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Posts Tagged ‘Xmount’

Sample gallery: Tokina atx-m 23mm F1.4 for Fujifilm X-mount

11 Apr

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Tokina’s atx-m 23mm F1.4 is one of two of the company’s new primes available for Fujifilm X-mount shooters. With a 35mm full-frame equivalent focal length, this lens is perfect for casual, candid, and street photography, even in low light.

Focus is snappy, accurate and near-silent when shooting at wider apertures. But the lens does occasionally hunt and can sometimes miss focus when stopped down. Sharpness looks good in the center of the frame, but corners show softness at wider apertures.

There’s no weather-sealing, but the build quality is impressive nonetheless. The lens mount and body are constructed of metal; the focus ring seems to be plastic. In terms of handling, the Tokina feels just right on the Fujifilm X-E4; heavy enough that you know it’s there but not too heavy. We’re not crazy about the clickless aperture ring for stills work, but an ‘auto’ setting at least lets you control the aperture from your camera body.

For a sense of the Tokina atx-m 23mm F1.4 X’s optical characteristics, including bokeh and lens flare examples, jump into our sample gallery below.

View our Tokina atx-m 23mm F1.4 X sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Tokina unveils 23mm and 33mm F1.4 atx-m series lenses for Fujifilm X-mount camera systems

20 Nov

Tokina has announced the release of two new prime lenses for Fujifilm X-mount camera systems: the atx-m 23mm F1.4 and the atx-m 33mm F1.4.

The 23mm F1.4 and 33mm F1.4 feature 35mm and 50mm full-frame equivalent focal lengths, respectively, and both feature near-silent autofocus thanks to their ST-M motors. Both lenses feature clickless aperture rings, nine-blade aperture diaphragms, aperture ranges of F1.4 through F16, have 52mm front filter threads and are the same size: 72mm (2.83”) long and 65mm (2.56”) in diameter. The 23mm F1.4 weighs 276g (9.74oz), while the 33mm F1.4 weighs 285g (10.5oz).

The Tokina 23mm F1.4 and 33mm F1.4 lenses will retail for $ 479 and $ 429, respectively, when they become available to purchase on December 11.

It’s worth noting both of these lenses appear to be identical in aesthetics and specifications to the Viltrox 23mm F1.4 and 33mm F1.4 lenses that retail for $ 325 and $ 279, respectively.

Press release:

Tokina announces release of new Fuji X-mount prime lenses

23mm and 33mm atx-m series f/1.4 lenses for Fuji X-mount cameras offer versatility for amateurs and professionals.

Huntington Beach, CA, November 20, 2020: Tokina introduces compact, lightweight prime lenses for Fuji X-mount cameras.

The Tokina atx-m 23mm f/1.4 prime lens features an angle of view equivalent to 35mm in full frame cameras. It is an ideal tool for street scenes, environmental portraits and landscapes. The atx-m 33mm features an angle of view equivalent to 50mm in full frame cameras. This standard angle lens is highly versatile for amateurs and professionals. The ultra-fast f/1.4 aperture is excellent for low-light situations and the minimum focal distance allows beautiful, creamy front and back bokeh. Both lenses feature color balance tuning to match film simulation modes within Fujifilm cameras. The silent autofocus is realized by the ST-M focus motor for easy and reliable focus.

The ATX-M 23mm and 33mm prime lenses feature:

  • Compact and lightweight – compatible with Fujifilm X-mount mirrorless cameras
  • f/1.4 aperture – creamy front and back bokeh, exceptional in low light conditions
  • fast, silent autofocus
  • communicable with camera body to support 5-axis in-body image stabilization
  • click-less aperture ring to smoothly control aperture in video mode
  • color balance tuning to fit film simulation modes of Fujifilm camera

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm adds 18mm F1.4 and 70-300mm to X-mount roadmap

17 Oct

Fujifilm has updated its roadmap of lenses for the APS-C X-mount system. The latest version adds the XF18mm F1.4 wide-angle prime, along with a fairly long, moderately fast 70-300mm F4-5.6 OIS telezoom. Both lenses are shown as being due for launch in 2021.

