Will Fujifilm Update Its X-E Rangefinder-Style Camera Line With X-E4 in First Quarter, 2021?

The answer would appear to be yes, if Fuji Rumors’ ever-dependable sources prove correct in stating that an X-E4 announcement will be coming sometime in January to March 2021. 

Fujinon XF 10-24mm f/1.4 R OIS WR on Fujifilm X-T4. This new version gains an aperture ring and weather resistance though optics remain the same. Image courtesy of Fujifilm Australia.

That announcement may well be coupled with one for the Fujinon XF 27mm f/2.8 R Mark II 40mm equivalent prime lens with an aperture ring that was missing from the current XF 27mm f/2.8, potentially making Mark II more suitable for video production.

With ongoing improvements in its cameras’ video support, Fujifilm needs to produce new lenses and updated older ones so they better support video production, and aperture rings are one of those much-needed video capabilities.

It remains to be seen whether the new XF 27mm f/2.8 will be a pancake design like its predecessor, a Fujicron-style lens like the XF 16mm f/2.8 R WR, 23mm f/2.0 R WR, 35mm f/2.0 R WR and 50mm f/2.0 R WR primes or a Fujilux-style lens like the coming XF 18mm f/1.4 R WR and its older siblings the 14mm f/2.8 R and 16mm f/1.4 R WR.

I was fortunate enough to be loaned a Fujifilm X-E3 along with three Fujicron lenses by Fujifilm Australia in March 2018, and it was an excellent introduction into the brand’s digital rangefinder-style cameras, as opposed to its digital rangefinder cameras in the X-Pro series.

The legendary Contax AX 35mm analog film single lens reflex camera of 1996, made by Kyocera.

Both styles of cameras appear to be less popular amongst most Western Fujifilm camera buyers than the company’s DSLR-style X-mount mirrorless cameras in the X-T and X-H series with their Contax SLR-like form factors and the lingering influence of the heavy marketing during the 1980s and 1990s of SLR analog cameras as the standard for enthusiasts looking to upgrade from rangefinder compact cameras.

Being a bucker of trends by nature, I used mostly rangefinder cameras for film formats from 35mm through to 4″x5″ though I retained a couple of reflex cameras for when the job demanded it.

My experience with the Fujifilm X-E3

Fujifilm’s “Fujicron” fast, compact prime lens collection as of February 2019 comprising the Fujinon XF 16mm f/2.8 R WR, Fujinon XF 23mm f/2.0 R WR, Fujinon XF 35mm f/2.0 R WR and Fujinon XF 50mm f/2.0 R WR lenses. Images courtesy of Fujifilm Australia.

I had briefly picked up an X-E3 at a Fujifilm Australia People With Cameras event several months before and had questions about the camera’s electronic viewfinder aka EVF, its round-corner styling, slightly slippery black body covering and reduced size compared to its X-E1, X-E2 and X-E2S predecessors.

When the kind offer to borrow one came along I accepted immediately and the three “Fujicron” lenses were a surprise bonus.

I had used a Fujinon XF 23mm f/2.0 R WR to make the photographs in A Walk Around Chatswood in Sydney on November 5, 2016 and the XF 35mm f/2.0 R WR during my tryout of the X-Pro2 that resulted in investing in my own along with an XF 23mm f/1.4 R and XF 56mm f/1.2 R.

The 50mm “Fujicron” had fascinated me since its announcement so I appreciate being able to give it a good tryout in the field and compare its performance against the older, slower-to-use XF 56mm f/1.2 R.

While the 56mm has its virtues as a portrait lens, it can be challenging for fast-moving documentary photography whether used in autofocus or manual focusing modes.

I tend to gravitate to wide-angles for documentary work but good storytelling benefits from narrower lenses when close-up details can counterpoint  the broad sweep of wider scenes.

Fujinon XF 50mm f/2.0 WR R “Fujicron” prime lens, equivalent to 75mm in the 35mm sensor format. Image courtesy of Fujifilm Australia.

