Overview, Fujifilm Fujinon Lenses

Fujinon prime and zoom lenses are the crown jewels of Fujifilm’s digital stills photography offerings. Fujifilm has a long history as maker of excellent quality lenses for movie productionbroadcast television, military binoculars, security, machine vision and factory automation, and all types of  highly demanding custom applications

Fujifilm makes lenses for other famous photography brands, most notably Hasselblad, but Fujifilm’s own XF and XC Series lens roadmap is already large and growing, with plenty of room for improving older offerings and offering new lenses to fill in the gaps.

Especially the gaps in lenses suitable for video shooters. Fujifilm currently offers a handful of suitable lenses but I hope there is some substance to the rumor that the company’s optical designers are working on lenses more suited to moviemakers’ more specialist demands.

Meanwhile, there is a saying in the movie industry, that it takes 12 months to learn the characteristics of one lens, so relatively short tryouts like some of these should be taken at face value.

This list of Fujinon lenses is a work-in-progress as I manage to borrow and try out prime and zoom lenses from for Fujifilm’s X-Pro2 and X-T2 APS-C cameras so please come back every so often as I fill in the gaps.

Prime Lenses

_2230619_hdrXF 14mm f/2.8 R

I fell in love with the XF 14mm f/2.8 when I began photographing local homes and found its wide field of view perfectly encompassed house, outbuildings, front yard and fences left and right while making it feel as if I was standing right there on the threshold.

I quickly came to appreciate its clutch manual focussing that goes from 0.18 of a metre to infinity with a quarter turn, excellent for technical genres like architecture, interiors and close-up product photography and video.

Gallery:

The 14mm f/2.8’s clutch focus also works well when rigging up an X-T2 for video with cage, rod riser and follow focus.

The XF 14mm f/2.8 is equivalent to 21mm in 35mm format, a very effective focal length for scene-setting wide shots in stills photography as well as video.

As with all wide-angle lenses, take care when placing people within the frame, whether 16:9 for video or from 1:1 to 3:2 for stills lest faces and feet become unnaturally distorted.

If optical exaggeration is your aim, though, you will be amply rewarded by the way the 14mm f/2.8 encompasses its wide field of view while maintaining excellent optical correction.

When so many contemporary lenses require post-processing  compensation for optical imperfections, it is so refreshing that the XF 14mm f/2.8 R has no need for correction in software with straight lines remaining straight instead of bowed outwards.

Until trying out the Fujinon XF 14mm f/2.8 R, I thought I could do without lenses at the wide end of the focal length scale.

Now I know better. Consequently, this lens is near the top of my wish list.

Fujifilm product page:

XF 16mm f/1.4 R WR

Although I’ve yet to have the pleasure of trying out this lens, based on the qualities of its adjacent wide-angle stablemate, the XF 14mm f/2.8 R, I am very much looking forward to doing so.

Like the 14mm f/2.8, the 16mm f/1.4 has a clutch focussing mechanism for manual focus and takes a quarter turn to focus from 15cm to infinity, making it useful for focus-pulling in cinematography as well as critical focus in stills photography.

Its optical array ensures rapid autofocus and its weather resistance is a boon for photojournalists and documentary photographers who must get the shot regardless of the weather.

With a 35mm format focal length equivalence of 24mm, the Fujinon XF 16mm f/1.4 R WR has a place in prime lens collections for many types of stills photography and video, with its wide maximum aperture of f/1.4 a bonus when shooting in available darkness.

Fujifilm product page:

_2230421_hdr_squareXF 18mm f/2 R

The Fujinon XF 18mm f/2.0 R lens is one of the first three lenses Fujifilm released with the X-T1 camera back in 2012, and I would dearly love it to be upgraded in line with its wide-angle stablemates, the 14mm, 16mm and 23mm primes. 

The XF 18mm f/2.0’s 35mm format equivalent focal length, 28mm, was my second most relied-on prime lens during Leica M rangefinder days, especially when needing to be immersed in the middle of the action but without unduly exaggerating the shape and size of objects and people near and far.

Gallery:

I’d really like to see Fujifilm issue a new version of this lens with weather resistance, clutch manual focus, far less focussing motor noise, selectable click-less focus for video and rear autofocus as with the XF 23mm f/2.0 R WR and XF 35mm f/2.0 R WR and without the rough plasticky feel of the current version’s aperture encoder ring.

