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Fujifilm announces redesigned Fujinon XF 10-24mm F4 R OIS WR

17 Oct

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Fujifilm has announced the Fujinon XF 10-24mm F4 R OIS WR. Updating the older XF 10-24mm, the new lens keeps the optics unchanged, but adds weather-resistance, improved optical image stabilization and a physical aperture ring.

Covering an equivalent focal length range of 15-36mm in full-frame terms, the XF 10-24mm F4 R OIS WR is a high-quality wide-angle option for Fujifilm X-series shooters. Now featuring weather-resistance, the new lens should be a better companion for the similarly tough X-T4 and X-T3.

Despite the sealing, the new lens is very slightly lighter than its predecessor (by 25g / 0.9oz) and optical image stabilization has been improved by one stop, bringing the total stabilizing effect to a rated 3.5EV (CIPA). When combined with the in-camera IBIS system of the X-T4, total stabilization increases to 6.5EV.

The new lens will be available next month, for an MSRP of $ 999.95 USD.

Press release:

Fujifilm Introduces FUJINON XF10-24mmF4 R OIS WR lens

Newly updated, ultra-wide angle zoom lens features weather-resistance and more

Valhalla, N.Y., October 15, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of the FUJINON XF10-24mmF4 R OIS WR Lens, the 36th interchangeable lens designed for Fujifilm’s X Series digital camera system. The lens, an update to the current FUJINON XF10-24mmF4 R OIS Lens, also features significant design and usability updates.

The new XF10-24mmF4 R OIS WR Lens is an ultra-wide zoom lens covering focal lengths from 10mm to 24mm (equivalent to 15mm – 36mm in the 35mm format). “XF10-24mmF4 R OIS WR packs many updated features including an f-stop scale on its aperture ring, an Auto-position lock, and a new weather-resistant design,” said Victor Ha, senior director of marketing and product development for FUJIFILM North America Corporation. “We’re confident that this lens will be a top choice among landscape and nature photographers who need an ultra-wide angle zoom lens designed to withstand the elements.”

Additionally, the internal structure has been redesigned to make the focus and zoom rings slimmer, giving the XF10-24mmF4 R OIS WR lens a lower overall weight than its predecessor by 25g (.88 oz). Also, Optical Image Stabilization has been extended in the new version by 1 stop, bringing the total stabilization effect of the new lens to 3.5 stops.
The new lens utilizes the same optical design from the original XF10-24mm OIS Lens to provide similar image-resolving performance and also has a maximum aperture of F4.0 across the zoom lens’ entire focal length range.

Main product features

A new, weather-resistant design and usability updates

Updated aperture ring with f-stop scale and Auto-position lock
The aperture ring of the new XF10-24mmF4 R OIS WR lens has been updated with an f- stop scale to allow photographers to visually check what aperture the lens is set to, eliminating the need to check through the camera’s EVF or LCD Display. The ring also features an Auto-position lock, similar to that found on Fujifilm’s GF lenses, which is designed to prevent unexpected aperture ring movements, and ultimately ensure the photographer’s shooting efficiency.
Added weather-resistance features
This new lens is both dust and moisture resistant, is able to operate in temperatures as low as 14°F (-10° C) and weighs 0.88 ounces (25 grams) less than the previous model, despite the addition of the weather resistant features.
Improved optical image stabilization
A new, sophisticated gyro sensor used in this lens improves image stabilization by 1.0 stop from the previous model, to 3.5 stops. When used with a new X Series camera, like FUJIFILM X-T4, the lens and camera work together to achieve approximately 6.5 stops of 5-axis image stabilization.

Optical design that delivers advanced image resolving performance

The new lens consists of 14 lens elements, including four aspherical elements and four extra-low dispersion elements, in 10 groups. The aspherical elements are designed to minimize spherical aberration, field curvature and distortion, while the extra-low dispersion elements are designed to correct chromatic aberration, delivering crisp, edge- to-edge sharpness. Despite its compact form factor, the lens can maintain the maximum aperture of F4.0 across its focal length range from the ultra-wideangle 10mm to wide- angle 24mm (equivalent to 15mm – 36mm in the 35mm format), while still allowing users to keep a constant f-stop value at any focal length.
The front lens element is carefully coated to minimize ghosting, which tends to occur with the extremely concave elements normally found on an ultra-wide angle zoom lens, to give a high level of image sharpness and clarity.
With a minimum working distance of just 24cm (9.5in), the lens is also suitable for macro-style photography. Use the lens to close in on a subject while also taking in the background at the same time, thereby creating powerful images that take maximum advantage of the available ultra-wideangle focal lengths.

Fast and near-silent autofocus (AF)

The use of lightweight focusing elements and a high-precision motor allows for fast and near-silent AF, even when using it with an X Series cameras’ Face / Eye AF functions.

Pricing and Availability

The new FUJINON XF10-24mmF4 R OIS Lens is expected to be available in the U.S. and Canada markets commencing November 2020. Pricing for the lens will be at a manufacturer’s suggested retail price of $ 999.95 USD and $ 1,349.99 CAD.
For more information, please visit https://fujifilm-x.com/en-us/products/lenses/xf10-24mmf4-r- ois-wr/.

Fujifilm XF 10-24mm F4 R OIS specifications

Principal specifications
Lens type	Zoom lens
Max Format size	APS-C / DX
Focal length	10–24 mm
Image stabilization	Yes
CIPA Image stabilization rating	3.5 stop(s)
Lens mount	Fujifilm X
Aperture
Maximum aperture	F4
Minimum aperture	F22
Aperture ring	Yes
Number of diaphragm blades	7
Aperture notes	Rounded
Optics
Elements	14
Groups	10
Special elements / coatings	4 aspherical elements, 3 extra low dispersion glass elements
Focus
Minimum focus	0.24 m (9.45″)
Maximum magnification	0.16×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	385 g (0.85 lb)
Materials	Metal barrel, metal mount
Sealing	Yes
Zoom method	Rotary (internal)
Filter thread	72 mm
Filter notes	Does not rotate on focusing
Hood supplied	Yes

Articles: Digital Photography Review (dpreview.com)

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Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review

15 Jan

The post Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.

One of the reasons why I moved from DSLRs to the Fujifilm X-Series system a few years ago was because of the smaller, lighter camera bodies and lenses. So given that, it seems odd that I added the monster Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens to my kit.

fujifilm-fujinon-XF-100-400mm-lens-review

Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens mounted on a tripod – it’s pretty big.

At the time of its release in 2016, this was the biggest and heaviest line in the X-Series by far, being eclipsed in terms of size and weight only by the XF 200mm F2 R LM OIS WR lens in 2019.