The 18mm will be equivalent to a 27mm lens, in full-frame terms, while the 70-300mm will offer a focal length range equivalent to that of a 105-450mm lens on a full-frame camera.

The lineup of current lenses now extends to 18 prime lenses and 12 photographic zooms, along with three teleconverters and two high-end video zooms. The additional prime and telezoom will take the total to 34 lenses overall, by the end of 2021.

The latest version of the roadmap can be seen on Fujifilm’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Viltrox warns some of its X-mount prime lenses can cause damage to X-Pro3 camera bodies

13 May

Lens manufacturer Viltrox has issued a statement warning customers that a number of its X-mount lenses can damage Fujifilm X-Pro3 camera bodies.

The statement, seen below, notes that ‘it would be better not [to] use [the] Viltrox 23mm, 33mm or 85mm X-mount lenses’ with Fujifilm X-Pro3 camera systems, as it can damage the camera ‘due to the structural conflict [wherein] they will scratch a little bit against each other.

This information is backed up by reports on this DPReview forum post from Pete Richardson that notes his Viltrox 85mm lens rubs up against the lens release button on the X-Pro3 camera body, causing ‘the slightest mark on the edge of the collar surrounding the release button.’ The reason this only affects X-Pro3 camera bodies is that the lens release button sticks out ever-so-slightly further than that on the X-Pro2, as illustrated in this screenshot from CameraSize.com by DPReview reader DarnGoodPhotos:

Note how the lens release button on the X-Pro3 sticks out marginally further than on the X-Pro2.

If that is the case, the damage would be mostly cosmetic, but it’s probably best to avoid using the lenses with the camera unless you don’t mind scratching up either item.

Articles: Digital Photography Review (dpreview.com)

 
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Kipon shares new details of upcoming 12mm F2.8 lens for Fujifilm X-mount cameras

29 May

Kipon has shared new details about an upcoming 12mm F2.8 manual wide angle lens for APS-C camera systems.

The Ibegon 12mm F2.8 lens is being sold under the Kipon name, but its optical formula was designed by the German IB/E Optics. Its optical construction consists of 12 elements in nine groups and it features a seven-blade aperture diaphragm. It has a minimum focusing distance of 15cm (approximately 6in) and an aperture range between F2.8 and F22.

Blurry MTF charts provided by Kipon.

Currently, the product page only mentions availability for Fujifilm X mount camera systems, but Kipon previously teased at CP+ 2014 that it would be available for MFT, Sony E and EOS M mounts as well. Kipon hasn’t shared specific pricing information, but says it plans to ship the lens starting September 2019.

Kipon hasn’t shared specific pricing information, but says it plans to ship the lens starting September 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Buying Guide: The best lenses for Fujifilm X-mount mirrorless cameras

25 Apr

Whether you’ve bought an inexpensive Fujifilm X-A5 with a kit lens, or a higher-end body like the X-T3, at some point you’re going to want some new glass. Whether you’re shooting portraits or want a versatile travel zoom, we’ve got you covered.

Before we go on, keep in mind that these lenses are for X-series cameras only. Fujifilm’s GFX medium format bodies use a different mount, which we’re not covering in this buying guide.

For each of the categories below the winner was the lens which we found to offer the best combination of quality and value. In most cases, we’ve also provided a more budget-friendly option, as well as a choice for those with more to spend.

  • Best kit lens replacement
  • Best prime / single focal length lens (all-around)
  • Best prime / single focal length lens (for portraits)
  • Best wide-angle zoom lens
  • Best telephoto zoom lens
  • Best macro lens
  • Best lens for travel

Here at DPReview we use a lot of lenses, but we can’t test every single product on the market. So if we’ve excluded your favorite lens, or if you disagree with any of our selections, please let us know in the comments below.

Best kit lens replacement

Standard (kit) zooms are just what they sound like – versatile, general-purpose lenses that start with a fairly wide angle of view and allow you to zoom in to a focal length traditionally used for portraits.

Our pick: XF 18-55mm F2.8-4.0 R OIS LM

If your camera didn’t already come with it, we’d suggest upgrading to the excellent 18-55mm F2.8-4.0 OIS. The 18-55mm is a significant step up from Fujifilm’s XC 16-50mm and 15-45mm kit lenses, albeit not quite as wide as either.

