Big test
“THE FUJIFILM GFX100 II FOCUSES QUICKLY AND ACCURATELY IN A WHOLE RANGE OF SITUATIONS, WHETHER YOUR SUBJECT IS STATIC OR MOVING”
DIALLED DOWN Fewer dials than other Fujifilms, but the LCD stays on at all times
doubt. Up to 425 focusing points are available on the hybrid system, plus there’s now the same face, eye and subject detection options as you’ll find on the X-H2S. In practical terms, that means the GFX100 II focuses quickly and accurately in a whole range of situations, whether your subject is static or moving. However, there are limitations, primarily when the action starts to speed up. My typical action test is with my dog – a highly active two-year- old vizsla. If you own one, you’ll empathise. Let her just lark around and the animal subject detection on the GFX100 II will largely keep up with her antics. Throwing a ball and attempting to focus on her as she charges after it is a different matter – I got a lot of out-of-focus images. In truth, it’s crazy to even consider a medium format camera would be able to keep pace with
such a fast-moving subject, though the aforementioned Sony, Canon or Nikon would almost certainly fare better in this regard. While freeze-framing pacy canines may not be the GFX100 II’s strongest attribute, its image quality undoubtedly is. I’ve been lucky enough to have the camera on test for two separate stints and, on both occasions, the results never cease to amaze. It’s not just the detail; the colour and low-light capability are impressive. First time out, I tried the camera with the GF55mm f/1.7 on a press trip to Stockholm (where it also passed a stern weatherproofing test). Second time, it was with the GF32-64mm and GF80mm lenses. The image quality was brilliant throughout. With a broad dynamic range, new base ISO of 80, optional HEIF format and the wonderful new Reala Ace Film Simulation mode, it all creates something spectacular.
THE REALA THING There are 20 Film Simulation modes available on the GFX100 II, including the new Reala Ace. A viable alternative to the standard Provia, it offers softer shadow areas and a tad more contrast in midtones and highlights
PERFORMANCE: EXPOSURE LATITUDE
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Taken with the GFX100 II and GF32- 64mm f/4 zoom, this set of images shows – like most digital cameras – it’s better to stay on the side of underexposure to retain detail. The correctly exposed image was taken at 1/350sec at f/8, ISO 400, after which exposure compensation was applied in full steps up to +/-4 stops. The resulting Raw files were
processed in Capture One 23. Overexposure is tolerated up to +2 stops, but move to +3 and highlight detail is lost. At +4, the image can’t be salvaged, resulting in odd colour shifts. Underexposed images, on the other hand, can be rescued down to -4 without any significant colour shifts or loss of detail.
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Issue 113 | Photography News 35
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