So given its hefty size (and price tag), you might well wonder why I bought it? It’s really quite simple: I love telephoto lenses!

Given the option of a telephoto or an ultra-wide angle, I’d choose the telephoto every time. I love how you can pick out details of a scene with a telephoto to fill the frame. I also love how a telephoto lens gives the impression of “flattening” scenes – making faraway objects look close together.

Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens review

In this review, I list the specifications of the 100-400mm lens, examine its build quality, handling, and optical performance, as well as discussing what it’s like to use and who would benefit from having it in their kit.

Image: This shot wouldn’t have been possible without a telephoto lens. I took a whole series of imag...

This shot wouldn’t have been possible without a telephoto lens. I took a whole series of images of this cheeky guy sitting on top of a sunflower in Southern Queensland.

Specifications

The specifications of the Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens are truly impressive. Let’s have a look at what all those numbers and letters mean.

Fujinon is the brand name that Fujifilm use for their excellent lenses. XF denotes the high-performing lenses in the X-Series line-up. There is also a range of cheaper, yet very good value for money lenses with the letters XC on them.

The Manly Ferry gliding along Sydney Harbour in the morning. This ferry was a long way away. The reach of this lens is incredible.

The next set of letters and numbers denotes the focal range of the lens: 100-400mm. As the X-Series bodies have APS-C sensors with a 1.5 crop factor, this gives the lens a full-frame equivalent focal range of approximately 150mm to 600mm. This is not just a telephoto zoom; this is a super-telephoto zoom.

The next bit of information refers to the variable aperture of the lens: f/4.5-5.6. Like many zooms, the maximum aperture increases as you zoom in. At 100mm, the maximum aperture is f/4.5, at 200mm, it’s f/5, at 300mm, it’s f/5.2, and at 400mm, it’s f/5.6.

The R denotes that, like the vast majority of X-Series lenses, it has a ring to control aperture on the lens barrel. This is a feature that I love so much. I’m so used to changing the aperture on the lens now, I’m not sure I could move back to a system where I couldn’t do that.

LM stands for linear motor – this ensures high speed autofocusing, quiet operation, and low power consumption. OIS stands for optical image stabilization – the linear motor checks for camera shake 8000 times a second. Fujifilm claims that the lens has a five-stop image stabilization system for shake-free results.

Image: Early morning on Sydney Harbour. I love how you can pick elements out of a scene and fill the...

Early morning on Sydney Harbour. I love how you can pick elements out of a scene and fill the frame with a telephoto lens.

WR stands for weather resistance. Paired with a WR body such as the Fujifilm X-T2 or X-T3, you can be confident using your kit in extreme environments where water and dust is an issue. You can use this lens in temperatures as low as -10°C. There’s a water-resistant fluorine coating applied to the front lens element, making it less susceptible to smudges and easier to clean.

Wallabies at Mt Cotton, Queensland.

Build

The build quality of this lens is very good, though it doesn’t feel quite in the same class as the other Fujinon red badge zoom lenses (the XF 16-55mm F2.8 R LM WR lens and the XF 50-140mm F2.8 R LM OIS WR lens).

This is probably because the superzoom is made of high-grade plastic rather than metal. I’m guessing that an all-metal barrel would’ve made the lens too heavy, so you can understand the choice here.

Only the mounting ring and tripod collar are metal. You can easily remove the tripod collar if you don’t need it. The lens hood is plastic but features a filter door, which allows you to rotate a circular polarizing filter, for example.

Image: I love how telephoto lenses make faraway objects look close together. Mountain ranges on the...

I love how telephoto lenses make faraway objects look close together. Mountain ranges on the Queensland/New South Wales border in Australia.

The lens weighs 1.375kg and takes 77mm filters. It’s compatible with both the 1.4x and 2.0x X-Series teleconverters, giving you the potential to shoot at up to 852mm and 1218mm in full-frame equivalent terms. However, this comes at the cost of 1 and 2 stops of light, respectively.

Handling

Okay, so this lens is big…so big that it makes the 50-140 look compact, and most other lenses in the X-Series line up look tiny. The first time you pick it up, it does feel bulky but compared to many other lenses of this focal range, it’s definitely on the lighter side.

Yep, it’s a whopper! Yet it’s still possible to hold the lens in one hand with relative comfort. I have the lens extended to 400mm here.

The length of the lens, especially when zoomed in, is quite large, and it dwarfs the size of the camera body. Yet there is a surprisingly comfortable balance when shooting with it. In fact, the lens feels lighter in my hands than it does when I carry it around in my backpack.

The zoom action is very smooth – you can move the entire range easily while supporting the weight of the lens. Like almost every other X-Series lens, there is a ring around the lens that changes aperture in third stop clicks. The variable aperture of this zoom means there are no aperture markings around the barrel like the 50-140 or any of the prime lenses. Instead, you need to check aperture in the viewfinder or LCD.

There are three switches down the side of the lens. The first is a switch that controls the range of the zoom. The two options are for full range (1.75m to infinity) and 5 meters to infinity. The latter allows for faster focusing.

The next switch down is for controlling the aperture manually or automatically – something that all Fujifilm zoom lenses have.

The three switches on the side of the 100-400mm lens.

The third switch is to turn optical image stabilization (OIS) on or off. OIS is a godsend for handheld shooting: the lens is capable of taking some incredibly sharp images at relatively low shutter speeds. Typically, you would turn OIS off when the lens is in use on a tripod, but you may want to experiment with this.

For example, when I was taking photos of the Sydney Opera House at the Vivid Festival, I was shooting from the footpath on the Cahill Expressway. There were minute vibrations from the traffic, so I felt that I was getting better images with OIS turned on.

Further up the lens barrel, there is a lock switch which will prevent lens creep as it stops the lens moving past 100mm.

Image: OIS is a godsend, sometimes even when shooting on a tripod. Sydney Opera House during Vivid F...

OIS is a godsend, sometimes even when shooting on a tripod. Sydney Opera House during Vivid Festival.

Image quality

Fujifilm is one of the world’s best lens makers, so as you’d expect, the optical quality of this lens is excellent. It’s capable of producing stunning images across the focal range. However, I did get the feeling my images zoomed all the way in at 400mm were not quite as sharp as those taken towards the wider end of the zoom.

I took the lens to a local speedway and was impressed with the results.

Shooting handheld, the lens feels nicely balanced. I’ve used it for cityscapes, sports, wildlife and landscapes. Autofocus is very good, especially when used in conjunction with the X-T2 or X-T3’s continuous focus and tracking options.

When I first got the lens, I took it to a local speedway to test out. Given that it was the first time I’d shot motorsports, I was very impressed with the images I took with this lens. It has a cool feature when it detects panning: it automatically switches camera shake correction to the vertical plane only.

