The first event at Fujifilm House of Photography on Saturday 2 March was followed by a photowalk through some slightly soggy Sydney streets where not a great deal was happening most likely due to the challenging weather and a major event that was about to occur in nearby Oxford Street.
Normally I’d prefer making urban documentary photographs in sunnier weather for the added benefit of expressive, sometimes surreal shadows and the dramatic play of light and shade on faces, bodies and the objects surrounding them.
It was good to get out despite the occasional drops of rain and to share the streets with some other camera-toters for a time.
Guilty as charged?
On reviewing these images I remembered something I was accused of for years, years ago, when I was living in another Australian city.
I was told more than a few times by a number of different individuals there in the city’s art world that I was guilty of casting and directing the people in my urban documentary photographs of the place in order to make them look like they are going about their business but in some kind of secret coordination.
Apparently the photographs I made were “too well designed” because “real life is just not like that” and I was “clearly pulling the strings”.
Can you imagine the sheer effort, time and control over others it would take to script, cast, direct and photograph multi-person urban documentary photographs one at a time or even more so in a series like these?
I’m lazy and would rather simply be there, be alert, be in the zone, perceive everything that is going on and then hit the shutter button at the split-second when as many elements as possible are in exactly the right place, or at least as close to it as possible.
I made these photographs with a Fujifilm X-Pro2 and Fujinon XF 14mm f/2.8 R then processed the raw files in DxO PhotoLab 6 Elite with DxO FilmPack Elite 6 and DxO ViewPoint 4 as plug-ins using the Kodak Portra 160VC film simulation preset and DxO’s excellent DeepPrime XD, exporting the photographs as 2048px-wide JPEGs.
Iridient Digital – Web site – Iridient Developer 4.2.1 was released on 21 February 2024 and Iridient Transformer 3.2 was released on 4 March 2024. Both support the Fujifilm X100VI.
I attended the Sydney Fujifilm House of Photography free workshop event on Saturday March 2, first time for quite some time due to illnesses and a number of other commitments, and was reminded of why I have always enjoyed creating and sharing visual stories about events.
August 2023 was the last time I was at an FHoP workshop event and so I’m a little out of practice but it was good to get back in the saddle, as it were.
Who knows, but if the company doesn’t then the best and most versatile alternative camera would be a Fujifilm X-H2S.
The DSLR-styled X-H2S is not my preferred style of documentary camera, a rangefinder, but its combination of video with stills capabilities permits doing more with less, as it were.
I would miss the unique capabilities and way of seeing that the X-Pro series’ optical viewfinder aka OVF bestows, and that would be a damned tragedy if the X-Pro series no longer exists.
But, despite my X-Pro2’s lack of amazing autofocus, IBIS and smaller than 40 megapixel sensor, I am still getting great results with it in combination with DxO’s PhotoLab 6, FilmPack 4 and ViewPoint 4.
Right now I am unable to use PhotoLab 7 and FilmPack 7 due to my production computer being too old to run them and the macOS update they require but I would love to use both new versions’ Zone System implementation for refined control over the tone and colour of specific zones.
‘Discover Fujifilm’ editorial and documentary with Leslie Liu
This version below has been processed from the X100VI’s raw file in Iridient Developer, then I opened the exported TIFF in Photoshop, applied the Kodak Portra 160NC film simulation preset in DxO FilmPack 7 as a plug-in then downsized and exported this JPEG at 2048px wide.
Better images to explore and show off the combined capabilities of the X100VI, DxO and Iridient Design’s software would be urban documentary photographs and portraits shot in sunlight and other unmixed light.
Image notes
I made the top set of photographs with a Fujifilm X-Pro2 and Fujinon XF 23mm f/1.4 R then processed the raw files in DxO PhotoLab 6 Elite with DxO FilmPack Elite 6 and DxO ViewPoint 4 as plug-ins using the Kodak Portra 400 film simulation preset, exporting the photographs as 2048px-wide JPEGs.
The Fujifilm X100VI was recently released and raw image processing applications have yet to be updated to support it so the most I could do was resize its straight-out-of-camera (SOOC) JPEGs to 2048px wide.
I had a very short time with the camera with Fujifilm WCL-X100 II Wide Conversion Lens attached so did not fully explore its menu and the many new options before making the above set of six snapshots using the camera’s new built-in Fujifilm Reala Ace colour negative film simulation.
With a little extra time I would have refined the camera’s settings and programmed in one of my preferred custom film simulations.
The light and colour at Fujifilm House of Photography is often challenging due to its ever-changing mix of natural light, artificial light, monitors and screens but DxO’s sophisticated applications enable fast balancing of colours and tones via sliders while it supports more intricate processing through its image area selection and masking system that has reportedly become even better in PhotoLab and FilmPack versions 7.
Fujifilm X100VI, WCL-X100 II Wide & TCL-X100 II Tele convertor lenses
Fujifilm X100VI. Image courtesy of B&H.
Fujifilm X100VI with Fujifilm LH-100 lens hood and adapter ring. Image courtesy of B&H.
Fujifilm X100VI with Fujifilm WCL-X100 II Wide conversion lens which can accept Fujifilm LH-100 lens hood. Image courtesy of B&H.
Fujifilm X100VI with Fujifilm TCL-X100 II Tele conversion lens. Image courtesy of B&H.
Fujifilm X100VI. Image courtesy of B&H.
Fujifilm’s X100VI plus the WCL-X100 II Wide and TCL-X100 II Tele conversion lenses should make a fine, compact documentary photography set-up especially in their black versions and with the camera’s in-body image stabilization allow you to work at slower shutter speeds and lower ISOs than I am accustomed to using on my X-Pro2.
DxO’s DeepPrime XD does a great job with high ISO raw files but its results should be even better again with low ISOs.
The aforementioned wide convertor, fixed lens and tele convertor yields 18mm, 23mm and 35mm focal lengths in the camera’s APS-C sensor format, or 28mm, 35mm and 50mm equivalent focal lengths on 35mm sensor-equipped cameras.
My preferred 3-lens documentary lens kit for APS-C comprises 14mm, 18mm, and 50mm (21mm, 28mm and 75mm equivalence), my current 2-lens kit is 14mm and 23mm and my current one-camera one-lens daily carry consists of the X-Pro2 and 23mm f/1.4 R with its excellent manual clutch focus, a feature I also love on the 14mm f/2.8 R.
My preferred one-camera one-lens daily-carry combo would actually be an X-Pro4 with compact “Fujicron” 18mm lens, the APS-C version of what I so relied upon in my magazine documentary days, a Leica M-4P with Elmarit-M 28mm f/2.8.
Can we hope that Fujifilm will bring my most-desired documentary photography camera and lens into existence any time soon?
I’m not holding my breath given recent rumours and comments but will be hoping for the best nonetheless.
Iridient Digital – Web site – Iridient Developer 4.2.1 was released on 21 February 2024 and Iridient Transformer 3.2 was released on 4 March 2024. Both support the Fujifilm X100VI.
Regular readers will have noticed that new articles have been few and far between here for some time and the main reason for that is we have been working diligently on research and content for The Robert Krasker Project.
Robert Krasker, BSC was the greatest Australian cinematographer and Director of Photography, photographing many major feature films in colour and black-and-white with some of the world’s most famous directors.
That he has long been almost forgotten in his home country is, frankly, shameful and a reminder of the chien a mangé – usually mistranslated as “dog at a manger” – attitude that persists in regard to creative Australians who have been successful overseas.
We hope that The Robert Krasker Project will become one of the best and most useful websites about home and his work and that it will lead to him being more recognized in Australia than he is currently.
SIGMA Announces 10-18mm F2.8 DC DN | Contemporary, the World’s Smallest and Lightest F2.8 Zoom Lens for APS-C Mirrorless Cameras
Ronkonkoma, NY – October 5, 2023 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the SIGMA 10-18mm F2.8 DC DN | Contemporary lens. This is the first SIGMA lens being announced and released concurrently for the L-Mount, Sony E-mount and Fujifilm X Mount. The lens will be available through authorized retail partners on October 26, 2023 for $US599.
This is the world’s smallest and lightest F2.8 zoom lens designed for APS-C format mirrorless systems at just 2.8 x 2.4 inches (72.2 x 62mm) and 9.2 ounces (260g)*. The lens covers a 15-36mm (35mm equivalent) focal range, with a fast F2.8 constant aperture. Paired with the 18-50mm F2.8 DC DN | Contemporary, this duo of lenses covers a 15-75mm (35mm equivalent) range with the same bright F2.8 maximum aperture at a combined weight of under 19.5 ounces (550g).