The 50mm’s autofocus works quickly and reliably, though I used it more in manual mode with back button focus as I was unfamiliar with the lens’ depth of focus at various apertures and wanted at least one plane of focus dead sharp.

Even wide open at f/2.0 or stopped down a little, the 50mm f/2.0 R WR rendered the main figures in the image impressively sharply and the background subjects with just enough detail to provide context via similarities and differences from the prime subject.

I prefer primes to zoom lenses though I have several zooms in another camera system when needing close-ups and long shots.

Fujifilm X-E3. Image courtesy of Fujifilm Australia.

Mixing and matching shots made with different camera systems can be challenging given my preferred raw processing software, DxO PhotoLab and its plug-ins DxO FilmPack and DxO ViewPoint, does not support Fujifilm’s X-Trans raw files so I have been looking for more Fujifilm lenses and adapted lenses to add to my kit to enable processing all my files from any project in the one raw processor.

Years of relying on rangefinder cameras in fast-moving situations where I often needed to be next-to invisible trained me into visualizing a frame around my subject, stepping up to the best vantage point, raising the camera to confirm the accuracy of my framing then during the shutter, all in a matter of micro-seconds.

Fujifilm MHG-XE3 Metal Hand Grip, highly recommended for secure grip of the Fujifilm X-E3 camera. Image courtesy of Fujifilm Australia.

Little to no lingering over the scene through my viewfinder before making a decision much less an exposure, even when making portraits.

Those rapid-fire skills came in handy with the X-E3 as I found its small, 90%-coverage electronic viewfinder aka EVF more challenging than I would have liked.

I dislike cropping, preferring tight image design unless shooting for a layout, and it helps to see everything the sensor records.

Another challenge came in holding the X-E3 securely and tightly due to its slick-feeling black body covering, rounded corners and minimalist built-in handgrip.

Fujifilm X-E1, X-E2 and X-E3. Image courtesy of Compact Camera Meter.

The X-E series’ cameras have shrunk over the years but surely it could afford to grow a little back towards the size of its predecessors if needed.

I always like to have two cameras of any system I own in case one goes down on the job or more likely when I need to use it in my customary two-camera, two-lenses mode.

Both cameras don’t need to be the same model but to work in similar ways, and so after investing in my X-Pro2, I wondered whether the X-E series might present a suitable companion camera.

In-shop tryouts of the X-E2 and X-E2S revealed problems with their EVFs so I would love to see that feature improve in the X-E4 as well as other features listed below.

Shot with Fujifilm X-E3 and Fujinon XF 50mm f/2.0 R WR

The full photo gallery of images mostly shot with the X-E3 and XF 50mm f/2.0 R WR with some made with two other “Fujicron” lenses is available at Walking Around Sydney CBD During Several Days in March, 2018.

What do I want to see in the Fujifilm X-E4?

  • In-body image stabilisation (IBIS).
  • Closer to 100% EVF coverage rather than 90+%.
  • Deeper rubber eyecup for easier shooting in brilliant sunlight.
  • Better built-in grip.
  • Optional metal hand grip.
  • Weather resistance (WR).
  • X100V-style tilt-screen.
  • Metal rather than plastic body.
  • Less shiny body covering.

Most likely the X-E4 will have a subset of those but we can live in hope!

In conclusion…

Despite the Fujifilm X-E3 lacking those features above, I thoroughly enjoyed using it over the course of several days in the city, and the three Fujicron lenses suited it well.

Camera and lenses fit my smallest Think Tank Photo camera bag perfectly and I barely noticed their combined weight despite having ongoing problems while wearing shoulder bags of all sizes and weights.

That ease of carrying ensured I got into the zone quickly each day and that visual and psychological high lasted for hours each time, resulting in the large set of images published in this site’s Photo Galleries page.

The Fujinon XF 50mm f/2.0 R WR was particularly pleasurable to use and I could easily have used it only had I not wanted to give the X-E3 a thorough tryout in a range of circumstances.

If I had to reduce that kit of three lenses down to just two for typical outdoor documentary projects, I would make it the 50mm f/2.0 along with the 18mm f/2.0 R but I am looking forward to seeing what Fujifilm comes up with when it reveals the XF 18mm f/1.4 R WR next year which, if it follows the Fujilux design style, may well be a great option for video as well as stills.