The lens also has a very pleasing bokeh. While I’ve never used it for portraits, with many of my wildlife photos, the out-of-focus areas in the background look beautiful and don’t detract from the images.

Sunflowers in Southern Queensland. I love the bokeh that this lens produces.

Conclusion

If you love a superzoom, there is only one option with the Fujifilm X-Series at the moment, and what a choice it is: the Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens.

Suited to wildlife and sports shooters primarily, the lens can also be used by landscape and cityscape photographers. The lens has a fantastic range of features, including weather resistance and OIS. It is relatively light for a lens with this range and has excellent optics.

Image: A superzoom gives you the option of shooting sports you wouldn’t be able to with a shorter zo...

A superzoom gives you the option of shooting sports you wouldn’t be able to with a shorter zoom.

Overall, I would say that the lens is good value for money, though perhaps not as good as other lenses in the X-Series line-up. The price of the lens has stayed steady since its release. However, you can sometimes get discounts or cashback offers, substantially bringing down the cost.

I have no hesitation recommending the Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR lens. Just writing the review and looking at the photos it produces makes me want to get out and use it right now.

The post Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.

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Fujifilm goes long with Fujinon XF 200mm F2 lens and teleconverter kit

20 Jul

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Fujifilm has announced its Fujinon XF 200mm F2 R LM OIS WR telephoto lens, which will be bundled with a matching 1.4x teleconverter. The lens has a ‘matte silver’ magnesium alloy body with an eye-catching green hood and is sealed against dust and moisture. The 200mm F2 has a total of 19 elements, including one Super ED and two ED elements, and the front glass has a fluorine coating to keep away fingerprints and water. Linear motors keep focus quick and quiet and the image stabilizer reduces shake by up to five stops, according to Fujifilm.

The XF 1.4X TC F2 WR teleconverter boosts the focal length of the lens to 280mm, with the maximum aperture rising a stop to F2.8. As with the lens, the teleconverter is weather-sealed.

The lens and teleconverter kit will be available in late October for just under $ 6000.

Press Release:

FUJIFILM ANNOUNCES NEW FUJINON XF 8-16MM F2.8 R LM WR LENS; FUJINON XF 200MM F2 R LM OIS WR TELEPHOTO LENS AND XF 1.4X TC F2 WR TELECONVERTER KIT

Ultra-wide angle zoom lens and super-fast telephoto lens with accompanying teleconverter for the X Series line of mirrorless interchangeable lens digital cameras; Latest development of the X Mount Lens Roadmap unveiled

Valhalla, N.Y., July 20, 2018 – FUJIFILM North America Corporation today announced the new FUJINON XF8-16mmF2.8 R LM WR Lens, an ultra-wide angle zoom lens with a constant maximum aperture of F2.8 and focal length equivalent to 12-24mm (35mm format). Capable of providing outstanding edge to edge image-resolving performance, this lens is perfect for landscape and architecture photography such as interior and nightscape, and astrophotography.

Also announced today is the new FUJINON XF200mmF2 R LM OIS WR Telephoto Lens, the first super-fast telephoto lens in the XF lens lineup, offering a fast maximum aperture of F2.0 and a focal length equivalent to 305mm (35mm format). This lens boasts exceptional image clarity with the ability to produce beautiful bokeh, making it an ideal lens for shooting sports and wildlife.

The XF200mmF2 R LM OIS WR lens will only be available as a kit, paired with the high performance XF1.4X TC F2 WR Teleconverter to extend the focal length by 1.4 times to cover a focal length equivalent to 427mm at F2.8 (35mm format).

FUJINON XF200mmF2 R LM OIS WR Telephoto Lens and XF1.4X TC F2 WR Teleconverter Kit

The XF200mmF2 R LM OIS WR Telephoto Lens is made of 19 elements in 14 groups, including one large-diameter super ED lens element and two large-diameter ED lens elements to minimize chromatic aberration. High-precision polishing technology, developed for broadcast lenses, was applied to the large-diameter lens to achieve outstanding image-resolving performance and beautiful bokeh. The lens also features a new Focus Preset function that instantaneously changes the focus to a preset position, enabling photographers to capture the main subject with ease, and without having to make focal readjustments.

Utilizing linear motors, the XF200mmF2 R LM OIS WR achieves fast, silent and high-precision AF performance, and also features a new mechanism that fixes the motor group when the camera is not in use to reduce movement of the focusing group. In addition, the lens offers 5-stop image stabilization performance that recognizes shooting conditions and automatically applies optimum image stabilization control. With magnesium alloy construction, the lens is lightweight yet robust, and is sealed at 17 points and designed to be weather and dust-resistant, and operates in temperatures as low as 14°F/-10°C.

FUJINON XF200mmF2 R LM OIS WR Key Features:

FUJIFILM X Mount is compatible with all FUJIFILM X Series interchangeable system cameras
Weather-sealed at 17 points for weather and dust-resistance; operates in temperatures as low as 14°F/-10°C
19 elements in 14 groups including 2 ED elements, and 1 super ED element
Uses linear motors for quiet and ultra-fast AF
Focus Preset Function instantly changes focus to a preset position to capture main subject without readjustments
Optical Image Stabilization system achieves 5-stop image stabilization
Fluorine coating applied to front lens element for improved durability
Matte silver color for reduced risk of overheating

FUJINON XF1.4X TC F2 WR Key Features:

7 elements in 4 groups including 1 aspherical element

Fujifilm XF200mm F2 R LM OIS WR specifications

Principal specifications
Lens type	Prime lens
Max Format size	APS-C / DX
Focal length	200 mm
Image stabilization	Yes
CIPA Image stabilization rating	5 stop(s)
Lens mount	Fujifilm X
Aperture
Maximum aperture	F2
Minimum aperture	F22
Aperture ring	Yes
Number of diaphragm blades	9
Optics
Elements	19
Groups	14
Special elements / coatings	1 Super ED + 2 ED elements, fluorine coating
Focus
Minimum focus	1.80 m (70.87″)
Maximum magnification	0.12×
Autofocus	Yes
Motor type	Linear Motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Focus distance limiter	Yes
Physical
Weight	2265 g (4.99 lb)
Diameter	122 mm (4.8″)
Length	206 mm (8.11″)
Materials	Magnesium alloy
Sealing	Yes
Colour	White
Filter thread	105 mm
Hood supplied	Yes
Tripod collar	Yes

Articles: Digital Photography Review (dpreview.com)

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Review of the Fujinon XF23mm F2 WR Lens

11 Oct

In this review, I’ll take a look at the Fujinon XF23mm F2 WR Lens. If you shoot Fuji and have considered this one – read on to see why I rate it top marks!