* As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October 2023 by SIGMA. Figures are for L-Mount. Additional specifications included in the full press release below.
The SIGMA 10-18mm F2.8 DC DN | Contemporary uses an aspherical concave lens with a large polarization ratio and high refractive index in the first group, reducing the number of elements in the first group and shortening the overall length. Additionally, a new push-on petal type hood has been developed. Thanks to the new structure with a spring and lever, which is not utilized by any other manufacturer, the hood has been made both thinner and smaller, which also contributes to the overall compactness of the lens.
The optical design of the lens delivers a short 4.6 inch (11.6cm) minimum focusing distance and a maximum magnification ratio of 1:4 at the wide end, allowing for close-up photography with pleasing background separation. The optical design also minimizes focus breathing, and the stepping motor delivers swift, quiet autofocus during both still and video use.
Thanks to its high optical quality and compact size, the SIGMA 10-18mm F2.8 DC DN | Contemporary lens is an excellent choice for travelers, adventure photographers, vloggers, content creators, and family photographers who want great image quality when paired with today’s leading lightweight crop-sensor cameras on the three supported mirrorless platforms.
Learn more about the SIGMA 10-18mm F2.8 DC DN | Contemporary lens:
Large-aperture, ultra-wide-angle zoom with expressive imaging capabilities.
Extremely compact and lightweight.
Ideal for landscapes, travel, video and online content creation.
Available: October 26, 2023 Supplied accessories: Push-on petal type hood LH706-02, FRONT CAP LCF-67mm III, REAR CAP LCR II
Available mounts: L-Mount, Sony E-mount, FUJIFILM X Mount
* The appearance and specifications of the product are subject to change.
* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
* L-Mount is a registered trademark of Leica Camera AG * L-Mount is a registered trademark of Leica Camera AG.
Create expressive images on the go with the world’s smallest and lightest ultra-wide-angle zoom lens for APS-C cameras*
The SIGMA 10-18mm F2.8 DC DN | Contemporary is the world’s smallest and lightest ultra-wide- angle zoom lens for APS-C cameras*, covering an effective focal range of 15-27mm (35mm equivalent). With ultra-sharp optics, a bright F2.8 aperture and a newly developed push-on petal type lens hood, photographers can create expressive images anytime, anywhere. The lens features a unique aspherical element that reduces the overall size of the lens and enhances image quality.
An 11.6cm (1:4) minimum focusing distance to produce unique compositions, with expansive backgrounds and pleasing bokeh. With a weight of only 260g*, a fast AF stepping motor and minimal focus breathing, the lens can be easily mounted onto a motorized gimbal to create impressive video content for social media use and professional projects. The lens is available for L-Mount, Sony E-Mount and FUJIFILM X Mount systems.
* As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October 2023 by SIGMA. * L-Mount specification.
[ Key Features ]
1. Large-aperture, ultra-wide-angle zoom with expressive imaging capabilities
By utilizing unique optics which have been designed to correct lens aberrations, the SIGMA 10-18mm F2.8 DC DN | Contemporary produces images that are sharp across the entire image.
Aspherical lens, special low-dispersion glass
The use of an aspherical lens with large eccentricity and refractive index as the first lens element has enabled a lens construction with a reduced number of elements. Used in conjunction with multiple aspherical lenses and special low-dispersion glass, the lens can produce high resolution images whilst remaining compact and lightweight.
Minimum focusing distance 11.6cm, maximum magnification ratio 1:4
Create expressive close-up images using the 11.6cm minimum focusing distance when shooting at 10mm. With a magnification ratio of 1:4, the lens captures unique portraits, still life and more.
2. Extremely compact and lightweight
The SIGMA 10-18mm F2.8 DC DN | Contemporary is the world’s smallest and lightest ultra-wide angle zoom lens for APS-C cameras*, with a length of 62.0mm, a maximum diameter of 72.2mm, and a weight of 260g*. The lens can be carried around with ease or attached to an APS-C mirrorless camera and a gimbal to create an ultra-portable video setup.
* As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October 2023 by SIGMA. * The values are for L-mount.
Newly developed push-on petal type hood
A newly developed push-on petal type hood is included with the lens. Unlike the conventional bayonet type lens hoods that attach with a rotating movement, this push-on type lens hood is attached onto the lens using a spring and lever system. The implementation of this new design reduces the size and thickness of the hood so that it matches the compact size of the lens.
Compact, lightweight, high-performance F2.8 constant aperture zoom lens series
When combined with the SIGMA 18-50mm F2.8 DC DN | Contemporary, a total, unbroken focal range of 15-75mm (35mm equivalent) with a constant F2.8 aperture can be covered. The combined weight of both lenses is only 550g.
*The values are for L-mount.
Fast-growing lineup of lenses for APS-C mirrorless cameras
In addition to the SIGMA 18-50mm F2.8 DC DN | Contemporary, the lineup of lenses for APS-C mirrorless cameras includes 16mm, 23mm, 30mm, and 56mm prime lenses, all with F1.4 brightness. This flexible lens selection can be used for a wide variety of photographic applications.
*Lineup is as of October 2023.
Mount with dust and splash resistant structure
The lens mount incorporates rubber sealing to protect it from dust and water drops.
3. Ideal for landscapes, travel, video and online content creation
With ultra-wide focal length, portable body and razor-sharp optics, the SIGMA 10-18mm F2.8 DC DN | Contemporary is the perfect portable option for landscape, travel, interior and street photography. It also boasts impressive video capability owing to its bright F2.8 aperture, which makes it well-suited to shooting in low-light environments and creating a shallow depth-of-field. The ultra-wide angle-of-view is ideal for hand-held vlogging that requires the capture of both the subject and the environment.
Designed to minimize focus breathing
The lens has been designed to suppress focus breathing. The change in angle-of-view due to focus shift is minimized, creating a natural-looking focus shift when recording video.
Supports various camera functions
The lens is compatible with the electronic image stabilization function, aberration correction function, DMF, and AF+MF in camera bodies from various manufacturers. The advantage using this ultra-wide-angle lens is that it provides a generous angle-of-view even when the electronic image stabilization function crops the image.
* Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.
Stepping Motor
A fast and quiet stepping motor is used to deliver precise AF when shooting stills and video. It is fully compatible with in-camera AF tracking modes.
[ Additional Features ]
Lens construction: 13 elements in 10 groups (3 FLD, 1 SLD, and 4 aspherical elements).
Inner focus system.
Compatible with high-speed autofocus.
Stepping motor.
Compatible with Lens Aberration Correction.
* Function available on supported cameras only. Available corrections and auto correction functionality may vary depending on the camera model.
* On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON’ (AUTO).
Supports DMF and AF+MF.
Compatible with AF assist (Sony E-mount only).
Super Multi-Layer Coating.
Support for switching between linear and non-linear focus ring settings on L-Mount bodies * Function available on supported cameras only.
Mount with dust and splash resistant structure.
Push-on petal type hood LH706-02.
Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only).
Designed to minimize flare and ghosting.
Every single lens undergoes SIGMA’s proprietary MTF measuring system.
Craftsmanship. Precision. Dedication. Since 1961, SIGMA has been devoted to the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning still photo and cinema camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.
In 2012, the company introduced SIGMA Global Vision with three distinct lens lines: Art, Contemporary and Sports. Designed for industry camera mount systems including Canon, Fujifilm, Leica, Nikon, Olympus, Panasonic, Sony and SIGMA, each lens is handcrafted and tested in Japan to ensure a high- performance, premium product that is purpose-built to last. In 2016, the SIGMA Cine lens lineup was launched, further cementing SIGMA as an innovator in imaging engineering. Embodying the core optical DNA that has defined the SIGMA benchmark of excellence, SIGMA Cine lenses meet the needs of advanced 6k and 8k cinema production.
Forming the landmark L-Mount alliance alongside Leica and Panasonic in 2018, SIGMA continues its storied tradition of imaging excellence through groundbreaking innovations such as the native L-mount SIGMA fp and fp L full-frame mirrorless digital cameras, announced in July 2019 and March 2021 respectively. These products, along with over 30 award-winning SIGMA Global Vision lenses available in native L-Mount format, demonstrate SIGMA’s continued commitment to the creative community through expanded product offerings. With the fp, fp L and these lenses, even more users can now leverage SIGMA’s renowned optical formula to achieve their creative vision with ease.
