699 it's hardly an impulse – but if you're willing to pay for retro charm, this camera has plenty of it. The Fujifilm X-Half is up for pre-order now. Cameras start shipping from June 12.
Tom's Guide
22-05-2025
- Tom's Guide
Fujifilm just announced the X half — a digital camera that offers a unique film experience unlike any other
Fujifilm just launched the spiritual successor to its X-Pro lineup, and it's a camera unlike any other. Say hello to the Fujifilm X half, a digital camera with a dedicated film photography mode, that hopes to make photography simple and intuitive, thanks to a stripped back control scheme. It's designed extremely well and weighs just 8.46 ounces. The X half occupies an interesting place in Fuji's extensive cameras family. The manufacturer has injected the ethos, "Specs and technology aren't everything," into the X half's inception. Could this be one of the best cameras for photography purists? It features a 1-inch back-illuminated sensor that takes 17MP photos and records FHD/24p video. The back panel houses a 2.14-inch 0.92M-dot LCD touchscreen and a vertical touch panel that lets you swap between 13 of Fuji's most popular film simulation recipes. A fixed lens camera (32mm f/2.8 prime) like the Fujifilm X100VI, the X half has a retail price of $849 / £699. The camera, then, offers a film-like experience at an accessible price point, unlike the pricier Fujifilm X-Pro 3 which demands more money be spent on glass. The X half is great value for money, though, as it factors in the costs of getting film rolls developed. You can snap film photos and save them directly to your SD card — or view a short simulation of them "developing" within the new X half app. The X half has a few tricks up its sleeves. The rear LCD monitor, by default, shows you what the camera is pointing at, and you can view the photos you've taken, like on any other digital camera. But the X half has a dedicated film photography mode, where you select the film count (36, 72, etc.) and ISO value. This also turns the monitor into a shot counter, rolling onto the next number each time you take a photo. And just like on a film camera, you can't see the photo you've taken — until you offload the SD card or use the X half app. The 17MP images the X half produces are ideal for sharing on social media. You can create diptychs too. Pulling the lever next to the exposure compensation dial lets you take a second photo, and the camera then stitches them into one composition — and you can stitch a photo and video or two videos together too. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. Other features include Fujifilm's fantastic color science which is on full display here. The X half also features human face/eye detection unlike other half-frame film cameras, like the Pentax 17 or the Kodak Ektar H35. Alongside film recipes, there are several new filters to play with including light leak, expired film, miniature, double exposure, etc. I had the pleasure of seeing and using the camera for a couple of hours at a pre-launch briefing, and I had a very positive experience with it. A detailed review will follow soon, so keep your eyes peeled.
Tom's Guide
21-05-2025
- Tom's Guide
Fujifilm GFX100 II review: Everything Fuji has to offer
I love my job, in large part because of the immense range of products I get to test. But nothing excites me more than when a medium format camera lands (or more precisely, thuds) onto my desk. Medium format cameras represent the pinnacle of imaging. And this camera, the Fujifilm GFX100 II, is in turn the pinnacle of medium format. It's the best of the best. Just like its little sibling, the GFX100S II, the full fat GFX100 II features Fuji's 102MP GFX CMOS II HS medium format sensor and X-Processor 5, with the latter delivering the manufacturer's latest autofocus algorithms. Unlike the 'lite' model, the GFX100 II is built to remedy two of the usual pitfalls of medium format cameras: high speed performance and video capability. In short, the GFX100 II is one of the best mirrorless cameras, designed to make absolutely no compromises for hybrid shooters. But does it? Sorta, but not really. Find out more in my full Fujifilm GFX100 II review. Sensor 102MP Medium format Processor X-Processor 5 Stabilization 5-Axis, 8.0 stops AF System Intelligent Hybrid AF Viewfinder 0.64-inch OLED, 9.44m dots, removable Display 3.2-inch tillting LCD, 2.36m dots; 2.09-inch backlit LCD mono sub-monitor, 320x219 dots ISO range ISO40-102,400 (Extended); ISO80-51,200 (Native) Max video resolution 8K/30p Ports CFExpress Type-B; SD/SDHC/SDXC UHS-II; USB-C; mic; headphone; HDMI; flash sync; hot shoe; LAN Wireless connectivity Yes Max shooting speed 8fps Max shutter speed 1/32,000 sec Battery life (CIPA) 530 frames Size 5.9 x 4.6 x 3.9 inches Weight 2.2lbs Alright then, let's get the bitterest pill swallowed straight away, shall we? The Fujifilm GFX100 II costs $7,499 / £6,999. That's (almost) Hasselblad money — Hassy being the