The Fujifilm XF 50mm F1.0 R WR promises to be great for portraiture. Does it live up to the hype? And how does it compare to Fujifilm’s own 56mm F1.2? Watch our review to find out.
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Introduction
Sample images
Why we used electronic shutter for testing
Size and design
Minimum focus distance
Autofocus performance
Bokeh
Focus accuracy
Chromatic aberration
Flare (or lack therof)
Sharpness
Video performance (wow!)
Compared to the Fujifilm 56mm F1.2
Who's it for?
Sample images from this episode
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The post Nikon’s 2019 Mirrorless Shipments Lag Behind Sony, Fujifilm, and Olympus appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Last month, we reported on Nikon’s decreased 2019 market share (Nikon now sits behind both Canon and Sony, but ahead of Fujifilm, Panasonic, and Olympus).
And we can now follow that up with additional data that highlights Nikon’s struggles, recently published in Nikkei article.
In 2019, over eight million interchangeable lens cameras (ILCs) were shipped, and here’s the breakdown by camera manufacturer:
Canon: 4.16 million ILCs
Nikon: 1.73 million ILCs
Sony: 1.66 million ILCs
Fujifilm: 500,000 ILCs
Olympus: 330,000 ILCs
Other Manufacturers: 280,000 ILCs
These numbers are pretty much what you’d expect, with Canon leading the digital camera manufacturers by a large margin and Nikon in second place, closely followed by Sony. Fujifilm sits at the back half of the pack, then Olympus, while Panasonic and Ricoh/Pentax fail to make the top five.
Here, we can see that Nikon still remains competitive, even as Sony threatens its position. But bear in mind that these numbers include all interchangeable lens cameras, not just mirrorless models.
And when you look at mirrorless cameras (MILCs) alone, Nikon’s position becomes much more tenuous:
Sony: 1.65 million MILCs
Canon: 940,000 MILCs
Fujifilm: 500,000 MILCs
Olympus: 330,000 MILCs
Nikon: 280,000 MILCs
Others: 240,000 MILCs
As the data indicate, Sony is firmly on top, though I expect its lead will narrow over the next year or so. Canon’s dedication to its full-frame mirrorless system, as displayed in the EOS R5/EOS R6 release, will boost Canon’s numbers to at least become competitive with Sony.
But for Nikon, the future isn’t looking so rosy. It’s now been two years since the release of Nikon’s initial mirrorless offerings, the Z6 and the Z7. And while we’ve gotten two additional mirrorless cameras to show for it (the full-frame Z5 and the APS-C Z50), Nikon hasn’t even outperformed Olympus, a company in the process of selling its unprofitable camera division.
It’s clear that Nikon has big plans for the future (rumors of a Nikon Z8 abound), and Nikon recently announced several impressive Z-mount lenses. But right now, the company seems to be held up primarily by DSLR sales, which just doesn’t seem sustainable.
Let’s just hope that Nikon manages to turn things around in the coming years. For me (and, I imagine, for most photographers), more camera choice is pretty much always better.
Now over to you:
What do you think about Nikon’s recent camera sales? Do you think the company will make a comeback? What do you think Nikon needs to do to be successful? Share your thoughts in the comments!
The post Nikon’s 2019 Mirrorless Shipments Lag Behind Sony, Fujifilm, and Olympus appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Fujifilm has announced a version 2.0 release of its X Webcam utility, which makes it possible to use your compatible Fujifilm X and GFX camera as a webcam with popular livestreaming and video conferencing programs.
The version 2.0 update is available for both macOS and Windows users. The small update adds a new settings control window making it possible to change settings on-the-fly. In addition to basic exposure compensation and white balance changes, the settings control window can also be used to change film simulations and more while the camera is connected to your computer.
As with the previous version, Fujifilm X Webcam works with the following Fujifilm cameras: GFX100, GFX 50S, GFX 50R, X-H1, X-Pro2, X-Pro3, X-T2, X-T3, X-T4.
You can download the utility for macOS (10.12 and later) and Windows 10 computers on Fujifilm’s website.
With the launch of the SQ1, Fujifilm now has three models that use their square format Instax film. This is the most stripped-down of the three, in terms of operation.
The Fujifilm Instax SQ1 is a stylish and easy-to-operate instant camera that makes use of the brand’s Instax Square format film. This new camera is a lot like shooting with a bulkier version of the Instax Mini 9/10/11, since it lacks many of the advanced features found on earlier Instax square cameras like the SQ6 or the SQ10. But it still manages to produce appealing Instax images, even if the shooter only has a very basic understanding of photography.