Sigma 10-18mm f/2.8 DC DN variable focal length lens for APS-C/Super 35. Image courtesy of Sigma Photo.
Sigma 10-18mm f/2.8 DC DN variable focal length lens for APS-C/Super 35. Image courtesy of Sigma Photo.
Videos
Introducing the SIGMA 10-18mm F2.8 DC DN | Contemporary Lens for APS-C Mirrorless Cameras
“SIGMA CEO Kazuto Yamaki introduces the SIGMA 10-18mm F2.8 DC DN | Contemporary lens for APS-C mirrorless cameras.”
Commentary
Sigma 18-50mm f/2.8 DC DN Contemporary lens for Fujifilm X-Mount, Leica L-Mount and Sony E-Mount cameras. Image courtesy of B&H.
Given the remaining gaps in Fujifilm’s Fujinon XF prime and zoom lens offerings the camera division’s leadership was wise in opening up to third party lens makers like Sigma.
Although the vast majority of third-party X-mount lenses old and new continue to rehash Fujifilm’s Fujinon XF 23mm, 35mm and 56mm f/1.4 classics, long-established lens makers like Sigma and Tamron have a background in more than just the classic primes, especially Sigma with its reportedly excellent cinema primes and zooms.
I have been hoping that Sigma in particular would apply some of its zoom lens experience to X-mount zoom lenses and it was rewarding to see the company release its 18-50mm f/2.8 DC DN Contemporary zoom lens for X-mount.
The 10-18mm f/2.8 DC DN seems like a great compact wide-angle companion for the 18-55mm f/2.8 and begs the question as to whether Sigma is planning to release a 55-140mm compact zoom or the like in the near future.
Meanwhile Sigma has already released X-mount primes that might also be great companion lenses for the 10-18mm such as the 30mm f/1.4 DC DN or, if longer is better suited to your needs, its 56mm f/1.4 DC DN.
Sigma, please create Fujifilm X-mount versions of these two classics, preferably with clicked/de-clicked aperture ring
Sigma 18-35mm f/1.8 DC HSM Art EF-mount fast zoom lens can be adapted for a range of Super 35/APS-C cameras or for cameras with larger sensors that can be set to Super 35/APS-C. Image courtesy of Sigma Photo.
Sigma 50-100mm f/1.8 DC HSM | Art APS-C zoom lens. Image courtesy of Sigma Global.
I am still hoping against hope that Sigma will port over two of its most celebrated APS-C/Super 35 variable focal length lenses to Fujifilm X-mount, the 18-35mm f/1.8 DC HSM Art and the 50-100mm f/1.8 DC HSM Art, as they are the most obvious lenses to bestow on Fujifilm users especially those of us who have hybrid needs and therefore lenses as useful for video as stills.
Then there is Sigma’s I-series Contemporary I-Series prime lens collection that, although made for so-called “full-frame” or 35mm sensor cameras, are small and lightweight and could be just as useful for Fujifilm X-mount cameras.
Digital photography relies on software lens correction in-camera and in raw processing applications and so I am more interested in seeing the results from processing 10-18mm and 18-55mm lens raw files in DxO’s software given the company’s longtime expertise in profiling thousands of camera, sensor and lens combinations.
Straight-out-of-camera JPEGs can only tell us so much and I would rather see what hardware-plus-software can do when DxO profiles the Sigma 10-18mm f/2.8 DC DN Contemporary compact zoom lens.
Links
B&H Affiliate Link –Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Chinese lens makers are becoming ever more ambitious in their designs and Viltrox recently released 27mm and 75mm f/1.2 prime lenses that fill gaps in Fujifilm’s Fujinon XF lens roadmap. Klaus Schroiff of OpticalLimits reviewed both.
For too many years since stills photography and video production flipped from analog over to digital, some of the most useful and popular focal lengths of the previous era have been forgotten by lens makers some of whom have only woken up to their necessity in recent years.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Fujifilm Fujinon XF 50mm f/2.0 R WR “Fujicron” compact prime. Image courtesy of B&H.
In 35mm sensor terms, those almost forgotten focal lengths include 21mm, 28mm, 40mm, 75mm and 105mm or, in their APS-C and Super 35 equivalents, 14mm, 18mm, 27mm, 50mm and 70mm.
I love Fujifilm’s Fujinon XF 50mm f/2.0 R WR by the way: I carry one every day, it’s an excellent documentary and documentary portrait lens, and it proves the value of the “Fujicron” narrow-fronted compact prime concept especially when attached to an X-Pro series camera.
Fujifilm came to the party reasonably early on the 14mm, 18mm and 27mm focal lengths but has apparently forgotten about 70mm despite many pleas from customers over the years.
Fujifilm Fujinon XF 27mm f/2.8 R WR with Fujifilm LH-XF27 lens hood. Image courtesy of Fujifilm Australia.
Those early focal length designs – 14mm, 18mm and 27mm – contained some optical or mechanical compromises and, thankfully, Fujifilm took heed from some of its customers and updated the near-pancake Fujinon XF 18mm f/2.0 R with the fast aperture “Fujilux” Fujinon XF 18mm f/1.4 R LM WR.
Fujifilm has yet to produce a direct update of the 18mm pancake lens via a “Fujicron” 18mm f/2.0 that is better suited to its X-Pro digital rangefinder line or its more entry-level cameras such as the X-S20 and the X-E series.
Inversely, Fujifilm updated its flawed pancake-style Fujinon XF 27mm f/2.8 R with the slightly less flawed XF 27mm f/2.8 R WR. The former was noisy and slow-focusing in autofocus mode with suboptimal manual focusing, both are prone to their focusing units suddenly failing with the lens becoming unusable and costly to repair, and neither is recommended for serious video work especially needing to attach more than a protection filter on the front.
Fujinon XF 18mm f/1.4 R LM WR “Fujilux” prime lens. Image courtesy of Fujifilm Australia.
Both lenses’ 27mm focal length, equivalent to perfect normal 40.5mm in the 35mm sensor format, is an excellent choice as daily carry and can accommodate a range of subjects, genres and approaches in photography and video but for the latter a “Fujilux” design-style with larger, sturdier body and focusing unit large enough attach several screw-on filters or a matte box is more appropriate.
I loved my XF 27mm f/2.8 R for its versatile focal length and used it for many immersive and up-close documentary projects when needing to rely on one prime lens on one camera instead of carrying several lenses and cameras, or, indeed, one larger variable focal length aka zoom lens on a single camera.
Can you guess which projects were entirely shot with my now sadly retired (due to ill health) XF 27mm f/2.8 R?:
Contax Carl Zeiss Distagon T* 28mm f/2.0 AEG “Hollywood 28” Contax-Yashica C/Y-mount. Image found on ebay.
Even if its focusing unit had not failed, I’ve long been itching for a more video-appropriate alternative, a modernized version of the legendary Hollywood 28 that was used to photograph many great feature films with a focal length that still features in contemporary moviemaking.
Modernized because if I want a lens with the classic “9 elements in 8 groups with one floating element for close focusing” of Zeiss’ Dr Glatzel’s original Hollywood 28 for narrative movies then I would choose one made by companies that licensed his design such as Contax/Yashica, Nikon, Pentax or Rollei and consider having it rehoused.
For documentary work, quirky is not so useful and thus a modern optical and mechanical design is called for and that is where the Viltrox AF 27mm f/1.2 XF Pro comes in.
Over to Klaus Schroiff of OpticalLimits who appears to be currently living here in Sydney if his photographs with the lens attached to a Fujifilm X-H2 are anything to go by.
“As mentioned in the introduction, the Viltrox AF 27mm f/1.2 XF Pro occupies a spot that hasn’t been taken by Fujifilm or Sigma yet….
Verdict
Viltrox has delivered an impressive piece of equipment – again. The Viltrox AF 27mm f/1.2 XF Pro is sharp at f/1.2 and great at medium aperture settings. As expected, the RAW vignetting is on the high side at f/1.2, but auto-correction reduces the issue to a more manageable level. Image distortions, as well as CAs, are negligible in their original form already. The quality of the bokeh is good but not flawless. The general out-of-focus rendering is very smooth in the background. However, the “cat eye” effect sets in quite early, and there’s some bokeh fringing at very large aperture settings. Flare is quite well controlled for such a fast lens. The Viltrox lens isn’t a king when it comes to sun stars, but given the 11 aperture blades, the designers simply focused on bokeh quality instead.
