Full Frame Veteran Shoots Fujifilm GFX100 II at MotoGP: The $4,000 Fujinon GF Lens That Matched $16,000 Nikon Glass

Mattia Campos has spent more than 20 years working with every kind of ultra-flagship full-frame camera you can think of. Not long ago, we reported how he decided to step outside his comfort zone and take the Fujifilm APS-C system to Patagonia for wildlife photography.

The short version? Fujifilm’s APS-C system completely blew him away. His review turned out to be one of the best—and most brutally honest—camera reviews of 2025. If you haven’t read it yet, it’s absolutely worth your time.

But Campos didn’t stop there.

He also put the Fujifilm GFX100 II to the test in a place where you would least expect a medium-format camera: a MotoGP race.

The full review is in Italian and was published on JuzaPhoto. Below, I’ll summarize the key takeaways, including a direct comparison with the Sony A1 and the Nikon Z8.

One comparison, in particular, really stands out.

Campos compared:

He cropped the GFX files to match the field of view of the Nikon files—fully expecting the Nikon setup to come out on top.

It didn’t.

The results were practically identical.

In other words: with a €4,000 GF lens, he achieved the same level of sharpness as with an $16,000 Nikon super-telephoto.

And that was just one of the advantages he found in high resolution—and in medium format more broadly. He also appreciated several other qualities of medium-format files… and was equally honest about the aspects he liked less.

You can read all about it below.

NOTE: the original article shared months ago contained images. However, Mattia has since then canceled his account on the forum and the images have disappeared. However, his text and findings are still there, which is why I still decided to share it.

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Bob Poole Puts the Fujifilm GFX100 II in the Path of Elephants — and It Delivers Cinematic Magic

While working on his latest elephant documentary, Emmy Award–winning cinematographer Bob Poole decided to bring an unexpected camera into his setup: the Fujifilm GFX100 II. Not as a main cinema camera — that role was covered by the ARRI Alexa 35 paired with the massive Fujinon Duvo HK 25–1000mm f/2.8–5 — but as a creative tool to capture something different.

The goal was simple: get unusual, ultra-high-quality shots from extremely low angles.

To make that happen, Poole and his team built an elephant-proof cage and placed the GFX100 II directly on the ground — right on paths regularly used by elephants — to capture perspectives that would be impossible with traditional cinema rigs.

Naturally, this should have been a disaster.

After all, if he had asked internet forum experts, they would have confidently explained that the GFX100 II is “not a real video camera” and that creating meaningful cinematic footage with it would be basically impossible.

Luckily, Bob Poole didn’t ask the forums.

And somehow — against all odds and comment sections — the GFX100 II ended up delivering stunning, cinematic footage that blends seamlessly with high-end cinema cameras.

Here’s what Poole had to say about working with the GFX100 II:

  • GFX100II has been instrumental in this film project, giving us angles we would have never been able to achieve with larger cameras
  • We made an Elephant proof cage and dropped the GFX100II on a path the Elephants use
  • when the Elephant pops in front of the camera, all the detail is there on that large sensor, all that information, I think it’s going to blow people away
  • the idea was always to have massive wide angle shots that show the landscape from a perspective you otherwise you would not see
  • GFX100II came into play because the wide angle stuff coming out of these lenses in this amazing camera were seamless
  • the image has the same beautiful soft rolloff of the Arri Alexa 35, shallow DOF, super sharp, beautiful bokeh
  • the image is fantastic
  • GFX100II also really valuable for timelapse, counting on that large sense to be able to oversample and then be able to work within the frame which has given our post production so much flexibility, because we can move within the frame we’ve created
  • GFX100II stills are amazing. We have got so many beautiful images

Well done, Bob — and well done Fujifilm for giving creators tools that don’t just improve image quality, but actually expand what’s creatively possible, opening new ways to work, experiment, and tell stories with more freedom and flexibility.

GFX Cameras

GF Lenses

Sony Tricked You: The Sony A7V Does Not Match the Fujifilm GFX100II in Dynamic Range – UPDATED

The Sony Trick

UPDATES: Bill Claff made an error an apologised. Here are the true results and findings

Original Article:

Photons to Photos has published their dynamic range measurements for the Sony A7V.

As soon as the chart dropped, several Fujifilm GFX shooters in our group started wondering: is it time to ditch the GFX100 series and move to Sony?

