I've been arguing that 102 megapixels are far too much, compared to the 51 MP in the Fujifilm GFX 50 series. But there might be some advantages with a GFX 100 series after all. Which i often don't think about.

6x6

For example shooting directly in the "6x6" Hasselblad format - by simply dialing in a square format, resulting still into massive of megapixels, despite shaving off some of the 102 MP. (I don't know how many MP are left on a 102 MP sensor when you use a square format. But they are plenty. Or wait, I can download a RAW test image, crop it - and then see what's left.

A whopping 76 MP !

A "Hasselblad XPan" panorama image

(65:24 aspect ratio) would result into a 50 MP panorama. So, yeah - no more stitching and stuff with a whopper camera that exhibits a larger 102 MP sensor (33x44 mm).

I would also use a typical Mamiya RZ67 format - which is like a broader micro Four Thirds aspect ratio. Chubbier, so to speak, but also very elegant in itself, especially for landscapes, resulting into 95 MP images. Not much lost, there.

Strong flexibility

So, with a 102 MP sensor you are totally free to crop to any format or aspect ratio of your desire. That is of course a big advantage, giving a lot of flexibility. My Mac Studio M1 Max, seem to handle 102 MP RAW files pretty well. Going a bit slower, but not too bad, really.

So, that too works. And when it comes to storage, the RAF files can use a compressed "Lossless" RAW format, making the files a lot smaller (around 70-80 MP) compared to uncompressed RAW RAF files.

Best value: Fujifilm GFX 100s II

It is housed in the same type of body & layout - like the GFX 50s II camera. But shares almost everything (but not all) with the top model, the Fujifilm GFX 100 II camera, yet the GFX 100s II is 3000 € lower priced compared to the GFX 100 II camera.

Do I have my eyes on it ?

Yes and no. Not really. I think the main thing why i sometimes look at it is - that the 102 MP sensor as phase-shift autofocus, while the 50 series, only has contrast based AF - which makes a different in quite some scenarios. IT does however not always ensure correct focus. You can also encounter that with the newer GFX 100s II and 100 II cameras, so I have heard from people writing about it.

Overall however, it appears to have improved. Phase-shift AF is usually a bit speedier, faster and slightly more effective (even in low light) and supports AI recognition of certain motives. So, AF-C can be used to follow a motive (if it isn't too fast). In essence you can't do that with Fujifilm GFX 50 series cameras - it just doesn't work. (But isn't a problem for a slow photographer)

And since I am a slow photographer - well - i test my focus accuracy and don't "paint-shoot" images. I know that the focus with the GFX 50 series cameras sometimes can be off, if i don't pay close attention.

Epilogue

No, I do not plan to buy a 102 MP camera from Fujifilm. At least not in 2026 nor in year 2027. The GFX 50s II I have is truly more than plenty for what I do. And it is actually better in the noise department when it comes to longtime exposures (which I don't really do that often). Whether 51 MP or 102 MP - those sensors are top notch and the colors do stand out...

Even if i often find myself having to tweak my images with more time, because I still haven't fully grasped the high flexibility of the GFX sensor. But when I get it right - you can really see the clarity in the colors, even here in my PhotoDiary.

The images taken with the GFX do stand out, no matter what GFX model.

Vertex adapter method

Speaking of many megapixels... the main photo's original file is a 7x7 cm fullframe 150 MP image. Works, too - you know. And is very fun, because you have to stitch 4 rotated images together - which utilizes the ENTIRE original view though legacy Pentax 6x7 lenses. Actually, the digital version shows slightly more; due to the square format being around 65 x 65 mm "film negative".

It means, that when you adapt a Pentax 6c7 55mm wideangle lens - you get the same view in the final digital file, as well. Or more like a 50mm lens (equivalent to 23 mm on fullframe or 24x36mm cameras)

Below

I took the photo early morning at Gamla Stan (Stockholm's old town) last year in March - all made with the Pentax Takumar 55mm ƒ3.5 lens (on Fujifilm GFX 50s II camera) - adapted to the Vertex adapter method: with 4x 90° rotated images - then stitched together.

It shows the lens entire true focal length it was original designed for.

Later i replaced that very old lens

with the latest version, the Pentax 67 SMC 55mm ƒ4 lens. Which is razor sharp. The older Takumar 55/3.5 is different - more like a cinematic lens with a special type of rendering. Not that sharp, but has a beautiful rendering style.

Drifting away from the Vertex Method

So far, i have not used the newer version much - because I haven't been into the rotating "Vertex" type of photography since last spring 2025. Probably because i later started to buy the top-notch Fujifilm GF lenses like the brilliant duo of 55mm ƒ1.7 and 110mm ƒ2.

Oh and I forgot - i was in over my head into suddenly using Mamiya RZ 67 lenses, in over my head with what resulted into a HUUUGE LOONG constellation (up to a half meter combo of camera, adapters, glider and RZ67 lenses) *LOL* That's how i drifted off the "Vertex" method with Pentax 6x7 lenses - and forgot about it.

I really should take that up again. It is fun, a bit fiddling and unusual type of photography. Like reviving Pentax 6x7 lenses to their true potential - just digital now.

Vertex 150 MP method
with Pentax Takumar 105 mm ƒ 2.4

Going that close (or too close) with the older Pentax 6x7 Takumar 105mm ƒ2.4 - a small legend of lens - giving you definitely soft and blurry photos. And tons of magical feelings in creations that close. Many casual motives and objects can turn into wonderous creations !

She is a very special lady, that lens.