I would have loved it, though, if the current 18mm f/2.0 lens were to be updated in the Fujicron design style, making it eminently suitable for use on Fujifilm’s smaller as well as digital rangefinder and rangefinder-style cameras with the coming 18mm f/1.4 better suited to the larger X-T and X-H DSLR-style camera bodies with or without vertical battery grips.


Fuji Rumors: BREAKING: Next Fujinon X Mount Roadmap to Include Fujinon XF 18mmF1.4 WR – Commentary


“… And I also confirm what I just published today: a new XF18mm f/1.4 will be added to the next X mount roadmap.”

Fujinon XF 18mm f/2.0 R prime lens. Old design and quirky optical and mechanical design and manufacturing.


Leica Summilux and Summicron lenses from 21mm through to 90mm for Leica M-System rangefinder cameras. Leica worked out an optimum well-spaced focal length collection years ago and it remains a guide for other lens makers. Divide these focal lengths by a factor of 1.5 for their equivalents for APS-C/Super 35 cameras like Fujifilm’s X-Series.
Fujifilm X-Pro1 with Fujinon XF 35mm f/1.4 R, Fujinon XF 18mm f/2.0 R and Fujinon XF 60mm f/2.4 Macro prime lens, the first set of Fujinon XF lenses released by Fujifilm in March 2012.

This is fantastic and completely unexpected news if the rumour proves true.

I and many others have been requesting a professional-quality update to Fujifilm’s original 18mm f/2.0 R from the company’s very first set of Fujinon XF prime lenses eight years ago.

Contacts at Fujifilm Australia confirmed this each time I asked them in person, telling me that an 18mm is the most-requested lens update of all.

Despite the 18mm focal length being a decades-long staple for documentary photographers and photojournalists in its 35mm sensor format equivalent of 28mm, I have been in two minds about Fujifilm’s 18mm ever since trying it out back in 2012 on an X-Pro1 at the sadly long-deceased Foto Reisel pro retail store in Sydney.

I had been waiting for the rumoured Fujifilm interchangeable lens camera ever since buying an X100 the year before, but I passed on the X-Pro1 due to the camera’s then lack of a diopter correction solution as well as other issues.

There are more than just neck straps these days. Peak Design Cuff Camera Wrist Strap (Charcoal).

After making some test exposures in the store with the 18mm and 60mm lenses, I resolved to come back for another look when the X-Pro1’s successor appeared along with more lenses.

I am very familiar with both lenses’ 35mm equivalents, 28mm and 90mm, from my Leica M-Series analog rangefinder camera days and often relied on this combination in a two-camera, two-lens set-up for fast documentary and photojournalism work in the field.

How I managed to carry this rig on two conventional camera straps around my neck I will never know, given how time has taken away my ability to carry anything much around my neck anymore.

Thank you, Peak Design and Think Tank Photo, for offering us completely new ways of carrying our gear via straps, belts, harnesses, bags and backpacks.

The Olympus M.Zuiko Pro professional prime and zoom lens collection as of late 2017, all with the best manual clutch focus, invaluable for fast, accurate and repeatable manual focusing as well as linear focus-by-wire and autofocus.

The X-Pro2 took its time to show up and meantime I had invested in a Panasonic Lumix M43 camera due to the larger collection of lenses and brands of them available for it, and particularly its video capabilities.

Fujifilm X-Photographer Kevin Mullins’ documentary-style work with the X-Pro1 then X-Pro2 and the Fujinon XF 23mm f/1.4 R and XF 56mm f/1.2 R was interesting and I noted that he sometimes used the 18mm, but each time I borrowed one its performance in available darkness was less than stellar, and it was noisy.

My medium wide-angle benchmark was high, a Leica Elmarit-M 28mm f/2.8 from the 1980s, and I found the equivalent Fujifilm 18mm wanting though it performed well enough when stopped down to f/5.6 and f/8.0 for use in brilliant sunlight.

