Discover the next generation of medium format with the Fujifilm GFX100 II and professional automotive photographer Rupert Cobb
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(Image credit: GunHillStudios)
Fujifilm GFX100 II specs
(Image credit: Fujifilm)
Megapixels: 102MP Lens Mount: Fujifilm G Autofocus: Intelligent Hybrid AF Stabilization: Up to 8-stop, 5-axis Video: 8K30p, 4K60p, FHD120p Screen: 3.2-inch Tilt-Type Touch LCD, 2.36m-dot EVF: 9.44m-dot, 0.64-in OLED Battery: approx. 540 frames (CIPA rating)
In the competitive world of automotive photography, innovation is key. But you never want your camera to get in the way of creativity, as professional photographer (and musician, record producer, mix engineer – the list goes on) Rupert Cobb knows all too well. He often shoots from the sidelines of world-famous racing events, yet he captures his most unique and detailed car images at his drive-in Infinity Cove at Gun Hill Studios in the UK. Rupert’s genius lies in blending inspiration with cutting-edge camera technology. Here, we’ll explore how he’s used the groundbreaking Fujifilm GFX100 II to redefine his workflow and image quality.
Traditional medium format cameras are slow and bulky, but the Fujifilm GFX100 II is fast and agile. And where medium format was once resigned to fine art photography and still-life, the GFX100 II can meet the demands of professional photographers and videographers of all genres.
You used to have to choose between resolution or speed, but the GFX100 II offers creatives like Rupert both. “The main use of the GFX is in the studio, using tungsten-bounce lighting in an infinity cove. Over Christmas, we were privileged to shoot the 2011 Le Mans Ferrari 458 and Valentino Rossi's 2011 Ducatis. The medium format gave us so much more to play with,” he says.
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(Image credit: GunHillStudios)
(Image credit: GunHillStudios)
(Image credit: GunHillStudios)
Outstanding resolution, fast processing
The 102 MP CMOS II HS (high-speed) sensor is 70% larger than 35mm full-frame and offers exquisite image quality for cropping or downsizing. “You always want to work higher than the output and downsample, then it all comes down smoothly.” Its improved pixel structure also extends the sensitivity to ISO 80 for the lowest noise performance ever.
The X-Processor 5 high-speed processing has double the signal readout of the previous GFX100, bringing many improvements, like subject detection AF – with AI deep learning – and heat management. “The GFX100 II behaves better for long exposures with heat control. We use it mainly on a tripod, with long exposures up to 30 seconds when I’m light painting the cars,” he explains.
(Image credit: GunHillStudios)
The benefit of medium format
Rupert first came to Fujifilm gear after 30 years with another brand, when he tried the X-T2 as an on-the-road automotive camera. “Fujifilm gear is pretty robust, but I wasn't expecting the X-T2 to be as good as it was.” Later, he aimed to recreate an iconic record cover, struggling to achieve the desired result with his 35 mm camera.
Fujifilm’s medium format provided the wider angle of view he sought. “I hired a GFX100S first and suddenly it worked. When you make the sensor bigger all of the perspective changes. And even when you shoot a wide angle, the back of the car doesn't seem to shrink away as much.”
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(Image credit: GunHillStudios)
(Image credit: GunHillStudios)
Fujifilm's colour science and heritage
Rupert was impressed by Fujifilm’s colour science. “When I changed gear, people would look over my shoulder and say, ‘What is it you're doing there because there's something different.” Given how important accuracy is in high-end commercial work, one of Rupert’s favourite elements of the GFX100 II is how it handles and records tones. “If I need Ferrari red, I need Ferrari red. The camera’s colour space is gorgeous, with such rich tonal reproduction and definition.” The GFX100 II supports the HEIF format, giving pros 10-bit image files with over a billion colours, and better image quality than JPEG files despite being 30% smaller.
Like all Fujifilm cameras, the GFX100 II offers instant Film Simulations – including a brand new REALA ACE option – drawing on the company’s renowned films. Rupert can use these to give his customers images on the same day. “I love being able to shoot on Velvia within the camera, and grading a JPEG while having the RAW ungraded. I could be shooting at Goodwood, and provide pictures that day that look in the era of the event, then go away and work on the RAWs for the press release.”
Adapts to every adventure
The GFX100 II is an exceptionally versatile camera, with up to eight stops of image stabilization for handheld work, up to 8fps burst shooting for news and events, and a design much smaller than most full-frame DSLRs. Rupert turns off IBIS on a tripod in the studio but uses a low-speed continuous burst for candid shots of people. “We promised ourselves when we got it that we’d use it as our studio camera, but I’ve already taken it out a few times,” he admits.
A truly hybrid powerhouse
As a hybrid shooter, Rupert has enjoyed the truly hybrid nature of the GFX100 II. There’s 4:2:2 10-bit video recording at 4K/60p, 8K/30p, FHD/120p. Combine the camera with ATOMOS HDMI devices, and you can record 12-bit Apple ProRes RAW at up to 8K and 29.97fps. “The fact that it’s got ProRes is rare. I also love 4:2:2. It cuts perfectly with my Panasonic VariCams and I can use the Panasonic LUT on the Fujifilm so that my footage matches.”
Whether you’re a stills photographer starting video, or a seasoned storyteller, the GFX100 II’s video format modes are versatile too. Cine recording formats include Premista, 35mm, and anamorphic 35mm with a mount adapter, while two 35mm full-frame anamorphic recording modes give you in-camera de-squeeze monitoring options.
"The GF tilt and shift lenses are gloriously manual, a creative palette that engages the user" (Image credit: GunHillStudios)
The extensive range of GFX lenses
The GFX100 II is served by a huge selection of weather-resistant GFX lenses, for creatives to cover every angle in their own way. “One of the things that Fujifilm has done that’s unique is to stay away from 35mm,” says Rupert. “I’ve got an all-rounder in the GF 45-100mm lens and two tilt and shifts.” He’s looking forward to filming with the FUJINON GF110mmF5.6 TS Macro and its manual control soon.
(Image credit: GunHillStudios)
Putting you in control
Rupert prefers a fully manual approach to shooting and the GFX100 II offers exceptionally intuitive handling for him to do this. “One of the key things I love about the GFX range and the Fujifilm ethos is that the cameras are engaging and you feel like part of the process rather than a spectator.” The 2-inch display on top of the camera shows Rupert's settings at a glance, while the 9.44m dot HD electronic viewfinder and 3-way tilt screen allow for flexible composition approaches.
Then there are the connectivity options; Ethernet, full-size HDMI, and USB-C, for seamless integration and tethering. “I can confidently have the RAW files from the GFX100 II on a massive 4K screen and say to clients, ‘Is that what you’re after?’,” he says.
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(Image credit: Fujifilm)
(Image credit: Fujifilm)
The ultimate professional camera
Rupert loves collaborations and connecting up his clients. “A shoot with the GFX100 II which was initially the Ferrari 458 became a far bigger narrative after a few calls, adding Valentino Rossi's Ducatis from the same era and a very modern Langen Motorcycle that was customized in homage to the era of these historic machines.”
Rupert’s approach is both timeless and inventive, much like the Fujifilm GFX100 II. It isn't just a high-speed, high-resolution camera; it's a modern machine for creativity and the ultimate medium-format camera for professional photographers and videographers.