Key Specifications
Retractable lens (65.75mm, F12.6)
Full-automatic exposure control (flash always fires)
Variable shutter speeds from 1.6 to 1/400 sec including slow synchro for low light
Selfie mirror on front of lens
Selfie/close-up mode
Auto frame counter
Powered by two CR2 lithium batteries
Available in: Terracotta Orange, Glacier Blue and Chalk White
Operation
The Fujifilm Instax Square SQ1 operates on two CR2 batteries that you load into the back of the camera near the door where you load a pack of Instax Square film. On the back of the camera you’ll also find an automatic film counter showing you how many shots remain in your film pack and the camera’s viewfinder. Turn the camera on by rotating the lens to the ‘on’ position; if you are shooting a selfie or want a macro shot rotate the camera’s lens one more time to put it into ‘selfie’ mode (effective for subjects between 0.3 and 0.5m away).
Shooting with the Instax Square SQ1 is incredibly straightforward. Simply turn the camera on, look through the viewfinder and press the shutter on the front grip of the camera. If you’re shooting a selfie, use the small mirror on the front of the lens to frame the shot.
Usability
The viewfinder on the SQ1 is a tad small.
The SQ1 is bulkier than its Instax Mini counterparts, but that’s to be expected since it’s shooting on a much larger piece of film (Instax Square picture size is 62 x 62mm). The plastic build quality of the camera feels sturdy and the ribbed grip on the right hand side makes it comfortable to hold. Be mindful while handling the grip especially if the camera is turned on – the shutter is located on the grip and you might accidentally press it before you’ve framed the shot. Instax film isn’t exactly cheap and it can be frustrating to waste one of the 10 frames in a pack. That being said, some of my accidental shutter releases ended up creating pictures that I like quite a bit.
The shutter is located on the grip and you might accidentally press it before you’ve framed the shot
The SQ1 lacks some of the advanced features that you will find on the SQ6, like double exposures, landscape mode, lighten and darken modes, and a self-timer. It’s more similar to the entry-level Instax Mini cameras, with the big distinction being that it can shoot bigger pieces of square film.
Although the camera is larger than the varieties that shoot Instax Mini film, the SQ1 does feel more portable than 2018’s SQ6.
You’ll get the best results from this camera when shooting outside in sunny conditions. But it does have a powerful-enough flash to work well once the sun sets. The auto-exposure occasionally did seem to struggle when shooting indoors with mixed lighting situations though. It’s the one time when I wished that the camera at least featured the lighter/darker setting found on some Instax models. Regardless of the lighting conditions, this camera’s simple lens is satisfyingly sharp (enough).
Conclusion
Although the Instax SQ1 lacks some of the features found on the more advanced SQ6 (which has an MSRP of $ 10 more), it’s incredibly easy to operate, has a stylish look, and produces Instax prints with mostly accurate exposures and eye-popping colors. The shutter placement takes some getting used to, but it’s comfortable in hand and not so bulky that you’ll leave it at home – and it’s certainly more fun to shoot with than the hybrid digital/analog SQ10. The simplicity of operating the SQ1 makes this an Instax Square camera that photographers and non-photographers will enjoy shooting with.
What we like
Easy-to-operate
Accurate exposures outdoors
Comfortable to hold and operate
Stylish look
Square format film
What we don’t like
Placement of shutter button
CR2 batteries can be difficult to find
No creative modes like double exposure or lighten/darken
Small, lightweight and offering great image quality from its APS-C format sensor, the Fujifilm X100V is designed for street photography.
In a season of unrest across the globe, Seattle-based photographer Chloe Collyer has been busy using the X100V to document the people – and the expressions of anger and creativity – which have made this summer unforgettable.
Nearly one year after its development announcement (which was itself a year after the original idea of producing an F1.0 XF lens), we’ve gotten our hands on a pre-production copy of the Fujifilm XF 50mm F1.0 R WR. Offering a 75mm-equivalent field of view, it’s the fastest-aperture mirrorless lens with autofocus that we’ve yet seen, and of course, offers wonderfully smooth blurred backgrounds for whatever subject you’re pointing it at. Take a look through our sample gallery to get a sense of how it performs.