The Fujinon 23mm f2 lens

First look

With the Fuji XF 23mm F2 WR lens now being offered as a kit with the X-Pro2, and the new X-E3, it’s probably a good time to look at this little wonder if you shoot Fuji. This weather-sealed prime lens is 35mm equivalent field of view in full frame terms and makes a perfect street and general photography lens.

The fast f/2.0 aperture is a stop slower than it’s f/1.4 predecessor, but it’s leaps and bounds faster in the focus department. It also has a much quieter motor, which is important for video and it’s weather resistant.

Quiet motor great for video

As the Fuji X-T2 body has 4k video, and with a firmware update to add 4K video to the X-Pro2 due, this is an essential feature for current users looking to do video. Personally, I’m shooting a lot more video of late, both for my YouTube channel and in the creation of shorts in general, so this feature made the lens enticing for me. The original Fuji X camera is, of course, the X100, which has a built-in 23mm f2 lens. The new 23mm lens is a better design though, making it a great option instead of getting an X100F.

Review of the Fujinon XF23mm F2 WR Lens

For this article, I’m including some “tourist in my own town” style shots as I’ve not had this lens long enough to travel with it – yet!

Review of the Fujinon XF23mm F2 WR Lens

The f/2.0 Trinity

The 23mm is the widest currently in this range, which includes the XF35mm F2 and the XF50mm F2. In the community, they’ve been nicknamed the Fujicrons, as a kind of homage to the Summicron range of f/2 lenses from Leica. This weather sealed range offers great quality lenses in small, light packages, with quiet motors suited to video work as well as stills.

They focus faster than the higher range primes in the Fuji range, such as the 23mm f/1.4, 35mm f/1.4, and the 56mm f/1.2. (It’s not fair to directly compare the 50mm and 56mm as they’re not quite the same, though they are close enough for this purpose). The F2 lenses are also really well priced; You can get two of them for the price of one of the faster primes.

Review of the Fujinon XF23mm F2 WR Lens

Specs of the XF23mm F2

The XF23mm F2 WR lens has 10 elements in six groups which includes two aspherical elements. The original f/1.4 lens has only one. These elements increase the sharpness, a big plus for this small lens. The housing is metal, making this a robust lens in keeping with most of the Fuji range.

The aperture ring runs in 1/3 EV steps and uses nine blades internally which leads to a smoother bokeh. The minimum focusing distance is 22cm (about 9″). The lens comes in at a sprightly 180 grams (0.4 lbs) too. Good news if you’re looking to shoot video on a gimbal or flying on budget airlines with low weight baggage limits! Fi, ally the filter size is 43mm.

Review of the Fujinon XF23mm F2 WR Lens

Comparisons

The first lens people want this lens compared with is the Fuji 23mm f/1.4, because that’s usually the choice they’re trying to make. The XF23mm f/2.0 is a stop slower than then the 23mm f/1.4 but is faster to focus. The additional element makes it sharp, but the original 23mm is quite a sharp lens anyway. Weightwise the f/2.0 is 180g (0.4 lbs) versus the 300g (0.67 lbs) of the f/1.4.

For close focusing the f/2.0 has a minimum focus distance of 22cm (9″) compared to the 28cm (11″) of the f/1.4. In terms of cost, the f/2.0 is half the price of the f/1.4 at $ 449 versus $ 899. The real question to ask yourself is, does the additional stop of light justify spending twice the money? Only you can decide that.

The f/2 lens has a slightly wilder field of view than the f/1.4 below.

Review of the Fujinon XF23mm F2 WR Lens

For street work, a lot of people choose the XF27mm f/2.8 pancake lens. This makes your Fuji very pocketable. The lens doesn’t protrude much and is really unobtrusive. It’s the smallest lens Fuji makes. Yes, it is cute. The XF23 is much longer (52mm versus 23mm), but isn’t too obtrusive. Again it’s a faster lens and wider. Both are the same price, so it’s a question of speed and depth in this choice. The 23mm is the superior lens, but if you must have a pancake, the 27mm is the only choice really.

Using the XF23mm F2 Lens

Review of the Fujinon XF23mm F2 WR Lens

I’ve found 23mm to be a great focal length to have with you. In fact, it’s probably the most versatile prime lens you could travel with. There’s no issue with general streets scenes, or even general landscapes. It’s great for shots including people in the scene. While it’s not a typical portrait focal length, it looks great for 3/4 length shots in landscape mode (a vertical composition) or portrait mode at a push.

Even with just f/2, you still have the opportunity to shoot handheld evening shots while traveling.

Photos from the lens have nice contrast and are generally sharp, even wide open. The lens focuses quickly, even in low light and I can’t say I’ve particularly noticed many misfires. Couple it with the XF56mm f/1.2 or even the XF50mm f/2.0, and you would have a great two-lens kit that covers most shooting situations.

A typical low light situation where fast primes can help.

Pros

Lightweight
Fast Focus
Quiet operation
One of Fuji’s less expensive lenses

Cons

Not the fastest aperture at this focal length

Verdict

If you absolutely need a faster aperture, don’t get the Fujinon XF23mm F2 WR lens. Otherwise it’s utterly fantastic at what it does. I voted with my cash and got this over the 23mm f/1.4 and it hasn’t disappointed.

The post Review of the Fujinon XF23mm F2 WR Lens by Sean McCormack appeared first on Digital Photography School.

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Hands-on with the Fujinon MK50-135mm T2.9 cine lens

22 Jun

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The Fujinon MK50-135mm T2.9 cinema lens is the second in Fujifilm’s new line of MK lenses designed for Super 35 and APS-C cameras. MK lenses are designed to appeal to the emerging production market, offering features and quality typically associated with more expensive cinema lenses at a price point that’s attractive to budget-conscious cinematographers. The MK lenses are based on Fujifilm’s excellent Cabrio line of cinema lenses (which cost $ 15K and up), and share the same coatings as well as a similar mechanical build, but at a cost just under $ 4,000 they’re more accessible to a lot of users.

I reviewed the first MK lens, the MK18-55mm T2.9, a few months ago and really liked it. Since the two lenses are designed to work as a set, they’re basically indistinguishable except for focal length, so if you want to read my detailed thoughts on how the MK lenses perform I recommend reading my earlier review, which for all practical purposes applies to both lenses.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

If you’re not yet familiar with the MK cine lenses, you may be surprised to learn that they use Sony E-mount. Why? Fujifilm wants to address the growing market of independent filmmakers, small production houses, and other professionals who use the Super 35 and APS-C formats. Sony has a huge presence in this market thanks to cameras like the FS7, FS5, and even a-series mirrorless, and many users of these cameras adapt other lenses, such as Canon EF-mount, to their cameras.