Check prices | More info

Also consider:

Money no object:
XF 16-55mm F2.8 R LM WR

It’s big, it’s heavy, it’s unstabilized, but more importantly, the 16-55mm F2.8 is optically excellent. It’s one of the most powerful ways to get the most out of your camera.

For more flexibility:
XF 18-135mm F3.5-5.6 R LM OIS WR

At time of publication, the 18-135mm is the best way of adding a lot more flexibility to your camera. Just bear in mind that it has a slightly slower aperture than the 18-55mm and doesn’t go any wider, so think carefully about what you’d gain.
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Best prime / single focal length lens (all-around use)

Removing the complexity of a variable focal length often allows for prime lenses to be smaller, lighter and sharper, while letting more light through and being more useful in dimly lit situations.

For all-around use we’d recommend a semi-wide-angle lens that can lend itself to a range of subjects.

Our pick: XF 23mm F2 R WR

The 23mm F2 isn’t the sharpest lens in the Fujinon lineup, but it’s small, relatively fast and sensibly priced. It makes for a respectably small combination with most X-series cameras and provides decent low light performance and some control over depth-of-field. The equivalent focal length of 35mm makes this a perfect everyday lens for walk-around shooting.

Check prices | More info

Also consider:

Small/light/affordable:
XF 27mm F2.8

The 27mm lens offers a 40mm equiv. field-of-view, which can be great fun to shoot with. At F2.8 it’s not going to give much of a benefit in terms of light capture or depth-of-field compared with a kit zoom. Its major appeal is size: it’s convenient and discreet when paired with most X-series cameras.

Money no object:
XF 23mm F1.4 R

The Fujifilm 23mm F1.4 is optically excellent, making it a great do-everything prime. It’s not especially fast to focus but if you want the quality and improved low light performance it brings, then that’s the trade-off.
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Best prime / single focal length lens (for portraits)

Prime lenses are just a single focal length; removing the complexity of a zoom often allows for these lenses to be smaller, lighter and sharper, while letting more light through and being more useful in dimly lit situations.

For portraits we’d recommend a mid-telephoto lens that lets you shoot head-and-shoulders shots from a comfortable working distance.

Our pick: XF 56mm F1.2 R

The 56mm F1.2 is designed to give the same angle-of-view and depth-of-field as a classic 85mm F1.8 lens does on full frame. It’s one of the slower-focusing lenses in the system, but it’s impressively sharp and well-matched for portrait shooting. There’s a more expensive ‘APD’ version if you need smoother background blur.

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Also consider:

For a bit more breathing room:
XF 90mm F2 R LM WR

The 90mm F2 isn’t cheap, but it’s extremely sharp, is faster to focus than the 56mm and gives plenty of control over depth-of-field. It also gives a longer working distance, which some people will prefer.

The inexpensive option:
XF 50mm F2 R WR

The 50mm’s equivalent focal length of 75mm is a bit shorter than the 56mm’s, but the magnification difference is minimal in normal use and it’s much less expensive, faster to focus and still pleasantly sharp. It’s also small enough to carry with you at all times.
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Best wide-angle zoom lens

Wide-angle lenses are often useful for taking photos of interiors, landscapes and architecture.

Our pick: XF 10-24mm F4 R OIS

The 10-24mm F4 is a mid-range stabilized zoom that extends out to a usefully-wide 15mm equivalent. It’s not cheap but the optical quality, solid build, constant aperture and inclusion of OIS help explain the price.

Check prices | More info

Also consider:

Money no object:
XF 8-16mm F2.8 R LM WR

If you need to go wider or brighter than the 10-24mm, there’s the 8-16mm F2.8. It’s well-corrected and generally superb optically. Just be aware: it’s big, heavy, and cannot accept screw-in filters.

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Best telephoto zoom lens

Telephoto lenses start out being fairly zoomed-in, and allow you to zoom in even further so you can fill your frame with more distant subjects.

Our pick: XF 55-200mm F3.5-4.8 R LM OIS

Although the range makes it sound like a budget ‘two lens kit’ filler, the Fujinon 55-200mm is a well built, fast-to-focus mid-price option. We used it as our autofocus test lens for many years and were impressed with its performance.