If such a redesign demands slower maximum aperture to ensure all these features and a front diameter that doesn’t occlude the OVF too much, like f/2.8, then so be it. I can accept that given the sort of deep space images I make with the 18mm focal length demand narrower apertures such as f/8 in sunlight or /5.6 in shade.

I do so love this focal length! But the mechanics of the Fujinon XF 18mm f/2.0 R are a disappointment and I found it irritating at best when trying to make the types of images for which I really need this focal length.

The XF 18mm f/2.0’s slow autofocus lost me far too many decisive moments, the front element’s constant noisy zipping to and fro affected my finger-on-lens-hood grip on it and after a few too many lost shots I felt taxed by it all.

Instead of immersing myself in crowds often centimeters away from the closest face, I had to step back, pre-focus and hope for the best, a tactic that works best for more static shots than those I want to make with this lens.

I am in two minds about adding the Fujinon XF 18mm f/2.0 R to my wishlist. It is a lens that I would buy if I had to, not because I want to.

What a dilemma.

Fujifilm product page:

_2230431_hdr_squareXF 23mm f/1.4 R

The Fujinon XF 23mm f/1.4 R is Fujifilm’s answer to one of photojournalism and documentary photography’s most in-demand medium wide-angle lenses, a fast 35mm focal length in 35mm format terms.

It was a no-brainer for me to choose this as the very first lens for my X-Pro2. Experience with similar focal lengths in other camera systems during the analog era taught me that if you could only carry one lens for a wide range of subjects then this would be it.

Gallery:

Given its bokeh-inducing maximum aperture of f/1.4 and its moderate width, the XF 23mm f/1.4 R easily handles a broad range of subject matter and photographic genres.

The XF 23mm f/1.4 R’s sharpness and great optical correction leads to beautiful rendering with the only downside is its size and weight, occluding lower right in the X-Pro2’s OVF.

It is not the fastest autofocussing prime in the Fujinon stable and neither is it water resistant, thus room for improvement in a future version, but 23mm is one of the most essential focal lengths for stills and video in my experience.

Fujifilm product page:

_2230426_hdr_squareXF 23mm f/2.0 R WR

The very first lens I bought for my first 35mm rangefinder camera was Leica’s equivalent of this lens, their 35mm Summicron f/2 and it is similarly small and fast to use.

Digital photography places extra demands on lenses compared to the analog variety. Specifically, autofocus, and the XF 23MM F/2.0 R WR is one of the fastest autofocusing prime lenses in the Fujinon collection, making it a perfect match for the X-Pro2, which is so much an on-location documentarian’s camera.

Gallery:

Had the XF 23mm f/2.0 been available when I purchased my X-Pro2, I may have been sorely tempted given its size and focus speed, but I do love the feeling that my 23mm f/1.4 can handle just about any lighting situation.

When I expand my camera and lens collection to better handle increasing work demands, though, the XF 23MM F/2.0 R WR will be high up on my wishlist.

If there is one thing I learned during my corporate and magazine photography career shooting in all sorts of difficult locations and light conditions, it is that you should carry two versions of your most-used focal length along with two of your most crucial types of cameras, given the very real risk of loss or damage.

Reports from other users indicate that using this lens close-up and at wide open aperture should be avoided but I found that it handles working fast, under normal to low light, with fast-moving subjects, beautifully and it is a real pleasure to use.

Fujifilm product page:

_2230416_hdr_squareXF 27mm f/2.8

One of my favourite cameras that I never managed to actually own during the analog era was the Leica CL, sold with its very own interchangeable 40mm f/2.0 lens, later revamped by Minolta under the moniker of Minolta CLE, again with a 40mm f/2.0 lens as standard.

Both versions of essentially the same little rangefinder camera offered 28mm and 90mm lenses as optional extras, forming a core triad of focal lengths able to cover most average documentary photography needs in the same way that the grown-up Leica M-System offers 28mm, 35mm, 50mm and 75mm or 90mm lenses as its core optical quartet.

Gallery:

Fujfilm’s 27mm f/2.8 equates to Leica and Minolta’s 40mm lenses, with the rationale for that focal length being that 40mm is a “perfect standard” lens.

The reason for this is, according to Ken Rockwell, that 40mm is about the diagonal measure of 35mm film frame in stills photography and that 50mm just happened to be the focal length of the lens sitting in the workshop when Oskar Barnack kludged the very first  Leica camera in 1918.