What about Fujifilm’s own mirrorless cameras? The company has announced plans to release MK lenses in X-mount later this year so that Fujifilm shooters can take advantage of them as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When I tested the MK18-55mm lens earlier this year, I did so with a Sony FS7, a Super 35mm camera mounted on a shoulder rig with rails, a follow focus, and an accessory EVF. However, Fujifilm emphasizes that the MK lenses are also designed for use on similarly sized APS-C sensors, so this time I decided to go that route. Unfortunately, during our short window of time with the lens I didn’t have access to a rig for a full setup, so I was limited to basic tripod and handheld use.

When mounted the Sony a6500, it’s easy to see how large the MK50-135mm is compared to the diminutive camera. While it’s technically possible to shoot this combination handheld, it’s not terribly practical thanks to its large size and all mechanical controls.

The great news is that the video I captured looked beautiful, and the lens appears to deliver the same quality that we saw on the MK18-55mm.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

I also tried using the MK50-135mm with the full frame Sony a7R II in Super 35mm mode. The size mismatch is a bit less obvious than with the a6500, however it’s no more practical for shooting handheld. That’s not necessarily a bad thing – chances are good that if you’re considering this type of lens, you’re planning to rig it in some way.

In fact, this lens works very well with both the a6500 and a7R II (in Super 35 mode), and would be a great lens to pair with either of them. With a basic set of rails and a follow focus, the setup would work just as effectively as with a dedicated video camera.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One of the reasons for using cinema lenses is that they often come in matched sets, and this is the case with the MK lenses. The MK18-55mm and MK50-135mm are physically identical, including T2.9 iris, gearing, dimensions, and even weight (right down to the gram). They’re also matched optically, meaning they can be interchanged seamlessly without changing the look of the resulting footage.

Why are matched lenses important? In a cine setup the lens is often mounted on rails, and likely has attachments such as a follow focus or matte box. Ideally, you don’t want to have to readjust every accessory each time you change lenses, and having physically matched lenses means you can swap them in and out very quickly without needing to readjust everything. The MK lenses are so similar that I would have a difficult time telling them apart without seeing the zoom range printed on the lens barrel.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

When it comes to build quality, the MK50-135mm is very solid thanks to its all metal construction. As with most cinema lenses, it’s completely mechanical, and every movement feels well damped. It’s a pleasure to use and gives one the sense of using a high quality piece of precision equipment.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

One thing that sets the MK50-135mm apart from most still photo lenses is the large 200 degree focus rotation angle. This offers a lot more precision than you’ll get with the shorter focus throw of a DSLR lens, or the unpredictability of focus-by-wire, so it’s easy to make very fine adjustments as your subject moves. The lens includes very precise distance marks, in both English and metric units. This is particularly helpful if you have a separate focus puller who is following the action in a blocked scene.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

The MK50-135mm also has a parfocal design, meaning it can maintain precise focus while adjusting the focal length. As still photographers, we don’t usually worry about this capability since it’s easy to refocus after zooming. In contrast, when shooting video you may actually intend to zoom while recording, and you want to maintain focus on your subject through the entire transition. Losing focus during a zoom can ruin the shot.

I was really impressed with the parfocal performance on the first MK lens, and the MK50-135mm performed to the same standard.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Another common property of cinema lenses is that they resist breathing, a phenomena that causes the lens’s field of view to change slightly when focus is adjusted. This becomes particularly important when you’re doing something like racking focus between two subjects; you don’t want the field of view of the scene to change when you do this as it can be very distracting. The MK50-135mm suppresses lens breathing very effectively, which is not surprising given that the MK18-55mm did so as well.

Hands-on: Fujinon MK50-135mm T2.9 cine lens

Based on a couple days of use, I really like the Fujinon MK50-135mm lens, which – not surprisingly – is the same conclusion I came to after testing the MK18-55mm version. They’re both beautiful pieces of equipment that are a joy to use, and which deliver excellent results. The fact that there are now two of them spanning the entire 18-135mm range makes me want the set even more. If you’re a videographer using an E-mount camera, it’s really tough to go wrong with these lenses.

The MK lenses should also appeal to Fujifilm X-mount users. In particular, we found the Fujifilm X-T2 to be a credible 4K video camera, especially since it’s capable of outputting F-Log gamma over its HDMI port. We don’t yet know the exact release date for the X-mount versions, but Fujifilm tells us it will be later this year, and we saw prototypes at NAB in April.

The MK50-135mm T2.9 will be available in E-mount in mid-July for a price of $ 3,999, which is just slightly higher than the $ 3,799 MK18-55mm.

Articles: Digital Photography Review (dpreview.com)

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First Look: Fujinon MK18-55mm T2.9 cine lens

23 Feb

First look: Fujinon MK18-55mm T2.9 cine lens

The new Fujinon MK18-55mm T2.9 cine lens is the first of the company’s new line of ‘MK’ series Fujinon lenses aimed at the ’emerging production’ market. These lenses are designed to meet the needs of cinematographers who require features generally found on cinema lenses, who often work in the Super 35 format, and can’t justify the cost of lenses costing tens of thousands of dollars more than their cameras.

According to Fujifilm, the MK lenses are basically a smaller version of its Cabrio series of cinema lenses, which typically cost $ 20,000 or more. The two lens lines share the same coatings and general mechanical design for moving lenses and groups. Between the 18-55mm and the already-announced MK50-135mm lens, the MK line covers the very useful 18-135mm range for Super 35 shooters.

Perhaps the most interesting feature, however, is Fujifilm’s use of Sony’s E-mount standard, which we’ll look at next.

First look: Fujinon MK18-55mm T2.9 cine lens

So why Sony E-mount? Fujifilm already builds high-end lenses for the PL mount favored by film and broadcast studios. But the company wants to address the burgeoning market of independent filmmakers, small production houses, and other professionals using the Super 35 and APS-C formats. Sony has a huge presence in this market, with many professionals using the Sony FS7, FS5, and even a-series cameras. However, there are few dedicated cinema lenses for E-mount, with many shooters using EF-mount lenses via adapters.

This means there’s a huge potential market of professional videographers who can be targeted. Also, since these lenses are built to mount so close to the sensor, they can’t be adapted to mount on PL mount cameras, meaning that Fujifilm doesn’t risk cannibalizing sales of their HK, ZK, and XK range of cine lenses.

First look: Fujinon MK18-55mm T2.9 cine lens

One difference between cinema lenses and most modern photography lenses is that cinema lenses use an all mechanical design. There’s no ambiguity of movement, such as focus mechanisms that keep turning when they reach the end of their range.

