FUJIFILM GFX100 II Drops $500 – Plus $500 Off Across Most of the GF Lens Lineup

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by Johnnie BehiriMay 6^th, 2026

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FUJIFILM has cut the GFX100 II by $500, bringing the 102-megapixel large format hybrid down to $7,999.95, while applying the same $500 instant saving to many of the GF lens lineup. For anyone considering an entry into the GFX system rather than just a body upgrade, the simultaneous body and lens reductions are arguably the more significant story.

The GFX100 II launched in 2023 as FUJIFILM’s flagship hybrid still and motion camera, built around a 55mm-diagonal sensor measuring 43.8 x 32.9mm, an imaging area roughly 1.7 times that of full-frame. For filmmakers who have been weighing the cost of moving into large format territory, the lower body price brings the GFX100 II within striking distance of high-end full-frame cinema hybrids while keeping spec advantages no other mirrorless camera in this class can match.

The camera specs that still stand out

At the core of the GFX100 II is a 102MP CMOS II HS sensor paired with FUJIFILM’s X-Processor 5. For motion work, that combination yields internal 4:2:2 10-bit Apple ProRes recording, full sensor width 4K at up to 60p, and 12-bit 4:2:2 Apple ProRes RAW or Blackmagic RAW output over HDMI at resolutions up to 8K/30p. The body also offers internal recording in multiple cinema crop modes, including FUJINON PREMISTA (Vista Vision), 35mm, and 35mm anamorphic with in-camera de-squeeze monitoring. (anamorpgic recording next to viewing is avaialble for 2x de-squeeze).

In-body image stabilization is rated at up to 8 stops, and the 9.44-million-dot OLED EVF runs at 120fps for live view. Stills shooters get 8fps with the mechanical shutter and 5.3fps blackout-free continuous shooting (8.7fps in 35mm format mode). The autofocus system uses subject detection trained on AI-developed algorithms across people, animals, vehicles, and aircraft.

For a broader testing context, our GFX100 II review internal anamorphic recording and direct-to-SSD workflow, while our lab test measured rolling shutter, dynamic range, and exposure latitude under controlled conditions.

Workflow features built for production

Beyond the headline numbers, the GFX100 II includes several features pointed squarely at production use. Direct-to-SSD recording allows ProRes capture to external drives via USB-C without a separate recorder. ATOMOS AirGlu BT support brings wireless timecode synchronization to the GFX system for the first time, and ACES IDT integration adds compatibility with the ACES color pipeline for motion projects. The camera also natively supports Frame.io Camera-to-Cloud uploads without an accessory, which can shave hours off remote review cycles on tight delivery schedules.

A waveform monitor, vector scope, object priority AF in video mode, and a prominent record flag around the live view area round out a feature set that treats video as a first-class workflow rather than a stills bonus. With a basic GF-to-PL adapter, the 55mm sensor area also opens the door to FUJINON PREMISTA and other PL mount lenses from respected lens manufecturers.

Most of the GF lens lineup also gets $500 off

Alongside the body reductions, FUJIFILM has applied the same flat $500 instant saving across most of its GF lens range, covering practically every focal length a GFX shooter would build a kit around. On the zoom side, the wide-angle GF 20-35mm f/4 R WR drops to $2,099.95, the standard zoom GF 32-64mm f/4 R LM WR is included, the GF 45-100mm f/4 R LM OIS WR comes down to $2,399, and the long telephoto GF 100-200mm f/5.6 R LM OIS WR rounds out the zoom selection. On the prime side, the two fastest lenses in the GFX system, the GF 55mm f/1.7 R WR (now $2,099) and the GF 80mm f/1.7 R WR ($2,099.95), each see $500 off, as does the popular portrait-length GF 110mm f/2 R LM WR.

For motion-leaning users, the practical takeaway is that the lenses anchoring most professional GFX kits are all simultaneously discounted. The GF 32-64mm f/4 effectively behaves as a 25-50mm equivalent on the 55mm sensor, making it a versatile primary zoom for documentary, narrative, and commercial work shot on the GFX100 II.

The GFX100 II remains a hybrid rather than a pure cinema camera, but for a single body that handles 102MP stills and up to 8K video from the same large format sensor, the new pricing might change the calculation. Now what’s left for us to dream of is having a firmware update to allow open-gate recording…

With body and glass dropping together, is this the moment you finally consider purchasing the large-format GFX system, or are you still holding out for a dedicated smaller cinema bodies? Don’t hesitate to let us know in the comments below!