The 50mm focal length in 35mm film format always seemed a little too long as a standard lens to me, more like a very short telephoto, and I used it mostly for portrait or vertical orientation head-and-shoulders portrait photographs than as a general purpose go-anywhere optic.

The Fujinon XF 27mm f/2.8, on the other hand, feels more comfortable to me as a standard, that is, not-too-wide, not-too-long, lens for everyday carrying and that is reinforced by its small size, light weight, rapid autofocus and relative affordability.

Since waking up to the virtues of the 27mm-in-APS-C/40mm-in-35mm focal length, I have learned that its Micro Four Thirds (MFT) equivalent of 20mm is also favoured by a number of photojournalists such as David Burnett.

And Hollywood feature film directors. According to Premium Beat’s blog post, Francis Ford Coppola shot most of The Godfather on 40mm though in what film format is unspecified.

All 40mm equivalent lenses I have comes across so far, whether in MFT, APS-C or 35mm format, have been pancake lenses often minus aperture ring and usually without manual clutch focus and focusing scales.

Pancake lens designs rule out manual focus-pulling but all 20/27/40mm autofocus pancake lenses are reported to be incredibly sharp, and the XF 27mm f/2.8 is no exception.

Intriguing.

Fujifilm product page:

XF 35mm f/1.4 R

The Fujinon XF 35mm f/1.4 was one of the first three prime lenses released by Fujifilm to go with the X-Pro1 and I suspect was the most popular of the three. The 35mm focal length – 50mm in 35mm format terms – is the lens most often recommended to beginning photographers as their very first prime lens. 

I beg to differ. I would not recommend either Fujinon 35mm lens, no matter how excellent they are, as one’s very first lens and dispute the common justification of this focal length as being most similar to human vision.

If that qualification has any validity then the XF 27mm f/2.8 would be a better choice, or wider yet, the XF 23mm f/1.4 R or its smaller sister the XF 23mm f/2.0 R WR.

I have not tried the XF 35mm f/1.4 R lens out yet, so have little useful to say about it other than that I have read much praise for its unique character.

If Fujifilm is to update this lens, and I hope they do, then it should be with quarter-turn clutch manual focus, optional aperture declicking, weather resistance and faster autofocus speed than reported for this first version.

In fact, those features should be standard on all Fujinon prime lenses bar those that are intended as fast-autofocusing snapshot primes for the X-Pro series or small, unobtrusive pancake lenses.

Fujifilm product page:

XF 35mm f/2.0 R WR

Fujifilm’s Fujinon XF 35mm f/2.0 R WR lens was the first in a series of lenses designed to assert the unique needs of rangefinder cameras and it was the lens kindly supplied with an X-Pro2 review before I bought my own copy of that remarkable camera. 

Like the XF 23mm f/2.0 R WR, it is weather resistant, has a sturdy aperture ring and the same narrow filter diameter of 43mm ensuring it does not intrude appreciably into lower right of the X-Pro2’s hybrid multi viewfinder.

Gallery:

According to Fujifilm’s Fujifilm X-Series website, the XF 35mm f/2.0 was designed side-by-side with the X-Pro2 “to be the best match for each other”, a camera and a lens “for snap shooters”.

Although I much prefer wider focal lengths than 35mm – 50mm in 35mm format – for snapshot photography, I found this to be a remarkable lens when considered as a very short telephoto.

The Fujinon XF 35mm f/2.0 R WR has a place on my documentary photography hardware wishlist for its fast autofocus, small size, optional vented Leica-style lens hood, solid build and sheer rangefinder-style chutzpah when bayoneted onto the X-Pro2.

Fujifilm product page:

_2230437_hdr_squareXF 56mm f/1.2 R

The Fujinon XF 56mm f/1.2 R prime was the second lens to go on my wishlist after the XF 23mm f/1.4 R, and it is more than a match for the short telephoto portrait lenses I have used on a range of analog cameras during my pre-digital career. 

In fact I have yet to push this lens to the edge of  its ability to render faces, skin and eyes with beauty and a sense of being right there with my subject, in their presence.

Gallery:

When gearing up for this brave new digital world, I chose continuous LED lighting over flash for stills because I am after an organic feel, not a clinical one.

During my flash years, I used all sorts of filters and light-shaping devices to take the hard edge off and now my solution is to use the edge of the light and stop down slightly to limit the lens’ depth of focus.