Additionally, gearing on lens elements allows the use of accessories such as a follow focus (a geared control that allows fine-grained, smooth control over focus, often relocated to a more convenient position). The gearing also allows motorized control of any of theses rings, if the lens itself is buried too deeply in a rig or placed on a shoulder mount or Steadicam, where direct access is not practical.

The Fujinons both use the industry-standard 0.8 gear pitch, which allows them to be used with the broadest range of existing accessories.

First look: Fujinon MK18-55mm T2.9 cine lens

An important aspect of cinema lenses is that lens sets are often matched so that lenses are the same (or very similar) size and weight, which facilitates easy switching and doesn’t require the entire camera rig to be modified or rebalanced when a lens change occurs. This way, it’s easy to switch lenses while keeping things such as matte boxes, follow focus, or stabilization systems in place.

Lenses in a set typically have the same T-stop to insure perfectly consistent exposure when switching lenses, as well as producing the same color and contrast.

The MK lenses appear to achieve this. The MK18-55mm and MK 50-135mm lenses have the exact same weight, dimensions, front diameter, and filter size, which should make it easy to switch between them without issue.

First look: Fujinon MK18-55mm T2.9 cine lens

The MK18-55mm lens, as well as the upcoming MK50-135mm version, are both T2.9 lenses. Unlike F-stops, which are based on the physical aperture size of a lens, T-stops indicate the actual amount of light transmission for the lens. This makes it possible to switch lenses with the confidence that all lighting and exposure settings will be consistent when a lens change occurs, and that all footage can be matched very closely.

First look: Fujinon MK18-55mm T2.9 cine lens

The focus system of this lens is designed to meet the needs of cinematographers. It has 200 degrees of focus rotation, allowing for very precise focus adjustments using a follow focus system. Additionally, the focus mechanism has hard stops at the end of its range, making it possible to do things like mark positions for a focus pull with no ambiguity about where focus will occur. In contrast, most DSLR or mirrorless lenses continue rotating even after reaching the end of their focus range, making this extremely difficult.

The lens also includes precise distance marks. This may not be a big deal to still photographers, who typically focus through the lens or on an LCD screen, but it’s important if you have a separate focus puller who’s trying to follow the action in a ‘blocked’ scene, where all the action takes place at prearranged distances.

First look: Fujinon MK18-55mm T2.9 cine lens

Another feature that is hugely valuable for video work, yet not generally important for stills, is a parfocal design.

Parfocal zooms maintain focus at the same distance, even when you change the focal length. This is of little value in the autofocus world of stills shooting: it’s trivial to get the lens to refocus after a zoom and before you fire the shutter. But in the realm of video shooting, where the process of zooming the lens may be part of the final product, you can’t afford for the footage to drop out of focus, mid shot.

The parfocal design means, for instance, you can frame a wide-shot of a two-person interview and then zoom-in on one of the subjects, without them dropping out of focus. Both of the Fujinon lenses exhibit parfocal behavior. Zoom can be adjusted using the included lever or via the lens gearing.

First look: Fujinon MK18-55mm T2.9 cine lens

In addition to parfocal design, another desirable property of cinema lenses is that they don’t exhibit lens breathing, a phenomena in which adjusting the focus of a lens slightly changes the field of view at the same time.

As with parfocal design, this isn’t a big issue for most still photographers as only the ‘decisive moment’ is being captured. For cinematographers, however, adjusting focus during a shot is very common (racking between two subjects, for example), and it’s distracting to the audience when this also causes the field of view to shift. As such, the MK18-55mm is designed to suppress lens breathing during focus operations.

First look: Fujinon MK18-55mm T2.9 cine lens

In addition to regular shooting, the MK18-55mm also includes a macro function that makes it possible to focus within a few inches of the front lens element. It’s probably not something most people will use all the time, but if you need a macro shot in your production it allows you to capture the footage without bringing in a non-standard lens.

Additionally, and consistent with being developed alongside studio-quality lenses, the MK lenses feature an adjustment flange to correct back focus. In video circles, ‘back focus’ refers to the distance at which the lens is attempting to focus its image: and perfect performance can require very slight adjustment to correct for any manufacturing tolerances. Studio cameras often allow tiny movements of their mount to ensure the correct lens to sensor distance. Since the MK lenses are likely to be used on cameras without this correction, it’s included in the lens, instead.

First look: Fujinon MK18-55mm T2.9 cine lens

One of the most exciting aspects about the Fujinon MK lenses requires taking another look at why these are going to be E-mount lenses.

In addition to a potential market of E-mount videographers, and Sony’s willingness to share its E-mount specification, there’s another reason we suspect Fujifilm has gone with E rather than EF or PL: the similarity to its own X mount. While the details differ, the flange-back distances of the two mounts vary by only 0.3mm, meaning that any optical design that works for the E-mount should work similarly well for Fujifilm’s X-mount.

In fact, Fujifilm has already announced that X-mount versions of these lenses are being developed for launch later this year, which raises the question: is Fujifilm really expecting owners of current X-mount cameras to spend $ 4000 on video-specific lenses? Or does this lens, and all the work done on developing the X-T2’s 4K capabilities, herald a more substantial entry for Fujifilm into the semi-pro video space?

Articles: Digital Photography Review (dpreview.com)

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Fujinon MK18-55 T2.9 cine lens: First impressions and shooting experience

22 Feb

Setting up the Fujinon MK18-55mm T2.9 cine lens with the Sony FS7 and Zacuto rig. (I accidentally left the matte box back at the office. Shh… don’t tell anyone.)

Fujifilm is a respected name in the photography world thanks in part to its highly regarded X-series cameras and lenses. However, Fujifilm is also a major player in the professional cinema market, producing cinema lenses with prices that reach upward of $ 90,000. The company is now extending its cinema expertise into what it calls the ‘emerging production’ market: users who need capabilities and features beyond what’s available in standard DSLR or mirrorless lenses, but who don’t have a budget to spend tens of thousands of dollars on a single lens.

The Fujinon MK18-55mm T2.9 cinema lens is the first in Fujifilm’s new MK line of Super 35 lenses designed specifically for this market. It will be joined later in the year by the matching MK50-135mm T2.9 lens, giving users complete coverage of the very useful 18-135mm range of focal lengths. The MK line is based on the company’s Cabrio line of cinema lenses, which have prices starting around $ 15,000, and both lens lines share the same coatings and basic mechanical build. At $ 3,799, the MK18-55 is still a bit pricey by photography standards, but a relative bargain for a high quality cinema lens.

Sony E-mount on a Fujinon lens? Read our First Look slide show to learn why.

Despite being a Fujifilm product, this lens uses Sony E-mount. (We discuss Fujifilm’s reasons for choosing E-mount in our First Look slide show.) As a result, I tested the lens attached to a Sony FS7, a Super 35 camera that’s very popular among this segment of users.