I was less impressed with the XF 18mm f/2.0 as an all-round default documentary and photojournalism lens attached to my X-Pro2 and so the XF 23mm f/1.4 R assumed that role when needing to carry just one lens and one camera about each day.

Every lens needs a lens hood as protective as this. JJC LH-JXF23 lens hood for Fujinon XF 23mm f/1.4 R prime lens. I also have one on my XF 56mm f/1.2 R.

I continue to miss having a 28mm (the 35mm sensor equivalent to the 18mm) as my daily carry, though, especially for the focal length’s naturalistic rendering in the tight spaces and crowds I often find myself within when covering events or simply walking through the city and suburbs.

I have tried Fujifilm’s Fujinon XF 16mm f/2.0 R “Fujicron” 24mm equivalent lens and although it is good for extremely tight spaces where exaggerated perspective may be not be a problem, its corner-stretched and volume-deforming rendering cannot be described as naturalistic.

There is a time and place for naturalism just as there is for exaggeration but, when comparing photographs of similar documentary subjects made a 16mm and an 18mm lens, naturalism wins hands down.

Time and again I find that exaggeration draws attention to itself to the detriment of the subject while naturalism respects the subject, allows it to speak for itself and as I am often told, makes viewers feel as if they are standing right there in the scene where I stood when I made the photograph.

A few bright sparks have pointed out that I should just step back a bit with a 16mm lens then crop in to simulate the 18mm’s framing and perspective but, as you may have noticed when looking through my Photo Galleries pages, I design my images tightly and the last thing I want to do is resort to loose image design then chop into it in an attempt to tighten it up a little.

I have put my critics’ thoughtful suggestions to the test and it doesn’t work for me, just as I have run exaggerated perspective images shot with a 16mm lens through DxO ViewPoint to counteract the volume deformation of ultra wide-angle lenses.

A Walk Around Sydney with a Fujifilm X-T2 and Five Fujinon Prime and Zoom Lenses on November 1, 2016
An icon in ultra wide-angle: the Sydney Opera House from harbour-side, made with a Fujinon XF 14mm f/2.8 R prime lens.

Which is not to say that I don’t like ultra wide-angles as such: the Fujinon XF 14mm f/2.8 R is an incredible lens, almost perfectly optically-corrected with a micro-contrast and resolution rarely found in many wide-angle primes and even fewer wide-angle zoom lenses, and it has Fujifilm’s version of manual clutch focus which in my opinion is an essential for speedy and easy video focus-pulling.

I do prefer the approach to manual clutch focus taken by Olympus in its M. Zuiko Pro lenses, though, where the focusing ring turns loose in fly-by-wire mode and when needing manual clutch focus you simply pull the ring straight towards the camera, set it where desired, shoot, then push forward back to where it was before.

Fujifilm’s approach appears more geared towards setting hyperfocal distance where the focusing ring moves off left or right a little rather than straight back.

Taking video more seriously again with primes

With the X-H1 followed by the X-T4 and then sometime next year, the X-H2, Fujifilm has finally begun delivering on its promise some years ago to take video seriously.

Fujifilm has a long and proud history in making movie film, movie cameras and high end cinema lenses just as it has of making extraordinary analog film cameras, lenses and film under the company’s own brand names as well as supplying lenses and cameras to Hasselblad for sale under that company’s branding.

Fujifilm not only makes high-end, high-priced cinema and broadcast lenses under the Fujinon name: it released two lightweight, compact and relatively affordable cinema zoom lenses under the MKX Series name.

Where Fujifilm needs to lift its video game next is in supplying prime and zoom lenses that excel for video and stills photography, for autofocus and manual focusing, and that possess a closely related set of design and manufacturing parameters in the way that Olympus, say, has with its M.Zuiko Pro range.

Although three lenses in Fujifilm’s Red Badge zoom range are often recommended for video production, the Fujinon XF 8-16mm f/2.8 R LM WR, XF 16-55mm f/2.8 R LM WR and the XF 50-140mm f/2.8 R LM OIS WR, most of Fujifilm’s prime lenses are wanting in the autofocus department as cinematographer Philip Bloom demonstrated in a video earlier this year.