Fujifilm has formally announced its XF 50mm F1.0 R WR portrait prime lens, the world’s first F1.0 lens for mirrorless cameras that includes autofocus capability. It’s also the 35th lens Fujifilm has developed for its lineup of X-series cameras.
The XF 50mm F1.0 has 12 elements in nine groups, and contains one aspherical element and two extra-low dispersion (ED) elements. It has a rounded diaphragm and its wide maximum aperture means that, paired with Fujifilm’s X-Pro3 and X-T4 cameras, users can autofocus at a luminance level of -7EV. That’s dimmer than a night lit by a quarter moon.
The wide, focus-by-wire focus ring gives users 120° of rotation, allowing for precise movements. It weighs in at 845g (1.86lb), and is dust, moisture and freeze resistant down to temperatures of -10°C (14°F).
Fujifilm says the XF 50mm F1.0 R WR will be available in Fall 2020 at a price of $ 1499 USD ($ 2000 CAD).
Press release:
Heralding a new age of portrait photography: FUJINON XF50mmF1.0 R WR Lens
Introducing the world’s first F1.0 lens with Autofocus*1
Valhalla, N.Y. – September 3, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of the FUJINON XF50mmF1.0 R WR Lens (hereafter “XF50mmF1.0 R WR”), the world’s first autofocus lens with a maximum aperture of F1.0, designed for mirrorless cameras. The XF50mmF1.0 R WR is the 35th interchangeable lens for the lineup of X Series digital cameras.
“We’re really excited about the XF50mmF1.0 R WR,” said Victor Ha, senior director of marketing and product management for the Electronic Imaging Division of FUJIFILM North America Corporation. “Not only is it the fastest interchangeable lens Fujifilm has ever produced, but it’s also an incredible tool for visual storytellers to use in telling their stories because its autofocus can achieve critical focus at very shallow depth of fields.”
XF50mmF1.0 R WR Features:
Achieves an Incredibly Shallow Depth-of-Field
The XF50mmF1.0 R WR consists of 12 lens elements in nine groups and also contains one aspherical element and two extra-low dispersion (ED) elements to achieve optimum control of spherical aberration. Used at or near to its maximum F1.0 aperture, XF50mmF1.0 R WR can produce an astonishingly narrow depth-of-field. Its precision-engineered, rounded diaphragm produces large, smooth bokeh for a professional look. Use this new power in selective focus to keep only the subject’s eyes in focus and to create captivating, close-up character images. “But it’s not just for portraits,” said Ha. “Take this lens out onto the street or into a lifestyle session and you’ll turn cluttered locations into clean backdrops with unrivaled subject separation.”
More Options in Low-Light Conditions
The very wide, maximum aperture on XF50mmF1.0 R WR means there are more options when it comes to making images in low-light conditions. At night, or in darkened interiors, XF50mmF1.0 R WR offers the widest apertures yet seen on an XF Lens, allowing more light to be drawn in when capturing your image. The FUJINON XF50mmF1.0 R WR lens also easily achieves fast shutter speeds that freeze movement and keep ISO settings lower for detail-rich results. Alternatively, combine high ISO settings with the F1.0 aperture for incredible versatility and use in other low-light applications like astrophotography.
World’s First F1.0 Autofocus Lens for Mirrorless Cameras
As the world’s first autofocus F1.0 lens made for any mirrorless system, including full-frame, XF50mmF1.0 R WR brings more light to the sensor than any previous XF lens, making it possible for the autofocus to operate on FUJIFILM X-Pro3 and X-T4 cameras at -7EV luminance level. Leaving behind a previous limit of -6EV luminance level with other XF lenses X Series users now have fast and precise low-light autofocus, even in near-darkness. With the added benefits of on-sensor Phase Detection Autofocus (PDAF), Face/Eye AF and a powerful DC (direct current) motor, precise and fast autofocus at shallow depths of field is now also a possibility.
120° of Precise Focus
To make the most of its super-shallow depth-of-field, focusing must be precise. As a result, XF50mmF1.0 R WR has a focus ring that has been designed to be more accurate than any previous XF Lens. This makes it possible to adjust the focus from the minimum focusing distance to infinity very precisely. For this, XF50mmF1.0 R WR uses 120° of rotation in its focusing ring to let you focus manually with minimal error – and to achieve accurate focus when using your X Series camera’s Focus Peaking and Focus Assist modes. The 120° of rotation also makes autofocus movements notably precise and deliberate, while the lens’ engineering is designed to minimize focus shift effects during image making.