The mechanical quality of the Viltrox Pro lens is outstanding and easily on par with Fujifilm’s own prime lenses. It’s a tightly assembled, all-metal body with smooth, high-quality controls and fast AF (on the X-H2, at least). Internal focusing, weather-sealing, and a water-resistant coating on the front element provide protection against tough outdoor conditions.
We quite like this Viltrox lens – a lot. “Highly Recommended,” and we are already looking forward to the next one.”
Viltrox Official: VILTROX AF 27mm F.1.2 Pro XF Ultra Large Aperture Prime Lens Designed For FUJIFILM X-mount Cameras
“The AF 27mm F1.2 Pro lens is the second ultra-large aperture prime lens of the Pro flagship series launched by Viltrox after the AF 75mm F1.2 Pro. Continuing the amazing ultra-high resolution of the Pro series and F1.2 super large aperture for soft&beautiful bokeh. With optical structure of 15 elements in 11 groups, the aperture is fully open to present the overwhelmingly high image quality. Built-in HOYA aspherical lens, compact size and light weight, optical performance second-to-none, high-speed and precise autofocus, inspire unlimited potential. Dust-proof & splash-proof, waterproof and anti-fouling coating reliable structural design, all-round innovation of APS-C lens shooting experience, making Pro more Pro.”
Viltrox Official: Viltrox AF 27mm F1.2 Pro XF Behind The Scenes Video
“What Is The Main Features:
27mm focal length, F1.2 large aperture.
15/11 lens elements (2 ED, 5 refractive index lenses and 1 aspherical lens).
Use Japanese HOYA material on aspherical lens.
The closest focusing distance is 0.28m.
STM motor design, high-speed and precise auto-focus.
Dust-proof and Splash-proof.”
Viltrox AF 27mm f/1.2 Pro XF
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Viltrox AF 27mm f/1.2 XF Pro. Image courtesy of B&H.
Another Viltrox lens Klaus Schroiff reviewed for OpticalLimits earlier in the year is the Viltrox AF 75mm f/1.2 Pro XF and that is also worth a look given it is not far from the ever-in-demand 105mm-equivalent 70mm APS-C/Super 35 focal length.
Viltrox Official: Get A Closer Look On Every Design Detail Of VILTROX AF 75mm F1.2 Pro
“AF 75mm F1.2 Pro E/X/Z Mount
“Pro series Lenses”integrate the highest level of optical quality of all current Viltrox camera lenses, which is a milestone in the consistent research and pursuit of optical technology, aiming to go further than the expectations of users.”
Viltrox AF 75mm f/1.2 Pro XF
Viltrox AF 75mm f/1.2 Pro XF. Image courtesy of B&H.
Viltrox AF 75mm f/1.2 Pro XF. Image courtesy of B&H.
Viltrox AF 75mm f/1.2 Pro XF. Image courtesy of B&H.
Viltrox AF 75mm f/1.2 Pro XF on Fujifilm X-H2S. Image courtesy of B&H.
I first became aware of Viltrox some years ago after reading about Emily Skye of SheWolf Films using the company’s lens adapters with her Panasonic Lumix cameras and made a mental note to check up on what they may be doing in future.
With the release of the two Viltrox Pro series Fujifilm X-mount primes, the 27mm and 75mm, Viltrox has become an even more interesting company to watch out for.
The interview below, re-published by Photo Rumors, shows that Viltrox is becoming even more interesting with its move into cinema lenses with some primes to begin with and zooms to come.
I have yet to see any Viltrox products here in Sydney but I am hoping that the company will begin to find a market in Australia especially now that it’s producing lenses of this calibre with even better to come with its cine lenses and, reportedly, Lab series lenses that are apparently to be better quality again than its Pro series.
Right now Viltrox’ two XF Pro lenses look very attractive especially for photographing events like the free workshops at Fujifilm Australia’s Fujifilm House of Photography in Park Street, Sydney.
I’m hoping that more XF Pro lenses are in development especially those that fill some of the gaps in Fujifilm’s own XF lens roadmap.
An XF Pro lens trio consisting of 14mm, 27mm and 75mm would prove very useful for photographing these workshop events and for the sake of optical colour consistency a lens to sit in between 14mm and 27mm, and another in between 27mm and 75mm would be terrific for video projects.
Viltrox ciné anamorphic and spherical prime lenses
Viltrox anamorphic ciné prime lenses for 35mm aka “full frame”: 35mm T2.0, 50mm T2.0 and 75mm T2.0. Image courtesy of Viltrox.
Viltrox ciné prime lenses for Micro Four Thirds: 23mm T1.5, 33mm T1.5 and 56mm T1.5. Image courtesy of Viltrox.
Links
B&H Affiliate Link –Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
I’m in the midst of catching up on the latest cinema and hybrid camera and lens announcements by Blackmagic Design, Fujifilm, Panasonic and others in between processing a backlog of photographs from our too-infrequent trips into the city of Sydney.
Tomorrow I’ll be attending a workshop at Fujifilm Australia’s Fujifilm House of Photography in Sydney and I’m hoping it will be an opportunity to take a look at the company’s recently-announced GFX 100 II and its three new GF tilt-shift lenses, the Fujinon GF 30mm f/5.6 T/S and GF 110mm f/5.6 T/S Macro, as well as a lens for all lights and seasons, the nearly perfect-normal 44mm-equivalent GF 55mm f/1.7 R WR.
Fujifilm GFX100 II with vertical battery grip, tilting viewfinder, two tilt/shift and one “lightweight cine-style prime”
Fujifilm GFX100 II with VG-GFX100-II Vertical Battery Grip and Fujinon GF 50mm f/3.5 T LM WR prime lens (40mm equivalent in 35mm). Image courtesy of B&H.
Fujifilm GFX100 II with VG-GFX100-II Vertical Battery Grip. Image courtesy of B&H.
Fujifilm EVF-GFX2 Removable 5.76m-Dot OLED EVF with FUJIFILM EVF-TL1 EVF Tilt Adapter for Fujifilm GFX50S and GFX100 large format cameras. Image courtesy of B&H.
Fujifilm Wide Eyecup EC-XH W. Image courtesy of B&H.
Fujifilm FAN-001 Cooling Fan. Image courtesy of B&H.
Fujifilm Fujinon GF 30mm f/5.6 T/S 24mm-equivalent tilt/shift prime lens. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR 44mm-equivalent “lightweight cine-style prime lens”. Image courtesy of B&H.
Fujifilm Fujinon GF 110mm f/5.6 R WR 87mm-equivalent “lightweight cine-style prime lens”. Image courtesy of B&H.
Linhof Master Technika Classic 4″x5″ “Snow” sheet film view camera. Image courtesy of Linhof.
While there is no guarantee that any of the three will be on display there is a chance and I’m particularly keen to see them.
Two of my key magazine editorial portrait styles grew out of using 4″x5″ sheet film view cameras mostly with a moderate wide-angle lens for environmental portraits and a moderately long aka telephoto lens for close-up face-only portraits.
All my hardware was stolen by a colleague after I moved to London and I’m wondering whether the current residents at 19 Chipstead Street, Parson’s Green SW6 3SR found it hidden in their basement? I can provide a list and it is extensive.
No matter: the analog era is well and truly over and I’ve been hoping that Fujifilm might some day make the gear to allow a similar approach be taken in this digital age.
Fujifilm Fujica GX680III 6x8cm format 120 roll-film camera. Image found on eBay.
Fujifilm’s promotional video for the 110mm T/S lens positions it for food, products, commercial and still-life photography but movements like tilt, shift and rotate are just as useful in portrait photography especially in close-up with a telephoto lens to rapidly and selectively focus on an eye and a lip, say, or an eye and a highlight on the tip of a nose.
Fujifilm used to make some of the finest view camera lenses ever though I never had the privilege of using them as they weren’t available here and the same applied to the company’s reportedly superb GX680 analog cameras for 120 roll film in 6cm x 8cm format.
They offered camera movements not unlike those in view cameras was well as a large collection of excellent lenses and were used for magazine editorial and other applications such as portrait photography by luminaries including Greg Gorman.
I would have loved one!
Rolleiflex 4.0 FT twin lens reflex telephoto portrait camera, special edition. Image courtesy of DHW Fototechnik.