Check prices | More info

Also consider:

Budget option:
XC 50-230mm F4.5-6.7 OIS II

The 50-230mm is a low-cost stabilized tele-zoom. Be aware of that F6.7 maximum aperture at the long end of the zoom: it’s not going to let in a lot of light, so your images are likely to be noisy in all but the best light.

Money no object:
XF 50-140mm F2.8 R LM OIS WR

The 50-140mm F2.8 makes a lot more sense when you realize it covers roughly the same range as the classic 70-200mm sports lenses do on full-frame cameras. It’s fast, well-built and offers image stabilization, and is much easier to wield than most lenses with this focal length.
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Best macro lens

Macro lenses allow you to focus very close to small subjects, which is handy for photographing flowers or bugs.

Our pick: XF 80mm F2.8 R LM OIS WR Macro

The 80mm F2.8 Macro is sharp, stabilized and gives a useful working distance, meaning you’re not bearing-down on your subject. A flexible, attractive choice for close-up shooting.

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Also consider:

Money no object:
Zeiss Touit 50mm F2.8M

We’ve been impressed by what we’ve seen of the Zeiss Touit series but they’re significantly more expensive than their Fujinon counterparts. We prefer the 50mm Macro to Fujifilm’s rather slow-to-focus 60mm F2.4 if you need something wider than the 80mm.

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Best travel zoom lens

If you want a versatile lens that can handle most shooting situation, then consider a travel zoom. You still start out with a fairly wide field-of-view and can zoom in almost as much as many telephoto lenses. This is convenient, but these lenses tend to let less light through them, so aren’t as useful in dimly lit situations, and they may not always give you the sharpest results.

Our pick: XF 18-135mm F3.5-5.6 R LM OIS WR

The 18-135mm offers a flexible range for whatever you encounter while traveling, which is fortunate, since it’s essentially your only choice at present. It would be nice if it went a little wider, but it covers a hugely useful range, offers image stabilization and a weather-resistant design, making it a solid choice for traveling.

Check prices | More info

Also consider:

Worth waiting for?
XF 16-80mm F4 R OIS WR

If you haven’t got a specific trip already planned, it might be worth waiting for the forthcoming 16-80mm F4. Constant F4 may not sound too exciting on an APS-C camera but the 24-120mm equivalent range may prove more useful than the 27-203mm equiv reach of the 18-135, especially if the quality is better.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s X-mount has suddenly become a credible option for video

20 Feb

When Fujifilm announced its new Fujinon MK 18-55mm T2.9 and MK 50-135mm T2.9 cinema lenses about a year ago it generated a lot of interest. Fujinon is a respected name in the cinema industry and getting these lenses—based on the company’s much more expensive Cabrio line—for a price in the neighborhood of $ 4,000 was exciting to a lot of people.

Unfortunately, for users of Fujifilm’s own X-mount mirrorless cameras, there was one catch: Fujifilm released the lenses in Sony E-mount.

E-mount? That seemed like a strange choice to people in the camera world.

It’s not so strange when you consider the target market. Sony Super 35 cameras like the FS5 and FS7 are very popular among small production houses, budget filmmakers, and independent producers of various stripes, many of whom can’t afford to spend tens of thousands of dollars on a single lens. As a result, there’s a large addressable market of E-mount shooters who would be interested in this type of product.

We had a chance to use the MK 18-55mm T2.9 when it was introduced and were very impressed. Click here to read our full shooting experience.

X-mount? Not so much. Sure, the X-T2 could shoot 4K video, but came with some big caveats. Video probably wasn’t the feature driving buyers to that camera, especially those serious enough to use cinema lenses for their work.

However, Fujifilm tossed a small easter egg into that announcement: it planned to release the lenses in X-mount (as ‘MKX’ models) by the end of 2017.

However, Fujifilm tossed a small easter egg into that announcement: it planned to release the lenses in X-mount…

While that was a nice bone to throw to its mirrorless customers, it made us wonder if Fujifilm was also giving us a hint of things to come.

Now we know. The new Fujifilm X-H1 is a camera that embraces video – and video shooters – more than any X camera before.

