Announced roughly a year ago and released late in 2015, the Fujinon XF 35mm f/2 R WR lens is the second 35mm prime lens for Fujifilm’s popular X-series, rangefinder-style cameras. We reviewed the original lens, the XF 35mm f/1.4 R, back in March 2012. The new lens provides the advantages of weatherproof sealing and is smaller and lighter into the bargain. It’s also cheaper than its faster sibling. The new lens is available in black or silver (shown above), whereas the f/1.4 lens only comes in black. Its optical design of the new lens is also more complex, with nine elements in six groups, including two aspherical elements……..
Since you’re reading this post, I’m going to assume you’re as much a Fuji fan as I am and are familiar with the Zeiss Touit series. If not, I’ll give you a quick breakdown: Zeiss introduced the Touit line mid 2013 with a 32mm f/1.8 and a 12mm f/2.8, both available in a Fuji X mount or a Sony E mount – same glass in either option but the Fuji X mount version featured a manual aperture ring that the E mount version lacked. About a year later Zeiss added a 50mm f/2.8 Macro to the Touit line. From what I gather, the Touit line didn’t do as well as Zeiss had hoped and honestly, I don’t know if they’ll continue producing new designs. Jump forward a bit and Zeiss announces another line of mirrorless lenses called Loxia. Only, this time they left Fuji out altogether offering the Loxia exclusively in Sony E mount. The Loxia line currently consists of a 21mm f/2.8, 35mm f/2 and a 50mm f/2, designed specifically for Sony 24x36mm full frame cameras. I was a little bummed because I really do enjoy Zeiss lenses on my Fuji X-T1…….
I’ve been spending a serious amount of time using the Fujifilm XF 35mm f/2 R WR Lens since getting my hands around the X-Pro2. Before you get too excited, these photos were not shot using the X-Pro2. I know, sad face. They were however shot using the 35, which I had my eye on since it launched. The 53mm (35mm Equivalent) focal length is juicy for the street, not too shabby for portraits, and really nice for storytelling (Documentary). Those features combined with small size, WR (weather-resistant design) and a very affordable price ($399), hit me in all the feels. Opening the 35 from it’s jet black box, the first thing you’ll notice is how much smaller it is compared to the 35mm f/1.4 lens. I wish I had both lenses so I could share a side-by-side photo, but take my word for it, the difference is sizable. I enjoy it’s retro-style conical shape, and the hard stops between f-stops feel solid. The manual focus ring is smooth and it comes with a nice circular hood…….
After testing the X70 and in the process completely falling in love with the wider field of view that the 28mm eq presents, I thought I would grab my old XF18mm f/2 from the cupboard and give it a renaissance run. I always liked the XF18mm f/2. Mostly because of the focusing speed. Being one of the original 3 lenses designed for the X series, it was by far the fast focusing of that original triplet. But even after the introduction of newer, faster XF lenses it still remains among the fastest. Image quality of this lens has always been criticised. Indeed it is the lowest corner resolution lens within the XF eco system, but center sharpness is good. For some X-series users this fact renders the lens pretty much useless for their type of photography. For street usage where critical corner sharpness isn’t always the important thing, its a very great lens. It’s small and fast. Two features that clearly outweigh the loss of resolution near the corners. When all this is said its still a very sharp lens! All XF lenses are……
When looking at cameras and lenses, there are so many choices to make, and with the cost of gear, it can be hard to make these choices without being informed. A large part of the work I do for this site has to do with gear reviews, and as such I have the opportunity to try a wide variety of gear. As such, I thought it might be helpful to put together a bit of an overview for each of the major mirrorless camera systems, to help in both deciding between systems as well as deciding between cameras and lenses once you’ve decided to dive in. First up: the Fujifilm X series. I plan on doing system overviews of Sony E-mount and Micro 4/3 as well, but I’m starting with Fuji for one simple (and random) reason: I have recently reviewed several MIcro 4/3 items and Sony items, with another in the works, so to mix up the coverage before the X-Pro 2 hits the shelves, let’s dive into the Fuji X Series first. Because of the scope of this topic, I’m going to break it up into two parts: Cameras and Lenses. Today we’re discussing the X-Series cameras…….