Shooting with the MK18-55mm T2.9

We only had a couple days to do our testing, so I threw together a quick shoot highlighting one of the Pacific Northwest’s favorite sports – climbing – and met up with local climber Jay Griffin at The Mountaineers climbing wall in Seattle. This scenario was perfect for shooting with focal lengths across the range of the lens, as well as for some good follow focus opportunities.

TL;DR – I really like this lens. In fact, I won’t even make you wait to get to the video, so here it is:

Video shot using the Fujinon MK18-55mm T2.9 cine lens and Sony FS7 camera. All footage was captured in DCI 4K/24p using Sony SLog3, edited in Final Cut Pro X, and graded using LUTs from Color Grading Central.

I chose to shoot the entire video shoulder-mounted, so I set up the FS7 on a Zacuto Recoil rig with rails, a Z-Drive follow focus, and a Gratical Eye viewfinder, along with the FS7’s remote grip. This is a fairly straightforward setup, but it takes a few minutes to arrange all the pieces so that everything works correctly and is ergonomically arranged for the camera operator

Setting up the rig highlighted one of the important features of the MK lenses: they’re matched. For this shoot I only had the MK18-55mm available, but later in the year Fujifilm will be adding the MK 50-135mm to the line as well; both lenses share the same weight and dimensions. In a two-lens shoot, it would be incredibly easy to switch between the two while leaving things like matte boxes and follow focus in place. Also, since both lenses have identical T-stops it would be easy to match exposure as well.

Using the lens was a joy. As with most cinema lenses, it’s completely mechanical, and build quality is outstanding. Every movement feels well damped, and one gets the immediate sense that it’s a high quality piece of precision equipment.

One place where this mechanical build is immediately noticeable is the focus ring. Unlike most modern DSLR or mirrorless lenses, which continue to spin after reaching the end of their focus range, the MK18-55mm has hard stops.

Working with a follow focus is a breeze thanks to the mechanical lens design and geared focus ring.

It was simple to set up the Z-Drive follow focus with the standard pitch gearing on the focus ring, and thanks to the 200 degree focus rotation angle it was easy to make precise focus adjustments, using peaking in the viewfinder as a guide. The large rotation angle made it easy to adjust for small movements or to follow Jay when he moved slowly. You don’t get this level of precision with the shorter focus throw of most DSLR lenses, and you certainly don’t get it with focus-by-wire!

I didn’t notice any obvious signs of lens breathing, a phenomena that causes a lens’s field of view to change slightly as a lens is focused. Breathing is fairly common on stills camera lenses, and it rears its ugly head when you’re trying to do something like rack focus between two subjects. Cine lenses are designed to suppress lens breathing, and as far as I could tell the MK18-55 did so extremely well.

Like other cine lenses, the MK18-55mm has a parfocal design, meaning it should maintain precise focus during zooming. Still photographers often don’t care much about this since it’s simple to zoom and then refocus before taking a shot. For video work, however, you sometimes want the zoom to be part of the shot. Loosing focus mid-zoom is a big deal.

Since I was using a shoulder mount rig without an assistant, it wasn’t very practical to test the parfocal performance of the lens with Jay. However, back in the studio I lined up the lens with our studio scene and confirmed that its performance is excellent in this regard; once focused, the subject remains in focus throughout the zoom range.

Shooting with the Fujinon MK18-55mm T2.9 lens and Sony FS7.

It should be pretty obvious by now that I really enjoyed using the MK18-55mm. In addition to finding it well designed and delightful to work with, I was very pleased with the footage I captured. Optical performance appears to be outstanding. Based on my brief experience I would have no qualms about shooting a full project with this lens. It’s exciting to see Fujifilm entering this market, and I’m really looking forward to future lenses in the MK line.

Now, bring on the MK50-135mm so I can use the set!

Articles: Digital Photography Review (dpreview.com)

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My New Favorite Lens: The Fujinon 35mm F1.4 R

01 Mar

Before I switched to Fujifilm I was a Canon EOS user. My favorite camera was the EOS 5D Mark II and my favorite lens the 85mm f/1.8. I liked that lens because it was ideal for portraits, and for close-ups revealing details.

When I switched to Fujifilm I expected the Fujinon 56mm f/1.2 lens, the closest equivalent (on an APS-C crop sensor camera) to the 85mm, to become my new favorite. It’s a great lens, especially for portraiture. But, to my surprise, the humble 35mm f/1.4 lens, bundled with the X-Pro 1, has become my new favorite.

Favorite lens 35mm Fujinon f1.4

At first I was a little puzzled as to why. With Canon I owned a 50mm lens, and while I tried to use it in practice, it didn’t get used much. It was more of an experimental lens – I used it with extension tubes, and reversed for experimental close-up and macro photography. Occasionally I used it while out shooting, but always ended up preferring either the 85mm (short telephoto) or a wide-angle.

So what happened with the 35mm f/1.4 lens (which has the same angle-of-view, and is a normal lens for an APS-C camera)? I think, a number of things happened.

The 35mm suits the X-T1, the camera I use most of the time, very well. The camera feels well balanced, and is light enough to carry around all day.
This camera and lens combination is ideal for taking candid photos of people, without being too far away (losing the sense of intimacy and closeness) or having to get too close to fill the frame (where I would be getting close enough to bother people). People may notice me with it, but they don’t seem to be worried by it.
It’s an ideal focal length for environmental portraiture. I used it the 35mm lens a lot during a recent trip to China, where I had a lot of fun photographing people. It allows me to capture a scene with people in it, without revealing too much (always a danger with wide-angle lenses) or too little (as can happen with short telephotos).

These two photos are great examples.

Favorite lens 35mm Fujinon f1.4

Another thing I like about the 35mm lens, is that it focuses quite close to the subject, allowing me to move in close for detail shots without having to use a close-up lens or extension rings. The 85mm lens that I used with my Canon camera didn’t focus quite so closely, and I had to use a 500D close-up lens (filter) with it for close-up photography. Here’s an example.

Favorite lens 35mm Fujinon f1.4

One of the benefits of a mirrorless camera system, with an APS-C sensor, is that the lenses are smaller and lighter than those made for camera systems with full-frame models. The 35mm lens is small (it’s only 55 mm long) and light (it only weighs 187 grams, 6.5 ounces). Compare those dimensions to a 35mm f/1.4 lens made for a full-frame camera and you’ll see what I mean (Canon’s 35mm f/1.4 is 20.46 oz., or 580 grams).