Fujifilm’s cameras don’t have a strong history when it comes to video performance. Early iterations of the company’s video were far from best in class, and in some cases embarrassing.

The Fujinon MK series of lenses were originally released for Sony E-mount (shown here on a Sony FS7 camera), but are now available to X-mount mirrorless camera shooters.

Meanwhile, other companies, such as Panasonic and Sony, overtly courted videographers with cameras that delivered high quality footage and included deep video feature sets.

With the X-H1, Fujifilm now has a camera that’s competitive with just about anything in the DSLR/mirrorless class when it comes to video. It may not MKX-class equipment targeted at working pros, but it holds its own against its peers, with the possible exception of the Panasonic GH5/S. But to be fair, nothing else in this class really holds up to the GH5/S either.

It’s fair to say that Fujifilm shooters no longer need to feel left out in the cold when it comes to video.

It’s fair to say that Fujifilm shooters no longer need to feel left out in the cold when it comes to video

I don’t want to blow this out of proportion. I doubt Fujifilm would have developed the MKX lenses just for the X-H1. It wouldn’t have been worth the sizable development cost, and the E-mount market for these lenses is much larger. The fact that the MK lenses now work on X-mount is a great side benefit, though.

With this set of products in the mix it’s a great opportunity for Fujifilm to test the waters around video. Just a couple years ago, choosing a Fujifilm system for motion picture work was a non-starter. Today, all the pieces seem to be falling into place: high quality 4K/30p, 200Mbps codec, internal F-Log gamma profile, and even a couple high quality cinema lenses. That’s an attractive combination, and I’m sure Fujifilm will be watching to see if it gets traction.

We don’t know whether the Fujinon’s MKX lenses for X-mount signal greater ambitions for Fujifilm, but for the moment it means there’s still a very impressive set of real cinema lenses for Fujifilm’s mirrorless users.

Fujifilm’s decision to focus on the APS-C market may even be helping it here. There’s no pressure to support full frame models, so the company can put its best technologies into flagship APS-C cameras, which will appeal to people wanting to shoot content in the popular Super 35 format. Throw in Fujifilm’s Hollywood-renowned color science, and you have the ingredients for an interesting path forward.

The X-H1 shows that Fujifilm is serious about video. Whether those MKX lenses might signal greater ambitions on the camera side, or are just a pleasant side effect of having already developed them for E-mount remains to be seen.

Until recently, Fujifilm users who wanted to move into the world of video often assumed they would need to migrate to a different system to do so. No longer. Unless you really need the advanced features found in a pro-level video camera, it’s a viable alternative to other DSLR and mirrorless options.

This is a great time to be a Fujifilm shooter, especially if motion pictures are on your brain.

Click here to read our Fujinon MK 18-55mm T2.9 shooting experience

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s MKX lenses bring affordable cinema glass to X-mount

15 Feb

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Fujifilm has announced its Fujinon MKX 18-55mm T2.9 and MKX 50-135mm T2.9 cinema lenses for X-mount. These are essentially the same Super 35 lenses that Fujifilm released about a year ago in E-mount and are now available to users of the company’s own X-mount mirrorless system.

Combined, the two lenses provide coverage between 18mm and 135mm, a very useful range for video production. Based on the company’s much more expensive Cabrio line of cinema optics, the MKX series include properties typically found on much more expensive cine lenses.

Those features include little to no lens breathing, a phenomenon which causes a lens’s field of view to change slightly as it’s focused, a parfocal design, meaning that the lens will maintain precise focus while zooming and 200 degrees of focus rotation with hard stops in order to work well with a follow focus setup.

The Fujinon MKX18-55mm T2.9 and MKX 50-135mm T2.9 cinema lenses are X-mount versions of the MK series lenses released about a year ago for E-mount (shown here on a Sony FS7 camera).

Additionally, the MKX lenses are also matched to have the same exact weight, dimensions, gearing and 82mm filter threads, meaning that it’s possible to switch between the two lenses easily without making any modifications to your rigging, such as the position of tools like a follow-focus or matte box.