Photographers who shoot with the Fujifilm mirrorless camera system have a distinct choice to make when shopping for a short telephoto prime lens. The company sells two versions of its 56mm prime—this Fujinon XF 56mm F1.2 R ($999.95) and the Fujinon XF 56mm F1.2 R APD. It’s not just the cost of printing APD on the lens that carries a $500 premium—the apodization filter included in the pricier lens promises to smooth the defocused parts of an image for a more pleasing bokeh. Whether or not that’s worth it to you is something you have to decide for yourself—either lens is able to capture sharp photos with a staggeringly shallow depth of field with ease. But neither quite matches our Editors‘ Choice short telephoto lens for the Fuji system, the longer Fujinon XF 90mm F2 R LM WR……..
It’s been a while since I wrote you last. As of today, I still shoot with the Fujifilm X-Pro1 and edit my pictures in Lightroom CC. I might upgrade to the X-T2 when it comes, this summer. The Fuji RAW files are still not fully supported by Adobe, which is a drawback. As I’m sure you are aware, some details like foliage for example, will looked smeared. Inspired by the amazing photographer Olaf Sztaba, I decided to download the trail version of the photo editor Iridient Developer and gave the Fuji RAW files a run for its money. Let me tell you, the difference is real. Like going from 480p to 1080p on Youtube. I used Olaf’s settings in Iridient Developer, choosing the unique sharpening method ‘R-L deconvolusion’ and setting the radius slider to 0.5 and the Iterations slider to 30…….
Hello everyone! My name is Bill Gekas and i’m a fine art portrait photographer from Melbourne, Australia. I’ve been involved with photography since the early 90’s when I was shooting film and have come from a photography background of shooting, developing and printing my own work. During those earlier years I wasn’t shooting portraits but was interested and shooting other genres of photography and I believe it’s the practice of these different genres that eventually shaped the portrait style i’m currently recognized for. In 2005 when the digital sensors were approaching the quality of traditional film was the time I also switched to a complete digital workflow and it gave me the freedom to experiment and create my previsualizations at a much faster rate than using traditional film based methods……
One question I get asked on a daily basis now is how the new 24 MP FUJIFILM X-Trans III sensor performs in the hi ISO region above ISO 6400. Partner in crime was the new FUJINON Super-Zoom lens XF100-400 1:4,5-5,6 R LM OIS WR. In order to find out, I used a rainy and dark night in Hamburg’s Hafencity for a little test shooting under harsh conditions. It was super windy – even with a heavy tripod in use the camera was constantly vibrating. Being sceptic about the sharpness of my images changed to a big smile on my face, looking on the LCD-screen of the X-Pro2 : The performance of the image stabilzer was visible right away……..
I’m sorry to say that the Fujinon XF 16-55mm f/2.8 R LM WR disappoints a bit although we had high hopes really. It’s a chunky lens. And chunky is usually a good thing because large glass and a complex design tends to translate to a fewer design compromises. The reality is, however, that the Fujinon relies heavily on image auto-correction because its original characteristics are less than thrilling. The original distortions as well as vignetting are rather massive. Now that being said most users will keep the camera and/or raw-converter to default settings so you will enjoy low distortions – at cost of image interpolation especially at 16mm – and low vignetting – at cost of increased corner noise. The Fujinon is generally a sharp lens without major weaknesses here. The sweet spot is at the wide end which has an exceedingly sharp image center and a very good outer image field. The performance deteriorates a bit towards the long end of the zoom range but the quality remains acceptable without impressing though. The quality of the bokeh is good for a standard zoom lens but not comparable to primes, of course………