What positively needs to be sharp renders sharp, and the rest falls into sensuous defocus if not outright bokeh.

The Fujinon XF 56mm f/1.2 R does a fine job as a documentary and landscape lens too, whether tripod-mounted in low light, handheld for shooting at higher shutter speeds and stopped-down apertures or a little blurry and shakey for woozy subjects in the midst of celebrations.

An excellent short telephoto all-rounder as well as a full-face and head-and-shoulders portrait specialist, sharp where you want it and fuzzy where you don’t.

Fujifilm product page:

XF 56mm f/1.2 R APD

There is one crucial difference between the Fujinon XF 56mm f/1.2 R APD and its more affordably-priced 56mm sibling above, the acronym APD which stands for apodization

I experienced apodization briefly, for the duration of one snapshot, and although the result below is far from the best illustration of its effect, the blurred background highlights and darks hint at its possibilities.

For a better idea of apodization’s benefits and other the XF 56mm f/1.2 R APD’s price is justified, nothing better than a side-by-side comparison and few do it better than Fuji vs. Fuji at This is a comparison between Fuji’s 56mm f/1.2 and their 56mm f/1.2 APD (apodization filter).

Gallery:

_dsf6427_afphoto_1920px

Fujifilm product page:

XF 60mm f/2.4 R Macro

Fujifilm product page:

XF 90mm f/2 R LM WR

Fujifilm product page:

Zoom Lenses

I have a confession. Until I took up digital photography and moviemaking, I had almost never used zoom lenses. My carefully-selected, none-too-large, sets of lenses for each film format in which I worked proved broad enough to cover most of what I needed to do.

Then as now, it was uncommon for Australian photographers to specialize as much as I did, but my background in documentary and art photography persuaded me it was best to stick with the genres I loved best and dive deep into the myriad possibilities prime lenses offer.

I rarely used Single Lens Reflex (SLR) cameras, preferring quirkier choices like 35mm and 120 format rangefinder cameras, or 4″x5″ and larger sheet film cameras, none of which used zoom lenses.

Digital video changed all that for me and I have embraced zoom lenses, with reservations. I still prefer carrying a small selection of excellent primes but am happy to use fast, versatile, well-made zooms when speed of use and weight is an issue and especially when shooting documentary videos.

Zoom lenses, being multi-focal, involve compromises in optical design and maximum aperture, and all require optical correction in software. Sometimes that can be an issue, especially in video footage that can’t be software corrected like photographic raw files.

XF 10-24mm f/4 R OIS

The XF 1o-24mm f/4 R OIS was the first Fujinon zoom lens I tried, mounted on a review loaner X-T1, and it was seriously impressive having access to all those wide angle focal length in one lens. 

It is not the heaviest nor largest of lenses but there were times I would have liked a VG-XT1 vertical battery grip for better handling and balance against the weight of the lens up front.

Some XF 1o-24mm f/4 R OIS owners have expressed hope for a future revision of this lens gaining a faster maximum aperture. For shooting video, certainly, but I found that the lens’ focal length choice outweighed a desire for, say, an f/2.8 constant maximum aperture for the non-available-darkness photographs I shot with it.

A faster version may well be a larger, heavier version so weigh that up against Fujifilm’s good selection of faster wide-angle primes fitting within the XF 1o-24mm f/4 R OIS’s 15mm to 36mm 35mm format equivalent focal length range – in other words, from the XF 14mm f/2.8 R through to the XF 23mm f/2.o R WR.

If an XF 1o-24mm f/4 R OIS update to boost its maximum aperture to f/2.8 is a pipe dream, consider adding some fast wide primes for those available darkness handheld moments.

Meanwhile I’ll dream a little of bayonetting this amazing wide-angle zoom onto a battery grip-equipped X-T2 for further exploration of what all those focal lengths might bring to the picture-making equation.

Gallery:
Fujifilm product page:

XF 16-55mm f/2.8 R LM WR

Fujifilm product page:

XF 18-55mm f/2.8-4 R LM OIS

Fujifilm product page:

_2230649_hdr_squareXF 18-135mm f/3.5-5.6 R LM OIS WR

In my opinion the best way to tote about a zoom lens is attached to a DSLR-style EVF camera equipped with a vertical battery grip because you want the fastest, most sophisticated autofocus and the best grip and stability. 