We provided a hands-on look at both the MK18-55mm T2.9 and MK50-135mm T2.9 lenses in E-mount when they were released, and since they’re the same lenses (except for the mount) those articles can give you a more detailed overview of both lenses.

The MKX 18-55mm T2.9 and lens will cost $ 3,999, while the MKX 50-135mm T2.9 will cost $ 4,299. Both lenses are expected to be available in spring or summer 2018.

Press release:

FUJIFILM ANNOUNCES NEW ULTRA-COMPACTCINEMA LENSES, FUJINON MKX18-55MMT2.9 AND FUJINON MKX50-135MMT2.9 FOR X MOUNT

High Performance, Lightweight Cinema Lenses for the X Series Line of Mirrorless Interchangeable Lens Digital Cameras

Valhalla, N.Y., February 15, 2018 – FUJIFILM North America Corporation today announced the launch of FUJINON MKX18-55mmT2.9 and FUJINON MKX50-135mmT2.9 cinema lenses for X Mount, new additions to the X Series line of interchangeable lenses.

Available in June 2018, these cinema lenses offer a lightweight and compact design with the same optical performance and operability as larger cinema lenses in their class. They cover 18-135mm–the most frequently used focal length in video production–and achieve a constant T2.9 aperture across the entire zoom range, enabling a shallow depth of field and beautiful bokeh effect. With an enhanced optical and mechanical design, the MKX18-55mm and MKX50-135mm suppress focus shifts while zooming and reduce lens breathing, ensuring continuous sharp output. In line with the optical performance of the XF16-55mm and XF50-140mm lenses, these new MKX lenses offer a range of features that enable ease-of-use for capture in a wide array of shooting situations.

“The growth of video production has created a large demand among videographers and cinematographers for compact and easy-to-use lenses,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “In keeping with our commitment to deliver innovative products and solutions, Fujifilm has recognized this need and has introduced the MKX18-55mm and MKX50-135mm lenses, offering a lightweight design and affordable price point, while delivering great optical performance and operability as other professional cinema lenses.”

Advanced Optical Performance in a Compact, Lightweight Lens Barrel

The MKX18-55mm and MKX50-135mm are lightweight and compact; achieving advanced optical performance utilizing the short flange focal distance of X Mount. This feature reduces the number of people needed for the shooting process, ideal for small budget productions.

In addition, the lenses offer advanced optical performance across the entire zoom range. Achieving T2.9 aperture, they facilitate the bokeh effect with shallow depth-of-field eliminating the need to readjust lighting. Combined, these features not only lead to beautiful videos, but also shorten shooting time, making the MKX lenses a very economical choice for movie production. Further adding to its superior output, contact with an X Series camera corrects distortion, color, brightness and achieves Fujifilm’s various Film Simulation modes.

Featuring an Optical and Mechanical Design Ideal for Video Shooting

The optical and mechanical approach employed in these new MKX lenses allows for elimination of time lag that is usually experienced with electrical control systems. Manufacturing technology developed for conventional FUJINON cinema lenses was applied to control the optical axis shift while zooming. The front inner-focusing system controls lens breathing, allowing for smooth focus over an entire scene. Additionally, when zooming, focus shift is suppressed by independently driving the front focusing group and zooming group of lens elements away from each other.

Comfortable Operability Provided Through Dedicated Cinema Lenses

The MKX18-55mm and MKX50-135mm feature three fully manual rings for independent adjustment of focus, zoom and aperture, allowing for intuitive operation. The focus ring offers a rotation of a full 200 degrees to facilitate precise focusing even when shooting with a shallow depth-of-field where a high degree of precision is required. Further, all operation rings have a gear pitch of 0.8 m, allowing the use of all standard third party accessories for video production. With an iris that supports seamless adjustment, precise and silent exposure is achieved while preventing camera shake caused by clicking, making these lenses perfect for a wide array of shooting situations.

Standardized Design for Ease of Operation

Adding to their high quality video production, these MKX lenses are designed for ease-of-use. The gears for all three rings are positioned in the same place eliminating the need to re-position accessories when switching lenses. Only one matte box with an 85mm front diameter and one filter size with a filter thread of 82mm are needed between the two lenses. Equipped with a macro function that allows shooting close-ups to broaden the range of scenes that can be covered with one lens, optimum performance is achieved.