other major player in the medium format biz. The good news, though, is that you're getting more bang for less buck with the GFX100 II versus the Hasselblad X2D 100C ($8,199). The X2D is a luxury product, the supercar of the camera world, but can't shoot video and features outdated autofocus. The GFX100 II is better equipped for the requirements of modern hybrid professionals. Fuji's 'lite' model, the Fujifilm GFX100S II, features the same sensor and processor, delivering similar stills performance for a much lower (albeit still hefty) $4,999. Unless you need +4K/30p and faster/sustained continuous drive rates, that's where to put your money, banking some change for a lens. On that note: to resolve 100 megapixels, optics must be incredible. Budget $2-3K minimum for new lenses. You can expect to pay similarly, if not more, for Hasselblad lenses. It's par for the course with medium format systems. The Fujifilm GFX100 II is a behemoth, at 5.9 x 4.6 x 3.9 inches and weighing 2.2lbs when fully loaded with viewfinder, cards and a battery. And yes, I did say 'with viewfinder' — the GFX100 II's EVF is removable, allowing a tilting EVF adapter to be fitted for use at different angles, but removing it can also help save space in your camera bag. Despite its heft, the camera handles very nicely. The chunky, sculpted grip keeps it securely in hand, while a rear thumb rest provides support when shooting in portrait orientation. It isn't one to keep around the wrist or even neck, though. I use a longer strap and sling the camera across my shoulder, resting it on the opposing hip, which is far more comfortable. I carried the camera like this on a hike with no issues. I love how the GFX100 II's controls are laid out. Everything is sensibly positioned and within easy reach, making it a pleasure to shoot with in anger. I especially enjoyed the two Fn buttons inside the front cavity between grip and lens. There are also three more assignable buttons, four screen gestures and two assignable command dials. Alongside the hardcoded controls, there's enough space to customize the camera to your will, without having too much choice and forgetting where things are. Fuji's menu system is quirky but fine. Occasionally you'll notice something in a nonsensical place, but it gives you everything you need. The Hasselblad X2D 100C's menu system felt way too stripped back for such an expensive professional camera. The GFX100 II has three displays. There's the removable 9.44M-dot OLED EVF, which is just gorgeous. Its super high resolution does full justice to the 102MP sensor, and is an absolute necessity for detailed focus checking on the large 4:3 images. The X2D 100C and Fuji GFX100S II offer 5.76M-dot EVFs — paltry by comparison, despite being higher res than most other mirrorless camera EVFs. The rear main display is a 2.36M-dot tilting LCD. It's fine, but when zooming deep into images to check focus, you'll want to use the EVF. There's also a backlit monochrome LCD sub-monitor on the top panel for quick readouts of key settings. This also shows what the three adjacent Fn buttons are assigned to, which helps you remember how you've set the camera up. The GFX100 II features a CFExpress Type-B slot, enabling much faster read/write speeds than SD cards. That means faster drive rates and longer sustained drives; more demanding video resolutions, recording formats and data capture rates; and rapid offloading of those 200MB RAW image files (we're talking a couple of minutes to transfer 40GB from our SanDisk CFExpress card). The GFX100S II is hamstrung by its SD slots. The GFX100 II's second port is a conventional SD/SDHC/SDXC slot. There's also a USB-C port, an HDMI Type-A port, microphone and headphone jacks, a flash sync port, a hotshoe and a LAN port — as comprehensive an array as you'll find. The Fujifilm GFX100 II features hybrid phase- and contrast-detection AF and the manufacturer's latest AF detection and tracking algorithms. There are detection modes for humans (eyes/faces), animals, birds, cars and motorcycles, planes and trains. It isn't mind-bending AF, like full frame cameras including the Sony A1 II ($6,499) and the Canon EOS R5 Mark II ($4,299). And I'd love to see Fuji come up with an automatic detection mode, as the time it takes to switch modes can cost you the moment. The AF works very well for humans and eyes. In the portrait below, the camera struggled a little with the glare of studio lights on the subject's glasses, but detected her eye before too long and nailed the focus. The camera was also able to detect animals and birds reliably, even at a distance. In the image of the bird below, it locked onto the eye; and in the photo of the sheep later on, it detected all three of the animals' faces from afar. It isn't perfect. Low contrast subjects proved tricky, and focusing generally felt a little sluggish versus smaller-sensored cameras. It had issues tracking fast-moving subjects, too. In the images of the ducks below (see high speed section) it detected the bird's eye but couldn't keep up as the animal moved. I had only two usable images from 250+ shots, and even in those, the focus is still off, with the bird's eye being soft. All that said, this is a medium format camera. In those terms, the AF is excellent, and blows Hasselblad's rudimentary system out of the water — the X2D 100C lacks even eye detection, regularly resulting in missed eye focus when shooting portraits. The Fujifilm GFX100 II features 5-axis in-body image stabilization (IBIS), worth up to 8-stops of stabilization, according to Fuji. In testing, I was able to shoot down to 1/8sec handheld with minimal blurring. In the 1/8sec image below, the legends on the scale's face are very sharp. At 1/5sec, the IBIS system started to have issues. I was able to get passable results around half the time. In the first image below at 1/5, the legends on the scale are only very slightly blurred. In the second image, also at 1/5, the legends are extremely blurred. This performance is on par with the results from our GFX100S II and Hasselblad X2D 100C IBIS testing, so average for medium format. As you can see in the handheld panning video above, the GFX100 II's stabilization does a fairly decent job of keeping footage relatively smooth, too, although I wouldn't call it particularly impressive. You'll find better stabilization in top-tier full frame hybrid cameras like the Canon EOS R5 Mark II. The images this camera takes are breathtaking. Fuji's GF lenses are super sharp, rendering extremely crisp images, and combining with the large sensor to create beautifully tight blur for strong subject isolation, even at f/5.6. I mainly shot with the GF 63mm F2 and GF 80mm with its frankly ridiculous f/1.7 maximum aperture — talk about razor thin depth of field. I fell utterly in love with that 80mm. Obviously, with 102MP on tap, you've got a lot of headroom for cropping. The first image in the gallery above is an extreme crop into the second, and there's still bags of detail. This image was shot in RAW. Even cropping into Fine (second-highest quality setting) JPEGs is no biggie. The first image below is a heavy, albeit not extreme, crop into the second. I'll admit, while the GFX100 II's images are beautiful, they lack the magic of Hasselblad stills, which just feel that little sharper, more refined and elegant. Part of that is to do with Hasselblad's glass, but also its vaunted color science, although Fuji isn't exactly a stranger to color since itself. For day to day use, I much prefer Fuji's film simulations over Hassy's single color profile. The image above was shot in the Velvia vivid profile, which is great for nature and wildlife, and for injecting some saturation into the diffused lighting of an overcast day. Astia is beautiful for softening and warming up tones in portraiture, as in the first gallery image above. You can get creative with the usual range of retro-esque profiles like Nostalgic Neg, Reala Ace, Classic Chrome, and more. Acros (my favorite) looks stunning in high contrast lighting like the architectural shot, second in the gallery above. Of course, there's the Provia standard color profile for a less stylized look, and I always shoot in RAW anyway to give myself flexibility later down the line. One of the GFX100 II's key selling points is its high speed performance. It'll shoot at 8fps using mechanical shutter — 1fps more than the GFX100S II — or 8.7fps using e-shutter with a crop to 35mm (full frame). The key, though, is sustained speed. Thanks to the CFExpress slot, Fuji claims a maximum of 55 frames, although I was able to shoot uncompressed RAW + Super Fine JPEG for 42 frames, or around 5.25 seconds of shooting. After that, buffers filled and I had to wait a minute or so to use the camera again. Mileage may vary based on the card used. Either way, it's very impressive performance for a 102MP medium format camera, and it makes this a viable tool for higher-speed work. For context, the GFX100S II managed just 21 frames after 3 seconds at 7fps. Drop to lossless compressed RAW + JPEG and you're looking at 75 frames, while I was able to shoot endlessly at 8fps in Super Fine JPEG only — I was cracking off 300 shots, only stopping after getting bored. With so much resolution, JPEGs still look epic, although you lose the editing flexibility of a RAW file. The only issue is that the AF can't really keep up, as I mentioned above. As you can see in the images above, taken in high speed burst, the camera (set to bird eye detection AF) was able to detect the bird, but was unable to keep hold of its eye as the bird moved, meaning the eye is soft. These were the only two remotely usable shots from 250+ shots. Thanks to its large medium format sensor, the GFX100 II's high ISO performance is excellent. The image gallery below shows JPEG exports of RAW files shot at ISO12,800, ISO25,600, ISO51,200 and ISO102,400 respectively. The only editing applied to these images was