Fujifilm’s GX680 series also apparently offered a choice of viewing options like the one in the photograph above as well as, presumably, a folding waist-level viewfinder with magnifier similar to the ones in Rolleiflex twin-lens reflex cameras and various brands of 120 roll-film single lens reflex cameras including Hasselblad, some models of which, incidentally, were made by Fujifilm as well as their lenses.
Another item I hope to see in action at Fujifilm House of Photography tomorrow is the GFX 100 II’s upgraded viewfinder with, I assume, optional EVF-TL1 EVF Tilt Adapter.
Since losing my 120 roll-film cameras with waist-level viewfinders the closest I’ve come is Panasonic’s Lumix GX8 flagship compact but pro-quality rangefinder-style Micro Four Thirds camera which I still often carry to supplement my Fujifilm X-Pro2 digital rangefinder camera when waist-level viewing is an essential to get the image I need without having to bend over or kneel on the ground.
Panasonic Lumix DMC-GX8 camera with tilting electronic viewfinder and Panasonic Lumix G 12-32mm f/3.5-5.6 Power OIS zoom lens. Image by Karin Gottschalk.
I’ve tried flipping other cameras’ monitors up to try viewing downwards but that’s next to useless in bright sunlight or cloudy days with lightbox skies.
The hinge of the GX8’s built-in tilting EVF could certainly be a little tighter but nothing that a left-hand thumb can’t keep in position tilted upwards at 90 degrees.
Waking about in city crowds with a little tilting EVF camera is not unlike a cloak of invisibility and allows me to be up close and unobtrusive as some of the images below show.
DxO PhotoLab Elite’s DeepPRIME XD denoising and demosaicing feature does an excellent job of resolving fine details from Micro Four Thirds and, for that matter, APS-C sensors but imagine what it could do for raw files from medium format aka large format sensors such as those in Fujifilm’s GFX cameras: 100 megapixels with DeepPRIME XD, wow!
Blackmagic Design’s Blackmagic Pocket Cinema 6K Pro aka BMPCC 6K Pro. Image courtesy of Blackmagic Design.
This week’s announcement by Panasonic of its SLR-style Lumix G9 II M43 hybrid camera with PDAF, improved IBIS and amazing video capability on par with its GH6 is impressive and I’m also looking forward to seeing one of those when they eventually appear in Sydney, but it makes me wonder if there will ever be a worthy successor to my beloved GX8.
Tilting viewfinders, like tilt/shift lenses, have a place in moviemaking as well as stills photography and it’s assuring to see that Blackmagic Design is continuing to offer an optional tilting viewfinder for its newly announced Cinema Camera 6K but Blackmagic’s EVF only tilts up to 70 degrees and not 90 degrees as I would prefer.
Panasonic Lumix DMC-GX8 professional hybrid M43 camera mostly at waist-level using its tilting EVF at ninety degrees
B&H Affiliate Link – Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
DxO – website – PhotoLab, FilmPack, ViewPoint, PureRAW, Nik Collection – Our #1 choice in raw image processing and editing software.
FastRawViewer – website – “Is your RAW converter slow while building 1:1 previews or culling RAW files? Use FastRawViewer – a great time-saver and an ideal RAW workflow helper.”
Powerful new Micro Four Thirds flagship delivers accurate auto-focus, high speed response and outstanding photographic performance.
Sydney, 13 September 2023: Panasonic is proud to announce the launch of the LUMIX G9II digital mirrorless camera. This powerful new Micro Four Thirds flagship is the first G Series to offer Phase Detection Auto-Focus (PDAF) technology and features a brand-new sensor and engine.
Aaron Waters, Product Marketing Manager of Imaging at Panasonic said: “This camera’s impressive enhancements will delight G Series photographers with fast and reliable image capture in the field. Improvements spanning from Auto-focus to burst-shooting and stabilisation reward the shooter by empowering them to record fleeting moments. And it’s backed by our highly mobile and extensive Micro Four Thirds lens lineup. The two LEICA telephoto lenses announced today allow users to choose from a 32-strong lineup – making it easy to select the perfect kit.”
“The G9II is also a creative workflow dynamo, with REAL TIME LUT, Full Sensor 4:3 ‘open gate’ video recording, Apple ProRes video, 300fps slow motion & more on board.”
LUMIX G9II: Key Capabilities
The camera’s new 25.2-megapixel Live MOS sensor delivers high resolution and high-speed response, supporting V-Log/V-Gamut and 13+ stops of wide dynamic range (1). The new engine achieves natural, three-dimensional textured images and ensures high-speed processing of high bitrate video.
The hybrid PDAF technology on board the LUMIX G9II enables accurate auto-focus and high-speed tracking of fast-moving subjects. New AI-powered recognition technology (developed using AI deep learning) for real-time auto-focus now recognises cars, motorcycles, and animal eyes for improved precision.
To deliver fast action photography, the LUMIX G9II offers burst shooting at 60 fps (AFC) and Super High Speed (2) pre-burst recording (3) that can commence shooting up to 1.5 seconds prior to shutter release, including support for RAW files. A blackout-free Live View Finder means the user can continuously track and keep the subject in focus.
Providing incredible stabilisation for hybrid shooters, the excellent LUMIX image stabilisation system is further enhanced. For photographers, the in-body IS offers an impressive 8-stop at 60mm (4), and when shooting with ultra-telephoto focal length, the Dual I.S 2 system offers 7.5-stop (5) at 140mm (280mm 35mm equivalent). Videographers will appreciate the Active I.S. technology which is optimised for video shooting, offering smooth gimbal-like video even when walking with the camera.
These capabilities provide even greater support for handheld shooting at ultra-telephoto focal lengths, capturing difficult, dynamic subjects such as wildlife. Using the precision gyro-sensor and in-body stabilisation unit, 100-megapixel images can be captured in camera using the High Resolution mode both with a tripod or when handheld.
There are also several modes that expand the possibilities of creativity. The 13+ stop V-Log/V-Gamut capture offers a high dynamic range, consistent colour management and streamlined post-production. With in-camera colour grading via REAL TIME LUT, creative scope is increased while workflow is reduced – excellent for repeatable setups such as content creators who work in the same studio or are looking to repeat the same style in camera instead of applying the same LUT in post. The newly-added LEICA Monochrome mode provides deep black/white contrast.
The Live View Composite Mode takes away the guess work, allowing the photographer to set the desired exposure, take the shot, then view the image on-screen as it is being exposed in real time. Once they are happy with how the shot looks, they simply hit the shutter button again to stop the exposure. This mode is also great for light painting, shooting light trails and other long exposure scenarios.
The G9II is a launching point for video creation. It includes 4:2:0 10-bit 5.8K (4:3) full sensor recording/ 5.7K (17:9), enabling flexible framing options for various social media formats, as well as 4:2:0 10-bit C4K/4K 120p/100p to enable slow motion videos. Recording and playback are supported using an external SSD via USB.
It also offers Apple ProRes (6) video, which delivers high image quality at low compression, reducing computer load during post-production and allowing non-linear editing without transcoding, streamlining workflow from start to finish.
Panasonic is pleased to introduce a new optional battery grip (DMW-BG1E) equipped with an eight-direction joystick that is compatible with the LUMIX G9II and the already available LUMIX S5II and S5IIX.
LUMIX G9II: Pricing and Availability
DC-G9M2GN: Body only: RRP $3299
DC-G9M2M: Kit with 12-60mm F3.5-5.6 lens: RRP $3599
DC-G9M2LEICA: Kit with Leica DG 12-60mm F2.8-4 lens: RRP $4399
DC-G9M2LPRO: Kit with Leica DG 12-35 F2.8 lens: RRP $4799
DMW-BG1E: RRP $599
The camera and battery grip will be available in Australia from leading photographic specialists in late October 2023.
Footnotes
When shooting video at a setting of over 60 fps (including slow and quick mode), the luminance range provides 12+ stops. The dynamic range boost will not function when shooting video at a setting of over 60 fps (including slow and quick mode), when using the SH burst function for still images, and when combining slow shutter speeds of more than 1/15 seconds with ISO.
Available in electronic shutter only.
When the ambient temperature is high or Pre-Burst recording is performed continuously, even if you press the shutter button halfway, Pre-Burst may not operate to protect the camera from overheating. Wait until the camera cools down.
Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm (35mm film camera equivalent f=120mm), when H-ES12060 is used.
Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=140mm (35mm film camera equivalent f=280mm), when H-FSA14140 is used.
Apple and ProRes are trademarks or registered trademarks of Apple Inc. in the United States and/or other countries.- Please see the website for video performance information, details, and specifications of the LUMIX G9II.