FUJINON MKX18-55mmT2.9 Key Features

  • Compatible with all FUJIFILM X Series interchangeable system cameras
  • Compact, lightweight lens weighing just 1,080g with external dimensions (maximum diameter x length) of 87mm x 206.6mm
  • Comprised of 22 glass elements in 17 groups with 6 super extra low dispersion lens elements and 2 extra low dispersion lens elements
  • Achieves maximum aperture of F2.8 and minimum aperture of F22 for close-up shots
  • Focus range of 0.85m/2ft 9” with wide macro function and 0.38m/1ft 2.9” at wide end and angle of view at 76.5° – 29.0°

FUJINON MKX50-135mmT2.9 Key Features

  • Compatible with all FUJIFILM X Series interchangeable system cameras
  • Compact, lightweight lens weighing just 1,080g with external dimensions (maximum diameter x length) of 87mm x 206.6mm
  • Comprised of 22 glass elements in 17 groups with 2 extra low dispersion lens elements and 2 super extra low dispersion lens elements
  • Achieves maximum aperture of F2.8 and minimum aperture of F22 for close-up shots
  • Focus range of 1.2 m/3 ft. 11” with wide macro function and 0.85 m/2 ft. 9” at wide end and angle of view at 31.7° – 12.0°

Accessories Included in Both Lenses

  • Tripod collar foot
  • Support foot
  • Zoom lever
  • Lens cap
  • Lens rear cap
  • Lens hood
  • Wrapping cloth

Availability and Pricing

The FUJINON MKX18-55mmT2.9 and cinema lens will be available in Spring/Summer 2018 in the U.S. and Canada for USD $ 3,999.95.

The FUJINON MKX50-135mmT2.9 cinema lens will also be available in Spring/Summer 2018 in the U.S. and Canada for USD $ 4,299.95.

Fujinon MKX 18-55 T2.9 / MKX 50-135mm T2.9 specifications

  Fujifilm Fujinon MKX 18-55mm T2.9 Fujifilm Fujinon MKX 50-135mm T2.9
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 18–55 mm 50–135 mm
Image stabilization No
Lens mount Fujifilm X
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 9
Aperture notes Seamless iris mechanism
Optics
Elements 22
Groups 17
Special elements / coatings 6 super ELD + 2 ELD elements 6 Super ED + 2 ELD elements
Focus
Minimum focus 0.38 m (14.96″) 0.85 m (33.46″)
Autofocus No
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 1080 g (2.38 lb)
Diameter 87 mm (3.43″)
Length 207 mm (8.15″)
Sealing No
Colour Black
Zoom method Rotary (internal)
Power zoom No
Filter thread 82 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm updates X-mount lens roadmap

24 Feb

Fujifilm’s creation of cine lenses and a medium-format system doesn’t mean it’s forgotten its stills-shooting X-mount audience. The company has announced an updated lens roadmap, adding an ultra-wide zoom and a telephoto prime lens, both due in 2018.

The updated roadmap positions the ‘Ultra Wide Angle Zoom’ fractionally to the left of the existing 10-24mm F4 R OIS (15-36mm equiv), suggesting it’s likely to cover a similar range but presumably with a different aperture value. Meanwhile, the ‘Telephoto Prime’ lens seems pinned around the 200mm (300 equiv) point.

The X-mount versions of the MK cine zooms are also added to the roadmap, joining the 80mm F2.8 R LM OIS WR Macro as being expected in 2017.

 The latest version of the Fujifilm X-mount lens roadmap can be found here.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm brings weather-sealed 35mm F2 lens, 1.4x teleconverter to X-mount

21 Oct

Fujifilm has added another lens to its X-mount, this one being a low-cost Fujinon XF 35mm F2 prime. This compact lens features a nearly silent internal AF system, 9-blade circular aperture, 2 ED elements, and is sealed against moisture and dust. Also announced is a 1.4x teleconverter, which is currently only compatible with the XF 50-140mm F2.8 zoom. It will, however, be compatible with future lenses, including the XF 100-400mm super telephoto lens expected next year. Read more.

Articles: Digital Photography Review (dpreview.com)

 
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