blurring personal details and compressing to JPEG for online upload. As you can see, noise starts to become noticeable at ISO12,800, but isn't destructive there or at ISO25,600. At ISO51,200, background noise is pretty distracting, but the photo isn't ruined. At ISO102,400, noise is pretty bad, but not totally ruinous, and come on… ISO102,400! The X-Processor 5 also does a cracking job at smoothing out the noise in straight-out-of-camera (SOOC) JPEGs, as you can see in the gallery below. These are the SOOC JPEG files of the same images, all shot with the base internal noise reduction applied. The only editing applied to these images was blurring personal details and resizing for online upload. There's just so much resolution to play with that the processor can smooth out the noise and still produce a sharp image. Above ISO12,800 you can still see where the background noise was, but even at ISO51,200 the image looks great, with plenty of fine detail retained in the fur around the dog's eyes. ISO102,400 is, again, a little too much even for the X-Processor 5, with a noticeable drop in sharpness thanks to smoothing, resulting in a watercolor effect. I've gotta say, though, I've seen a lot worse than this at much lower sensitivities on other cameras. The larger sensor also delivers a wide dynamic range. The GFX100 II boasts upwards of 14 stops of dynamic range, according to Fuji, and can shoot stills in 16-bit color for a huge color gamut of 28 billion individual hues. The gallery above shows a backlit photo of a lens, taken at the camera's lowest native sensitivity, ISO 80, using the default multi-metering (evaluative/matrix metering) to set the camera at EV-0. Normally on this test, the window in the background is simply whited out, but in the first gallery image you can make out individual shades and colors. The second gallery image shows the same image with the shadows and exposure boosted. Plenty of shadow detail has been retained, with the individual ridges of the lens control rings visible. Looking closely, there is some noise in the shadowy areas, but it's very fine and requires zooming in to see, again suggesting a wide dynamic range. The Fujifilm GFX100 II is designed to be a capable video tool. Thanks to that CFExpress slot, it'll shoot 8K/30p internally in Apple ProRes 422 HQ, 10-bit, at bitrates of up to 3.5Gbps. RAW output is also available at 8K/30p via HDMI in 12-bit Apple ProRes RAW to ATOMOS recorders, or Blackmagic RAW to Blackmagic recorders. Obviously, you also have Fuji's color profiles at hand if you don't feel like grading —Eterna and Eterna Bleach Bypass are my favorite for video. And for when you do grade, there's Fuji's F-Log 2 profile for wide dynamic range capture up to 14 stops. The GFX100 II is geared more towards cine use than hybrid shooters or content creators. With the right adapter, such as a PL to GF adapter, cine lenses can be fitted, including Fujinon's Premista PL-mount lenses. And there's a range of crop modes available to suit, including 8K anamorphic in 2.76:1 aspect, and a 5.8K cine aspect of 2.35:1. All of Fujinon's GF lenses are photography oriented, though. That means noisy focus motors across much of the range, plus notched focus rings negating smooth focus pulls. For non-cine video, I would recommend a manufacturer/lens mount with a more versatile range of native lenses — the Panasonic Lumic S5IIX ($2,199) would be my top pick. The GFX100 II uses Fujifilm's NP-W235 battery. It's a decent power cell, delivering over 700 shots in cameras like the Fujifilm X-S20 ($1,299). In the GFX100 II, Fujifilm rates the NP-W235 for 530 shots, which is the same as the GFX100S II. For video, you can expect up to 60 minutes at 8K, although overheating will be an issue — Fujifilm supplies a bolt-on fan for extended recording time. Mileage will vary based on the type of shooting you're doing, of course. In testing, I used the camera for a variety of single-shot, high speed drive bursts and video clips, and came away with over 1,400 photos. It isn't perfect, but it isn't far off either. Stunning stills with vast amounts of detail, strong low-light performance and bags of dynamic range make this any photographer's dream. With its 8fps drive and subject detection/tracking AF, Fuji has remedied the usual sluggishness of medium format cameras, at least as far as is practically possible at the moment. That said, the AF still has a hard time tracking fast-moving subjects and modern sports/wildlife full frame cameras are pushing 40fps drive rates, so this still isn't a proper high speed camera. Fuji has also remedied the lack of video capability in the mirrorless medium format market, packing the GFX100 II with powerful video specs — although the camera is much more geared towards cine work than hybrid shooters, thanks to the lack of video-centric GF lenses. All in all, Fujifilm put everything it had into GFX100 II, and it shows. This is the finest medium format camera you can buy today.