Micro Four Thirds™ and Micro Four Thirds Logo marks are trademarks or registered trademarks of OM Digital Solutions Corporation, in Japan, the United States, the European Union and other countries.
Images
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.
Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.
Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.
Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.
Panasonic DMW-BLK22 Lithium-Ion battery for Lumix G9 II, GH6, S5 II, S5 IIX and other cameras. Image courtesy of B&H.
Panasonic Lumix DMW-BG1E Vertical Battery Grip for Lumix G9 II, S5 II and S5 IIX cameras. Image courtesy of B&H.
Panasonic Lumix DMW-BG1E Vertical Battery Grip for Lumix G9 II, S5 II and S5 IIX cameras. Image courtesy of B&H.
Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras. Image courtesy of Panasonic Australia.
Commentary
I can’t comment in depth about the long-awaited G9II as I am still digesting the product pages, reviews and videos for all the necessary fine details.
However, a couple of respectful suggestions and some questions for the creators of the press release:
This is a key capability that cannot be assumed but needs to be stated – C4K/4K 60p 4:2:2 10-Bit Video Recording – stating just “4:2:0 10-bit C4K/4K” risks readers assuming that the camera may not offer 4:2:2.
Thank you for the large collection of product and lifestyle photographs as always but please strive for representational equity with half featuring females and half being of males using the camera and lenses.
May I suggest supplying some in-studio product photographs like the ones used in the Panasonic Australia press release page in the Links list below?
There seems to be one product photograph missing, the camera-only right-side view with doors opened.
May I also suggest dusting cameras and lenses off before photographing them, especially when on location?
Links
B&H Affiliate Link – Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Panasonic announces two LEICA DG telephoto lenses for outstanding photographic performance
Sydney, 13 September 2023: Panasonic is proud to introduce the H-ES35100 and H-RSA100400 interchangeable lenses for the LUMIX G Series that comply with the Micro Four Thirds system standard.
These telephoto zoom lenses are in line with LEICA’s stringent optical standards and achieve outstanding photographic performance.
Panasonic boasts a lineup of 32 Micro Four Thirds interchangeable lenses, of which 15 are LEICA DG lenses. This diverse range is designed for creative photography and videography, with lenses to suit a wide range of users from professionals and camera enthusiasts to digital mirrorless camera beginners.
Redesigned LEICA DG Lens: New Large-aperture Telephoto Zoom Lens with Outstanding Photographic Performance, High Mobility and Full-range F2.8 Brightness
Key Features
F2.8 LEICA DG VARIO-ELMARIT lens for outstanding photographic performance throughout zoom ranges.
New ghosting and flare suppression to achieve the rigorous optical standards required for LEICA certification.
High-speed, high-precision auto-focus for videography with Dual I.S. 2.
Compact, lightweight model for excellent handheld photography and portability.
This new ELMARIT full-range F2.8 lens delivers brightness in all zoom ranges, supporting compositions from evening shots that make use of the F2.8 brightness, to bokeh effects that are unique to telephoto zoom shots and help to highlight the subject.
An optimal lens structure comprising two ED (Extra-low Dispersion) lenses and one UED (Ultra Extra-Low Dispersion) lens ensures outstanding photographic performance throughout the 70mm to 200mm zoom range (35mm equivalent). In addition to Panasonic’s unique Nano Surface Coating technology, the use of light- shielding technology to eliminate unwanted light inside the lens enables the production of clear, natural color with reduced ghosting and flare.
The H-ES35100GC is priced at RRP $1999 and will be available in Australia from leading photographic specialists in November 2023.
LEICA DG VARIO-ELMAR 100-400mm/F4.0-6.3 II ASPH./POWER O.I.S. (H-RSA100400G)
New Teleconverter-Compatible LEICA DG Lens for Full Life-size Macro Shooting and Ultra Telephoto Zoom Photography
Key Features
LEICA DG VARIO-ELMAR lens for outstanding photographic performance throughout zoom ranges.
Ultra telephoto zoom lens covering up to 1600mmvii for use in a wide range of shooting environments.
Compact, lightweight, and excellent mobility with high-speed, high-precision auto-focus and teleconverter compatibility.
This new lens achieves stunning photographic performance throughout the zoom range from the center of the frame to the edge. An optimally arranged lens structure featuring one aspherical lens, two ED (Extra-low Dispersion) lenses, and one UED (Ultra Extra-Low Dispersion) lens produces detailed and beautifully textured high-resolution, high-contrast images.
With a focal length of 200mm to 800mm (35mm equivalent), the lens is ideally suited to capture a range of subjects that are difficult to approach, such as wild birds and animals, as well as sporting events. Moreover, the separately sold 2.0x teleconverter (2) enables 1600mm full life-size macro shooting (3) for impressive, detailed shots of flowers, animals, and other subjects.
The H-RSA100400G is priced at RRP $3099 and will be available in Australia from leading photographic specialists in November 2023.
Footnotes
35 mm camera equivalent. When DMW-TC20A teleconverter is attached. Teleconverter range: 210 mm–400 mm.
Use of the DMW-TC20 teleconverter reduces the effective aperture by two f/stops.
35 mm camera equivalent. When DMW-TC20A teleconverter is attached. Teleconverter range: 210 mm–400 mm.
Micro Four Thirds™ and Micro Four Thirds Logo marks are trademarks or registered trademarks of OM Digital Solutions Corporation, in Japan, the United States, the European Union and other countries.
Images
Panasonic Leica DG Vario-Elmarit 35-100mm f/2.8 Power OIS lens. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmarit 35-100mm f/2.8 Power OIS lens. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmarit 35-100mm f/2.8 Power OIS lens. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmarit 35-100mm f/2.8 Power OIS lens. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmarit 35-100mm f/2.8 Power OIS lens. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmarit 35-100mm f/2.8 Power OIS lens. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS on Panasonic Lumix G9II. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS with Panasonic Lumix G9II. Image courtesy of Panasonic Australia.
Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Aspheric Power OIS with Panasonic Lumix G9II. Image courtesy of Panasonic Australia.
Links
B&H Affiliate Link – Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Setting a new standard in GF interchangeable lenses for the GFX Series of mirrorless digital cameras. A large-aperture prime lens that brings out the appeal of the large-format sensor.
TOKYO, September 12, 2023 – FUJIFILM Corporation (President & CEO, Representative Director: Teiichi Goto) announces the release of the “FUJINON Lens GF55mmF1.7 R WR” (GF55mmF1.7 R WR) in late September, 2023. The new lens joins the lineup of GF lenses, i.e. interchangeable lenses for the GFX Series of Fujifilm’s mirrorless digital cameras equipped with the large-format sensor*1 measuring approximately 1.7 times that of the 35mm full-frame sensor.
The GF55mmF1.7 R WR is a large-diameter prime lens with the standard focal length of 55mm (equivalent to 44mm in the 35mm film format). The large-format’s enriched descriptive capability is combined with the creamy bokeh characteristic of the large maximum aperture makes the main subject stand out against a blurred background. The lens’s focal length is the same as the diagonal measurement of GFX Series’ signature large-format sensor and gives the field of view close to that of human vision to create a natural perspective. It sets a new standard in GF lenses, which brings out the best of large-format cameras.
GF55mmF1.7 R WR features the maximum aperture of F1.7, consisting of 14 lens elements in 10 groups including two ED lenses and two aspherical lenses. The lens features optimally-positioned aspherical elements and uses the eight-element focusing lens group including one of the aspherical lenses and two ED lenses. This effectively controls shifts in chromatic aberration, spherical aberration and comatic aberration when the focusing position changes, thereby delivering a soft creamy bokeh and advanced image-resolving performance, characteristics of large-aperture lenses. The lens has a normal focal length, making it highly versatile in all shooting situations. Users can enjoy the full appeal of the large-format sensor in genres ranging from day-to-day snapshots to full-fledged portraiture both indoors and outdoors.
*1 An image sensor that measures 55mm diagonally (43.8mm x 32.9mm) and is approximately 1.7 times larger than a 35mm full-frame sensor.
1. Product features
(1) Advanced image-resolving performance and beautiful bokeh
The lens consists of 14 lens elements in 10 groups including two ED lenses and two aspherical lenses, creating soft and beautiful bokeh characteristic of large-aperture lenses.
An aspherical lens, produced at ultra-high precision, is placed behind aperture blades to optimally control spherical aberration for soft back blur. The other aspherical lens is placed at the back to deliver edge-to-edge sharpness.