Why the sudden doubt?

Because at low ISO values, the Sony A7V appears to match the Fujifilm GFX100II in dynamic range — at least according to the Photons to Photos graph here.

But there’s a trick. 😉

As Bill Claff (the mind behind Photons to Photos) explained over on DPReview here:

Note the triangles point down which indicated Noise Reduction (NR) baked into the raw files.

Also note, no Dual Conversion Gain (DCG) was detected.

Noise Reduction (NR) makes comparisons less reliable. Unfortunately it’s hard to gauge how much of an impact NR has on the results. Note there’s even stronger NR at the very high ISO settings.

That’s why the GFX100II shows simple dots, while the Sony A7V shows downward arrows: those arrows are a warning that NR is being applied to Sony’s RAW data — meaning the “true,” NR-free performance would be worse.

The real question now becomes: how strong is Sony’s NR, and how would the A7V fare against a GFX100II if both had the same amount of noise reduction?

Also a pity there is no dual gain conversion on the Sony A7V, because that helps to improve ISO performance at higher ISO. All modern (and even older) Fujifilm cameras have dual gain. This explains why the GFX100II jumps ahead to the Sony A7V at some point – even if the Sony is agressive with noise reduction – because dual gain kicks in on the GFX100II.

UPDATE: Bill Claff says “There will be ES results shortly at PhotonsToPhotos.net. And it does look like there’s High Conversion Gain (HCG) at ISO 1000 that is obscured by the NR with Mechanical shutter.”

The Fuji Trick

And because here on FujiRumors we take pride in being 100% honest and bias-free, let’s remember something before anyone starts yelling “SONY IS CHEATING!”

Fujifilm has played its own tricks, too.

With the Fujifilm X-Pro3, Fujifilm used a different method to make the camera appear to have better dynamic range than it actually did. And yes — we called it out immediately when the results came out.

So… hopefully this little reminder will help prevent the incoming sh*tstorm from Sony fanboys in the comments. 😉

The Best Deal on the Best Dynamic Range

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Fujifilm GFX100RF Wide Conversion Lens Option

Recently, I wrote an article about yet another WCL and TCL conversion lens set coming to the X100 system—this time from Viltrox. In that piece, I also expressed my hope that someone would finally create conversion lenses for the Fujifilm GFX100RF as well.

Well, while we don’t have any conversion lens specifically designed for the GFX100RF, it looks like the Ricoh GW-4 wide conversion lens actually works fine also on the Fujifilm GFX100RF.

I have found a video about it and also a blog post, you can find both of them below.

Summary of the video:

  • The Ricoh GW-4 wide-angle converter delivers surprisingly high image quality on the GFX100RF.
  • Sharpness remains strong, both in the center and corners, even with 100MP files.
  • Contrast stays consistent with the native lens; no noticeable loss in micro-contrast.
  • Minimal corner softness at typical landscape apertures (f/11–f/16).
  • Distortion is very low for a wide-angle converter and easily corrected when visible.
  • Flare control is good — lamps and bright light sources show no major artifacts.
  • Vignetting is minor and natural-looking, often negligible in real use.
  • Overall: delivers a clean, wide 21mm-equivalent image without the usual compromises of cheap add-on lenses.

Get Yours

Fujifilm GFX100 II in CLOSEOUT at Adorama and Massive $1,000+ GFX100II Bundle Price Drop at BHphoto – UPDATED

UPDATE: Adorama briefly marked the Fujifilm GFX100 II as a “closeout” product (see screenshot above), which prompted speculation about an upcoming replacement. We reported on it earlier today, noting how odd it seemed. Adorama has now corrected what was apparently an error, and the GFX100 II is no longer listed as closeout. The original article has been removed.

NOTE: the massive $1,000 rebate on the GFX100II bundle (+ freebies at BHphoto) is not a sell-out to make place in the warehouse for a replacement. The Fujifilm GFX100II is in full production and we know knothing about a replacement coming in the next few months.

There are great deals also Fujifilm X APS-C gear.

The Top Deal – save $1,000 + Free CFexpress Type B card and Camera Bag

X Cameras

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The Fujifilm GFX100RF Looks Stunning on Its Own — But You Can Still Dress It Up with the RRS L-Bracket from B&H Photo

You’ve got to think twice about this one — because the Fujifilm GFX100RF already looks gorgeous as it is.