Granted, the X-Pro2’s hybrid multi viewfinder and its choice of OVF-only, OVF-plus-ERF or EVF-only is perfectly feasible when shooting with zooms but the X-T2’s advanced autofocus settings is a perfect match for the zoom lens aesthetic.

Gallery:

I am not a sports or wildlife photographer nor have I had the chance to travel lately, so my next-best chance to put this lens to the test was cover a day-long event in a local park.

More zoom-oriented photographers have described the Fujinon XF 18-135mm f/3.5-5.6 R LM OIS WR as a travel zoom and that makes sense given its long focal length range in its 35mm format equivalent is 28mm to 202mm, ample to cover most situations one would encounter on those trips of a lifetime.

Balanced up front of an X-T2 equipped with a Vertical Power Booster Grip VPB-XT2, this lens performed fast and well, especially in boost mode though I didn’t tax it by shooting in continuous autofocus.

I have used  the Fujinon XF 18-135mm f/3.5-5.6 R LM OIS WR on an X-T2 minus vertical battery grip and it was equally easy to handle.

Colour me impressed and eager now to try out other Fujinon zoom lenses with X-T2 plus battery grip, to broaden my DSLR-style experiences and possible range of subject matter, photographic genres and available light or more likely available darkness.

And lest we not forget video, the XF 18-135mm f/3.5-5.6 R LM OIS WR has built-in optical image stabilization to help counteract its slower maximum apertures, especially at the long end.

Fujifilm product page:

XF 50-140mm f/2.8 R LM OIS WR

Fujifilm product page:

_2230442_hdr_squareXF 50-200mm F3.5-4.8 R LM OIS

The Fujinon XF 50-200 f/3.5-4.8 R LM OIS is an excellent introduction into the world of long telephoto zoom lenses specially suited to wildlife photography and human-watching at long distance with its 75mm to 300mm 35mm format equivalent range. 

It weighs about the same as the XF 18-135mm f/3.5-5.6 R LM OIS WR travel zoom lens while adding 65mm onto the long end and would make a great companion for a zoom lens whose focal lengths it doesn’t overlap much, say the XF 18-55mm f/2.8-4 R LM OIS or XF 16-55mm f/2.8 R LM WR.

Gallery:

I tried this lens out on an X-Pro2 and a vertical battery grip-equipped X-T2 and the latter was the clear winner for balance, gripability and, a real boon for wildlife photography where sharp-focussed shiny eyes are an asset,  its EVF’s wonderful Dual mode.

My experience with the Fujinon XF 50-200 f/3.5-4.8 R LM OIS zoom lens has got me thinking about a different way of photographing in crowds from my customary immersive wide-angle prime lens method. Now to find the location, the people and the best way of approaching such a project.

Fujifilm product page:

XF 100-400mm f/4.5-5.6 R LM OIS WR

Fujifilm product page:

Teleconvertors

XF1.4X TC WR

Fujifilm product page:

XF2X TC WR

Fujifilm product page:

Lens Set Recommendations

In an ideal world every camera store would be like the Tokyo megastores that Paul Leeming of Visceral Psyche Films described to me when he was testing the Fujifilm X-T2 and X-Pro2 at my home studio for new versions of his Leeming LUT One

Apparently customers can borrow a lens for a day and get a real feel for how it will perform shooting their usual subject matter under their customary conditions. After doing that for a range of lenses they are in a good position to compile an ideal set.

Great for customer and for retailer. Paul told me that this loaner service is available for all sorts of photographic and moviemaking equipment.

In the absence of such a sensible solution, the best we can do is read recommendations like these. While I haven’t used all the Fujifilm lenses listed, I have owned or used similar focal lengths in the past, and I have commissioned and produced famous photographers and taken note of their photography kit.

I hope this helps!

Architecture and Interiors – Primes:

  • XF 14mm f/2.8 R, XF 16mm f/1.4 R WR

Architecture and Interiors – Zooms:

  • XF 10-24mm f/4.0 R OIS

Close-Up, Macrophotography – Primes:

Macrophotography and other forms of close-up photography seem to have been traditionally carried out with standard to short telephoto focal length lenses that have the added trait of focusing extremely close.

I encountered close-up photography as an art student via Nikon’s 55mm and 105mm Micro-Nikkor lenses, but macrophotography never really became my thing. Until now and the increasing need to make product shots for this and other articles.

Although my close-up and macrophotography experience is limited, I tend to prefer wider lenses for a feeling of being right in there with the subject.