Lightweight, Durable, Weather-Resistant Design
Despite being a fast, F1.0 lens, XF50mmF1.0 R WR is a lens you can use to make amazing pictures almost anywhere. Measuring 4.07in (103.5mm) long and weighing 1.86 pounds (845 grams), the lens is still quite compact and portable. Like all other weather-resistant XF Lenses, it is sealed in 11 locations to protect against moisture and dust, as well as being capable of use in temperatures down to 14°F (-10°C). When allied to a similarly specified, weather-resistant X Series mirrorless digital camera body, XF50mmF1.0 R WR lets you make unique images in the toughest environments.
Pricing and Availability
The XF50mmF1.0 R WR lens is expected to be available in Fall 2020 at manufacturer’s suggested retail prices of $ 1,499.95 USD ($ 2,000.00 CAD).
For more information, please visit https://fujifilm-x.com/en-us/products/lenses/xf50mmf1-r-wr/.
*1 Among interchangeable lenses for mirrorless digital camera systems as of September 3, 2020, according to Fujifilm data
Fujifilm’s fastest lens is here – the new XF 50mm F1.0 R WR is a versatile low-light lens aimed at portrait photographers and creative photographers that need extremely narrow depth-of-field. Read on to learn more.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
The gestation period of the new Fujifilm XF 50mm F1.0 R WR has been lengthy – originally planned as a 33mm, the company’s engineers ultimately decided that the size, weight and cost penalties incurred by the wider field of view weren’t practical. Hence: Fujifilm’s fastest-ever lens is now a 50mm – or 75mm equivalent on the company’s X-series APS-C mirrorless interchangeable lens cameras.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Despite being ‘downsized’ at the design stage, the XF 50mm F1.0 is still far from a small lens, and weighs in at a considerable 845g (about 1.9lb) without the included (and very effective) hood or front / back caps. That’s a good deal heavier than the X-T4 shown here (526g, or 1.2lb).
Despite its weight, the mass is well-distributed, and the lens doesn’t feel too heavy or unbalanced on the (relatively chunky) X-T4. It’s unlikely to handle so well on many of Fujifilm’s smaller ILCs, but it’s also much less likely to be purchased alongside one of them.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
As we’d expect for a high-end Fujifilm XF lens, the 50mm F1.0 features a large faux-mechanical aperture ring, for direct control over aperture, on the lens. By setting it to ‘A’, aperture can be automatic or manually controlled via the camera body in M and Av modes depending on your settings.
The broad knurled ring towards the top of this image is the focus ring, which offers ‘focus by wire’ control over manual focus, and it moves smoothly, offering fine-grained control over exact focus position.
Automatic focus is usable but (no surprise) not exactly fast, and because depth of field at wide apertures is so narrow, we did experience occasional issues with focus ‘hunting’ when a scene was heavily defocused.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Offering an equivalent focal length of 75mm, this is a perfect lens for traditional portraiture. Don’t expect to be taking any closeups though – the minimum focus distance of 0.7m limits the maximum magnification ratio to 0.08x. Basically, in our shooting, there were several times when we found that we wanted to get closer to our subjects than we were able to.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
Optically, the XF 50mm F1.0 is pretty complex, and construction comprises 12 elements in nine groups, including one aspherical and two ED (Extra-low Dispersion) elements. The front element is concave, and considering this is an APS-C lens, the front filter ring is relatively large, at 77mm.
Nine rounded aperture blades ensure circular bokeh at wide apertures – something that keen portrait photographers will appreciate.
Hands-on with the new Fujifilm XF 50mm F1.0 R WR
The ‘WR’ in the lens name stands for ‘weather resistant’ and the XF 50mm F1.0 is sealed against dust and moisture incursion. You can see the rearmost gasket (which forms a seal against the camera lens throat) in this picture – it’s the black rubber ring around the outside edge of the mount. It’s also rated for operation in temperatures down to 14°F (-10°C).
The XF 50mm F1.0 will go on sale this fall for $ 1500 USD.
What happens when even a splash of saltwater makes its way inside a $ 10K Fujifilm GFX 100? Just ask Roger Cicala, Founder of Lensrentals.
For their latest teardown, Roger and his trusty teardown assistant Aaron took apart one of Fujifilm’s medium format cameras that had been damaged during a rental, wherein it was used inside a dive housing. Fuji Service told Roger a ‘repair [was] not possible,’ and the insurance claims were already paid out, so the dynamic duo took it upon themselves to salvage what components they could.