But if you’re willing to sacrifice a bit of that beauty for the practical benefits of an L-Bracket, then here’s some good news: you can now grab the Really Right Stuff L-Bracket for the Fujifilm GFX100RF also at B&H Photo.

Form, function, and flawless fit for the GFX100RF

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Why the Fujifilm GFX100 II Was the Only Camera Trusted for King Charles’ Portrait

I have this little habit: whenever I’m tidying up the chaos my two kids leave behind in the apartment, I put on a podcast.

Today, I came across one that I found particularly fascinating and wanted to share with you.

In the Double Exposure Podcast, Hugo Burnand talks about creating his portrait of King Charles—covering everything from location scouting and preparations, to the actual shoot, the lighting setup, his interactions with the king, the post-processing, and more.

Interestingly, Hugo drew inspiration from a painting of Prince Philip by Ralph Heymans. The painting depicted the Prince in the very same corridor where Hugo would later photograph King Charles.

The catch? That corridor is notoriously dark, making it a real challenge for Hugo and his team.

For this challenge, he chose just one camera: the Fujifilm GFX100 II—the camera he always turns to when he needs to capture a truly important image.

You can watch the video to see the clever techniques and setups his team used to overcome the challenges. The result is a portrait with a striking, almost painterly quality.

Of course Huge credits his team for the amazing results, but at some point he says:

full praise to my team […] because I think it looks like natural daylight thourghout and it also has a painterly feel to the photography.

While I give my team an enormous praise… actually the camera was really important, the medium format Fujifilm GFX 100 II.

Now, I warmly invite you to listen to the full podcast. But since I know many of you are particularly interested in what Hugo had to say about the Fujifilm GFX100 II in this context, I’ve extracted the key points below:

  • painterly feel in the image
  • fantastic dynamic range
  • great tonal gradation
  • if he’d have taken the image on a phone, it would be quite contrasty and harsher
  • it’s not about reproducing the image in big prints that he needs GFX, because even when reproduced small it has a greater quality intensity
  • the image was shot at ISO 3200
  • in a regular Canon he might risk shooting at ISO 800, and then he starts losing comfort
  • the Fujifilm GFX is amazing in low light
  • you can see the details of the king’s eyelashes in the image, even at ISO 3200

(Quick pause: some “smart” commenters will argue he used the wrong ISO and should have gone lower with flashes. I strongly suggest they actually watch the video before making that judgment)

  • the image looked like a painting by someone like Velázquez
    (personal note: I never thought I’d stand mesmerized in front of a painting for 15 minutes, but it happened to me in Madrid with Las Meninas of Velazquez… what a masterpiece)
  • And when Hugo saw the finished portrait of King Charles, he admitted that, for the first time, he felt intensely proud of his own work

(Another pause for the quick critics: some might say there is too much space above the king’s head. That’s intentional. There’s actually a rule in royal portraiture: you must leave enough room above the head to fit a crown.)

Editing?

  • no photoshop
  • Hugo explained that his adjustments were no different than what could have been done in the darkroom on a wet print

Finally, if you’d like to see this portrait (and others), Hugo has set up a dedicated website: crownportraits.co.uk.

Fujifilm GFX100S II Firmware Update Released

Fujifilm GFX100S II ver. 1.20 – download here
The firmware update Ver.1.20 from Ver.1.10 incorporates the following issues:

< Important notice after firmware update >
* After the firmware update, you cannot connect the camera to the iOS version of FUJIFILM Camera Remote. Be sure to upgrade your smartphone or tablet to iOS13 or later and use FUJIFILM XApp instead of Camera Remote.
* After the firmware update, you cannot use the FUJIFILM Camera Remote (Android version) to connect with the camera through Bluetooth: Ver.4.1 and earlier. To pair via Bluetooth, smartphone/tablet must be Bluetooth Ver. 4.2 and latter.

Regarding the details of No.1 download the “GFX100S II New Features Guide［Ver.1.20]” from our website.
GFX 100S II New Features Guide: English, Français, Deutsch, Español, Italiano, Nederland, Polski, Svenska, Norsk, Dansk, Pусский, Suomi, 中文简, 中文繁體, 한국어, ภาษาไทย, Arabic

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