Both of Fujifilm’s close-up lenses are on the longer side but I do hope they will be looking into wider close-up lenses in future. Perhaps something along the lines of the intriguing Laowa 15mm f/4 Wide Angle 1:1 Macro lens by Chinese manual lens maker Venus Optics.

  • XF 60mm f/2.4 R Macro
  • XF 80mm f/2.8 R LM OIS WR Macro – due for release in 2017.

Documentary, Photojournalism, Street, Travel, Wedding – Primes:

  • XF 23mm f/2.0 R WR – the first focal length I buy for any new camera system and one of the most versatile.
  • XF 23mm f/1.4 R or XF 23mm f/2.0 R WR, XF 56mm f/1.2 R – the classic medium wide, medium long documentary combo.
  • XF 18mm f/2.0 R, XF 23mm f/1.4 R or XF 23mm f/2.0 R WR, XF 56mm f/1.2 R – add an 18mm when you need to be right in the middle of events.
  • XF 18mm f/2.0 R, XF 23mm f/1.4 R or XF 23mm f/2.0 R WR, XF 27mm f/2.8 or XF 35mm f/1.4 R or XF 35mm f/2.0 R WR, 56mm f/1.2 R – my full lens set for rangefinder cameras on two-camera shoots where one lens must be wider and one longer.

Fashion – Primes:

  • XF 56mm f/1.2 R, XF 90mm f/2.0 R LM WR

Fashion – Zooms:

  • XF 16-55mm f/2.8 R LM WR, XF 50-140mm f/2.8 R LM OIS WR

Portraiture – Environmental, Head-and-Shoulders, Full-Face – Primes:

  • XF 23mm f/1.4 R or XF 23mm f/2.0 R WR, XF 35mm f/1.4 R or XF 35mm f/2.0 R WR, XF 56mm f/1.2 R or XF 56mm f/1.2 R APD, XF 90mm f/2.0 R LM WR

Portraiture – Environmental, Head-and-Shoulders, Full-Face – Zooms:

  • XF 16-55mm f/2.8 R LM WR, XF 50-140mm f/2.8 R LM OIS WR

Sports, Wildlife – Zooms:

  • XF 50-200 f/3.5-4.8 R LM OIS
  • XF 50-140mm f/2.8 R LM OIS WR, XF 100-400mm f/4.5-5.6 R LM OIS WR
  • Add Tele Convertor XF 1.4X TC WR and Tele Convertor XF 2X TC WRE as needed.

Travel – Zooms:

The prime requirements for travel zooms are that they should be lightweight and include a reasonable range of range of focal lengths. OIS is handy for shooting videos handheld and when low light photography requires long shutter speeds.

  • XF 18-55mm f/2.8-4 R LM OIS
  • XF 18-135mm f/3.5-5.6 R LM OIS WR

Video – Primes:

Many cinematographers favour sets of well-spaced prime lenses matched for colour and other optical characteristics. For example, the Veydra Mini Prime lens collection for Micro Four Thirds cameras comprises 12mm, 16mm, 19mm, 25mm, 35mm, 50mm and 85mm lenses.

In Fujifilm’s Super 35/APS-C terms, that is roughly equivalent to 16mm, 21mm, 26mm, 33mm, 46mm, 67mm and 113mm. In 35mm terms, it approximates to 24mm, 32mm, 40mm, 50mm, 70mm, 100mm and 170mm.

So far only the 14mm, 16mm and 23mm lenses below have manual clutch focussing from close to infinity within a quarter turn, while none have selectable declicking, but I hope Fujifilm considers adding both video-oriented features to future versions of these and others now that it is taking video more seriously.

  • XF 14mm f/2.8 R, XF 16mm f/1.4 R WR, XF 23mm f/1.4 R, XF 35mm f/1.4 R, XF 56mm f/1.2 R, XF 90mm f/2.0 R LM WR

Video – Zooms:

Zoom lenses are more appropriate in run-and-gun documentary moviemaking when you don’t have the time to stop and change prime lenses. In-lens Optical Image Stabilization (OIS) can help avoid to shakeycam but don’t become too reliant on OIS.

  • XF 10-24mm f/4.0 R OIS, XF 18-55mm R LM OIS, XF 50-140mm f/2.8 R LM OIS WR
  • XF 10-24mm f/4.0 R OIS, XF 16-55mm f/2.8 R LM WR, XF 50-140mm f/2.8 R LM OIS WR