Shooting the Fujifilm GFX 50 SII in 2026

I usually avoid long winded posts on gear as a rule, but as a few people have asked me about this camera, I thought I would put together some quick thoughts after around 12 months of ownership. A few years ago, I tested a Fujifilm GFX 50R and was blown away by the output, but at the time, the eye-watering cost of a body and a lens or two pushed me toward the Nikon Z system in the shape of a Z7 II. Fast forward to the end of 2025 and prices on the used market for the GFX have dropped significantly, and after being offered a good price on a GFX 50S II shortly after deciding to move on my Z7 II setup, it felt like the right time to pull the trigger. System changes usually trigger a mix of excitement and anxiety, especially regarding real-world usability. After almost a year shooting predominantly with the GFX, I wanted to reflect on whether switching was the right move. Released in 2021, the GFX 50S II houses a 51.4-megapixel 44 x 33 mm CMOS sensor which gives it roughly 1.7 times the surface area (about 70% larger) of standard 36 x 24 mm full-frame. Paired with Fujifilm's signature colour science, it delivers beautiful, organic colour reproduction, really delicate highlight rolloff, and up to 6.5 stops of in-body image stabilisation (IBIS). Whenever people ask how I'm getting on with the GFX, I find myself singing its praises. For a medium format camera, its size and weight are surprisingly approachable, and the build quality, controls, and overall handling feel very refined. It is perhaps a bit of a niche camera aimed mostly at portrait, landscape, fine art, architecture, and commercial photographers, but it really does fill that role brilliantly. Subscribe now Although it uses an older contrast-detect system which makes it noticeably slower in comparison to the more modern phase-detect offerings that are on the market, I have found autofocus to be pretty reliable in most situations and rarely do I have any complaints for the style of work I produce. That being said, this isn't a camera for sports, action or event photographers who rely on immediate feedback - although many would potentially argue the use case for a camera like this in those situations anyway. The overall tactile feedback can feel deliberate at times, which leads me to shoot in a way that echoes how I work with film. My photography is rooted in the landscape and around place, and since completing my MA, it has become more intentional and personal. Having shot with a number of medium format film cameras over the years, including the Pentax 6x7, I love the native 4:3 aspect ratio from this camera. I found that I used to crop a number of my Z7 II portrait shots to 4:3 or 4:5 in post, so having an output that natively aligned towards this is a major big tick. My first lens was the much applauded Mitakon 65mm f/1.4. Having used the Pentax 105mm f/2.4 for several years on my 6x7 setup, I was drawn to the Mitakon because it renders almost identically when shot wide open. Being a manual focus offering too, it brought back that deliberate, contemplative approach in the field. There was still some money in the pot from my Z setup to also buy the GF 35-70mm zoom. Despite being labeled a 'kit lens,' it's an incredibly versatile and brilliant performer. If I was to state one drawback, it would be the modest f/4.5–5.6 maximum aperture. Subscribe now On paper, the Z7 II I owned previously is objectively the superior tool for most if not all situations. It's roughly 300g lighter, shoots up to 10 fps, features a much more modern AF system, and records 4K/30p video. This easily pushes past the GFX's contrast-detect AF, 3 fps burst rate, and 1080p video limit. But gear isn't always about chasing specs. I think we often get caught up in this whenever a new camera lands on the market. For me, it's about the specific use case and what you need from the tool, and more importantly, it comes down to the quality of the stills, which is where the GFX really outshines the Z7 II, in my opinion. Whilst I appreciate that 1080p feels dated for those dead set on video, the footage that I've got from this camera is surprisingly pleasing and has been more than enough for when I have done accompanying video alongside my stills. There is also the question of engagement. The Z7 II was a fast, capable workhorse, but it often made shooting feel so effortless that it often detached me from the process. The majority of time, I found myself working more with film and using the Z when I felt a real need to. The limitations of the GFX have forced me to slow down, compose thoughtfully, and reconnect with photography. I often comment to people who ask that it often acts as a bridge between film and digital. Subscribe now There is no denying that the image quality from this camera is fantastic. The subject separation sets it apart from any digital system I've used previously, along with how it handles colour and highlight rolloff. The files also offer a great amount of dynamic range and flexibility during post-processing. The only practical downside is file size! At roughly 120MB per RAW, a few hours of shooting can quickly eat up gigabytes of storage, which is worth factoring in before buying into the system. The GFX 50S II can be slow and quirky at times, but it is the camera that actually inspires me to go out and shoot, which is something I've struggled with over the years when it comes to working with digital setups. Every time I load the files onto my Mac, I feel a genuine connection to the image, and for me and how I chose to work, that makes it a perfect choice. Subscribe now Thanks for reading. If you enjoyed this, stay in the loop by hitting the subscribe button orfollow me on Instagramfor more.