That is not how a PCB should look.
The general rule of water damage, according to Roger, is ‘it’s always worse on the inside.’ And, unfortunately, in the case of this GFX 100, that tidbit proved to be true once again. While the outside looked mostly unscathed, the inside was riddled with corroded screws, flex ribbon cables and solder points.
A literal hands-on look at the massive sensor inside the GFX 100.
Roger and Aaron salvaged what they could — namely the LCD panel, hot shoe and a few other pieces — but as much as the teardown was about getting any functional pieces, it was also about being able to take apart a $ 10K camera without the risk of damaging it.
In the words of Roger, ‘The IBIS unit looks like it could stabilize a small child, and certainly is strong enough to support this big sensor.’
In that vein, Aaron and Roger came across plenty of interesting engineering decisions and components inside the camera. From the robust IBIS assembly to the spring-mounted shutter mechanism, the GFX 100 proved to be as well-engineered as Roger had hoped for a camera of its size (and price). That said, the weathersealing wasn’t quite as impressive as is suggested, so whether it’s freshwater or saltwater, don’t press your luck too much when out in the rain or near the sea.
You can read and view the full teardown on the Lensrentals blog.
The post Fujifilm 16-80mm f/4 Lens Review: The Best All-Purpose Fujifilm Lens in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Is the Fujifilm 16-80mm f/4 OIS the right lens for your needs? Who should think about purchasing it? Can it satisfy beginners? Professionals? Everyone in between?
That’s what this article is all about.
For weeks, I’ve been testing the Fujifilm Fujinon XF 16-80mm f/4 OIS.
And now I’m ready to share my conclusions.
So if you want to find out how this lens performs…
On the surface, the Fujifilm 16-80mm f/4 is an all-purpose lens that can do pretty much everything.
It offers:
An excellent focal length range, stretching from wide to standard to (slight) telephoto (24-120mm on a Fujifilm APS-C camera)
Fujifilm’s image stabilization technology (OIS), promising up to 6 stops of extra sharpness
A well-built, weather-sealed body with relatively compact dimensions
A fixed f/4 aperture, which can’t offer the same low-light or bokeh capabilities as an f/2.8 lens, but is still decently wide
0.25x (1:4) magnification
A reasonable $ 800 USD price tag
Put all this together, and you’ve got a lens that should be able to find its way into the kits of landscape photographers, architectural photographers, street photographers, walkaround photographers, and travel photographers alike (and can even work for the occasional close-up shot!).
But all-purpose lenses like these tend to fail in a couple of ways.
First, they’re often optically mediocre, especially on the extreme ends of their focal length range.
Second, they’re sometimes slow to focus, which immediately takes them off the table for street photographers, and can be a big issue for travel and walkaround photographers, as well.
So does the Fujifilm 16-80mm f/4 suffer from these same issues?
Well, I’m happy to report that it does not. And while I’ll go more into the details later, I’m prepared to argue that the 16-80mm is one of the absolute best all-around lenses out there, and combines impressive value with fantastic photographic capabilities.
It’s not that the lens doesn’t have any drawbacks; pretty much all lenses, especially sub-$ 1000 lenses, do! But the Fujifilm 16-80mm offers remarkable quality given the price (and will even satisfy both amateurs and professionals).
Right out of the box, the Fujifilm 16-80mm feels solid, but not in an annoyingly heavy tank sort of way. It’s just under a pound (0.97 lb/440 g), which is light enough for long days of shooting even when lots of travel is involved. You have a mix of metal and plastic on the body, and a nice, tactile zoom ring smack-dab in the middle of the barrel:
Below the zoom ring is the aperture ring, which fits nicely with Fujifilm’s old-school style and feels great. Above the zoom ring is the focus ring, which is a bit smaller and fast to focus than I’d like, but still very serviceable.
One of the great things about the 16-80mm f/4 is its size. At 16mm, the lens is under 4 inches (10 cm) long and fits firmly in one hand, so you can store it easily in a camera bag or backpack.
And even when zoomed out to 80mm, it feels relatively unobtrusive, which is nice for street photographers hoping to move through crowds unnoticed.
As I mentioned above, the manual focus ring is smoother than I’d like (there’s no real stiffness, at least not on my copy), which is a shame, given how the lens boasts 1:4 magnification for close-up shots on the fly. But the focus ring isn’t bad, and should be fine for casual macro shots.
