Considering Fuji Rumors’ ‘List of Fujinon XF Lenses that Get Maximum Benefit from Fujifilm X-H2 (and X-T5) with 40 Megapixel Resolution’

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When the List of Fujinon XF Lenses that Get Maximum Benefit from Fujifilm X-H2 (and X-T5) with 40 Megapixel Resolution appeared at Fuji Rumors we went in search of it elsewhere online and had to conclude that it probably came from an internal Fujifilm document. 

From the moment it was rumoured that the X-H2 would have 8K video capability to match its 40 megapixel sensor, discussion began as to which lenses would perform best at those resolutions. 

The list, below, released as a graphic and not actual text, goes some way to answering that question but gives rise to others as yet unanswered. 

‘List of Fujinon XF Lenses that Get Maximum Benefit from Fujifilm X-H2 (and X-T5) with 40 Megapixel Resolution’

We’re glad to see the promising though as yet relatively untested Fujinon XF 18-120mm f/4.0 LM PZ WR “movie+stills” zoom lens on that list given its reasonable price and that it is the first collaboration between Fujifilm’s cinema and stills lens designers and engineers.

It’s a great start but there needs to be many, many more such collaborations between both Fujinon lens departments to ensure that Fujifilm’s 5th generation cameras from the X-H2 and X-H2S onwards are matched with equally video-capable prime and zoom lenses.

It’s not just Jordan Drake of DPReview TV who finds the majority of Fujifilm’s X-mount lenses wanting for video production and who’s partial to the manual clutch focusing ring of the XF 14mm f/2.8 R, XF 16mm f/1.4 R and XF 23mm f/1.4 R for fast and accurate manual focusing and focus pulling.

We’ll be keeping our own first generation 14mm and 23mm lenses for that reason and for the 14mm’s always underestimated but excellent ability to render fine detail: it’s one of the best X-mount lenses of any generation and we wonder why it has been left off Fujifilm’s list above.

The current lack of video-appropriate Fujinon lenses is why we’ve been researching affordable but good-quality Arri PL-mount lenses and have been suitably impressed by Irix especially after the company revealed it is working on adding Fujifilm X-mount to its already impressive lens-mount lineup.

Two more Fujinon XF lenses to come…

It’s a given that all recently announced Fujinon X-mount lenses will be suitable for use on Fujifilm’s X-H2, X-T5 and all subsequent cameras.

Of the three lenses mentioned at the Fujifilm X Summit Omiya event early this year, we’re most interested in the XF 8mm f/3.5 and XF 30mm f/2.8 Macro.

For the time being, we’ll stick with our first-generation 56mm, the XF 56mm f/1.2 R, for its lush and cosmetically-kind rendering for portraiture.

Our XF 27mm f/2.8 R with its 40.5mm equivalence in the 35mm sensor format suddenly failed as, apparently, many of them do, and we’re tossing up about paying to have it fixed and possibly fail again.

We love perfect normal lenses, as opposed to standard normal lenses, and before it failed our XF 27mm f/2.8 R was a favourite for discrete portraiture and documentary work.

Perfect normal is versatile for video production too but pancake lenses can be challenging for fast and accurate manual focus and focus-pulling as well as for mounting variable neutral density and other filters on the front given their size.

The coming XF 30mm f/2.8 Macro with its 45mm-equivalent focal length looks promising for portraits and video especially if it’s about the same size as the XF 50mm f/2.0 R WR which we enjoy using more and more each day.

We’d much prefer, however, that Fujifilm’s Fujinon cinema and Fujinon stills lens designers and engineers continue collaborating on more “stills+movie” zooms as well as a whole new line of “stills+movie” prime lenses with excellent manual focusing and autofocusing capabilities, of similar sizes and shapes for easy use with gimbals and matte boxes.

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