Fujifilm needs to upgrade more than its 18mm and 27mm “pancake” lenses: it needs to review its whole XF lens line for video production readiness and with the input of cinematographers such as Mr Bloom.

Meike 35mm T2.1 Super35 Cinema Prime with EF or PL mount, on Blackmagic Pocket Cinema Camera 6K. The lenses in this collection can be adapted to fit Fujifilm’s Super 35/APS-C XF series cameras.

At the very least Fujifilm needs to ensure that at least a subset of current and future prime lenses have enough design similarities to constitute the type of matched cinema lens set that other lens makers such as Meike have been aiming at lately.

For example, I would choose these current prime lenses for a starter set for video production, autofocus capability and manual clutch focus or not:

  • XF 14mm f/2.8 R – 21mm in 35mm equivalent.
  • XF 23mm f/1.4 R – 35mm in 35mm equivalent.
  • XF 50mm f/1.0 R WR – 75mm in 35mm equivalent.

I would add these coming lenses if, that is, they are up to scratch for video production:

  • XF 18mm f/1.4 R – 28mm in 35mm equivalent.
  • XF 27mm f/2.8 R Mark II – 40mm in 35mm equivalent.

Many celebrated feature films have been shot in just one lens or at most two, and if it came down to just two lenses for shooting documentary movies then I choose 18mm and 27mm (28mm and 40mm in 35mm).

Let’s see what Fujifilm comes up with when it makes it new products announcements at its X Summit Omiya 2020 on October 15 at 10pm Japan Standard Time.

Meanwhile I have my fingers crossed for an excellent Fujinon XF 18mm f/1.4 R WR lens design and would love to see the 27mm upgrade also eminently suitable for video production as well as documentary photography and photojournalism and not simply as a compact and affordable pancake lens for travel.


Fuji Rumors: VOTE NOW the SIGMA Lens You Want for Fujifilm X – Commentary


In a recent interview, Top Fujifilm manager Toshihisa Iida said that Fujifilm is opening X mount to third parties, and that Tokina will be the first company to offer autofocus lenses for the Fujifilm X system….

I have placed my vote for the two current Sigma APS-C lenses  most want the company to redesign and make for Fujifilm X-Mount cameras, and if more than two votes were permitted by Patrick DiVino’s survey then I would vote for several more.

The two Sigma APS-C zoom lenses I most want to see redesigned for Fujifilm X-Series cameras

There is little doubt that these two APS-C/Super 35 zoom lenses have proven popular amongst users of a range of camera systems and sensor formats for stills photography and video, whether adapted or in native mount versions.

Australian cinematographer/director Paul Leeming with his Blackmagic Design Blackmagic Pocket Cinema Camera 4K, 8Sinn cage and Sigma 18-35mm f/1.8 Art zoom lens attached with Metabones Speed Booster EF-to-MFT adapter.

The Sigma 18-35mm f/1.8 DC HSM Art zoom is the most popular of the two and is often seen in use in its Canon EF-mount version attached to cameras made by Blackmagic Design, Panasonic and Fujifilm via adapter or natively.

The lens is designed for APS-C/Super 35 sensor-equipped cameras, and is currently available in Canon EF, Nikon F, Pentax K, Sigma SA and Sony A mount.

Both Art lenses are also made in three-gear cinematography versions in Arri PL, Canon EF and Sony E mounts, available for purchase at B&H separately or as a pair with customised hard case.

Both lenses are also available at B&H as a kit for Sony E-mount cameras with Sigma MC-11 Mount Convertor /Lens Adapter to convert Canon EF to Sony E.

If a similar kit were already available with Sigma convertor/adapter for Fujifilm X-mount cameras, one might be sorely tempted.

But it is not, and there are good arguments for both lenses being redesigned and made native with typical X-mount features such as aperture rings but that can be used clicked with 1/3-stop detents or completely clickless, your choice set with the flick of a switch.