The focusing lens group generously features eight lens elements including one aspherical lens and two ED lenses to achieve advanced image-resolving performance across the entire focusing range for bokeh with beautifully-softened edges.
High refractive lenses that suppress aberration fluctuation, typically used in cinema camera lenses, are used as the front element and also in the focusing group. This controls spherical aberration and helps deliver advanced image-resolving performance regardless of focusing positions.
This is the first GF lens to use 11 diaphragm blades to achieve a near-perfect circle in the aperture. This is why the lens can produce rounded bokeh even when the lens is stopped down slightly from being wide open, creating beautiful bokeh in a wide variety of photographic scenes.
(2) Freedom of shooting at the normal focal length thanks to the large aperture
The lens has a normal focal length of 55mm (equivalent to 44mm in the 35mm film format), making it highly versatile in all shooting situations. Users can take advantage of the maximum aperture of F1.7 to enjoy portraiture that makes the main subject stand out, casual snapshots of everyday scenes and street photography that captures how the main subject relates to the background.
(3) AF function driven by an evolved DC motor for fast and accurate autofocus
The GF55mmF1.7 R WR uses a DC motor that precisely controls 14 lens elements in 10 groups. The motor allows the lens to autofocus on the subject quickly and accurately, even when shooting that requires advanced focusing skills, to ensure users capture decisive photo opportunities.
(4) Dust- and weather-resistance and capability of operating at -10℃ for enhanced practical usability
The lens barrel is weather-sealed in nine places to ensure dust and weather resistance, and the ability to operate at temperatures as low as -10℃. This means users can enjoy the lens with peace of mind to take photos outdoors in light rain or in dusty outdoor places.
The use of ultra-high-precision aspherical lenses and optimized lens design mean this lens only weighs 780g and measures 99.3mm in length despite being a larger-diameter lens with the maximum aperture of F1.7. This reduces users’ strains in walking around with the lens mounted on a camera, adding an extra sense of mobility as a standard walkaround lens.
Images
Fujifilm Fujinon GF 55mm f/1.7 R WR 44mm-equivalent “lightweight cine-style prime lens”. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR lens. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR lens. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR lens. Image courtesy of B&H.
Lens hood for Fujifilm Fujinon GF 55mm f/1.7 R WR lens. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR lens. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR lens. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR lens on Fujifilm GFX 100 S. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR lens on Fujifilm GFX 100 S. Image courtesy of B&H.
Fujifilm Fujinon GF 55mm f/1.7 R WR prime lens. Image courtesy of Fujifilm Global.
Fujifilm Fujinon GF 55mm f/1.7 R WR prime lens. Image courtesy of Fujifilm Global.
Fujifilm Fujinon GF 55mm f/1.7 R WR prime lens. Image courtesy of Fujifilm Global.
Fujifilm Fujinon GF 55mm f/1.7 R WR prime lens. Image courtesy of Fujifilm Global.
Configuration, Fujifilm Fujinon GF 55mm f/1.7 R WR prime lens. Image courtesy of Fujifilm Global.
Videos
“Setting the Standard.
Meet the new standard for the GFX System. GF55mmF1.7 R WR combines a versatile focal length with a fast maximum aperture to deliver exceptional, high resolution images for a broad range of applications. From street to portraiture, landscapes to travel, this highly portable optic delivers a natural perspective making it an essential partner on your GFX journey. Expect uncompromising image quality, impeccable handling, responsive autofocus and rugged durability. Expect a lens that goes beyond expectations.”
Commentary
My experience with Fujifilm’s large format (or medium format, depending on the commentator) GFX camera and lens system is, at time of writing, limited to making one snapshot with an early model in the series.
Until the announcement of the Fujifilm GFX100 II, I would have assumed that these cameras might be best suited for studio photography with tripods and flash lighting, or if on location outdoors then static subjects or at most slow-moving ones.
That impression has now changed and even more so with the announcement of the Fujinon GF 55mm f/1.7 R WR with its almost perfect normal focal length of 55mm, equivalent to 44mm in 35mm sensor format.
Compare that opposed to the slightly longer “standard normal” of 63mm, equivalent to 50mm in 35mm sensor format.
Perfect normal focal lengths are versatile for stills photography and video, and I have often used just one perfect normal lens for whole projects in either medium.
I look forward to learning more about this lens soon, especially in conjunction with the Fujifilm GFX100 II and its tilting electronic viewfinder aka EVF mechanism, so reminiscent of waist-level viewfinder cameras like our beloved and much-missed Rolleiflex twin-lens reflexes aka TLRs or, indeed, Fujifilm’s own former GX680 series cameras.
Links
B&H Affiliate Link – Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Fujifilm launches Mirrorless digital camera “FUJIFILM GFX100 II”
Flagship model featuring the newly-developed high-speed 102MP sensor and the latest image processing engine. Delivering highest burst-shooting, AF, video performance and stabilization in the history of GFX Series to broaden genre coverage.
TOKYO, September 12, 2023 – FUJIFILM Corporation (President & CEO, Representative Director: Teiichi Goto) announces the launch of the “FUJIFILM GFX100 II” (GFX100II) in late September 2023. It will be the latest addition to the GFX Series of mirrorless digital cameras incorporating the large-format image sensor*1 approximately 1.7 times larger than a 35mm full-frame sensor.
The GFX100 II features the newly-developed 102MP high-speed image sensor “GFX 102MP CMOS II HS” and the high-speed image processing engine “X-Processor 5” to deliver up to double the signal readout speed compared to the current model*2. It is a new flagship model that delivers the highest burst-shooting, AF and video performance in the history of GFX Series.
The GFX100 II boasts superior image quality thanks to the use of the large format sensor. It is the first GFX Series mirrorless digital camera that features the AI-based subject-detection AF, developed with Deep Learning technology, as well as the latest predictive AF algorithm. The burst mode performance has also been enhanced from the current model*3 to 8.0 frames per second*4 and the stabilization performance has been improved to eight-stop*5 five-axis to broaden the scope of genres for the GFX Series from fashion, commercial and landscape categories to sports and news photography, where high-speed performance is essential.
The use of the new sensor has also led to significant enhancement of video recording capability. The GFX100 II is the first GFX Series camera that supports 8K/30P video, and can also record 4K/60P 4:2:2 10-bit video internally. Furthermore, it offers the new “Video Format” modes to enable video recording in multiple formats including Premista*6, 35mm, and anamorphic (35mm) with the mount adapter. Video recording in a variety of situations is catered to, thanks to the enhanced sensor readout speed and the tracking AF, which automatically tracks a subject to keep it in focus.
The camera body is equipped with an Ethernet port as well as HDMI Type A and USB-C terminals to broaden connectivity with external devices significantly for diverse peripheral combinations. In addition, the high-magnification, high-definition EVF that ensures high visibility and the functional beauty of the body design support a comfortable shooting experience for professional photographers and filmmakers.
*1 An image sensor that measures 55mm diagonally (43.8mm x 32.9mm) and is approximately 1.7 times larger than a 35mm full-frame sensor
*2 Compared to the sensor used in the FUJIFILM GFX100 and FUJIFILM GFX100S
*3 Mirrorless digital camera “FUJIFILM GFX100”
*4 When using the mechanical shutter
*5 Compliant with CIPA in pitch / yaw directions when mounted with the FUJINON Lens GF63mmF2.8 R WR
*6 Fujifilm’s zoom lenses for cinema cameras
1. Product features
(1) Highest burst shooting and AF performance in the history of the GFX Series
The GFX100 II is equipped with the newly-developed 102MP image sensor “GFX 102MP CMOS II HS,” which boasts up to double the signal readout speed compared to the current model to enable continuous shooting of up to 8.0 frames per second. Users can enjoy burst shooting at very quick intervals completely stress-free thanks also to reinforced buffer memory. In the field of sports photography, previously difficult with past GFX Series models, the GFX100 II seizes decisive photo moments while preserving the high definition and high image quality synonymous to the large format sensor.
The use of an improved algorithm has evolved the Face / Eye AF and introduced the AI-based subject-detection AF, developed with deep-learning technology to detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones*7. A targeted subject is automatically tracked while kept in focus so that users can focus on shutter opportunities and framing. The evolved predictive AF algorithm provides added ease to users in sports photography, for example, which requires advanced tracking capability to track a subject that moves quickly within the frame.
