FUJIFILM GFX100 II Drops $500 — Plus $500 Off Most GF Lenses | فوجي فيلم تخفض سعر GFX100 II بمقدار 500 دولار مع خصم مماثل على معظم عدسات GF

Fujifilm Just Made Medium Format More Accessible: $500 Off the GFX100 II and Most GF Lenses

If you've been quietly eyeing the medium format world from the sidelines, this might be the nudge that finally pushes you off the fence. Fujifilm has rolled out a fresh round of price reductions that knock $500 off its flagship GFX100 II body, and — perhaps more importantly — that same discount stretches across most of the GF lens family. For shooters considering a full system jump rather than just swapping bodies, the timing of this combined cut is what really moves the needle.

The GFX100 II first arrived in 2023 as Fujifilm's most ambitious hybrid camera to date, built around a 102-megapixel sensor that measures 43.8 by 32.9 millimeters. That imaging area is roughly 1.7 times larger than full-frame, which translates into a different look, a different fall-off, and a different feel from anything in the conventional mirrorless space. With the new pricing, the body now sits at $7,999.95, putting it noticeably closer to the high-end full-frame cinema hybrids it used to tower over in cost.

On the motion side, the camera continues to punch well above what most still photographers expect from a medium format machine. It captures internal 4:2:2 10-bit Apple ProRes, can roll full-width 4K up to 60p, and pushes 12-bit ProRes RAW or Blackmagic RAW out over HDMI all the way up to 8K at 30p. Fujifilm also baked in several cinema crop modes, including Premista (Vista Vision), 35mm, and 35mm anamorphic with in-camera de-squeeze for 2x glass. Pair that with up to 8 stops of in-body stabilization, a 9.44-million-dot EVF running at 120fps, and AI-trained subject detection across people, animals, vehicles, and aircraft, and you get a tool that genuinely behaves like a hybrid rather than a stills camera with video tacked on.

What pushes the GFX100 II further into production territory is the workflow toolkit around it. Direct ProRes recording to an external SSD over USB-C removes the need for a separate recorder, ATOMOS AirGlu support brings wireless timecode into the GFX line, ACES IDT integration plays nicely with modern color pipelines, and native Frame.io Camera-to-Cloud uploads can shave real time off remote review days. Add a waveform, vector scope, dedicated video AF behavior, and a clear record indicator around the live view, and the camera starts to feel built for sets, not just for studios.

The lens news is arguably the bigger story. The same flat $500 instant saving has been applied across most of the GF lineup, including the GF 20-35mm f/4, the GF 32-64mm f/4 standard zoom, the GF 45-100mm f/4, the GF 100-200mm f/5.6 telephoto, and the fast primes — the GF 55mm f/1.7, the GF 80mm f/1.7, and the much-loved GF 110mm f/2 portrait lens. For motion shooters, the GF 32-64mm in particular behaves roughly like a 25-50mm equivalent on this larger sensor, making it a natural workhorse zoom for documentary, narrative, and commercial work.

The GFX100 II still isn't a dedicated cinema camera, and there are wishes left on the table — open-gate recording via firmware would be the obvious next step. But when both the body and the glass come down at the same moment, the math for entering the system genuinely changes. If you've been waiting for a reasonable on-ramp into large format, this is one of the cleaner ones we've seen.