Sigma 18-35mm f/1.8 DC HSM Art Lens

Equivalent in 35mm sensor camera terms from 27mm through to 52.5mm, this lens includes some of my most-used stills and video documentary focal lengths such as 28mm, 35mm, 40mm and 50mm.

With a maximum aperture of f/1.8, it is well-suited to the indoors available darkness in which I often find myself.

It would become my most-used lens for documentary work, to be supplemented with Fujifilm’s Fujinon XF 14mm f/2.8 R for scene-setting shots, or, if talking Sigma APS-C lenses then the Sigma 10-20mm f/3.5 EX DC HSM may be suitable provided a Fujifilm X-mount version is made.

In 35mm sensor terms, the Fujinon is equivalent to 21mm and the Sigma zoom is equivalent to a range of 15mm through to 30mm.

Sigma 50-100mm f/1.8 DC HSM Art Lens

I have long been hoping Fujifilm would release one of my favourite portrait focal lengths, 70mm, as a fast prime lens with closeup capability, but my hopes continue to be dashed each time the company updates its lens roadmap.

In 35mm sensor terms, this lens is 105mm and is the focal length with which I became a portrait photographer.

Sigma’s 50-100mm f/1.8 zoom is equivalent in 35mm terms to 75mm through to 150mm, thus including another popular portrait focal length, 90mm, which is equivalent to 137mm.

Fujifilm’s Fujinon XF 90mm f/2.0 R LM WR prime receives high praise as does the Fujinon XF 80mm f/2.8 R LM OIS WR prime lens, but the Sigma 50-100mm f/1.8 zoom would take the place of three useful portrait and documentary focal lengths at a fraction of the cost of three Fujifilm-made lenses.

The ongoing lack of a professional-quality Fujifilm 18mm prime lens

Fujinon XF 18mm f/2.0 R prime lens.

Fujifilm Australia staff members often confirm that the lens customers want to see radically updated is the Fujinon XF 18mm f/2.0 R, a lens I love and hate, with the emphasis on the latter.

Love is too strong a word for this 28mm-equivalent prime lens, so let’s use “like” instead.

I know some photographers adore it for its many old-fashioned optical and mechanical quirks but for me it is an irritating disappointment.

I have often asked Fujifilm to replace it with a compact Fujicron-style lens for documentary photography or a manual clutch focus Fujilux-style f/1.4 lens for available darkness work and especially for video.

In my Leica M-Series analog rangefinder days I relied on a Leica Elmarit-M 28mm f/2.8 Aspheric lens mounted on my prime camera with a Leica Summilux-M 35mm f/1.4 Aspheric lens in reserve for available darkness documentary photography.

Incidentally, if I could only have two prime lenses for video work, then I would choose a 28mm equivalent and a 40mm equivalent, or in APS-C terms, 18mm and 27mm.

Fujifilm makes neither focal length as manual clutch focusing primes, much to my ongoing moviemaking disappointment, but I often carry the compact Fujinon XF 27mm f/2.8 and 18mm f/2.0 R on a pair of Fujifilm rangefinder cameras when needing to be discrete and in the street or places where I don’t want to be noticed, but I would not use either prime lens for video.

Fujifilm makes three excellent primes equally suitable for video and stills photography, the manual clutch focusing Fujinon XF 14mm f/2.8 R, XF 16mm f/1.4 R WR and XF 23mm f/1.4 R but there are no signs the company is serious about extending its manual clutch focus lens range any time soon, whether with primes or zooms.

Shame, given Fujifilm’s recent emphasis on great quality Super 35 video with the Fujifilm X-T4 and the coming Fujifilm X-H2.

If Sigma can be persuaded to make an aperture ring-equipped 18-35mm f/1.8 X-mount zoom then that can help with available light or darkness video work, leaving Fujifilm to finally pull its collective fingers out with a Fujicron-style XF 18mm lens that does need to be faster than f/2.8.