That wide aperture comes in very useful when shooting in low light, or if you want to use a wide aperture for creative effect. This lens gives me the best of two worlds – small size and wide aperture. This photo, taken at f/1.4, ISO 6400, shows how useful a wide aperture is in low light.

Favorite lens 35mm Fujinon f1.4

Another benefit of this lens is that I can take photos that aren’t affected by converging verticals. With wide-angles, even moderate ones, any slight tilt of the camera results in converging verticals. Vertical lines are crooked rather than straight. It’s not necessarily a bad thing, but sometimes I prefer the straightness and order, imposed by the 35mm lens. This candid photo shows the point – with a 35mm lens it was easy to frame the photo and make sure the pillar (and the other verticals) were straight.

Favorite lens 35mm Fujinon f1.4

The focal length also works very well when I shoot in the square format. There is something a little magical about the results, and I have been using it a lot for that lately. Here is a photo I took recently in Spain.

Favorite lens 35mm Fujinon f1.4

Your turn

Have you used the Fujinon 35mm f/1.4 lens? Or indeed any other normal or standard lens? Let us know what you like, or dislike, about these lenses in the comments. It will be interesting to hear what you think.

Mastering Lenses

My new ebook Mastering Lenses: A Photographer’s Guide to Creating Beautiful Photos With Any Lens shows you how to get the best from the lenses you own already. A comprehensive guide to exploring the creative potential potential of wide-angle, normal and telephoto lenses, it’s also the ultimate buying guide for readers thinking about purchasing a new lens for their camera. Please click the link to learn more or buy.

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The post My New Favorite Lens: The Fujinon 35mm F1.4 R by Andrew S. Gibson appeared first on Digital Photography School.

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DPReview Gear of the Year Part 6: Richard’s choice – Fujinon 56mm F1.2R APD

23 Dec

My Gear of the Year isn’t a product launched in 2015. Nor is it necessarily the absolute best option available. However, it is the product that I’ve grabbed whenever I wasn’t committed to something else we’ve been testing, and it’s a product I’ve really enjoyed.

What I love

Classic portrait focal length 85mm equivalent field-of-view
Bright maximum aperture for shallow depth-of-field or low light work
Apodization filter to ensure smoother bokeh
Well built solid-feeling without being too heavy

I’ve always liked the idea of classic 85-135mm equivalent portrait lenses but they’ve tended to be somewhat thin on the ground for the APS-C cameras I seem to end up testing. So I’m delighted to see Fujifilm go the extra mile and create a fast 85mm equivalent.

Better still, the APD version of the lens is specifically designed to offer pleasant bokeh. None of this ‘X rounded blades to give pleasing bokeh’ nonsense, the APD version actually has a radial gradient neutral density filter to smooth off the bright edges of the out-of-focus rendering. I’ve taken the availability of this very specialized tool as encouragement to practice and improve my portraiture.

A quick re-process in camera and there’s a JPEG ready to send to my patient volunteer.

Fujinon 56mm F1.2R APD
F1.2, 1/35sec, ISO 800

The Fujifilm 56 isn’t the only tool I could have used: the Zeiss Batis 85mm F1.8 would give very similar depth of field and, mounted on a Sony a7 series camera, would result in a fairly similarly sized package. However, although both have been present in the DPReview offices, it’s been hard to justify taking them out of the hands of the people reviewing and testing them, just to experiment. So it just happens to have ended up that I’ve spent more time enjoying the Fujinon.

Beyond the lens’s inherent properties, there’s another reason I’ve tended to grab the 56 and it relates to winning my subjects over and helping them feel comfortable with being photographed.

While shooting, I’ve been using Fujifilm’s Wi-Fi system to send my favorite shot along to my subjects’ phones, letting them see the results and ensuring they have an image to walk away with. Lots of modern cameras have Wi-Fi of course, but it’s the combination of in-camera Raw processing and one of my favorite JPEG engines that makes it particularly useful. It’s relatively easy to choose the most appropriate Film Simulation mode, fine-tune the white balance and tone curve and arrive at a file I can comfortably share before I get a home to Lightroom. That ability to put the images quickly into the hands of my subjects has helped maintain their enthusiasm for standing around and being photographed.

The 56mm F1.2 APD is sharp where you want it and pleasantly smooth where you don’t. The X series cameras can place the focus with a good degree of accuracy, too.

Fujinon 56mm F1.2 APD
F1.2, 1/550sec, ISO 400

Furthermore, the relatively small size of an X-T10 with the 56mm mounted to it isn’t quite so intimidating as a full frame DSLR and has the advantage that I can continue to shoot when I’ve taken the camera away from my eye, to talk to my subject.

It’s not all dreamy bokeh and pretending to be David Hemmings*, of course.

The 56mm F1.2 APD is an expensive lens. For a start, it’s a rather specialized lens, meaning fewer buyers to share the development costs across. But equally, it’s likely that Fujifilm understands the mystique conveyed by the idea of a bokeh-smoothing filter and being able to etch the numbers 1:1.2 into the front of the lens, allowing them to charge a substantial premium.

Autofocus is also rather slow. The design appears to have a lot of glass to shift around when focusing, which slows things down, as does the loss of on-sensor phase detection, which would be confused by the lens’s internal filter. However, so long as the subject doesn’t move too fast or unpredictably (which is a reasonable expectation in semi-posed portraits), this isn’t a fatal drawback and is at least partially made up for by the accuracy and consistency of the focus.

It’s not just for close-up head shots, of course.

Fujinon 56mm F1.2 APD
F1.8, 1/1000sec, ISO 200

So why, when I know the 56mm is far from perfect, is it my Gear of the Year? On a technical level, it’s very good: it’s impressively sharp where it’s in focus and pleasantly smooth where it’s not, but the reason it’s my Gear of the Year is because I’ve enjoyed shooting with it and it’s encouraged me to go out and take photos.

I’m certainly not even going to claim the 56mm F1.2 APD has magically made me a great portrait photographer, but it’s certainly increased the number of my friends using my images to represent them on social media. And knowing the lens will take lovely images has left me able to concentrate on developing the soft skills for relaxing and posing the people I’m shooting. Now, where’s my reflector?

*I very seldom pretend to be David Hemmings.

Articles: Digital Photography Review (dpreview.com)

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Testbericht: Fuji X-T1 mit Fujinon XF 23 mm

14 Feb

Ein Beitrag von: Tom Lanzrath

Letztes Jahr kam ich zur Photokina mit dem festen Entschluss, mich über die verschiedenen spiegellosen Systeme zu informieren. Schon lange geht mir das Schleppen einer kompletten DSLR-Ausrüstung auf die Nerven, auch das „Klack“ eines Spiegelschlags empfinde ich als sehr laut und störend.
kwerfeldein – Fotografie Magazin | Fotocommunity

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