And I haven’t even mentioned the weather sealing. Honestly, this feels like icing on the cake, and is especially important for street and landscape photographers, who shoot in all sorts of conditions and need a lens that can withstand a bit of water.
(Of course, you’ll want to make sure that you’re also using a weather-sealed body, such as the all-around awesome Fujifilm X-T4!)
Finally, one of the real bonuses on the 16-80mm is the image stabilization. This is a lifesaver in so many situations, from close-ups to low-light street shooting to handheld landscape photography and more (though the exception is photography of fast-moving subjects, where you’ll probably want to opt for a lens with a wide maximum aperture, instead).
I tested the Fujifilm 16-80mm on the Fujifilm X-T4, and focusing speeds were stellar; the lens was snappy in good light and still pretty strong in low light. I’d expect a slight drop in focusing speeds as you work with other cameras in the Fujifilm lineup, but I can say, without a doubt, that I was happy with the 16-80mm’s performance.
If you’re shooting street-style photos, this fast focusing is essential. And you’re also going to appreciate the 16-80mm’s speed if you grab the occasional action shot while doing walkaround or travel shooting.
That said, the Fujilm 16-80mm doesn’t really scream fast-paced action, so if you’re looking for some sort of wide sports lens or fast lens for indoor events, I’d suggest going elsewhere. This is thanks to the f/4 maximum aperture, which really isn’t going to get you the shutter speeds you need when shooting fast-moving subjects in low light.
On the whole, however, the Fujifilm 16-80mm f/4 autofocuses very well, and won’t let you down when it comes to capturing the occasional action shot.
In terms of focal length, I absolutely love the 16-80mm range on a crop-sensor camera. You can shoot landscapes at the wide end, zoom in for portraits, and zoom all the way to 80mm for longer street shots.
In fact, I’d argue that the 24-120mm focal length equivalent is one of the best focal length ranges available, especially compared to the standard 16-55mm kit-lens focal length range, which does well on the wide lens but just doesn’t offer that extra bit reach for travel and street scenarios.
When I buy a lens, image quality is my greatest concern.
Why?
Because I don’t care if a lens is lightning-fast and is a dream to handle if it can’t deliver sharp images in key scenarios.
Fortunately, I can confirm that the Fujifilm 16-80mm does extremely well optically. At f/4, sharpness is excellent at the center of the frame at all focal lengths, though it does fall off toward the edges of the frame, especially at the focal length extremes (i.e., 16mm and 80mm).
That said, edge sharpness is still good at f/4 when shooting in the 30mm to 50mm arena, and edge sharpness improves across the board when you stop the lens down to f/5.6 and beyond (which is really where things start to count for landscape and other detail shooters, anyway).
All in all, you’re going to love the resolution that this lens can provide. You get gorgeous results in the center of the frame, and very good results at the edges when stopped down, which will be enough for most photographers, including professionals.
You also get pretty much zero chromatic aberration, limited distortion, and limited vignetting.
Now, the f/4 maximum aperture isn’t great for low-light shooting. You’re going to want an f/2.8 lens if you plan to shoot indoor events, and you’ll probably also want f/2.8 if you plan to do any astrophotography.
The f/4 maximum aperture is also a problem for portrait photography, where the goal is often to achieve a creamy background blur combined with a sharp subject; at f/4, the blur is nice, but not outstanding (as pictured below).
The Fujifilm 16-80mm f/4 is, simply put, an outstanding lens.
It offers the focal length, build quality, autofocus speed, and image quality to be taken seriously by professional landscape and street shooters. It’s also a fantastic walkaround or travel option, given its light weight and compact size, especially when attached to Fujifilm’s smaller camera bodies.
At $ 800 USD, the lens doesn’t come cheap. But the price is far from unreasonable when you consider everything it offers.
Pretty much anyone looking for an all-purpose lens who can afford the price tag. The Fujifilm 16-80mm f/4 also does well at street photography, travel photography, walkaround photography, and handheld landscape shooting, and while I wouldn’t recommend it as a primary portrait or macro lens, you can still get some use out of it in both of these genres.
So I absolutely recommend you check it out; the lens is available for $ 799 USD here!
Rating: 4 out of 5.
The post Fujifilm 16-80mm f/4 Lens Review: The Best All-Purpose Fujifilm Lens in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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