Given the success of the Fujinon XF 16mm f/2.8 R WR, despite its maximum aperture being darker than the f/2.0 of its Fujinon XF 23mm f/2.0 R WRFujinon XF 35mm f/2 R WR and Fujinon XF 50mm f/2.0 R WR Fujicron-style siblings, a Fujinon XF 18mm f/2.8 R WR should do just fine for documentary stills, leaving the serious 18mm available darkness video work to Sigma along with the other focal lengths in its 18-35mm f/1.8 Art zoom lens.

I also want this for Fujifilm X-mount: Sigma 70mm f/2.8 DG HSM Art macro lens

Sigma 70mm f/2.8 DG HSM Art macro lens.
Nikon Micro-Nikkor 105mm f/2.8 manual focus, manual exposure macro lens with 1:2 magnification.

Fuji Rumor’s Sigma X-mount lens poll limited respondents to choosing two lenses but I would have chosen three if permitted.

Having learned to be a portrait photographer by using the art school’s Nikon Micro-Nikkor 105mm and 55mm lenses close-up and at normal portrait distances, I have long been looking for an X-mount equivalent to my favourite of the two, the 105mm.

Until this rumor and poll surfaced at Fuji Rumors about the possibility of Sigma opening up to making Fujifilm X-mount versions of its lenses, I had resigned myself to looking for a suitable manual focus 75mm manual lens to adapt to X-mount.

Voigtlander Nokton 75mm f/1.5 Aspherical lens.

B&H currently lists two affordable 75mm Leica M-mount lenses, the 7artisans Photoelectric 75mm f/1.25 and the Voigtlander Nokton 75mm f/1.5 Aspherical lens, and a range of M-to-X-mount adapters are available, some with close focus capability.

I have no problem with the idea of using manual-only lenses for close-up and portrait work, but autofocus with good manual focusing extends the usefulness of any lens.

So, Sigma, will you be making good on the desires of many Fujifilm camera users for Fujifilm X-mount Sigma lenses?

If so, Sigma, please add the 18-35mm f/1.8 DC HSM Art Lens, the 50-100mm f/1.8 DC HSM Art lens and the 70mm f/2.8 DG HSM Art macro lens to the top of your list.

Fuji Rumors: Fujikina 2019 Tokyo, May 25/26: Fujifilm GFX 100 Launch Party and More?


“”FUJIKINA 2019 TOKYO” will be held on May 25th-26th 2019!

This event is a must-go for all GFX and X Series users. You will be able to try the latest range of GFX and X Series cameras and lenses. There will be live talks, studio demos and photo galleries showcasing the works of the professional photographers and creators from all over the world. Quick maintenance service and loan programs will be available free of charge (reservation required).

There will also be public shooting of music videos on site. The production team led by Pål Laukli will only use GFX and X Series models to complete the music video and stills. This is a rare opportunity to witness the professional at work!…”

Fujifilm GFX 100S with Fujinon GF 32-64mm f/4 R LM WR zoom lens. This lens is equivalent to 25-51mm in the 35mm sensor format.


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4/3 Rumors: Images of the new [Panasonic] 10-25mm f/1.7 displayed at the CP+ show


“Panasonic is displaying the new 10-25mm f/1.7 at the CP+ show. But thewy [sic] did not disclose any detail yet about pricing and shipment start….”

Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 wide angle zoom lens for Micro Four Thirds cameras.


If Panasonic gets everything right with this lens it will be in high demand by available light/available darkness documentary photographers and videographers relying on Micro Four Thirds hybrid video/stills cameras like Panasonic’s Lumix DC-G9, Lumix DC-GH5, Lumix DC-GX9 and more, as well as videographers using the Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.

I have written elsewhere on this website about this lens and others in the same ballpark, but if this lens is to have everything I want then it needs:

  • Choice of clickless and clicking aperture stops
  • Manual clutch focus
  • Optical image stabilization aka OIS

As the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 is still in development, any images released at the moment must be considered to be of pre-production or dummy models and we can only speculate about the lens’ actual specifications.

Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 zoom lens for Micro Four Thirds

Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 pre-release version showing the lens may have manual clutch focus via drawing back the focusing ring. Will it also have optical image stabilization aka OIS? Image found on the cvp.com website at PANASONIC LEICA 10-25MM F1.7 – MFT.


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