The camera is equipped with a high-magnification and high-definition 9.44-million-dot EVF with 1.0x magnification. It suppresses parallax and distortion which typically occurs when an eye position becomes displaced while using the viewfinder, thereby providing stellar visibility. The EVF boasts smooth refresh frame rate of approx. 120fps to accurately identify a subject’s fast movements.
*7 Use the “Bird” setting to detect insects and the “Airplane” setting to detect drones.
(2) Broader scope of stills expressions
Improvement to the pixel structure has boosted the new sensor’s saturated electrons, thereby enabling the use of ISO80 as a non-extended sensitivity. When the sensor sensitivity is set at ISO80, the camera can capture images at greater dynamic range and lower noise than with the previous model*8.
The new sensor’s micro lenses are improved to increase light use efficiency at the sensor’s edges, thus improving image quality and AF accuracy at the edges over the previous model.
The GFX100 II comes with a new Film Simulation mode called “REALA ACE,” which offers faithful color reproduction and high-contrast tonality. Users can use from 20 Film Simulation modes to give images a diverse range of distinctive tones, as if they are choosing a suitable photo film.
The camera features the Pixel Shift Multi-Shot function, which enables 4x resolution and faithful color reproduction. The function controls the In-Body Image Stabilization (IBIS) mechanism at the advanced level to shift the image sensor by 0.5 pixel at a time and shoot 16 RAW images in a quick succession. The dedicated software “Pixel Shift Combiner” is then used to combine the 16 RAW files to generate a 400MP image. This is a perfect choice for commercial photography or digital archiving of cultural assets.
*8 When recording at 16-bit RAW
(3) Extensive video performance that caters to the needs of professional video production
This is the first GFX Series model capable of recording 8K/30P video. It can also record 4K/60 4:2:2 10-bit video internally, demonstrating significant improvement in video performance thanks to the use of the new sensor.
Users can film a moving subject naturally due to the increased sensor readout speed and suppression of the rolling shutter effect. The non-extended ISO100 is also available in the video mode to deliver even higher image quality in video footage.
The GFX100 II supports three Apple ProRes*9 codecs, i.e. Apple ProRes 422 HQ, Apple ProRes 422 and Apple ProRes 422 LT. When shooting in Apple ProRes, the camera can use proxy video recording such as Apple ProRes 422 Proxy, which reduces video editing workload to streamline the overall workflow from filming to postproduction.
The camera features Video Format modes, enabling video recording in multiple formats including Premista, 35mm, and anamorphic (35mm) with the mount adapter.
The tracking AF function for video recording has been added. Users can touch the screen to specify a subject to be tracked while filming in the AF-C + Wide / Tracking AF mode. This allows the camera to track the right subject in situations where multiple subjects are in the frame.
This is the first GFX Series camera that features F-Log2 with dynamic range expanded up to 14+ stops*10. This enhancement enables video recording with enriched tonality, thereby broadening post-production potential significantly.
The GFX100 II can output up to 8K/30P 12-bit video in RAW data via HDMI. The camera can record video in the Apple ProRes RAW format when used with the NINJA V+ monitor by ATOMOS, and in the Blackmagic RAW format when used with the “Video Assist 12G” monitor by Blackmagic Design.
The camera supports timecode synch with ATOMOS AirGlu™*11 BT. This enables seamless timecode synching with multiple cameras, meeting demand from various video production sites.
*9 Apple ProRes is a trademark of Apple Inc. registered in the United States and other countries.
*10 When using the F-log2 D Range Priority mode, according to in-house measurement by Fujifilm
*11 AirGlu™ is a trademark or registered trademark of ATOMOS.
(4) Extensive system expandability
The camera body is equipped with an Ethernet port as well as HDMI Type A and USB-C terminals to broaden connectivity with external devices significantly for diverse peripheral combinations.
An external SSD can be connected via USB-C to record stills and video data directly in the external SDD in any mode or format including 4K/60P and 8K/30P*12.
The camera supports the cloud service “Frame.io Camera to Cloud” so that Apple ProRes Proxy files and a variety of other video files can be uploaded directly to Frame.io, thus dramatically streamlining the workflow from shooting to editing.
The camera is equipped with dual card slots supporting CFExpress™ Type B*13 and SD cards. The use of a CFExpress™ Type B card with a fast write speed brings out the full video performance of the GFX100 II.
IPTC meta data*14 can be added to images as they are shot. The meta data can be checked and edited in the digital camera app “FUJIFILM XApp.”
*12 Some of the modes may not be supported depending on the type of SSD. Check Fujifilm’s website for a list of supported SSDs.
*13 Check Fujifilm’s website for a list of supported cards. CFexpress is a trademark or registered trademark of the CompactFlash Association.
*14 IPTC meta data refers to meta data contained in digital images compliant with the standards set by the IPTC (International Press Telecommunications Council).
(5) Hardware that provides powerful shooting support and design that epitomizes functional beauty
The GFX100 II has a new IBIS mechanism. It uses image information to detect camera shake for enhanced stabilization accuracy to achieve up to eight-stop five-axis stabilization performance, the best among Fujifilm cameras. Users can shoot hand-held with ease even in low light situations such as night landscape
The camera body has been designed with multiple improvements over previous models in pursuit for practicality. The new BISHAMON-TEX™*15 texture is used to maximize the camera’s grip when hand-held in various angles. The top panel is slightly slanted toward a user so that camera settings can be checked with minimal eye movement. The sub-LCD monitor at the top is larger than previous models with updated GUI design for enhanced visibility.
The operability of various buttons has been improved, and three Fn buttons with advanced operability have been added to the top of the grip so that users can adapt to change of shooting conditions smoothly.
*15 BISHAMON-TEX is a trademark or registered trademark of FUJIFILM Corporation.
2. Optional accessories
(1) Vertical battery grip “VG-GFX100 II” (designed for the GFX100 II)
This battery grip is dust- and weather-resistant and capable of operating at temperatures as low as -10℃. It can hold two of the large capacity battery “NP-W235.”
Buttons are placed at accessible places for shooting as easily and comfortably as when the camera is held horizontally.
(2) Cooling fan “FAN-001” (designed for the GFX100 II, X-H2S, X-H2 and X-S20)
A cooling fan that assists video filming for extended duration or under high-temperature environment.
It can be attached to the rear side of the camera body and receive power completely cable-free to extend the duration of continuous video filming at high temperatures without concerns of heat-related malfunction.
(3) EVF tilt adapter “EVF-TL1” (designed for the GFX100 II, GFX100 and GFX 50S)
By mounting this accessory between the camera body and EVF unit, the mounting angle of the EVF can be changed to angles from 0°∼90° when shooting horizontally and from -45°∼+45° when shooting vertically. Doing so will allow users to shoot from various angles while using the viewfinder, greatly increasing freedom of camera positions and the range of expressions.
Images
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II with VG-GFX100-II Vertical Battery Grip and Fujinon GF 50mm f/3.5 T LM WR prime lens (40mm equivalent in 35mm). Image courtesy of B&H.
Fujifilm GFX100 II with VG-GFX100-II Vertical Battery Grip. Image courtesy of B&H.
Fujifilm Fujinon GF 30mm f/5.6 T/S tilt/shift lens on Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm Fujinon GF 110mm f/5.6 T/S tilt/shift Macro lens on Fujifilm GFX100 II. Image courtesy of B&H.
Fujifilm GFX100 II with Fujinon GF 32-64mm f/4.0 R LM WR lens. Image courtesy of B&H.
Fujifilm GFX100 II with Fujinon GF 45-100mm f/4.0 R LM OIS WR lens. Image courtesy of B&H.
Fujifilm GFX100 II with Fujinon GF 100-200mm f/5.6 R LM OIS WR lens. Image courtesy of B&H.
Videos
FUJIFILM GFX100 II Promotional Video / FUJIFILM
“More than Full Frame
New beginnings don’t start with taking new steps, they start with moving in new directions. And every new GFX System camera has taken a direction that has redefined what it means to be More Than Full Frame. From its unparalleled image quality, to its overall mobility, the boundaries of large format imaging have continually been reimagined with every new iteration. GFX100 II continues this tradition by bringing unprecedented high-speed performance, expanded video capabilities, and lightning fast autofocus to a growing list of accolades that professionals everywhere have come to rely on from GFX System cameras. If it’s time to find some direction, discover one to new opportunities with GFX100 II.”
FUJIFILM GFX100 II Key Features for video recording / FUJIFILM
“Learn video recording key features of GFX100 II.”
Links
B&H Affiliate Link – Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
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